Chicago acappella-Days of Awe and Rejoicing

Days of Awe and Rejoicing: Radiant Gems of Jewish Music Sunday, September 25, 2011, 4:00 pm K.A.M. Isaiah Israel Congregation 1100 E. Hyde Park Blvd., Chicago

Sunday, October 16, 2011, 4:00 pm Pilgrim Congregational Church 460 Lake Street, Oak Park

Saturday, October 15, 2011, 8:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston

Saturday, October 22, 2011, 8:00 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville

Chicago a cappella Kathryn Kamp, Soprano Cari Plachy, Soprano Elizabeth Grizzell, Mezzo-soprano Susan Schober, Mezzo-soprano Klaus Georg, Tenor Trevor Mitchell, Tenor Matt Greenberg, Bass Benjamin Rivera, Bass Brian Streem, Bass Founder and Artistic Director Jonathan Miller Music Director Patrick Sinozich This program was made possible through the generosity of the Klaff Family Foundation Chicago a cappella is partially supported by the Klaff Family Foundation; 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; 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.

The Chicago Jewish News is a media sponsor of Days of Awe and Rejoicing.

Chicago a cappella 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 Phone: (773) 281-7820 | Fax: (773) 435-6453 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.....................................................................................................................................Katie Myers Board of Directors Linda Mast (ViceWilliam Thomas Huyck Michelle Eppley President) (Finance/Legal) William K. Flowers Diana Ramirez Yvonne Owens Helen C. Gagel (Secretary) (Finance/Legal) (President) Stephen Shaw David Perlman Joyce Grenis Maria T. Suarez (Marketing) Howard Hush Lisa Scott (Financial Leslie Lauderdale Committee Members Development) Robert B. Linn Carole Baumgart (Treasurer) (Marketing) 2 Chicago a cappella

C H I C AG O A C A PPEL L A C D S Available in the lobby: $16 each (includes sales tax) Days of Awe and Rejoicing: Radiant Gems of Jewish Music Take this concert home with you! Our brand new release is a treasury of unique and poignant Jewish music, from hallowed chants and High Holiday prayers to luminous, heartfelt works by today’s composers. Highlights include works by Pulitzer Prize-winner Shulamit Ran, Robert Applebaum, Max Janowski and Louis Lewandowski, as well as Stacy Garrop’s joyous “Hava Nagila,” commissioned by Chicago a cappella.

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

Christmas a capella A celebration of the holiday season with Christmas songs from around the world Chicago a cappella 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.

K.A.M. Isaiah Israel Congregation 1100 E. Hyde Park Blvd., Chicago 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.

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.

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

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

Oak Park

Piccolo Mondo 1642 E. 56th St. #1, Hyde Park Sunday 11:30 am – 9:30 pm 10% off

Café Winberie 151 N. Oak Park Ave. Hours: Sun. 1-9pm 10% off

Cedars Mediterranean Kitchen 1206 E. 53rd St., Hyde Park Sunday 11:30 am – 11:00 pm 15% off

Cucina Paradiso 814 North Blvd.

Hours: Sunday 5-9:30 pm ½ off wine bottles with purchase of 2 entrees Reservations needed

Evanston Lulu’s Dim Sum & Then Sum 804 Davis St. (two blocks from Nichols Hall) Hours: 11:30 am – 10:00 pm 15% off (excludes Munch a Brunch and 8 after 8) Prairie Moon 1502 Sherman Ave. Evanston (one block west of Nichols Hall) Fri. & Sat. 4-11pm 15% off

Naperville Catch 35 35 S. Washington St. Hours: Fri. & Sat. 5-10 pm Sun. 4:30-8:30pm 10% off food Quigley’s Irish Pub 43 East. Jefferson Ave. Hours: Sat. until 2 am Sun. until 1 am 20% off food Tango Argentinean Grill 5 W. Jackson Ave. Hours: Sat. until 1 am Sun. dinner 2:30 pm-10pm $10 off purchase of $25 or more

4 Chicago a cappella

PROGR A M Prologue: Shalom Aleichem...............................................................trad. Eastern European,

attrib. Rabbi Isaac of Vorke, ed. Vinaver Psalm 112: Hal’luyah, ashrei ish yarei et-Adonai........................................Salamone Rossi

Im ein ani li mi li?......................................................................................... Robert Applebaum Hineni...................................................................................................................... Joseph Kurland,

arr. Max Janowski Uri Tzafon........................................................................................................................Dov Carmel,

arr. Yehezkel Braun Four Motets......................................................................................................... Paul Schoenfield I. Hateh Hashem ozn’cha aneyni II. Sameach nefesh avdecha III. B’yom tzarati ekra’eka IV. Horeni darkecha Shehecheyanu......................................................................................................Jonathan Miller Uvashofar Gadol Yitaka................................................................................................... Joel Feig Reader’s Kaddish: T’filat N’ilah L’Yom Kippur......................... trad. High Holiday Liturgy,

arr. Max Janowski Hava Nagila..................................................................................................................Stacy Garrop INTERMISSION Shirim L’Yom Tov (Four Festive Songs).............................................................. Shulamit Ran I. Shiru l’Adonai II. Yom ha-Shishi III. Ma Tovu IV. Hatzneia Lechet Ani Ma’amin............................................................................................ Melody from Vishnietz,

transmitted by Elie Wiesel;

choral arr. by M. Lazar Ashmanu.................................................................................................trad. Yom Kippur liturgy Avinu Malkeynu...................................................................................................... Max Janowski,

arr. Patrick Sinozich Hal’luyah (Psalm 150)..................................................................................Louis Lewandowski

Kiddush......................................................................................................trad. Shabbat melody 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

INTRODUCTION If I am not for myself, who will be for me?

And if I am only for myself, what am I? And if not now, when?

—Rabbi Hillel Pirke Avot (Sayings of the Fathers) 1:14 It is with tremendous pleasure and pride that we welcome you to these concerts of Jewish choral music. This program is designed to give you an “immersion” experience in Jewish music written for a cappella vocal ensemble. We have placed special emphasis on compositions for the celebration of the Days of Awe, also known as the High Holy Days—Rosh Hashanah (the Jewish New Year) and Yom Kippur (the Day of Atonement)—which take place in the early autumn.

Most of today’s texts are in Hebrew, a glorious language for singing. If one is up for the demands that the aggressive and sometimes guttural Hebrew consonants make on the singer, the vowels are pure and resonant, much like those in Italian.

To make the meanings of the songs clearer for you, we’ve provided complete translations here in your program notes. For those of you who have arrived today with some prior exposure to Jewish choral music and liturgy, we hope that this concert will both expose you to some music you may not have heard before and deepen your appreciation of the cultural riches all around us. For those of you unfamiliar with this tradition, we hope that you will emerge from our concert with a sense of the breadth and depth of Jewish choral music, with the caveat that we can only fit in 90 minutes a narrow slice of all the music that is out there.

Our musical selections celebrate Jewish liturgical choral music dating from the nineteenth to the twenty-first centuries. The cantorial melodies that serve as the basis for several of these choral arrangements are likely much older—how old we cannot know. This concert also includes music of our own generation, designed more for choral concert performance than for liturgy but still in keeping with the theme and the tradition. The songs included here have sprung from the intersection of many people, Jewish and non-Jewish, in Europe, America, and Israel. ******* For me personally, Judaism is inextricably linked with the worship service, which in turn is connected to singing. As is the case with many of our concerts, this program springs from a personal engagement I have had with these songs—as a singer, listener, conductor, and/or composer—which makes me want to share them with you. I have been personally involved with Jewish music since I joined Judy Maslin’s children’s choir at K.A.M. Isaiah Israel Congregation in Hyde Park during the fall of 1972. Fast-forward the timeline to 2011, and I am beginning my fortieth very happy year of being immersed in an incredible tradition, a great blessing indeed. ******* You might well ask, “How do we get anything called ‘Jewish choral music,’ and under what conditions?” The Jewish mind tends to be a student of history, and a backward look can help to answer this question. The history of Jewish choral music is complicated. Until about 150 years ago, davening (mostly silent prayer by the individual) was the order of the day, where Jews would offer their own prayers to the Almighty, either at home or in a group setting. The group setting might have been in synagogue or in a hidden location, depending on the situation of Jews in a given country or locale. In any event, the praying in such a group is rather in6 Chicago a cappella

I N T R O D U C T I O N ( c o n t .) formal, often more like murmuring with some mild cacophony. The more melodic exceptions would be places where the prayer leader intones the opening of a prayer or chants the chatimah (concluding lines), which often end with a blessing, or the occasional congregational song such as Adon Olam or a prayer such as Aleinu. Shabbat (the Sabbath) is typically a time when a number of memorable melodies are sung in unison by the assembly.

