Holidays a cappella Sunday, Dec. 5, 2010, 4:00 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville
Friday, Dec. 10, 2010, 8:00 pm Fourth Presbyterian Church Michigan Avenue at Delaware, Chicago
Thursday, Dec. 9, 2010, 7:30 pm Nichols Concert Hall 1490 Chicago Ave., Evanston
Sunday, Dec. 12, 2010, 4:00 pm Pilgrim Congregational Church 460 Lake Street, Oak Park
Chicago a cappella Alexia Kruger, Soprano Cari Plachy, Soprano Elizabeth Grizzell, Mezzo-soprano Susan Schober, Mezzo-soprano Cary Lovett, 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 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; the Elizabeth F. Cheney Foundation; a CityArts Program 2 grant from the City of Chicago Dept. of Cultural Affairs and the Illinois Arts Council, a state agency; 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.
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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 Operations Coordinator..................................................................................................... Deb Hoban Education Outreach Coordinator.............................................................................Susan Schober Production/Operations Intern..................................................................................Shaina Farwell Marketing Intern.........................................................................................................Kennyetta Dillon Board of Directors Michelle Eppley William K. Flowers Helen C. Gagel (President) Joyce Grenis Howard Hush Leslie Lauderdale 2 Chicago a cappella
Robert B. Linn (Treasurer) Linda Mast (VicePresident) Diana Ramirez (Secretary) Stephen Shaw Maria T. Suarez
Committee Members Carole Baumgart (Marketing) William Thomas Huyck (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
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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. Wentz Concert Hall 171 E. Chicago Ave., Naperville Restrooms and drinking fountain: in the main lobby. Nichols Concert Hall Music Institute of Chicago 1490 Chicago Avenue, Evanston Restrooms and drinking fountain: On lower level; take stairs or elevator from lobby.
Fourth Presbyterian Church Michigan Avenue at Delaware, Chicago Restrooms and drinking fountain: Through the south transept doors (to your left) and then to the right. 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.
Naperville Catch 35 35 S. Washington St. Hours: Sundays 4:30-8:30 pm 10% off food
Chicago Jaks Tap Bar & Grill 901 W. Jackson Blvd. Hours: Fridays until 2 am 15% off all pizzas
Quigley’s Irish Pub 43 East Jefferson Ave. Hours: Fridays until 2 AM | Sundays until 1 AM 10% off food
Lloyd’s Chicago 1 S. Wacker Dr. Dinner 5:00-8:30 pm 10% off food
Tango Argentinean Grill 5 W. Jackson Ave. Hours: Sunday dinner 2:30–10:00 pm Free appetizer with purchase of two entrees 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: Thursdays until 10 pm (late kitchen available) 15% off
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Venus Greek Cypriot Cuisine 820 W. Jackson Hours: Fridays until 12 am 15% off food + Complimentary Parking 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
PROGR A M Angelus ad Virginem............................................ .Medieval English carol, arr. Eleanor Daley O Come, O Come Emmanuel....................................................Gregorian chant (8th century) arr. Daron Hagen ******* The Angel Gabriel............................................................................ Basque carol, arr. Alan Smith Ave Maria.............................................................................................................................. Franz Biebl Sistah Mary.......................................................................................... Spiritual, arr. Rollo Dilworth ******* Of the Father’s Love Begotten.......................................... Gregorian chant (13th-c. melody) arr. Edwin T. Childs Al Hanisim (For the Miracles).................................Trad. Hebrew melody, arr. Steve Barnett ******* From Quatre Motets pour le Temps de Noël ...................................................... Francis Poulenc 1. O magnum mysterium 2. Quem vidistis, pastores dicite ******* O Thou, Who by a Star.......................................................Freeman Lewis,arr. Wayland Rogers A Cradle Song................................................................................................................. Nestor Taylor Children, Go Where I Send Thee.................................................Spiritual, arr. Robert L. Morris INTERMISSION Den Signade Dag............................................................ Trad. Swedish carol, arr. Nils Lindberg He Sleeps.......................................................................................................................Charles Garner On This Starry Night.................................................................................................Matthew Harris Salve Mater Misericordiae............................................................................................ Tim Sarsany ******* Three Motets for Christmas.................................................................................. Julio Domínguez 1. Laudate Dominum 2. Lux fulgebit 3. Gloria Patri Two Latvian Carols................................................... .trad. Latvian carols, arr. Andrejs Jansons 1. Ziemas svētki sabraukuši 2. Balts sniedziņš snieg uz skujiņām ******* From Quatre Motets pour le Temps de Noël....................................................... Francis Poulenc 3. Videntes stellam 4. Hodie Christus natus est ******* Christmas Can-Can.................................................................Concept and lyrics: Walter Chase 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 cappella 5
UPCOMING CONCERTS THE RED CARPET OF SOUND:
Musical Pairings, a cappella and with Piano We expand our soundscape with carefully-chosen pairings of a cappella music alongside works for vocal ensemble and piano. Music director Patrick Sinozich, one of the city’s finest pianists, joins us on stage for this illuminating comparison of musical works – a cappella and accompanied – by nine great composers, from Schubert to Bernstein. Naperville Friday, Feb. 4, 8:00 pm Wentz Concert Hall
Evanston Saturday, Feb. 12, 8:00 pm Nichols Concert Hall
Chicago Saturday, Feb. 5, 8:00 pm Gottlieb Hall at Merit School of Music
Oak Park Sunday, Feb. 13, 4:00 pm Pilgrim Congregational Church
CHICAGO, CHICAGO
Join us for a musical trip through our city’s past, from pioneer days to the Great Fire, the World’s Fair, skyscrapers, Carl Sandburg, sports, politics, and more! Chicago Friday, April 1, 8:00 pm Gottlieb Hall at Merit School of Music
Naperville Sunday, April 3, 7:30 pm Wentz Concert Hall
Evanston Saturday, April 2, 8:00 pm Nichols Concert Hall
Oak Park Sunday, April 10, 4:00 pm Pilgrim Congregational Church
SAVE THE DATE: SIMPLY SINATRA
