Chicago Sinfonietta-For the Common Man

Sunday, October 3, 2010, 2:30 pm – Dominican University Monday, October 4, 2010, 7:30 pm – Symphony Center

For the Common Man Chicago Sinfonietta

Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor Fanfare for the Common Man.............................................................................Aaron Copland Neue slavische Tänze (Slavonic Dances), op.72 no.7 (15)......................... Antonín Dvořák

7. In C major - SrbskÈ Kolo Fire and Blood, for Violin and Orchestra ............................................... Michael Daugherty

1. Volcano

2. River Rouge

3. Assembly Line Tai Murray, violin Intermission Sundown’s Promise (for Taiko and Orchestra).................................................. Renée Baker VII. Transcendence I. Company Song VIII. No Mi Kai (Drinking party) II. Wa ( peace/balance) IX. Chant III. Wabi X. Sitting IV. Sabi XI. Walking V. Pride XII. Learning to see the Invisible VI. Enkai (Banquet Feast) XIII. Shime (Ending of celebration) JASC Tsukasa Taiko, Japanese drums and Shamisen Nicole LeGette, butoh dancer On the Waterfront: Symphonic Suite from the Film............................. Leonard Bernstein Lead Season Sponsor

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THE M AESTRO’S FINAL SEASON These 2010 season-opening performances mark the beginning of a season of transition as our beloved Founder and Music Director Paul Freeman takes the podium for the final time. Throughout the year Maestro Freeman will be conducting pieces that have become personal favorites of his, many of which he probably introduced to you, our audience. We will also be sharing some of his compelling life story and reprinting some amazing photos from the Sinfonietta archive. We hope you enjoy this season-long look at Maestro’s career, and encourage everyone you know to join us in celebrating his many accomplishments.

The Early Days Paul Douglas Freeman was born in Richmond, Virginia, on January 2, 1936. His father ran a produce shop.

He grew up in modest circumstances in the American South in the middle of the twentieth century--difficult beginnings for any African American.“Growing up in segregation in Richmond ... to have fulfilled my personal dreams and to have helped to found an entity [the Chicago Sinfonietta] that brings dreams to others, even I sometimes can’t believe what we’ve done,” Freeman told the Chicago Sun-Times.

Eleanor roosevelt with a young The dream began with Freeman’s music-loving Maestro Freeman-1955

family. Symphony orchestra concerts on the radio and weekly broadcasts from New York’s Metropolitan Opera, the New York Philharmonic, and the NBC Orchestra were required listening for all twelve Freeman siblings as were music lessons when they grew old enough to handle them. Freeman started piano lessons at age five, and he soon took up the clarinet as well. He took clarinet lessons at Richmond’s Armstrong High School while still in elementary school and took lessons at Virginia State College in Petersburg while in high school. One of the stories Paul shares is about the first time he ever heard an orchestra perform as a child in his hometown of Richmond. He and his mother were directed to sit in the colored section of the theater, or as he likes to refer to it, the “peanut gallery”.

His conducting debut came at age 14 or 15, when his clarinet teacher fell ill and was unable to conduct the Armstrong school band for its scheduled performance at a PTA meeting. Freeman stepped in as a substitute. “Although the ministry was an earlier career interest, a maestro was born that evening,” Freeman wrote in a letter quoted in the book Black Conductors.

More about Paul in the next program book.

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PROGR A M NOTES “You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down... some sort of permanent statement about the way it feels to live now, today.”

— Aaron Copland It would be unthinkable not to include Aaron Copland on a concert dedicated to the experience of the Common Man. Through his orchestral, ballet, and film scores he pioneered what is commonly agreed to be the American sound in classical music. One of his most memorable works, Fanfare for the Common Man, was composed in response to a commission from conductor of the Cincinnati Symphony Eugene Goossens. In 1942, with the US entangled in the Second World War, Goossens engaged 18 composers to create fanfares to galvanize the public and to give them hope. All of them were premiered during the 1942-43 season, but only Copland’s has remained in the standard repertory.

The fanfare is so familiar, even the most uninitiated classical music listener has heard it at least once. This makes it difficult to analyze the piece to understand why it is so memorable. What is striking is the leanness of his musical materials.

Opening with several strikes from the percussion, the silences are as crucial to the work as any of the notes. The unforgettable melody appears first in the trumpets, soaring above the timpani and bass drum.

Through the next two minutes the work alternates between percussion and brass, carefully developing the theme in the most gradual and seemingly inevitable ways. The Fanfare for the Common Man is one of those works of art that is so clear, so moving, and so direct that it seems to have always existed, as if Copland transcribed a deeper musical truth rather than creating it from scratch.

Dvořák’s Slavonic Dances, op. 72 were widely popular and, along with the first set of dances, largely responsible for his gain in notoriety as a composer. Born in 1841, Antonín Dvořák was the son of a working class family; his father was a butcher, innkeeper, and professional zither player. His musical talents were clear from a young age and he was encouraged to pursue them, developing 4 Chicago Sinfonietta

into a talented violin and viola player and gaining a position with the Bohemian Provisional Theater Orchestra for most of the 1860s.