Jewish choral music has arisen in specific circumstances. The evidence from ancient times suggests that Jews had created a flourishing musical scene at the Temple under King David (roughly in the ninth century BCE). Psalm-singing was clearly an important part of Temple ritual, as we learn from Marsha Bryan Edelman’s terrific book Discovering Jewish Music (2003). Indeed, Levites who had served five-year apprenticeships were by age 30 the carriers of antiphonal singing, a practice which survives today in the congregational call-and-response chanting of Ashrei yoshvei veitecha and other psalms.

The beloved Temple has suffered the tragedy of being destroyed not once but twice, with the destruction of the Second Temple occurring in the year 70 CE. Although the rabbis immediately banned both instrumental and choral singing in the wake of this event, choral music did regain a place in synagogue liturgy over time. There is a longstanding hope that the Temple will be rebuilt in Jerusalem, at which point—one assumes—not only choral music but instruments too would reclaim their role in worship. Jews of many stripes have refrained from having instrumental music in worship services, out of reverence for the memory of the Temple, a practice still observed in Orthodox congregations and in many Conservative ones as well. One result of this history is that much of the Jewish choral music created under such circumstances has been a cappella. ******* As soon as composers were actively encouraged by rabbis to begin creating choral-music liturgies, the practice took off. This happened in two remarkable communities during the Common Era. The first was around the year 1600, in northern Italy, at the flourishing of the High Renaissance, when Salamone Rossi was active. The second can be considered the source for the ongoing stream of our current Jewish choral life, namely the great German synagogues of the 1840s. Louis Lewandowski began that decade by becoming the first modern-era “Jewish choir director” at two synagogues in Berlin. He was also the first Jew permitted to study at the Berlin Academy of the Arts. He and his mentor, Salomon Sulzer, began composing complete choral liturgies, many of which incorporated traditional cantorial chant (called nussach). The melodies were a mix of material from the Old Synagogue tradition and from Eastern European tunes that Lewandowski learned from immigrant cantors; the tunes were often simplified in Lewandowski’s settings, as this was an era when some felt that overly florid cantorial solo renditions needed to be reined in.

Sulzer’s solo melodies have come to dominate the Saturday morning service in particular in many synagogues. While Sulzer’s renown came from his beautiful singing, Lewandowski was more of a true choral musician. Jewish choral music took a large step in the direction of mainstream European music when the Oranienburgerstrasse Temple (Reform) was built in 1864 with an organ, allowing Lewandowski and others to write and perform accompanied sacred Jewish choral music for the first time. Never before had a Jewish composer been given the opportunity to compose a complete choral liturgy with organ. Unfortunately, this new tradition had less than a hundred years Chicago a cappella 7

I N T R O D U C T I O N ( c o n t .) to take root and flourish before the Third Reich destroyed most of European Jewry. Hitler’s forces eliminated the synagogues, assets, writings, communities, and lives of six million Jews.

With the dual forces of assimilation and the Holocaust threatening to wipe out any oral tradition of liturgical melody, a deliberate and visionary effort was made in America during the mid-20th century to find ways to preserve such melodies in new musical compositions. Nurtured by the Reform rabbinate in the USA, an effort of “creative retrieval” (a term I learned from Rabbi Herbert Bronstein) strongly encouraged the work of Samuel Adler and a few others, carefully nurtured by the denomination through commissions and placement in important synagogues. We Chicagoans have been fortunate to have had such a master in our own midst, Max Janowski. While somewhat isolated stylistically and geographically from the East Coast, Janowski managed to create his own strong and clear musical language, firmly grounded in a deep knowledge of nussach and Torah and based on his own prodigious keyboard technique. Janowski came to dominate the liturgical life of Chicago’s Jewish community for fifty years; his music still holds remarkable sway twenty years after his death. (His haunting a cappella High Holiday liturgy for Conservative synagogues is mostly preserved in unpublished manuscript, such as the Reader’s Kaddish from the N’ilah service and his arrangement of the Hineni on this concert.) One has to look to the output of post-Vatican II Catholic music by the late Richard Proulx—also a Chicago icon—to find a composer of similar dominance during a time of great change and growth in liturgical worship music.

Choral music is often a sign of thriving culture. Jewish choral music is now alive and well, from American and European congregations and stages to the thriving choral scene in Israel. Matthew Lazar (New York), Joshua Jacobson (Boston), Stephen Glass (Montreal), Richard Cohn (Chicago and now Dallas) and others have galvanized the Jewish choral movement in North America, one that happily crosses denominational boundaries. Across the Atlantic, even the Ethiopian Jews who have settled in Dimona, in the south of Israel, have their own remarkable tradition of call-and-response choral music. ******* The High Holidays are a time for t’shuvah, translated as “repentance” but more poignantly also as “turning.” We turn from our usual habits and reflect on how we can make the next year a better, more just, more loving one for ourselves and the world.

Max Janowski used to say in rehearsals that “atonement is really at-one-ment”: if your confession and forgiveness are sincere, then you become at one with God. Because a number of songs on this program are drawn from High-Holiday liturgy, with texts that focus on divine majesty and on the need for atonement, there are many moments of deep gravity. However, there are lighter moments as well.

One that may come as a surprise is the community confessional prayer, Ashamnu, which traditionally is sung on Yom Kippur by the entire congregation, several times during the day. The whole prayer is sometimes sung in a surprisingly lively manner, given the subject matter. I think the reason for this is that, in contrast to Christian confessional, which sometimes is done in the singular narrative voice, the Jewish confessional is done as a group and in the plural. There is something I find particularly cleansing about group confession, for it helps us to realize that we all share the yeitzer ha-rah, the inclination to do evil, as well as the yeitzer ha-tov, the inclination to do good. The idea is that if any of us has done this thing, then as a people we all have done it.

8 Chicago a cappella

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

We owe a tremendous, unrepayable debt to those who have gone before and who gave up much so that this tradition might continue. May our debt to them, along with our gratitude at being able to preserve and share the dignity and joy of these songs and prayers, inspire us all to acts of righteousness, deeds of lovingkindness, and lives of true compassion this day and always. ******* This program was initially presented in the Chicago area in the fall of 2007.

Thanks to the overwhelming response to that program, including the financial generosity of two key supporters, we are able not only to repeat this program for you today but also to release a studio CD recording of the same repertoire on the Chicago a cappella Records label. I wish to thank the talented musicians who worked so hard on this concert and on the accompanying recording—especially Music Director Patrick Sinozich, a true champion of excellence, whose tireless work behind the scenes helped to ensure that our new CD would be an offering of sonic beauty. I also wish to thank my beloved, longtime colleagues in worship, Rabbi Elliot Gertel and (recently retired) Cantor Julius Solomon of Congregation Rodfei Zedek in Chicago. Their love of high-quality Jewish music have nurtured this special tradition for decades and have inspired me repeatedly in my own work. May each of you go from strength to strength. — Jonathan Miller Founder and Artistic Director

Best Sports.

Sports.

Best Best News.

News.

Best Best Stories.

Stories.

Best Best Deals.

Deals.

Best

Get the best local and regional news delivered to you.

Get the best local and regional news delivered to you.

Subscribe for home delivery today!

Subscribe for home delivery today!

GO TO NAPERSUN.COM OR CALL 1.800.680.2068 GO TO NAPERSUN.COM OR CALL 1.800.680.2068

Sponsored by: Sponsored by:

Chicago a cappella 9

PROGR A M NOTES Prologue: Shalom Aleichem Traditional Eastern European, attrib. Rabbi Isaac of Vorke, ed. Vinaver This setting of a familiar Shabbat text comes from the oral tradition of East European Jewry, as transcribed from memory by the scholar Chemjo Vinaver. The chant appears in Vinaver’s Treasury of Jewish Music, which is a valuable printed resource for tunes not documented elsewhere. In this tradition, Shalom aleichem would typically move right into the Eshet chayil prayer (“A woman of valor, who can find?”) and then into the Kiddush, the prayer over the wine.