a one-night-only gala benefit event Chicago a cappella’s annual benefit is an opportunity to hear music you won’t hear the rest of the season, under the glorious Tiffany dome of the Chicago Cultural Center. Join us for this festive evening of music, hors d’oeuvres, wine, desserts, and a spectacular silent auction, with all proceeds benefiting the artistry of Chicago a cappella. Thursday, May 12, 2011 • Chicago Cultural Center Tribute Award Honoree: Dr. Robert Harris Friend of the Year: Terri Hemmert
TICKETS AND INFORMATION (773) 755-1628 or www.chicagoacappella.org
INTRODUCTION Thank you for joining us today. We have been presenting holiday concerts since 1994—and it’s a joy for us to know that Holidays a cappella has become a beloved holiday tradition for so many of you. We are happy that you’re here to enjoy the unique experience of live music. If you brought friends or loved ones, an extra hearty “thanks” for sharing us with others! The two dozen songs you’ll hear today come from about ten different lands and reach as far back in time as the 4th century A.D., when the words to “Of the father’s love begotten” were first written in Latin. Most are in English or Latin, a few being in Hebrew, Yiddish, Swedish and Latvian. Styles run from the contemplative to the bluesy, from the harmonic starkness of early American hymn-tunes to the lush chords of Franz Biebl, Nils Lindberg and Charles Garner. * * * * * One of the main parts of my job as artistic director is to choose the music that goes on the concert. Because we mostly let other groups in town handle the big “masterworks,” our concerts tend to be made up of about 20 to 25 shorter pieces, all arranged and ordered to give you the best possible experience. I jokingly refer to myself as a “recovering musicologist”—and it is rather an addictive experience to find just the right combination of songs for you! Since our last concert was all about food, I’ll use a cooking analogy: programming a concert is sort of like writing a recipe. I specify the ingredients; after that, there is quite a bit of flexibility in interpretation. The singers and Music Director Patrick Sinozich bring these materials off the page and into acoustic life, adding their personal touches and contributing their wealth of experience to make it all work together. They determine the final tempo markings and breaths, which are sort of like cooking times and temperatures. I trust the musicians so much that I generally keep working in the background while they are all in rehearsal. Generally the first concert is the first time I hear it, too. * * * * * Holidays a cappella is the program where I find it most difficult to narrow down the field of music to put on the concert. Just as one shouldn’t have too many ingredients in an effective main course dish, it is inadvisable to have a concert go on too long. Therefore, one has to make judgments all the time about what stays and what goes. I sometimes wish that we could have two different concert programs for you in December and sing about 15 days during the month. This is partly a function of personal history: when I was in my twenties, there was one point when I was singing in five different ensembles— Holy Name Cathedral’s Chamber Singers, His Majestie’s Clerkes (now Bella Voce), the Harwood Early Music Ensemble, the Burgundian Consort, and Musica Ecclesiae. I easily had concerts or services on twenty days in December 1983, including those exhilarating (though tiring) church days at Holy Name Cathedral when we’d do two morning masses and then come back for Advent Vespers, all with the late Richard Proulx. I must have personally sung about 150 different pieces of music that month. So why wouldn’t I want to bring you the best of those, not to mention a choice selection of the two or three thousand songs I’ve learned since then? Welcome to the world of selecting music for CAC. Chicago a cappella 7
I N T R O D U C T I O N ( c o n t .) * * * * * Now that I’ve taken you with me down memory lane, I would like to end these notes with a wish to honor the memory of a dear colleague and friend. I would like to dedicate these concerts to the blessed memory of Richard Proulx, former director of music at Holy Name Cathedral in Chicago and director of the Cathedral Singers. He was closely affiliated with GIA Music Publications and was one of the most prolific liturgical composers and hymnodists of the late 20th century. As a musician and conductor, Richard had the intensity of a lion and the demanding ear that made us all want to sing our best for him. Chicago a cappella was honored to be able to record his Prayer of the Venerable Bede on our recent Christmas a cappella CD. The alto solo in that song is like a clear ray of light shining into a room, and Richard’s light likewise brightened many lives in Chicago and around the world. His passing was a loss for the entire sacredmusic community, and he will be missed. —Jonathan Miller
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NOTES ON MUSIC Arr. Eleanor Daley: Angelus ad Virginem The story is told in the Gospel of Luke of “angelus ad virginem”—literally “the angel to the virgin”—when Gabriel tells Mary that she is to bear a son. This upbeat carol tells the story in Latin. We have a sort of musical play on words here; the traditional, lilting melody in 6/8 meter gets replaced by a more vigorous, angular 7/8 setting in the hands of the renowned Canadian composer Eleanor Daley. Subintrans in conclave, Virginis formidinem Demuclens, inquit, “Ave! Ave, regina virginum; Coeli terraeque Dominum Concipies Et paries Intacta Salutem hominum Tu porta coeli facta, Medela Criminum.”
When the angel came secretly to the Virgin in her room, soothing the maiden’s fear, he said: “Hail! Hail, Queen of virgins. While yet untouched by man you shall conceive and bear the Lord of heaven and earth, salvation for mankind. You have become the gate of heaven, a remedy for sins.”
Quomodo cinciperem Quae virum non cognovi? Qualiter infringerem Quod firma mente vovi? “Spiritus Sancti gratia Perfeciet haec omnia Ne timeas, Sed gaudeas, Secura Quod castimonia Manebit in te pura Dei potentia.”
“How can I conceive, since I have not known a man? How can I break the vow I made with firm intent?” “The grace of the Holy Spirit shall bring all this to pass. Fear not, but rejoice, secure in the knowledge that pure chastity shall remain yours through God’s mighty power.”
Ad haec virgo nobilis Respondens inquit ei: “Ancilla sum humilis Omnipotentis Dei. Tibi coelesti nuntio. Tanti secreti conscio, Consentiens, Et cupiens, Videre Factum quod audio; Parata sum parere, Dei consilio.”
To this the noble Virgin replied, saying: “I am the lowly handmaiden of Almighty God. I bend my will to you, O celestial messenger, who share so great a mystery, and I long to see performed what I now hear. I am ready to yield myself to God’s design.”
Eia mater Domini, Quae pacem redidisti Angelis et homini, Cum Christum genuisti: Tuum exora filium ut se nobis propitium Exhibeat, Et deleat peccata: Praestans auxilium Vita frui beata Post hoc exsilium.
Ah, mother of the Lord, who gave back peace to angels and mankind when you bore Christ, pray your son to be gracious to us, and wipe away our sins, granting us aid to enjoy a blessed life after this exile.