Peace upon you, ministering angels, messengers of the Most High, of the Supreme King of Kings, the Holy One, blessed be He. Come in peace, messengers of peace, messengers of the Most High, of the Supreme King of Kings, the Holy One, blessed be He. Bless me with peace, messengers of peace, messengers of the Most High, of the Supreme King of Kings, the Holy One, blessed be He. May your departure be in peace, messengers of peace, messengers of the Most High, of the Supreme King of Kings, the Holy One, blessed be He.

—trad. Friday night song Shalom aleichem, malachei hashareit, malachei elyon, mi-melech mal’chei ham’lachim, ha-Kadosh, baruch Hu. Bo-achem l’shalom, malachei hashalom, malachei elyon, mi-melech mal’chei ham’lachim, ha-Kadosh, baruch Hu. Bar’chuni l’shalom, malachei hashalom, malachei elyon, mi-melech mal’chei ham’lachim, ha-Kadosh, baruch Hu. Tseit’chem l’shalom, malachei hashalom, malachei elyon, mi-melech mal’chei ham’lachim, ha-Kadosh, baruch Hu. Psalm 112: Hal’luyah, ashrei ish yarei et-Adonai Salamone Rossi Perhaps because of his sheer talent, the musician Salamone Rossi of Modena managed to achieve a status and privilege denied to most Jews. Rossi was given a ducal exemption in 1606, allowing him to refrain from wearing the yellow “Jew badge” that all other Jews were required to wear at that time. At the same time, there was a movement within the Italian Jewish community to bring polyphonic choral music into the synagogue. The leader of the movement was a liberal interpreter of scripture, Rabbi Leo of Modena. Rabbi Leo argued in print that polyphonic music was permitted in synagogue. In 1623 Rossi’s landmark collection, Ha-Shirim asher li-Shlomo (literally, “The Songs that Are of Solomon”), was finally published. This collection is a monument in music publishing as well as in repertoire. The invasion of Mantua by Ferdinando II in 1630 resulted in the expulsion of almost 2,000 Jews from the city, a military event in which Rossi likely perished.

Thus ended in one stroke the flourishing of choral polyphony in the Hebrew language for the next 200 years.

This double-choir setting of Psalm 112 is joyous and almost madrigalian in its aesthetic. The style is clearly indebted to the secular Italian madrigal in general and to the double-choir motets of the Gabrielis from Venice in particular.

10 Chicago a cappella

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

Hallelujah. Blessed is the man that fears the Lord, that delights in His commandments.

His seed shall be mighty upon the earth; the generation of the upright shall be blessed.

Wealth and riches shall be in his house; And his righteousness endures for ever.

Unto the upright there arises light in the darkness; He is gracious, and full of compassion, and righteous, A good man shows favor, and lends; He will guide his affairs with discretion.

Surely he shall not be moved for ever: The righteous shall be in everlasting remembrance.

He shall not be afraid of evil tidings: His heart is fixed, trusting in the Lord.

His heart is established, he shall not be afraid, Until he see his desire upon his enemies.

He has dispersed, he has given to the poor; his righteousness endures forever; His horn shall be exalted with honor.

The wicked shall see it, and be grieved; He shall gnash with his teeth, and melt away; The desire of the wicked shall perish.

—Traditional liturgy Haleluyah. Ashrei ish yarei et-Adonai B’mitzvotav chafetz m’od. Gibor ba’aretz yihyeh zar’o Dor y’sharim y’vorach. Hon va’osher beveito V’tzidkato omedet la’ad. Zarach bachoshech or la’yisharim Chanun v’rachum v’tzadik. Tov ish chonen umalveh Y’chalkel d’varav b’mishpat. Ki l’olam lo yimot L’zecher olam yihyeh tzadik. Mi sh’mu’a ra’a lo yir’a Nachon libo batu’ach b’Adonai. Samuch libo lo yir’a Ad asher yir’e v’tzarav. Pizar natan la’evyonim Tzidkato omedet la’ad Karno tarum b’chavod.

Rasha yir’eh vecha’as Shinav yacharok v’namas Ta’avat r’sha’im toveid.

Im ein ani li mi li?

Robert Applebaum Robert Applebaum has made a lasting contribution to choral music both within and outside the Jewish realm. His talents as a composer are familiar to longtime Chicago a cappella audiences; his music appears on two of the group’s previous CD recordings. In 1980, he began composing choral music for the Jewish liturgy.

Since then, he has written three complete Sabbath services, including one for choir and jazz trio. Applebaum has composed choral settings of many psalms as well as secular texts. His music has been published by E.C. Schirmer, Opus Music and Transcontinental Music. This setting of Rabbi Hillel’s timeless words—“If I am not for myself, who will be for me?”—is poignant and dramatic at the same time.

If I am not for myself, who will be for me?

And if I’m only for myself, what am I? And if not now, when?

—from Pirkei Avot (Sayings of the Fathers) I:14, attributed to Rabbi Hillel Im ein ani li, mi li; uchshe’ani le’atzmi, mah ani; v’im lo achshav, ei-matai?

Chicago a cappella 11

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

Hineni Joseph Kurland, arr. Max Janowski Early in the afternoon “additional” or Musaf service on both Rosh Hashanah and Yom Kippur comes this stirring prayer, featuring dramatic, powerful, personal words. The deep humility of the poem lends gravity and seriousness of purpose to the whole proceeding, in keeping with the theme of the Days of Awe. There are many tunes to this text; this one is by Chicago musician Joseph Kurland, with a choral a cappella accompaniment by Max Janowski suitable for use in Conservative worship.

Behold I come, poor in deeds Shaking and trembling before Him who sits over prayers [of ] Israel. I have come to stand and to entreat before Thee for Thy people Israel, who have sent me, although I am neither deserving nor worthy of this.

Therefore I implore Thee, God of Abraham, God of Isaac and God of Jacob, O Lord, merciful and gracious God, [God of Israel]: O God, Almighty, fearful and awe-inspiring, let my way meet with success, [I who am about] to approach and to beg mercy for myself and those who send me.

Hold them not guilty for my sins, do not condemn them because of my guilt, for I am a sinner and transgressor; may they not be put to shame because of my transgressions, let them not be disgraced through me, nor I through them.

Accept my prayer as if it were the prayer of an elder, who is experienced, whose conduct is seemly, whose beard is imposing, whose voice is pleasant and who enjoys the love of his fellow men.

Rebuke Satan that he may not oppose us.

Let our banner before Thee be love, and let all transgressions be covered with love, transform our fasts and our afflictions for us and all Israel into joy and mirth, for life and peace.

Love truth and peace; and let there be no hindrance in my prayer.

—medieval High Holiday liturgy Hineni he-ani mima’as.

Nirash v’nif’chad mi pachad yosheyv t’hilot Yisraeyl.

Bati la’amod ul’hitchaneyn l’fanecha al am’cha Yisraeyl asher sh’lachuni, af al pi she-eyni ch’dai v’hagun l’chakh.

Lacheyn avakeysh mim’cha, Elohey Avraham, Elohey Yitzchak, veylohey Yaakov: Adonai Adonai Eyl rachum v’chanun, Elohey Yisraeyl.

Shaddai ayom v’norah heyeyna matzliach darki asher ani holeych La’amod ul’vakeysh rachamim alai v’al sholchai.

Na al tafshieym b’chatotai v’al t’chaveym b’avonotai Ki chotey ufosheya ani.

V’al y’chalmu bifshoai v’al yeyvoshu bi, v’al eyvosh ani bahem.

Kabeyl t’filati k’t’fi lat zakeyn v’ragil ufirko naeh uz’kano m’gudal v’kolo na’im um’urav b-da’at imhabriyot. v’tigar ba-Satan l’val yastineyni.

Vihi na dilugeynu aleycha b’ahava, V’al kol p’shaim t’chasey b’ahava.

Kol tsarot v’ra-ot hafacna lanu ul’chol Yisraeyl, L’sason ul’simcha l’chayim ul’shalom.

Ha-emet v’ha-shalom ehavu: V’lo yihi shum mich-shol b’t’filati.

12 Chicago a cappella

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

Uri Tzafon Dov Carmel, arr. Yehezkel Braun The Israeli composer Dov Carmel, who has composed in most major classical musical genres and film music, has received accolades in Israel and abroad for his work. His tune “Uri Tzafon” has been arranged for choir by Yehezkel Braun, who has lived in Israel since 1924 (when he was two) and has become one of that country’s foremost musicians, winning the Israel Prize for Music in 2001.

Awake, O north wind, And come thou, south: Blow on my garden, that its spices may flow out.

Let my beloved come into his garden, And taste his precious fruits.

—Song of Songs 4:16 Uri tzafon uvoi teiman.

Hafichi gani yizlu v’samav.

Yavo dodi l’gano, v’yochal p’ri m’gadav.

Four Motets Paul Schoenfield Paul Schoenfield has made a splendid contribution to the field with his Four Motets, which are unusually sensitive to the penitential nature of the texts. Schoenfield, a native of Detroit, began studying piano at age six and wrote his first composition in the following year. He eventually studied piano with Julius Chajes, Ozan Marsh, and Rudolf Serkin. A man of many interests, he is also an avid scholar of mathematics and Hebrew. He held his first teaching post in Toledo, Ohio, lived on a kibbutz in Israel and was a free-lance composer and pianist in the Minneapolis-St. Paul area.

Although he now rarely performs, he was formerly an active pianist, touring the United States, Europe, and South America as a soloist and with groups including Music from Marlboro. Among his recordings are the complete violin and piano works of Bartók with Sergiu Luca. His compositions can be heard on the Angel, Decca, Innova, Vanguard, EMI, Koch, BMG, and the New World labels. Mr. Schoenfield and his family currently have homes in Israel and the United States.

The Four Motets cycle was written in 1995, commissioned by a consortium of choruses that included Chanticleer, the Dale Warland Singers, the Phoenix Bach Choir, and La Vie. The text comes from Psalm 86, with a style the composer calls “neo-Renaissance.” The vocal lines sing themselves unusually well for modern music, and the composer’s feel for counterpoint—harmony created by independent melodies—is superb.

Notes from the composer on the text of each movement: In the first motet, the psalmist refers to his deprivation, which is a paucity of good deeds, in spite of which the psalmist seeks divine acceptance. The anticipation itself is an utterance of service. . . . the “dedicated” one comprises aspects of the Divine in his or her character. The dedicated person is altruistic, does not advance his or her own cause, but rather cares for others.

The second motet is concerned with “the joy of the soul.” This joy, the emotion of the soul as it increases its righteous and transcendental strength, does not require outside conditions. It is achievable when one discovers the strength to endure travails with composure.

Chicago a cappella 13

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

The third motet alludes to the main concept of Psalm 86. The psalmist says, “In the day of my trouble I will call upon You, so that You will answer me,” like an offspring who is comforted by the closeness of a parent.

In the fourth motet, a plea appears: “make my heart one,” or, rein in my impulses so that I am afraid of nothing but the chance of abusing the holiness due Your Name. Sometimes, one is of “two hearts.” Here, the psalmist appeals for assistance in walking the course of sanctity.

I.

Lord, incline Your ear, answer me, for I am poor and destitute.

Guard my soul, for I am devout; save Your servant who trusts in You. —Psalm 86, vs. 1-2

Hateh Hashem ozn’cha aneyni. ki ani v’evyon ani.

Shamra nafshi ki chasid ani.

Hosha avd’cha ata Elokai, haboteach eylecha.

II.

Gladden the soul of Your servant, for to You, my Lord, I lift up my soul.

For You, my Lord, are good; and forgiving, to all who call upon you.

—Psalm 86, vs. 4-5

Sameach nefesh avdecha.

Ki eylecha nafshi esa.

Ki ata tov v’salach l’chol korecha.

III.

On the day of my distress I call upon You, for You will answer me.

—Psalm 86, v. 7

B’yom tzarati ekra’eka ki ta’aneyni.

IV.

Teach me, Lord, Your way, that I may travel in Your truth, Unite my heart to fear your name.

I will thank You, my Lord, my God, with all my heart.

—Psalm 86, vs. 11-12

Horeyni darkecha, ahaleych ba’amitecha.

Yacheyd l’vavi l’yir’ah sh’mecha, Od’cha b’chol l’vavi [odecha].

©2007 by E. C. Schirmer Music Company, a division of ECS Publishing, Boston, MA. Reprinted by permission

Shehecheyanu Jonathan Miller This piece was written in 2000 to honor the dedication of the new sanctuary at Congregation Rodfei Zedek in Chicago’s Hyde Park neighborhood. The composer served Rodfei Zedek as choir director for the high holidays (1998-2009) and occasional prayer leader for Kabbalat Shabbat services before serving as high-holiday cantor starting in 2010. Traditionally, this text is recited or sung when something is done for the first time (celebrating the first night of Chanukah, for example). The dedication of a new building was an ideal occasion for this prayer. The composer writes,“Composing Shehecheyanu literally came to me as I was walking down the street, and the rhythm of my feet on the pavement gave rise to the quarter-note pulse for the melody.”

14 Chicago a cappella

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

Blessed art thou, Lord our God, Ruler of the Universe, who hast kept us in life, and sustained us, and enabled us to reach this season. Amen.

—Traditional liturgy Baruch Atah Adonai, Eloheynu melech ha’olam, Shehecheyanu v’kiy’manu V’higiyanu laz’man ha-zeh. Amen.

Uvashofar Gadol Yitaka Joel Feig Joel Feig’s dramatic composition “Uvashofar Gadol” for cantor and choir is a stunning piece of liturgical theatricality, bringing home the theme of Yom Kippur as the Day of Judgment. Feig was involved as a choir director in several Yiddish films created in New York during the 1930s. The piece was championed for many years by Cantor Julius Solomon of Congregation Rodfei Zedek in Chicago’s Hyde Park neighborhood, who hails originally from Brooklyn and brought the piece with him to Chicago.

The great shofar is sounded, and a still, small voice is heard.

This day even angels are alarmed, seized with fear and trembling as they declare: “Behold the day of judgment!”

For even the hosts of heaven are judged.

Today all who walk the earth pass before You as a flock of sheep.

And like a shepherd who gathers his flock, bringing them under his staff, You bring everything that lives before You for review.

You determine the life and decree the destiny of every creature.

—11th-century piyyut (song), insertion in the High Holiday liturgy Uvashofar Gadol Yitaka v’kol d’mama daka yishama.

Umalachim y’chafeyzun v’chilurada yocheyzun v’yom’ru hiney yom hadin lifkod altz’va marom badin, ki lo yizku v’eynecha badin.

V’chol ba’ey-olam taavir l’fanecha kivney maron K’vakarat roe edro. Maavir tsono tachat shivto Ken taavir v’tispor v’ timne. V’tifkod nefesh kol chai.

V’tachtoch kitzva l’chol briotecha. V’tichtov et g’zar dinam.

Reader’s Kaddish: T’filat N’ilah L’Yom Kippur Traditional chant, arr. Max Janowski Having fled Nazi Germany for a piano professorship in Japan, Max Janowski made his way to New York and shortly thereafter to Chicago, where he had won the composition contest whose first prize was the position of director of music at KAM Temple on the South Side. Max served KAM from his appointment in 1938 until his death in 1991, a remarkable run of 53 years. His legendary collaboration with Rabbi Jacob J. Weinstein helped inspire Max to revolutionize Jewish worship music in Chicago, which upon his arrival consisted mostly of Protestant hymns with Hebrew words. Writing in a new musical idiom based on cantorial chant (nussach), Janowski trained hundreds of aspiring and accomplished singers, providing choirs for KAM and many other synagogues on the High Holidays. Among his soloists at KAM were future Met stars Sherrill Milnes and Isola Jones, and other superb local singers such as tenor Kurt Hansen and contralto Beatrice Horwitz. An ecumenical spirit, Max also served the All Souls Universalist Society in South Shore for several decades, playing the organ, conducting a small choir, and arranging music from folk songs to spirituals.

Chicago a cappella 15

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

The Reader’s Kaddish is, like most Kaddish prayers, a marker of a transition point in the service. It differs in function from the more familiar Mourner’s Kaddish. Here is the Reader’s Kaddish for the final service of the Yom Kippur liturgy, N’ilah. This Reader’s Kaddish carries a unique melody, associated closely with this closing service, where it also appears in the Amidah (silent prayer). The haunting line makes ever poignant the sense that the heavenly gates at the end of the High Holidays.

Janowski’s feel for nussach comes to the fore in this simple setting of great introspective power and majesty.

Let the glory of God be extolled. Let Your great name be hallowed in the world, whose creation You willed.