For the record: Eleanor Daley’s arrangement of The Huron Carol appears on Chicago a cappella’s CD Christmas a cappella: Songs from Around the World. Chicago a cappella 9
N O T E S O N M U S I C ( c o n t .) Plainchant, arr. Daron Hagen: O Come, O Come, Emmanuel Ned Rorem, in Opera News, wrote,“To say that Daron Hagen is a remarkable musician is to underrate him. Daron is music.” Primarily known as a composer of opera, Hagen is a prolific and successful American composer, originally from Milwaukee. His choral music is but a small part of his output, which includes concerti, chamber music, song cycles, and symphonic works. This setting of the familiar carol is almost shatteringly beautiful in its counterpoint, teasing the listener with sinewy lines based on the beloved melody. Almost the entire composition is sung to neutral syllables. The buildup to the end is a dramatic tour de force, all the more because it is built on so few words. Basque carol, arr. Alan Smith: The Angel Gabriel Continuing in the vein of Gabriel’s message to Mary, the story here is similar to the opening “Angelus ad virginem”—this time in English. The translation is at least as famous as the Basque-country tune with which it has been paired. This much-loved English version is by Rev. Sabine Baring-Gould (1834-1924), who was not only a county vicar but also a prolific folk-song collector, and his scholarly treatment of werewolves is one of the most frequently cited studies on the topic. Alan Smith’s classy new a cappella setting borrows some of its spirit from the classic version in the Oxford Book of Carols. The Angel Gabriel from heaven came, His wings as drifted snow, his eyes as flame. ‘All Hail,’ said he, ‘thou lowly maiden Mary, Most highly favour’d lady,’ Gloria! ‘For known a blessed Mother thou shalt be, all generations laud and honour thee. Thy son shall be Emmanuel by seers foretold, Most highly favour’d lady,’ Gloria! Then gentle Mary meekly bowed her head, ‘To me be as it pleaseth God,’ she said. ‘My soul shall laud and magnify his Holy Name.’ Most highly favour’d lady, Gloria! Of her, Emmanuel, the Christ, was born In Bethlehem, all on a Christmas morn. And Christian folk throughout the world will ever say: Most highly favour’d lady, Gloria! --trans. Sabine Baring-Gould Franz Biebl: Ave Maria Made famous in a recording by Chanticleer, this motet has several things going for it musically. First is the alternation of chant with polyphony, a practice called alternatim that dates back to medieval liturgy. The piece also has a double-choir effect (four voice parts in one “choir” and three in the other), which gives it great textural interest and moments of contrast, a sort of mini-alternatim structure. Finally, Biebl has a good sense of dramatic tension in his rhythm and harmony. While the opening choral section repeats three times, the piece continues to propel itself forward, especially toward the end, when the volume swells upward and the vocal range extends to the soprano heights and bass depths.
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N O T E S O N M U S I C ( c o n t .) Angelus Domini nuntiavit Mariae, et concepit de Spiritu sancto.
The angel of the Lord declared unto Mary; And she conceived of the Holy Spirit.
Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus et benedictus fructus ventris tui, Jesus.
Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb, Jesus.
Maria dixit: Ecce ancilla Domini, fiat mihi secumdum verbum tuum Et verbum caro factum est et habitavit in nobis.
Behold the handmaid of the Lord: Be it done unto me according to Thy word. And the Word was made flesh: And dwelt among us.
Sancta Maria, mater Dei, ora pro nobis peccatoribus. Sancta Maria ora pro nobis nunc et in hora mortis nostrae. Amen.
Holy Mary, Mother of God, pray for us sinners, now, and at the hour of our death. Amen. --trans. Choral Public Domain Library
Spiritual, arr. Rollo Dilworth: Sistah Mary Rollo Dilworth is a choral superstar. Currently on the choral faculty at Temple University, Prof. Dilworth is in demand internationally as a clinician and workshop leader. His successful arrangements of spirituals and gospel music have propelled him to the forefront of the choral-arranging world in the United States. Also a composer for the musical theatre, his revisions to the musical satire Sanctified! were premiered last month at the Lincoln Theatre in Washington, D.C. In his arrangements, so we have learned, Dilworth is careful to research all available variants of the spiritual that he wants to set. Once he has settled upon a version of the text and melody, the arranging process begins. He enjoys arranging tunes that are not the best-known ones, such as this wonderful piece, Sistah Mary, which he arranged for Chicago a cappella in celebration of the ensemble’s 15th anniversary. Plainchant, arr. Edwin T. Childs: Of the Father’s Love Begotten Here is another tune intimately paired with its English translation, though the tune did not originate with an English text. In his too-brief life, John Mason Neale (1818-1866) penned several of the most famous hymn texts in use today, including “All Glory, Laud and Honor” and—also see above—“O Come, O Come, Emmanuel.” This carol,“Of the father’s love begotten,” is a joint effort between Neale and Henry W. Baker, who edited and extended Neale’s original for the publication Hymns Ancient and Modern (1861), which has become a classic source for hymn texts. The tune is the Latin plainchant melody Divinum mysterium, probably first written down in the 8th or 9th century. The new arrangement by Edwin Childs is a truly haunting one, with deceptively simple materials woven together for maximum effect. Of the Father’s love begotten, ere the worlds began to be, he is Alpha and Omega, he the source, the ending he, of the things that are, that have been, and that future years shall see, evermore and evermore! O that birth forever blessed, when the Virgin, full of grace, by the holy Ghost conceiving, bore the Savior of our race; and the Babe, the world’s Redeemer, first revealed his sacred face, evermore and evermore!
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N O T E S O N M U S I C ( c o n t .) O ye heights of heaven, adore him, angel hosts, his praises sing, powers, dominions, bow before him, and extol our God and King; let no tongue on earth be silent, every voice in concert ring, evermore and evermore! Christ, to thee with God the Father, and, O Holy Ghost, to thee, hymn and chant and high thanksgiving; and unwearied praises be: honor, glory, and dominion, and eternal victory, evermore and evermore! ---trans. John M. Neale Jewish liturgical prayer, arr. Steve Barnett: Al Hanisim—For The Miracles Steve Barnett is one of the choral field’s leading producers of sound recordings, having produced virtually all of Chanticleer’s discs, including the Grammy winner Colors of Love. He has been a prolific arranger of Hebrew melodies as well as spirituals and is represented in the recent Oxford Book of Spirituals. Chicago a cappella was fortunate to have Steve Barnett serve as session producer for its Go Down, Moses CD, published in 2000. Al Hanisim is the only prayer added to the liturgy for the relatively minor holiday of Chanukah. This composition, commissioned by the Dale Warland Singers, is based on excerpts from the extended Al Hanisim prayer. Barnett writes: I am thrilled to know that my old friend Jonathan Miller and his wonderful Chicago a cappella will be performing my Al Hanisim—For the Miracles in this year’s Holidays a cappella concerts. The text, taken from the traditional Synagogue liturgical prayer, concisely recounts the highlights of the story of Chanukah, thanking God for the miracles that were performed for the Jewish people leading to the rededication of the Great Temple in Jerusalem by the Maccabees in 165 BCE. I combined traditional Jewish melodic cantillation modes with more modern western harmonies and compositional styles to create an Al Hanisim for today. My sincere thanks to Jonathan and all of the singers of Chicago a cappella for bringing my music to life. The principal cantillation mode used in this work, most prominently for the Al Hanisim motive, is a minor sounding mode similar to the sound of the white notes on a piano from D to D, with one major exception: the fourth degree is raised by a half-step, adding a characteristic augmented second to the scale. By the numbers it is: 1-2-b3-#4-56-b7-1. The mode is labeled with a variety of names: Mi Shebeirach, or Av Harachamim, or more commonly, “Ukrainian Dorian.” Al hanisim, v’al hapurkan, v’al hag’vurot, v’al hat’shuot, v’al hamilchamot, she‘asita la‘avoteinu, bayamim haheim baz’man hazeh. Al hanisim she‘asita.
We thank you for the miracles, and for our freedom, and for the heroic victories, and for our celebrations, and for our triumphant battles that you achieved for our forefathers in the days of old and at this time of year.
Bimei Matityahu ben Yochanan, kohein gadol Chashmonai uvanav. K’she‘amda malchut Yavan har’shaah, al amcha Yisraeil. L’hashkicham Toratecha, ul’ha‘aviram meichukei r’tsonecha.
In the days of the High Priest Mattathias, son of Yochanan, of the Hasmonean family, there arose an evil kingdom over your people Israel. They forced them to forsake your Torah, and demanded them to violate your commandments.
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N O T E S O N M U S I C ( c o n t .) V’atah b’rachamecha harabim amadta lahem b’eit tsaratam. Al Hanisim Ravta et rivam, danta et dinam, nakamta et nikmatam.
And You, with Your great mercy, stood by Your people in the time of their distress. For the miracles. You protected them, restored the righteous, and avenged their cause.
V’achar kein ba‘u vanecha lid’vir beitecha. Ufinu et heichalecha, v’tiharu et mikdashecha, v’hidliku neirot b’chatsrot kadshecha. V’kavu sh’monat y’mei Chanukah eilu, l’hodot ul’haleil l’shimcha hagadol. Al hanisim she‘asita.
And then Your children came into your House, into the Holy of Holies. For the miracles. And they cleansed your temple, purified your Sanctuary, lit candles in Your sacred Courts. And they established these eight days of Chanukah to give thanks and give praise to your great Name.
V’al kulam yitbarach v’yitromam, shimcha malkeinu tamid l’olam vaed. Al hanisim.
And for all this, Your Name, O our King, shall be blessed and exalted, now and forever. For the miracles --trans. Steve Barnett, reprinted with permission
For the record: Steve Barnett’s arrangement of “S’vivon” appears on Chicago a cappella’s CD Holidays a cappella Live. Francis Poulenc: Quatre Motets pour le Temps de Noël Poulenc’s Christmas motets were written in 1951, when he was coming out of something of a creative funk. He had just completed his Stabat Mater and was feeling confident. The settings are less somber than his equally famous Lenten motets. We are dividing the four Poulenc pieces into two sets of two—a pair in each half of the program. The first,“O magnum mysterium,” has a stark, almost creepy opening in the lower voices, over which a limpid, inspired soprano line floats: Poulenc shows here a rare ability to combine awe, fear, reverence, and restraint. The second motet,“Quem vidistis, pastores?” is the question to the shepherds about what they have seen. Poulenc is attempting to tell a story in Latin, but the French accent on the last syllable seems to want to creep in regardless! O magnum mysterium et admirabile sacramentum, ut animalia viderent Dominum natum jacentem in praesepio. Beata virgo cujus viscera meruerunt portare Dominum Christum.
O great mystery and wonderful sacrament that animals could see the birth of the Lord lying in a manger. --trans. Mick Swithinbank (Choral Public Domain Library)
Quem vidistis, pastores, dicite, annuntiate nobis, in terris quis apparuit? Natum vidimus et choros angelorum collaudantes Dominum.
Whom did you see, shepherds, say, tell us: who has appeared on earth? the new-born we saw and choirs of angels praising the Lord. --trans. Choral Public Domain Library
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N O T E S O N M U S I C ( c o n t .) Shape-note hymn, arr. Wayland Rogers: O Thou, Who By A Star Born in Kentucky, Wayland Rogers has a terrific feel for shape-note tunes and their musical possibilities. This is a setting of the tune “Dunlap’s Creek” by Freeman Lewis, published first in the landmark collection Southern Harmony (1835). The music and its related songs stem in part from the spontaneous song-making at rural camp meetings during the Second Great Awakening (roughly 1800-1830). Rogers captures the angularity of the tune and its vigorous rhythm. Rather than offering a straight exposition of the harmonized tune, Rogers presents it first as a solo for the basses; he then uses it in canon (a round), with each verse of the hymn adding a new voice part to the mix after the previous part has sung a measure of music. The culmination in the fourth verse has the voices all piling on one another only separated by a single beat, which provides some of the delightfully “crunchy” harmonies that one often finds in the original published songs. O Thou, who by a star did guide wise men on their way until it came and stood beside the place where Jesus lay. Although by stars Thou dost not lead Thy servants now below, Thy holy spirit, when they need, will show them how to go. As yet we know Thee but in part, but still we trust Thy word that blessed are the pure in heart for they shall see the Lord. O Saviour give us then Thy grace to make us pure in heart, that we may see Thee face to face, hereafter as Thou art. --John M. Neale For the record: Wayland Rodgers’ What Sweeter Music appears on Chicago a cappella’s CD Christmas a cappella: Songs from Around the World. Nestor Taylor: A Cradle Song A Greek by birth and Greek/English by musical training, Nestor Taylor has carved out a distinguished career as a composer of choral music in the English tradition as well as in other veins. He was a Fulbright Scholar at Yale studying composition in 2005-06. He currently serves as Artistic Advisor for the Greek National Opera. A Cradle Song is a beautiful, heartfelt setting of the famous poem by William Blake. Taylor seems to concentrate on the word “sweet” most of all, and the overall effect is truly that of a poignant, loving lullaby. Sweet dreams form a shade O’er my lovely infants head. Sweet dreams of pleasant streams, By happy, silent, moony beams. Sweet sleep, with soft down Weave thy brows an infant crown. Sweet sleep, Angel mild, Hover o’er my happy child. Sweet smiles in the night, Hover over my delight. Sweet smiles, Mother’s smiles, All the livelong night beguiles. Sweet moans, dovelike sighs, Chase not slumber from thy eyes, Sweet moans, sweeter smiles, All the dovelike moans beguiles.