May Your ideal world soon prevail, in our own day, our own lives, and the life of all Israel, and let us say: Amen.

Let the name of the Holy One be glorified, exalted, and honored though God is beyond all praises, songs, and adorations that we can utter, and let us say: Amen.

—Traditional liturgy Yitgadal v’yitkadash sh’mey raba b’al’ma div’ra chirutey v’yamlich mal’chutey b’chayeychon uv’yomeychon uv’chayey d’chol beyt Yisraeyl ba’agala uvizman kariv v’im’ru, Ameyn.

Y’hey sh’mey raba m’varach l’alam u’l’almey almaya.

Yitbarach v’yishtabach v’yitpaar v’yitromam v’yitnasey v’yithadar v’yitaleh v’yithalal sh’mey d’kud’sha B’rich Hu. L’eyla ul’eyla minkol birchata v’shirata Tushb’chata v’nechemata da’amiran b’alma v’im’ru, Ameyn.

Hava Nagila Stacy Garrop A composer creating music of great expressive power and masterful technical control, Stacy Garrop has received several awards, commissions, and grants, including the 2006/2007 Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award, the Pittsburgh New Music Ensemble’s 2006/2007 Harvey Gaul Composition Competition, the 2005 Raymond and Beverly Sackler Music Composition Prize, 2005 and 2001 Barlow Endowment commissions, Chicago Symphony Orchestra’s 1999-2000 First Hearing Composition Competition, Omaha Symphony Guild’s 2000 International New Music Competition, and the New England Philharmonic’s 2000 Call for Scores Competition. Chicago a cappella is fortunate to have been able to commission her in 2007-08 for this rollicking Hava Nagila as well as a beautiful setting of the Jewish melody Lo Yisa Goy (which we have recorded for Cedille Records). Her association with Cedille Records has continued with the release of Ars Poetica on “The Billy Collins Suite” CD, and an all-Garrop CD released in the fall of 2010.

Based on the most recent research available, it appears that the tune for Hava Nagila was a 19th-century niggun, or wordless melody, from the Chasidim in the Ukrainian village of Sadigora. In a lyric-writing contest, Moshe Nathanson won the prize, which was having his words associated with the tune for a public celebration of Allenby’s victory in Palestine in 1917.

16 Chicago a cappella

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

Let’s rejoice; let’s rejoice; let’s rejoice and be happy.

Let’s sing; let’s sing; let’s sing and be happy.

Awake, awake, brothers! Awake, brothers, with a happy heart!

Hava nagila v’nis’mecha Hava neranena v’nis’mecha Uru, uru achim; uru achim b’leyv sameach.

—attrib. Moshe Nathanson INTERMISSION

Suggestions for intermission • Upgrade to a flexible subscription and save money! Upgrades start at just $33. Visit the box office table in the lobby for details and an order form.

• Fill out your audience survey and return it to an usher or to the lobby to be entered in tonight’s prize drawing for a copy of our new CD release!

Shirim L’Yom Tov (Four Festive Songs) Shulamit Ran Pulitzer Prize-winning composer Shulamit Ran was born in Israel, where she began composing songs to Hebrew poetry at the age of seven. She formerly performed extensively as a pianist in the U.S., Europe, Israel and elsewhere, and is presently the Andrew MacLeish Distinguished Service Professor in the Department of Music at the University of Chicago, where she has taught since 1973. She is also artistic director of Contempo, formerly the Contemporary Chamber Players.

She lists her late colleague and friend Ralph Shapey, with whom she also studied in 1977, as an important mentor. Truly a world-class composer, Ms. Ran holds several honorary doctorates and was elected a Fellow of the American Academy of Arts and Sciences in 1992 and of the American Academy of Arts and Letters in 2003. Her works are published by the Theodore Presser Company and by the Israeli Music Institute. Recent premieres include Fault Line for ensemble, commissioned by the Chicago Symphony MusicNOW series, premiered in May, 2006 at Chicago’s Symphony Center; and Credo/Ani Ma’amin, part of And on Earth, Peace: A Chanticleer Mass, commissioned and widely performed by Chanticleer, the noted 12-man vocal ensemble, following its premiere in New York City’s Metropolitan Museum of Art in April, 2007. Recordings have been released on more than a dozen labels, including Albany, Angel, Bridge, Centaur, CRI, Erato, Koch International Classics, New World, Vox, and Warner Classics, with several all-Ran discs available.

About Four Festive Songs, the composer writes: My four songs were composed in 2003 and 2005, two at a time, for the Bar Mitzvah occasions of my two sons, David and Yaron Lotan, for Koleynu, the enthusiastic, amateur choir of Beth Shalom Congregation in De Kalb-Sycamore, Illinois, where our family resides. Koleynu is directed by Harvey Blau, a Professor of Mathematics at Northern Illinois University. The texts were extracted by me from my sons’ Torah and Haftarah portions – the biblical passages a Bar Mitzvah celebrant learns to chant, and comments on, as part of becoming an “adult” member of the congregation. I was filled with a sense of awe and joy upon discovering, both times, that the texts were amongst the most pivotal of biblical texts: from the story of creation – sixth day, to passages such as Ma Tovu (‘How fair are your tents…”) and Hatzneia Lechet (“and to walk humbly Chicago a cappella 17

P R O G R A M N O T E S ( c o n t .) with thy God”). This made composing these songs all the more exhilarating for me. Yet it must be said that whenever I am present at a Bar Mitzvah and hear the 13-year old celebrant’s commentary (or D’var Torah), I am struck anew by the realization that even the most seemingly dry of biblical passages, such as the enumeration of laws or listing of generations, contains in it the seeds of great and eternal wisdom and inspiration.

(Note: The weekly Torah portion read on Saturday morning, when Bar and Bat Mitzvah services are held, is called the Parashat Hashuvah, or portion for the week, and each Parashat has a name. The Haftorah is a segment of scripture that is read as an accompaniment to the weekly Torah reading, and it carries the same name as the Torah portion.)

These songs are infectious and lively, displaying a refreshingly deft feel for Hebrew and superb rhythmic life. Shiru l’Adonai has the feel of a joyous processional.

Yom ha-Shishi (The Sixth Day) has a jaunty, friendly character almost like a nursery melody in the best sense—memorable and wedded superbly to the words which describe God’s completion of creating the world. Ma Tovu feels both old and new, evoking medieval music as well as Bartók. Concluding the cycle, Hatzneia Lechet seems to illustrate musically the sense of walking humbly—sometimes haltingly—before opening up in majestic, ringing chords at certain powerful statements of the words “im Elohecha” (“with your God”).

1. Shiru l’Adonai (Sing Unto God) God the Lord, He that created the heavens…

He that given breath unto the people…

I, the Lord, have called thee in righteousness…

And set thee for a covenant of the people, for a light of the nations…

Sing unto the Lord a new song…

And his praise from the end of the earth; Ye that go down to the sea, and all that is therein, the isles, and the inhabitants thereof.

A new song to his praise…

Sing unto the Lord a new song.

—Haftorah Bereshit, Isaiah XLII Ha-Eyl Adonai borei hashamayim notein n’shama la’am Ani Adonai k’raticha v’tzedek lv’rit am l’or goyim.

Shiru l’Adonai shir chadash.

Shiru t’hilato mik’tze ha’aretz Yor’dei hayam shiru Hayam um’lo-o iyim v’yoshveihem shir chadash t’hilato.

Shiru l’Adonai shir chadash.

18 Chicago a cappella

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

2. Yom ha-Shishi (The Sixth Day) And there was evening, and there was morning…and God saw that it was good…

And God saw every thing that He made, and, behold, it was very good.

And there was evening…the sixth day.

And on the seventh day God finished His work which He had made, and He rested on the seventh day from all His work which He had made.

And God blessed the seventh day, and hallowed it; because that in it He rested from all His work…

—Parashat Bereshit, Genesis I-II Vay’hi erev vay’hi voker vayar Elohim ki tov.

Vayar Elohim et-kol asher asa, v’hinei tov m’od: erev, boker, yom ha-shishi.

Vay’chal Elohim bayom ha-shvi’i m’lach’to asher asa.

Vayish’bot bayom hashvi’i mi-kol m’lachto asher asa.

Vay’vareych Elohim et-yom hashvi’i vaykadeysh oto Ki vo shavat mikol m’lach’to.