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N O T E S O N M U S I C ( c o n t .) Sleep, sleep, happy child, All creation slept and smil’d. Sleep sleep, happy sleep, While o’er thee thy mother weep. Sweet babe, in thy face, Holy image I can trace. Sweet babe once like thee, Thy maker lay and wept for me. Wept for me, for thee, for all, When he was an infant small. Thou his image ever see, Heavenly face that smiles on thee. Smiles on thee, on me, on all, Who became an infant small. Infant smiles are His own smiles, Heaven and earth to peace beguiles. – William Blake Spiritual, arr. Robert L. Morris: Children, Go Where I Send Thee Robert L. Morris is one of the finest arrangers of spirituals and early gospel music active today. A resident of the Twin Cities, he most recently served as director of choral activities at Macalaster College, where he is now professor emeritus. He spent much of his early career in Chicago, where he absorbed a wide variety of musical styles, and he was an arranger for Duke Ellington. Morris has a keen ear for the small differences between forms of the spiritual and their characteristics (including the form called a “characteristic”!). This song may have been considered dangerous because it taught slaves to count, which was something they were generally not supposed to know how to do. Clothed in “holy” text, the song gets up to twelve before counting backwards again. In Children, Go Where I Send Thee, Morris shows that, like Joseph Jennings, he is a master of the slow groove. Morris models his setting on the style of male gospel quartets, which combine smooth sailing with unexpected rhythmic accents. He takes pain to note that, while this piece carefully incorporates elements of gospel music, it is first and foremost a spiritual. For the record: Robert L. Morris’s Children, Go Where I Send Thee as well as his arrangement of Glory To the Newborn King both appear on Chicago a cappella’s CD Holidays a cappella Live. INTERMISSION Trad. Swedish, arr. Nils Lindberg: Den Signade Dag Critic Seth Karlsson once described Nils Lindberg as a sort of musical knight, riding on the frontiers of music. “As his coat of arms he bears a triangle. One corner represents jazz, one symphonic works and one folk music.” Lindberg’s classical training has been combined with a lifetime of collaborations with jazz greats including Judy Garland and Josephine Baker, and he has done arrangements and recordings with Duke Ellington. This tune Den Signade Dag comes from Äppelbö, a tiny town in the Dalarna region of Sweden, where Lindberg was born. The text and tune are simple, straightforward, and striking. Lindberg makes the tiniest harmonic inflections in the choral parts, which make an overall effect of mystery, hope, and deep feeling, all at the same time.
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N O T E S O N M U S I C ( c o n t .) Den signade dag, som Vi nu här se Av himmelen till oss nedkomma, Han blive oss säll, han låte sig te Oss allom till glädje och fromma. Ja, Herren den högste oss alla idag För synder och sorger bevare.
The blessed day, which we now see here, coming down to us from heaven— May his blessing be upon us; may he bring us all to joy and salvation. Yes, may the Lord, the highest, protect us all today from sin and sorrow.
Den signade dag, den signade tid Var morgon jag månde betänka, Då nådenes sol så härlig och blid Rann upp för all världen att blänka Och herdarna hörde Guds änglar i skyn, Som sjöngo, att dagen var kommen.
The blessed day, the blessed time, May I think upon it each morning; when the merciful sun, so wonderful and glorious, rose to shine upon all the world, and the shepherds heard God’s angels in the sky, who sang that the day had come.
Men såsom en fågel mot himmelens höjd Sig lyfter på lediga vingar Han lovar sin Gud, är glad och förnöjd, När han över jorden sig svingar, Så lyfter sig själen i hjärtelig fröjd Till himlen med lovsång och böner.
But, just as a bird, soaring toward the heaven on free wings, praises his God, is glad and contented as he flies over the earth, so may the soul, in heart’s delight, rise to heaven with praises and prayers. --trans. Erik Westberg / J. Miller
For the record: Nils Lindberg’s Shall I Compare Thee? appears on Chicago a cappella’s CD of the same name, a collection of works to Shakespeare texts..
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N O T E S O N M U S I C ( c o n t .) Charles Garner: He Sleeps Charles Garner has been a church musician for more than 40 years in the Detroit area and has brought his mastery of African-American spiritual and gospel styles to this remarkable composition. This new piece, subtitled “Lullaby of the Nativity,” carries both an original text and tune. Capturing some of the same themes of “Silent Night,” Garner creates a stately, (mostly) hushed mood of intense dignity and joy. The work manages to sound old—as if it has been around forever—while turning the ear in unexpected ways, especially with harmony, that are completely new. (Thanks to Brian Streem and Betsy Grizzell for suggesting this piece for this program.) He sleeps in stillness of the night serene. He sleeps with mother’s love and tenderness. What mystery surrounds this wonder of life. He sleeps in stillness of the night serene. He sleeps; the world is silent for a king. Peacefully he sleeps, the night is still, the world is silent. A king is born! Peacefully he sleeps. He sleeps in stillness of the night serene. He sleeps; the world is silent for a king. Lullaby, sleep my child, blissful, tenderly. - Charles Garner reprinted by permission Matthew Harris: On This Starry Night Based in New York City, Matthew Harris is a musicologist by training who makes his way in the world with a composer’s heart. He is perhaps best known for his five collections of Shakespeare Songs, of which Chicago a cappella has recorded several on the Shall I Compare Thee? album. Not one to be pigeonholed, he has an eclectic, engaging style of composing that is embraced by professional and amateur vocal ensembles alike. It is clear that his musicologist’s training allows Harris to reproduce a given music style with great fidelity. With a mood that seems directly inspired by “Down To The River To Pray,” Harris has composed here a lively, vigorous new Christmas carol. This tune was created for the two choirs directed by the remarkable Charles Bruffy: the Kansas City Chorale and the Phoenix Bach Choir. Harris has captured the energy of down-home bluegrass harmony and folk hymns in a four-part arrangement that should have you sitting up straight in short order— and perhaps ready to pray yourself! Oh, tell me what’s that light Shining in the heav’ns so bright? Oh, tell me what’s that light On this starry night? Oh, tell me what’s that sound That I hear above the town? Oh, tell me what’s that sound On this starry night? Oh, tell me who’s this child In a manger domiciled? Oh, tell me who’s this child On this starry night? - Matthew Harris Copyright © 2002 by C.F. Peters Corp.
All rights reserved. Used by kind permission.
For the record: Four of Matthew Harris’s Shakespeare Songs appear on Chicago a cappella’s CD Shall I Compare Thee?: Choral Songs on Shakespeare Texts.
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N O T E S O N M U S I C ( c o n t .) Tim Sarsany: Salve Mater Misericordiae This lovely motet came to Chicago a cappella’s attention during recording sessions for Hinshaw Music, the piece’s publisher. Tim Sarsany has created a work of great beauty and reverence, with a subtle harmonic language and sense of melodic flow that echoes those of Maurice Duruflé. The opening in the tenors sounds like plainchant, though it really isn’t; as is the case with He Sleeps, the composer manages to create something new that sounds old, well-seasoned, in the best sense. Salve mater misericordiae, mater dei, et mater veniae, Mater spei, et mater gratiae, mater plena sanctae laetitiae, O Maria.
Hail, mother of mercy, mother of God, and mother of pardon, Mother of hope and mother of grace, mother filled with holy gladness, O Mary!
Salve felix virgo puerpera, Nam qui sedet in Patris dextera, Caelum regens terram et aethera, Intra tua se clausit viscera, O Maria.
Hail, blest child-bearing Virgin: For He who sits at the Father’s right hand, Ruler of Heaven, earth and sky; Within thee Himself did hide in thy womb, O Mary! --trans. Tim Sarsany reprinted by permission
Julio Domínguez: Three Motets for Christmas Julio Domínguez is the conductor of “Camerata ad libitum,” a choir in Pontevedra, Spain. He is active as a workshop and festival leader and music publisher as well. These three Christmas motets are simple and effective, alternating female and male voices. Laudate Dominum, laudate populi, laudate omnis terra, laudate eum, Alleluia.
Praise the Lord; let the people praise [him]; let all the earth praise; praise him. Alleluia.
Lux fulgebit hodie super nos quia natus est nobis Dominus.
The light will shine upon us today, for the Lord is born for us.
Dominum laudate Eum Alleluia. Gloria, gloria Patri, gloria Fili, et Spiritui Sancto cujus regni non erit finis. Amen.
Praise the Lord, praise him, Alleluia. Glory be to the Father and to the Son and to the Holy Spirit, of whose reign there shall be no end. Amen. --trans. J. Miller
trad. Latvian, arr. Andrejs Jansons: Two Latvian Carols This is a pair of Latvian sleigh-riding carols. The first, “Ziemas svētki sabraukuši,” sets the mood nicely with a jingling rhythm evoking the trot of horses. The text features the repeated word “kaladū,” which is featured in many winter-solstice songs from Eastern Europe but whose exact meaning is unclear. The arranger himself suggests that it may be related to the Latin calendo, or “calendar.” The second song, “Balts sniedziņš snieg uz skujiņām,” is a more boisterous exclamation that basically says, “Christmas is coming and I’m really happy!” Ziemas Svētki Sabraukuši Ziemas svētki sabraukuši, kaladū Rakstītāmi kamnāmi, kaladū Tekat, bērni, tekat, bērni, saņemati Ziemas svētkus, kaladū.
Winterfest has arrived in ornate sleights. Come, children, come, children, greet the Winterfest.
Sen dzirdēju, nu redzēju, Ziemas svētku kumeliņu, kaladū Līdz zemeii krēpes auga, Ar basāmi kājiņāmi, kaladū.
Long I heard, now I saw the steed of Winterfest. His mane grew to the ground, his feet were unshod.
Dieviņš brauca pār kalniņu, Sudrabotu mētelīti, kaladū Dedziet gaišu uguntiņu, Laidiet Dievu istabāi, kaladū
Dear God drove over the hill dressed in a silvery coat. Light a bright fire, invite God into the room. --trans. Elsie Thomas Chicago a cappella 19
N O T E S O N M U S I C ( c o n t .) Balts sniedziņš snieg uz skujiņām Balts sniediņš snieg uz skujiņām Un maigi dziedot pulkstens skan Mirdz šur tur ciemos ugunis, Un sirds tā laīmigi pukst man
White snow snows on the pine needles and the gentle clock chimes; A fire shines here and there in the villages, and my heart beats happily.
Man ir, it kā kad paceltos Gars augstumos, kur debess telts Ir pulcējusi eņġuļus, Kur āres spīd ka spožais zelts
I feel as if my spirit would rise to the heights of heaven where the angels have gathered and space shines like bright gold.
Es saprotu, es sajūtu, ka šeit virs zemes spodrība. Tas augstākais, ko mums var dot, Un skaidram būt, ir godība.
I know, I feel, that purity is here above the earth. The greatest that can be given to us is to be honest and pure.
Ai, māmiņa cik laba tu Tu mani baltu mazgāji No acīm skūpstot asaras Man svētku drānas uztērpi
Oh, dear mother, how good you are, you cleansed me, kissing the tears from my eyes, dressing me in festive clothes.
Ai, māmiņa, vai mūžīgi Es varēšu tāds skaidris būt Jeb vai būs liktens nolēmis Man citādam virs zemes kļūt?
Oh, mother dear, will I be able to remain pure forever? Or will fate decide that I will change? --trans. Elsie Thomas, reprinted by permission,
earthsongs © 1991
from Francis Poulenc: Quatre Motets pour le Temps de Noël We now resume the Poulenc cycle to complete it with the last two movements. The third movement, “Videntes stellam,” is bright and cheery, with ringing major chords. While it shares some of the contemplative mood of the opening movement (“O magnum mysterium”), the overall feel here is of almost bracing openness and clarity—the sonic equivalent of what one might feel on one’s face while walking down Michigan Avenue on a sharp, crisp winter evening. By contrast, the final movement (“Hodie Christus natus est”) is a shout of sheer joy. C major is a clean-sounding key, and the rhythm is quick and boisterous; Poulenc keeps shifting the meter from 4/4 to 3/4 and 5/4, as if he can’t quite make up his mind just how he wants to express how great it is that Jesus is finally here. He gets the point across, to be sure; apart from Sweelinck’s version from the early 17th century, there are few settings of this text that can match Poulenc’s ebullience. Videntes stellam magi gavisi sunt gaudio magno, et intrantes domum obtulerunt Domino aurum, thus et myrrham
When they saw the star the wise men were greatly delighted, and they entered the house and offered to the Lord gold, frankincense, and myrrh.
Hodie Christus natus est: Hodie Salvator apparuit: Hodie in terra canunt Angeli, laetantur Archangeli Hodie exsultant justi, dicentes: Gloria in excelsis Deo. Alleluia.
Today Christ is born: Today the Savior appeared: Today on Earth the Angels sing, Archangels rejoice: Today the righteous rejoice, saying: Glory to God in the highest. Alleluia. --trans. Allen H. Simon (Choral Public Domain Library)
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N O T E S O N M U S I C ( c o n t .) arr. Walter Chase: Christmas Can-Can And now for something completely different… The group known as Straight No Chaser started out at Indiana University in Bloomington as one of the thousands of American collegiate a cappella groups, with good singing, cute arrangements, strong stage presence and a loyal if modest following. All of that changed with their YouTube video of a 1998 performance. Their hilarious, extended, multicultural, multi-style version of “The Twelve Days of Christmas” went viral in 2006, literally all over the world, with 11 million people seeing it. No matter that the medley had humbler origins, having been arranged by Richard Gregory in 1967 for the Williston Caterwaulers; the YouTube video in question was seen by the president of Atlantic Records, who offered Straight No Chaser a five-album deal if they would create a professional touring group and take their act on the road. The original collegiate group still exists on campus. However, the professional act was launched and today is pursuing a vigorous schedule. On December 22, 2008, SNC sang live on The Today Show, and their Holiday Spirits album hit #1 on the iTunes and Amazon.com sales charts. (They’re actually doing two shows at the Chicago Theatre on Dec. 11th, when we’re not performing, so we will allow you to go hear them too.) This medley, “Christmas Can-Can,” is in a similar tongue-in-cheek vein, taking no prisoners as it romps through holiday songs you’ve probably heard before. Nods to multiculturalism will be perceptible to the attentive listener. Have fun!