3. Ma Tovu (How Fair) How fair are your tents, O Jacob: Your dwellings, O Israel.

—Parashat Balak, Numbers XXIV Ma tovu ohalecha Ya’akov, mishk’notecha Yisrael.

4. Hatzneia Lechet (Walk humbly) [It hath been told thee, O man, what is good, and what the Lord doth require of thee:] Only to do justly, and to love mercy, and to walk humbly with thy God.

—Haftorah Balak, Micah VI Asot mishpat v’ahavat chesed hatzneia lechet im Elohecha.

Ani Ma’amin Melody from Vishnietz, transmitted by Elie Wiesel; choral arr. by M. Lazar This setting comes to us from Matthew Lazar, the tireless founder and artistic director of the Zamir Choral Foundation, the powerhouse of Jewish choral music in the eastern United States and abroad. Mati Lazar has lovingly and sensitively set in choral form a Chassidic version of the “Ani ma’amin” prayer that Elie Wiesel brought to these shores from his homeland of Vishnietz in Transylvania. Wiesel himself stole the show when he sang the solo at the May 2004 performance of this piece by the Zamir Chorale in New York City. A more familiar tune to these same words became known as the song that many Holocaust victims sang as they went to their deaths in concentration camps. The text is a prosaic adaptation of the writings of Maimonides, the great medieval Jewish scholar and commentator, on the thirteen points of Jewish faith.

I believe with perfect faith in the coming of the Messiah, and even if he be delayed, I will await him.

—Maimonides

Chicago a cappella 19

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

Ashmanu Traditional Yom Kippur liturgy The Hebrew alphabet has 22 letters. The confessional prayer enumerates one sin for each of the letters of the alphabet (and two extras for the final letter), for a total of 24. The idea at work here is that everyone has done something wrong— nobody is blameless, we all make mistakes—and that in a group, surely all 24 sins would have been covered at least once. Hence, in part, the light tone of the prayer, especially of the wordless chorus.

Our God, God of our ancestors, grant that our prayers may reach You. Do not be deaf to our pleas, for we are not so arrogant and stiffnecked as to say before You, our God and God of all ages, “we are righteous and have not sinned”; rather, we have sinned.

Our Lord and Lord of our ancestors: We have been guilty, we have betrayed, we have stolen, we have spoken falsely.

We have caused others to sin, we have caused others to do evil, we have had evil hearts, as is written, we have become violent, we have attached lies.

We have advised evil, we have lied, we have scoffed, we have rebelled, we have been scornful, we have been disobedient, we have been perverse, we have transgressed, we have persecuted, we have been stiff-necked.

We have been lawless, we have corrupted, we have committed abominations, we have gone astray, we have led others astray.

—Yom Kippur liturgy Eloheynu veylohey avoteynu, tavo l’fanecha t’filateynu, v’al tit’alam mit’chinateynu, she’eyn anachnu azey fanim uk’shey oref lomar l’Adonai Eloheynu veylohey avoteinu: “Tzaddikim anachnu v’lo chatanu,” aval anachnu chatanu.

Ashamnu, bagadnu, gazalnu, dibarnu dofi He’evinu, v’hirshanu, zadnu, chamasnu, tafalnu sheker Ya’atznu ra, kizavnu, latznu, maradnu, niatznu.

Sararnu, avinu, pashanu, tzararnu, kishinu oref.

Rashanu, shichatnu, tiavnu, tainu, titanu.

Avinu Malkeynu Max Janowski, arr. Patrick Sinozich Max Janowski’s best-known work, “Avinu Malkeynu,” was originally scored for solo, choir, and organ. For some people, this song has come to symbolize the solemnity of Yom Kippur almost as much as the Kol Nidre chant itself. Patrick Sinozich has created a masterful a cappella version of this composition, filling in the organ harmonies much as Max taught singers to do in settings where unaccompanied choral liturgies are required, such as Conservative synagogues.

Our Father, our King, hear our voice.

Our Father, our King, we have sinned before Thee.

Our Father, our King, have mercy upon us and upon our children.

Our Father, our King, keep far from our country pestilence, war and famine.

Our Father, our King, cause all hate and oppression to vanish from the earth.

Our Father, our King, inscribe us for blessing in the book of life.

Our Father, our King, grant unto us a year of happiness.

—Yom Kippur liturgy 20 Chicago a cappella

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

Avinu Malkeynu, sh’ma koleynu.

Avinu Malkeynu, chatanu l’fanecha.

Avinu Malkeynu, chamol aleynu v’al olaleynu v’tapeynu.

Avinu Malkeynu, kaley dever v’cherev v’raav meyaleynu.

Avinu Malkeynu, kaley chol tsar umastin meyaleynu.

Avinu Malkeynu, kotveynu b’seyfer chayim tovim.

Avinu Malkeynu, chadeysh aleynu shanah tovah.

Hal’luyah (Psalm 150) Louis Lewandowski Details about Lewandowski’s career can be found in the introductory notes. He published a monumental collection in 1882 titled Todah v’Zimrah (Thanks and Song), for cantor, four soloists, and organ. He also published more than a dozen psalm settings, of which this is one.

Praise the Lord!

Praise God in His sanctuary; praise Him in His mighty expanse.

Praise Him for His mighty deeds; praise Him according to His excellent greatness.

Praise Him with trumpet sound; praise Him with harp and lyre.

Praise Him with timbrel and dancing; praise Him with stringed instruments and pipe.

Praise Him with loud cymbals; [praise Him] with resounding cymbals.

Let everything that has breath praise the Lord.

Praise the Lord!

—Psalm 150 Halleluyah.

Hallelu Eyl b’kod’sho; halleluhu birkia uzo.

Haleluhu bigvurotav; halleluhu k’rov gudlo.

Halleluhu b’tekah shofar; halleluhu b’nevel v’chinor.

Halleluhu b’tof umachol; halleluhu b’minim v’ugav.

Halleluyah b’tziltzilei shomah, halleluhu b’tziltzilei truah.

Kol haneshamah t’halelyah.

Halleluyah.

Kiddush Traditional Shabbat melody As with the opening “Shalom Aleichem,” this Eastern European melody was collected by Chemjo Vinaver. Though joyful in its own way, especially its rhythmic quickness, this melody is more somber than the major-mode version familiar to many American Jews. Its pensive melodic character heightens the sense of holiness—of being set apart—that the Sabbath creates.

Chicago a cappella 21

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

Blessed are You, O Lord our God, Ruler of the Universe, Who creates the fruit of the vine.

Blessed are You, O Lord our God, Ruler of the Universe, Who sanctified us with Your commandments and desired us, And Your holy Shabbat with love and pleasure You gave to us as an inheritance, as a remembrance of the act of creation.

For Shabbat is the first of the holidays, which are remembrances of the Exodus from Egypt.

For You have chosen us, and made us holy from all the nations, and You gave us Your holy Shabbat with love and pleasure; Blessed are You, O Lord, Who sanctifies the Sabbath.

—Friday night blessing over the cup of wine Baruch atah Adonai, Eloheinu melech ha’olam, borey p’ri hagofen.

Baruch ata Adonai Eloheinu melech ha’olam, asher kid’shanu b’mitzvotav v’ratza vanu, v’-Shabbat kod’sho b’ahava uv’ratzon hinchilanu zikaron l’ma’asey v’reyshit; Ki hu yom t’chila l’mikraey kodesh zeycher litsiat Mitzrayim.

Ki vanu vacharta v’otanu kidashta mikol ha’amim, v’-Shabbat kod’sh’cha b’ahava uvratson hinchaltanu.

Baruch atah Adonai m’kadeysh ha-Shabbat.

SPECIAL THANKS Robert Applebaum Chicago Jewish News: Roberta Chanin Church of Jesus Christ of Latter-Day Sainsts Family History Center: Brandon Bales, Bishop Danny Nydegger Enid Frandzel Bill Hoban Stacy Garrop K.A.M. Isaiah Israel Congregation: Tal Rosen Hersch Klaff Hyde Park Herald Merit School of Music: Tom Bracy Music Institute of Chicago: Fiona Queen North Central College: Ken Hannah Jim Parks Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler Shulamit Ran Spertus Institute of Jewish Studies: Beth Schenker, Laurie Borman, Betsy Gomberg 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.

22 Chicago a cappella

C H I C AG O A C A P P E L 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 (Women) Klaus George..................................................................tenor (Days of Awe, Holidays, Wade) Matt Greenberg..........................................................bass (Days of Awe, Holidays, Women) Elizabeth Grizzell..................................................................................... mezzo (entire season) Garrett Johannsen..............................................................................................tenor (Holidays) Kathryn Kamp......................................................soprano (Days of Awe; Holidays; Women) Alexia Kruger...................................................................................... soprano (Holidays, Wade) Joe Labozetta.............................................................................................bass (Holidays; Wade) Trevor Mitchell................................................................ tenor (Days of Awe; Wade; Women) Cari Plachy...................................................................soprano (Days of Awe; Wade; Women) Sarah Ponder.......................................................................................................mezzo (Holidays) Benjamin Rivera............................................................... bass (Days of Awe; Wade; Women) Susan Schober..............................................................mezzo (Days of Awe; Wade; Women) Brian Streem.................................................................................................. bass (entire season) BIOGR APHIES Jonathan Miller, Founder and Artistic Director Since founding Chicago a cappella in 1993, Jonathan Miller has guided the ensemble through more than 130 concerts, seven commercial CD releases, and thirty choralmusic demo CDs. His international accolades include the 2008 Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America.

His skills at presenting a wide spectrum of music are a combined product of his singer’s ear, scholar’s training, and composer’s temperament. He was fortunate to be exposed at an early age to a wide range of music by a remarkable group of mentors, including Christopher Moore, Lena McLin, Max Janowski, Joseph Brewer, Howard Mayer Brown, Richard Proulx, John Nygro, and Anne Heider. He was a founding member of His Majestie’s Clerkes (now Bella Voce) and for ten years was bass soloist with the Harwood Early Music Ensemble.

Eager to learn research tools for repertoire, Jonathan pursued musicology, earning his doctorate at UNC-Chapel Hill while remaining an active performer. Since returning to the Chicago area, Jonathan has expanded his role as a conductor and composer. He has led the volunteer choir at Unity Temple and

Heritage Chorale in Oak Park and has served several other choirs as clinician and coach. He has written more than fifty choral works in a variety of genres and languages; his music has been sung at venues including St. Patrick’s Cathedral in New York City and the Pentagon. He conducted his piece The Lincoln Memorial at the Lincoln Memorial on the 200th anniversary weekend of Lincoln’s birth. Since 1998, Jonathan has taken a growing leadership role in Chicago-area Jewish music, leading the high-holiday choir and occasional Kabbalat Shabbat services at Congregation Rodfei Zedek in Hyde Park; he now serves there as high-holiday cantor.

He is principal guest conductor of Kol Zimrah, the Jewish Community Chorus of Metro Chicago, and holds as a great honor his role as publisher of the late Max Janowski’s catalogue. Jonathan enjoys the blessings of family and neighbors in the woods of Downers Grove, where he loves helping to maintain two shared vegetable gardens.

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 Chicago a cappella 23

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

Music Director. He is currently in his 15th season as Artistic Director of the Chicago Gay Men’s Chorus, and is Assistant Director of Music at St. Clement Catholic Church in Lincoln Park. 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 feature 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 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.

24 Chicago a cappella

Klaus Georg, tenor In his first year with Chicago a cappella, Klaus Georg is an active tenor, conductor, and teacher in the Chicago area. He is currently Adjunct Professor of Voice at Carthage College while pursuing doctoral studies at Northwestern University. Klaus has performed leading tenor roles in Mozart’s Zauberflöte, Poulenc’s Dialogues des Carmelites, Loesser’s The Most Happy Fella, and Hoiby’s Summer and Smoke, as well as the tenor solos in Mozart’s Requiem, Händel’s Messiah, Haydn’s Creation, and Brahms’s Zigeunerlieder.

Recently, he appeared as the tenor soloist in Mozart’s Requiem at the Music Institute of Chicago and as Chibiabos in Coleridge-Taylor’s Hiawatha’s Wedding Feast in Park Ridge. An accomplished choral singer, Klaus sings with the CSO Chorus and Music of the Baroque, and has appeared as a soloist with both groups. He also sings with the Grant Park Music Festival and is chorus director at Beth Emet the Free Synagogue.

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. Betsy is also a member of the Grant Park Chorus, and records regularly as a soloist for GIA Publications. She holds a Bachelor of Music degree with a vocal emphasis from DePaul University. This will be Betsy’s 12th season with Chicago a cappella. She is proud to be programming this year’s All About the Women concert, and she previously programmed the ensemble’s 2009 concert, The Birds and the Bees. Of special

B I O G R A P H I E S ( c o n t .) note is her Betsy’s MusiKids program, a musical education experience designed for children ages 16 months to 9 years old. Her studio in Naperville introduces more than 100 children each year to the fun and beauty of music. Find her on Facebook at “Betsy’s MusiKids”, or at www.grizzell.com.

Kathryn Kamp, soprano A mix of opera, operetta, and musical theater productions as well as oratorio, concert, and choral 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, among others. Favorite works include Mozart Requiem; Haydn Creation and Dixit Dominus; Handel (Messiah); Poulenc (Gloria) and Brahms (Requiem); Mozart’s Despina (Cosi fan tutte); many Gilbert and Sullivan ingénues (Patience, Rose Maybud, Yum-Yum and Mabel); and anything by Steven Sondheim (especially Anne Egerman and Mrs. Segstrom of A Little Night Music). She has also directed over 15 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.

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. as well as to Austria, Italy, Ukraine, 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. Under the baton of the renowned John Rutter, Trevór performed Vaughn Williams’ Serenade to Music. Recent performances also include Messiah with the Baroque Band and Handel’s Judas Maccabaeus. He also recorded Don Meyers’ Meditation in Three Reflections with the Millennium Symphony of Norfolk, VA. Upcoming engagements include Haydn’s Theresienmesse, Mozart’s Requiem, Rossini’s Stabat Mater, a recording of Christmas music and several solo recitals.

Cari Plachy, soprano Chicago native Cari Plachy is enjoying splitting her time between choral and opera singing.

She has been seen

Chicago a cappella 25

B I O G R A P H I E S ( c o n t .) 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 SunTimes 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 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 26 Chicago a cappella

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.

SAVE MONEY ON FUTURE CONCERTS Upgrade your single ticket to a flexible subscription, and receive: • Three additional tickets you can use in any combination at this season’s remaining performances • Advance online program notes • Invitations to Behind the Scenes events Upgrades start at just $33 (just deduct your ticket price from the full subscription price). Visit the ticket table in the lobby for an order form!

HOLIDAYS A CAPPELLA

From cheerful and funny to sacred and meditative, Chicago a cappella brings every shade of the holiday season to you with carols from around the world, contemporary works, and familiar holiday favorites.

Evanston Chicago Saturday, Dec. 3, 8:00 pm Friday, Dec. 9, 8:00 pm Nichols Concert Hall Fourth Presbyterian Church Oak Park Sunday, Dec. 4, 4:00 pm Pilgrim Congregational Church

Naperville Sunday, Dec. 11, 4:00 pm Wentz Concert Hall

WADE IN THE WATER: SPIRITUALS

An inspiring and jubilant new concert celebrating the power of the Spiritual and including a new commission by Grammy Award-winning arranger Joseph Jennings.

Chicago Friday, Feb. 3, 8:00 pm Gottlieb Hall at Merit School of Music Naperville Sunday, Feb. 4, 8:00 pm Wentz Concert Hall

Evanston Saturday, Feb. 11, 8:00 pm Nichols Concert Hall Oak Park Sunday, Feb. 12, 4:00 pm Pilgrim Congregational Church

ALL ABOUT THE WOMEN

From the holiest of hymns to the most raucous spoofs, this concert is a sassy and sublime homage to the fair sex. Acclaimed Jeff Award-winning actress Barbara Robertson is our guide for this charming musical journey.

Evanston Chicago Saturday, April 14, 8:00 pm Friday, April 20, 8:00 pm Nichols Concert Hall Gottlieb Hall at Merit School of Music Oak Park Sunday, April 15, 4:00 pm Pilgrim Congregational Church

Naperville Saturday, April 21, 8:00 pm Wentz Concert Hall

SAVE THE DATE: Chicago a cappella presents Come Together: A Benefit Bash Featuring the Music of Lennon and McCartney Thursday, May 17, 2011 . Salvage One Chicago a cappella 27

Chicago a cappella in the schools!

Chicago a cappella’s Educational Outreach Programs are expanding! Our programs include: • In-school Residencies • High School Choral Festival • High School Internship Program • Master Classes Our programs serve singers and students of all ages and levels of experience, promoting and improving the lifelong performance, understanding and appreciation of a cappella vocal music.