SPECIAL THANKS Chris Baer Fourth Presbyterian Church: John Sherer Enid Frandzel Bill Hoban Le Chocolat du Bouchard, Cathy Bouchard Merit School of Music: Tom Bracy, Nora Erickson Music Institute of Chicago: Fiona Queen, Sam Nordlund North Central College: Ken Hannah Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler 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.
COVER SPOTLIGHT The Auditorium Theatre of Roosevelt University, Chicago. The Auditorium Theatre is the crowning achievement of famed architects Dankmar Adler and Louis Sullivan. It opened in 1889 and its architectural integrity and perfect acoustics are internationally recognized. Photo by James Steinkamp Chicago a cappella 21
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 22 Chicago a cappella
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 College-Conservatory 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. 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
B I O G R A P H I E S ( c o n t .) Ensemble. Matt’s work in musical theater includes the Jeff-award winning Sylvia’s Real Good Advice, 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.
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!
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.
Cary Lovett, tenor A veteran of the Chicago choral and musical-theater stage, where he has been seen as a middle-aged character baritone, a clueless tenor ingénue and an esoteric a cappella choral singer, Cary can rightfully be described as a truly eclectic performer. Most recently, Cary appeared with Light Opera Works, where he was hailed for his “..zesty dancing skills” performing the role of Alfred Doolittle in their production of My Fair Lady. Immediately preceding this production, he sang the role of Fredrick in Pirates of Penzance. For over a year he was a member of the third national tour of Les Misérables, where he understudied the role of Jean Valjean. He has sung with the Grant Park Chorus and Music of the Baroque, and was a founding member of Chicago a cappella. Visit his website: www.tenor4hire.com.
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,
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, WeihnachtsOratorium, 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. Chicago a cappella 23
B I O G R A P H I E S ( c o n t .) 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. Cari Plachy, soprano Chicago native Cari Plachy is enjoying splitting her time between choral and opera singing. She has been seen throughout the Midwest with Opera for the Young, DuPage Opera Theater, Light Opera Works and Bowen Park Opera. Her choral work includes singing with the Chicago Symphony Chorus. In 2008, she had an opportunity to step out from the chorus and sing a solo in Bruckner’s Psalm 150. The Chicago Sun Times recognized it as being a “sparkling, and aggressively sung solo.” Cari received her Bachelor’s degree in music education from DePaul University. Since then, she has been working with the education department of the Chicago Symphony Orchestra, bringing music to children all over Chicago. In addition to her work in Chicago, Cari is fortunate to bring her love of music to deaf children at Child’s Voice School in Wood Dale. 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 24 Chicago a cappella
to pursue doctoral studies in conducting at Northwestern University. 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 Chicago-area 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. 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! By being with us at this performance, you are part of an exciting musical endeavor. We have big plans at Chicago a cappella—and this is only the beginning. Just in the last year, we expanded our season, worked with high school choral singers from all four of our communities, launched a new website, and recorded a CD to be released in 2011. Our future plans include a composition contest for college students, a new concert contrasting accompanied and a cappella works, and educational programs for more area high schools. But we need your help now to take advantage of these opportunities. You can be a part of Chicago a cappella’s future with your generous tax-deductible gift. Support of the arts is rapidly shrinking, and ticket sales cover only a portion of our expenses. We rely on contributions from friends like you for over 1/3 of our operating budget. In fact, individual gifts are our single largest source of revenue. Please support the exciting and important work that makes Chicago a cappella a unique part of our region’s cultural arts scene. Use the envelope in this program to make your gift today, and be a part of our vital musical endeavor – and our exciting future! Goal for 2010-11 Contributed Income: $216,230 $200,000
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Year-todate = $63,032
$0
Now it’s easier than ever to support the work of Chicago a cappella. In addition to our traditional giving options, our sustaining donor program allows you to set up an automatic contribution with your credit card: you can choose any amount you wish. You’ll receive all the benefits of your annual tax deduction without the hassle of writing checks – plus you’ll help us reduce fundraising costs and save paper and resources.
Chicago a cappella announces the launch of the
Program Development and Recording Fund. The Fund will sustain our work in the years to come—paying for new recordings, commissions of new music, and concert productions. Our goal is to raise $500,000 by the end of our 20th season in 2013. Chicago a cappella has received a lead gift of $250,000 from the Klaff Family Foundation. This gift will support specific projects of Jewish music and spirituals/gospel music over the next three seasons. We are thrilled to envision our musical future and to find the partners who can help us make it happen. The Fund supports that future. If you have any questions about the Fund or about our upcoming musical plans, please feel free to e-mail Jonathan Miller at jmiller@chicagoacappella.org or Matt Greenberg at mgreenberg@chicagoacappella.org.
DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between July 1, 2009 and November 11, 2010. 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 The Chicago Community Trust Dr. Scholl Foundation Elizabeth F. Cheney 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 BENEFIT EVENT SPONSORS 2010 Blue Cross Blue Shield of Illinois First Bank & Trust Evanston King Insurance Agency, Inc. Morris Graduate School of Management at Robert Morris University
MEDIA SPONSORS Naperville Sun (concerts at Wentz Hall, Naperville) 98.7 WFMT (The Red Carpet of Sound) MATCHING GIFTS AND OTHER SUPPORT Bank of America Nuveen Investments Minibar-Winebar