The young singers we work with receive one-on-one master class opportunities and expert mentoring.

After a Chicago public high school residency in early 2011, the school’s choral director exclaimed, “This is the best singing this group has ever done.”

How you can be involved: • Help us identify corporate and business partners to support these projects.

• Spread the word to schools and community organizations who may be interested in working with us.

• Use the envelope in this program to make your own gift today! Your contribution will not only support our education programming. It will also nourish innovative new concerts and world-class CD recordings, and help establish an ever-stronger financial base for our future.

Ticket sales cover only a fraction of our expenses, and contributions from friends like you cover over 1/3 of our operating budget.

For more information about our education programs, please contact Susan Schober at sschober@chicagoacappella.org.

For sponsorship opportunities, please contact Matt Greenberg at (773) 281-7820 or email mgreenberg@chicagoacappella.org.

28 Chicago a cappella

DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between July 1, 2010 and September 1, 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 and Special Events Oak Park Area Arts Council MEDIA SPONSORS Chicago Jewish News (Days of Awe) Naperville Sun (concerts at Wentz Hall, Naperville) CORPORATE SUPPORT, MATCHING GIFTS, AND OTHER SUPPORT AT&T Foundation Bank of America

Blue Cross-Blue Shield of Illinois First Bank and Trust Evanston Homestead Hotel JP Morgan Chase Foundation King Insurance Agency Macy’s Foundation Minibar-Winebar Robert Morris University St. Scholastica Academy in memory of Frances Flowers Whole Foods Markets

INDIVIDUAL CONTRIBUTORS VISIONARY ($5000 or more) Anonymous Estate of Helen Asher Hyslop Shannon Foundation ARCHANGEL ($2500 or more) Helen Gagel Howard and Jane Hush Murray Kopelow and Cathy Bachman ANGEL ($1,000 or more) Marguerite Bloch Frank G. & Gertrude Dunlap Fund Fike K. Family Fund at The Chicago Community Trust Bill and Jeanetta Flowers

Joyce Grenis and Michael Koen Jay and Jackie Lauderdale Leslie Lauderdale Robert LoPrete and David Germaine Susan and Joe Lunn Alice and David Osberg Diana Ramirez Priscilla and Steve Shaw Maria Suarez BENEFACTOR ($500 or more) Anonymous Bonnie Benson Marina Gilman Matt Greenberg and Chris Baer Hank and Becky Hartman

Ann Hicks and Lawrence Hamilton Tom and Margaret Huyck Douglas and Christine Kelner Dan and Cari Levin Bob and Fleury Linn Jonathan Miller and Sandra Siegel Miller Mary Miller Ken Novak Carolyn Sacksteder Bette Sikes and Joan Pederson Ann Stevens Frank Villella and Oscar Ivan Zambrano SPONSOR ($250 or more) Michelle Eppley Don and Joanna Gwinn Chicago a cappella 29

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

Anne Heider and Steve Warner Margaret and Gary Kachadurian Barbara and Martin Letscher Jean McLaren and John Nitschke Robert and Lois Moeller Vreni Naess Drs. Donald and Mary Ellen Newsom David and Carole Perlman Dale and Donna Prest Caryl Rine Kenneth Schug Tom and Linda Spring Mary Beth Strahota Peggy Sullivan Emily Troxell Jaycox and Lonnie Jaycox John Washburn PATRON ($100 or more) Anonymous Tom and Cheryl McRoberts Allen McVey Glenn and Sandy Meade Ephraim and Ann Miller Cathy and Paul Newport John and Gail Polles Jane Ann Prest Doris Roskin Jennifer and Warren Schultz Lisa Scott Jeni and David Spinney Juan J. Suarez Eileen Sutter Anonymous

30 Chicago a cappella

Geri Sztuk Laura Temple and Andrew Wood Dave and Carolyn Utech Barbara Volin Shirlene Ward and Kevin Kipp Tracy and Tony Weisman Robert and Barbara Wichmann Lance and Stephanie Wilkening Shawn Ying and Jason Cohen FRIEND ($50 or more) Anonymous David and Patricia Agnew Bob and Rose Marie Baer Frank Brockway and Mimi Brile Ioanna and Robert Chaney Dale and Frances Dellutri Norma Felbinger Dale Fitschen Madelon and Roger Fross Don and Diane Gilliard Elizabeth and Phil Gould Judith Grubner and Craig Jobson Charles Hoffman and Tamara Schiller Valerie Humowiecki Michael Kane and Honey Protas David and Darlene Landsittel Ivan and Jasna Lappin

Marvin and Marlene Levine Carol LoVerde Diane and Doug MacDonald Catherine Marquis Scott, Kelly & Ian McCleary Daniel Melamed and Elizabeth Sabga Patrice Michaels and Jim Ginsburg Belverd E. Needles Charles & Janice Olson Jim Peterson Margarita Prieto Virginia Russell Michelle and Jonathan Sales Dennis and Patricia Smith Bernard Szeszol John Vorrasi William Wallace Cheryl Wollin 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 IN HONOR OF RONNA LERNER Rona Brown

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.

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 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

I N - K I N D C O N T R I B U T I O N S ( S I N C E JA N UA R Y 1, 2 011) 98.7 WFMT About Face Theater Adler Planetarium AirTran Airways Ambassador East Hotel Arlington Park Avanti Skin Centers Bagel Restaurant and Deli Baroque Band Barrel of Monkeys The Belden Stratford Bella Voce The Blackstone Blue Man Group Hoss Brock Brookfield Zoo Chicago Bears Chicago Blackhawks Chicago Botanic Gardens Chicago Chamber Choir Chicago Chamber Musicians Chicago Dramatists Chicago Gay Men’s Chorus Chicago History Museum Chicago Human Rhythm Project Chicago Jewish News

Chicago Kids Company Chicago Opera Theater Chicago Shakespeare Theater Chicago Sinfonietta Chicago Symphony Orchestra Chicago White Sox Circle Theatre City Lit Theatre Company Court Theatre Dance Center of Columbia College DeSoto House Hotel East Bank Club Eclipse Theatre Company Emerald City Theatre Event Creative Facets Multimedia, Inc. Norma Felbinger Bill Flowers Footlights Fox Valley Repertory Frank Lloyd Wright Preservation Trust Fred Astaire Dance Studio French Pastry School Fulcrum Point Gabriel’s

Gene Siskel Film Center Gethsemane Garden Center Give Me Some Sugah Goodman Theatre Grant Park Music Festival Gymboree Harris Theater for Music and Dance Heal Thy Self Massage Hedwig Dances Munn Heydorn Deb Hoban Homestead Hotel House Red Howl at the Moon Chicago J&L Catering Jaks Tap Bar and Grill Kincades/Twisted Lizard Kingston Mines Natalie Knight & Collin Tillotson Kohl’s Children’s Museum L20 Restaurant Latin Street Dance Studio Leslie Lauderdale Chicago a cappella 31

I N - K I N D C O N T R I B U T I O N S ( c o n t .)

Le Cordon Bleu College of Culinary Arts in Chicago Lifeline Theatre Light Opera Works Lloyd’s Chicago Lookingglass Theatre Company Lucky Strike Lanes Lulu’s Restaurant Marriott Theatre Lincolnshire Metropolis Performing Arts Centre Michael Kors Morton Arboretum Music Box Theatre Music of the Baroque The Neo-Futurists Naperville Sun Next Theatre Company North Central College Northeastern IL Univ.

32 Chicago a cappella

Northlight Theater Oak Park Festival Theatre Oceanique Old Town School of Folk Music Orion Ensemble Panera Bread Jim Parks Pioneer Press Press America, Inc. Redhead Piano Bar Remy Bumppo Theatre Company Ritz-Carlton Hotel Chicago David Robson St. Regis Bahia Beach Puerto Rico Second City Shedd Aquarium Shure Steep Theatre Company Brian Streem

Juan Suarez Maria Suarez Swedish American Museum Center The Theatre School at DePaul University Timeline Theatre Company Trader Joe’s Trinity Academy of Irish Dance TRU Dee Dee Whipple Whole Foods Lakeview Wild Mountain, Taylor Falls Recreations Winestyles Cheryl Wollin Wrigleyville Rooftops Writers’ Theatre Zanies Comedy Nite Club