INDIVIDUAL CONTRIBUTORS VISIONARY ($5,000 or more) Anonymous Hyslop Shannon Foundation ARCHANGEL ($2,500 or more) Ann and Roger Cole Howard and Jane Hush Murray Kopelow and Cathy Bachman
26 Chicago a cappella
ANGEL ($1,000 or more) Marguerite Bloch Michelle Eppley William and Jeanetta Flowers Helen Gagel Joyce Grenis and Michael Koen Jay and Jackie Lauderdale Betty L. Miller G. Scott Miller, Amerprise Financial Alice and David Osberg
Diana Ramirez Stephen and Priscilla Shaw BENEFACTOR ($500 or more) Anonymous The Nora Bergman Fund Michelle Eppley Hank and Becky Hartman Charles Katzenmeyer Douglas and Christine Kelner Leslie Lauderdale
D O N O R S ( c o n t .) Ronna Lerner Robert and Fleury Linn Linda J. Mast Mary Ellen McNish and David Miller, In Memory of Nancee Miller Jonathan Miller and Sandra Siegel Miller Mary Miller Ken Novak Carolyn Sacksteder Maira T. Suarez Frank Villella SPONSOR ($250 or more) Claudia and Timothy Divis Marina Gilman Don and Joanna Gwinn Anne Heider and Steve Warner Rae Kendrick Marco and Linda Matonich Jean McLaren and John Nitschke Robert and Lois Moeller Drs. Donald and Mary Ellen Newsom Richard and Cindy Pardo David and Carole Perlman Dale and Donna Prest Bette Sikes and Joan Pederson Alexander and Robin Stuart Duain Wolfe PATRON ($100 or more) Wendy Anker and Edward Reed Karen Atwood Susan Beal David and Denise Bunning Faith Davis Mary Ekins Kris and Julie Gagnon Brad and Christy Gary Sanford Greenberg and Betsy Perdue Judith Grubner and Craig Jobson David Hatch
Ann Hewitt Jean and Lester Hunt Karen Hunt Susan Kamp Melynda and Scott Kohl John and Karen Kruger Stephen and Lisbeth Lerner Alice and Marc Lonoff Carol LoVerde Jay Lytle Jennifer Marling Betsy Meisenheimer and Wes Westerfield Vreni Naess Cathy and Paul Newport James and Kimberly Norman John and Gail Polles Caryl Rine Doris Roskin Kenneth Schug Jennifer and Warren Schultz Laura Smith Jeni and David Spinney Tom and Linda Spring Ann Stevens Geri Sztuk Emily Troxell Jaycox David and Carolyn Utech Barbara Volin Clark and Joan Wagner Shirlene Ward and Kevin Kipp Ellen Wehrle and Richard Pokorny Tracy and Tony Weisman Robert and Barbara Wichmann Lance and Stephanie Wilkening Virginia Witucke Carolyn and Gene Wollaston John and Mary Zimmerman FRIEND ($50 or more) Anonymous (2) Jill Abramson and Jonathan Malamy David and Patricia Agnew Bob and Rose Marie Baer Carole Baumgart
William and Betty Boyd Frank Brockway Laura and Gary Cooper David E. Danielson Jim and Ellen Dalton Mary Ann DeBruin Dale and Frances Dellutri Susan Eleuterio Brenda and Tom Engelhardt Anne Evans Norma Felbinger Dale Fitschen Frances Flowers Valerie and Steve Garry James Ginsburg Elizabeth and Phil Gould Carolyn Hayes Andy and Junia Hedberg Scott and Richard Hill Gene Hodel Laurie Howick Valerie Humowiecki Peter Jenkins & Sonia Ness Carol B. Johnson John and Martha Jurecko Carl and Carola Kupfer David and Darlene Landsittel Susan and Stef Leinwohl Scott and Kelly McCleary Cheryl and Tom McRoberts Daniel Melamed and Elizabeth Sabga William S. Miles and Michele D. Raible Carol Mullins Jane Ann Prest Richard Proulx Virginia Russell Michelle and Jonathan Sales Eleanor Sharpe Dennis and Patricia Smith Judith and Richard Spurgin Marilyn Steenwyk Mary Beth Strahota Eileen Sutter Jim and Kathy Swager Bernard Szeszol Nancy Ellen Tauchman Gary and Mary Lou Waldman William Wallace Cheryl Wollin
GALA HOSTS 2010 Premier Hosts William and Jeanetta Flowers Murray Kopelow and Cathy Bachman Lisa Scott Dee Dee Whipple and Phillip Grossman
Principal Hosts Patricia Carson Ann and Roger Cole Helen C. Gagel Larry Hamilton and Ann Hicks Howard and Jane Hush Tom & Margaret Huyck Michael and Kathleen Johnston
Hersch and Avril Klaff Leslie Lauderdale Ronna Lerner Hosts Jim and Ellen Dalton Betsy Meisenheimer and Wes Westerfield Nan Ochs Chicago a cappella 27
D O N O R S ( c o n t .)
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. Susan Beal Frank Brockway Norma Felbinger James Ginsburg Sanford Greenberg & Betsy Perdue Ann Hewitt Jean & Lester Hunt
A huge thank you to our Sustaining Donors: Doug & Christine Kelner Carolyn Sacksteder Leslie Lauderdale Warren & Jennifer Schultz Vreni Naess Tom & Linda Spring Donald & Mary Ellen Ann Stevens Newsom David & Carolyn Utech Ken Novak Frank Villella Alice & David Osberg Shirlene Ward & Kevin David & Carole Perlman Kipp
IN -KIND CONTRIBUTIONS About Face Theatre Adler Planetarium AirTran Airways AirWave Recording Studios Aria Arlington Park Barrel of Monkeys The Belden Stratford The Buzz Café, Oak Park Chicago Architecture Foundation Chicago Blackhawks Chicago Botanic Gardens Chicago Chamber Musicians Chicago Gay Men’s Chorus Chicago Human Rhythm Project Chicago Opera Theatrer Chicago Shakespeare Theater Chicago Sinfonietta Chicago Sky Chicago Symphony Orchestra Circle Theatre Comedysportz Theater Cosi Restaurant, Evanston Court Theatre Dana Hotel and Spa Delicate Spa DeSoto House Hotel East Bank Club Eclipse Theatre Company Fairmont Hotel Chicago Norma Felbinger Flat Top Grill Footlights / Marcus Promotions Frank Lloyd Wright Preservation Trust French Pastry School Fulcrum Point Gethsemane Garden Center 28 Chicago a cappella
Give Me Some Sugah Bakery, Chicago Grant Park Music Festival Diana Hamann Hedwig Dances Terri Hemmert Munn Heydorn Homestead Hotel House Red, Forest Park, IL Inn at the Springs, Bonita Springs, FL J&L Catering Jewel-Osco/North Broadway Jewel-Osco/North Ashland Natalie Knight and Collin Tillotson L20 Restaurant Le Chocolat du Bouchard, Naperville Lifeline Theatre Light Opera Works Lloyd’s Chicago Lulu’s Dim Sum and Then Sum, Evanston Lynfred Winery Marriott Theatre Lincolnshire Metropolis Performing Arts Centre Music Box Theatre Music of the Baroque The Naperville Sun Northeastern Illinois University Northlight Theater Oceanique Old Town School of Folk Music Orion Ensemble Park Hyatt Chicago Piccolo Theatre Jim Parks Press America, Inc. Province Restaurant
Redhead Piano Bar Remy Bumppo Theatre Company Ritz-Carlton Hotel Chicago (A Four Seasons Hotel) Robert Morris University Robson Design Will Rogers St. Charles Singers Sax Chicago Hotel Susan Schober The Second City Shiralea Shure Sandy Siegel-Miller Maria Suarez Swedish American Museum Center Swedish Bakery Tall Ship Adventures of Chicago Timeline Theatre Company Trader Joe’s, Naperville TRU Vosges Haut-Chocolat 98.7 WFMT Whole Foods Market, Lakeview Whole Foods Market, Evanston North Whole Foods Market, River Forest Winberie Café, Oak Park Wild Mountain, Taylors Falls Recreation Cheryl Wollin Wrigleyville Rooftops Writers’ Theatre WXRT Radio Zanies Comedy Nite Club Zen Shiatsu