Originally written for piano 4-hands, and modeled after Johannes Brahms’s Hungarian Dances, it was Brahms himself who recommended Dvořák to the music publisher Fritz Simrock. With the first set of dances published in 1878, Dvořák became a household name and Simrock’s publishing house earned a great deal of money. This prompted the composition of the second set (op. 72) in 1886 and a full orchestral version of all of the dances, with orchestrations by Dvořák himself.

Unlike the Brahms’s Hunarian Dances, Dvořák did not literally quote any folk tunes. Rather, he used the harmonies and rhythms in the folk tunes of his native Czechoslovakia to craft his own original pieces. Instantly appealing in their tunes and dazzling in their bold orchestration, the deft craftsmanship of these pieces almost slips by unnoticed.

Michael Daugherty, drawing much of his inspiration from popular culture, has written a vast number of works for the orchestra that refuses the elitisms and exclusivity often associated with classical music. With pieces including the Superman-themed Metropolis Symphony, an opera about Jackie O, and Dead Elvis for a bassoon playing Elvis-impersonator, Daugherty has created works that engage the “common man”. Written in 2003, Fire and Blood, a concerto for violin and orchestra, is no exception.

In 1932, Edsel Ford commissioned the Mexican modernist artist Diego Rivera (1886-1957) to paint a mural representing the automobile industry of Detroit. Rivera came to Detroit and worked over the next two years to paint four large walls of the inner courtyard at the Detroit Institute of Arts. Considered among his best work, Rivera’s extraordinary “Detroit Industry” murals have inspired me to create my own musical fresco for violin and orchestra. It was Rivera himself who predicted the possibility of turning his murals into music, after returning from a tour of the Ford factories: “In my ears, I heard the wonderful symphony which came from his factories where metals were shaped

P R O G R A M N O T E S ( c o n t .) into tools for men’s service. It was a new music, waiting for the composer . . . to give it communicable form.”

I. Volcano Before coming to Detroit, Rivera lived in Mexico City, surrounded by volcanoes.

Fire is an important element in his murals, which depict the blaze of factory furnaces like erupting volcanoes. Volcanic fire was also associated with revolution by Rivera, an ardent member of the Mexican Communist party. He saw the creation of the Detroit murals as a way to further his revolutionary ideas. The music of the first movement responds to the fiery furnaces of Rivera’s imagination. The violinist plays

virtuosic triple stops, while the orchestra explodes with pulsating energy. The composition alternates between repeated patterns in 7/4 time and polytonal passages that occur simultaneously in different tempos. It concludes with an extended violin cadenza accompanied by marimba and maracas.

II. River Rouge At the Ford River Rouge Automobile Complex, located next to the Detroit River, Rivera spent many months creating sketches of workers and machinery in action. He was accompanied by his young wife, the remarkable Mexican painter Frida Kahlo (1906-1954). She lived in constant

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P R O G R A M N O T E S ( c o n t .) pain as a result of polio in childhood and a serious bus accident at age 18 in Mexico City. Many of her self-portraits depict the suffering of her body. During her time with Rivera in Detroit, Kahlo nearly died from a miscarriage, as depicted in paintings such as “Henry Ford Hospital” and “My Birth.”

The color of blood is everywhere in these works. She also had a passionate and playful side: she loved wearing colorful traditional Mexican dresses and jewelry, drinking tequila and singing at parties.

Kahlo’s labors, grief, and zeal for life added another perspective to Rivera’s industry.

This movement is dedicated to Frida Kahlo’s spirit. The solo violin introduces two main themes. The first theme is dissonant and chromatic, flowing like a red river of blood. The second is a haunting melody that Kahlo herself might have sung, longing to return to her native Mexico. The orchestra resonates with floating marimbas and string tremolo, echoing like a mariachi band in the distance. The orchestration is colorful, like the bright tapestries of her dress. While death and suffering haunt the music, there is an echo of hope.

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III. Assembly Line Rivera described his murals as a depiction of “towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembly rooms; and all the men who worked them all.” Rather than pitting man against machine, Rivera thought the collaboration of man and machine would bring liberation for the worker.

The violin soloist in this final movement is like the worker, surrounded by a mechanical orchestra. The music is a roller coaster ride on a conveyor belt, moving rapidly in 7/8 time. This perpetual motion is punctuated by pizzicato strings, percussive whips, and brassy cluster chords. The percussion section plays factory noises on metal instruments like break drums and triangles, and a ratchet turns like the wheels of the machinery. In addition to this acceleration of multiple mechanical rhythms, the musical phrasing recalls the undulating wave pattern that moves from panel to panel in Rivera’s mural.

PAUL FREEMAN, MUSIC DIRECTOR

MAESTRO FREEMAN’S LAST SEASON Join the year‐long celebration of an American original!

October 30, 2010 Day of the Dead In a special concert new to the 2010‐2011 season, the Sinfonietta commemorates the Mexican holiday Día de los Muertos (Day of the Dead) honoring the dearly departed. Guest conductor Hector Guzman leads the orchestra through vivid sounds and imagery that contrasts the somber European traditions of mourning with the more jubilant celebrations of Latino cultures.

January 15, 16, & 17, 2011 A Dream Unfolds: Tribute to MLK In this beloved concert tradition, guest conductor Leslie B. Dunner joins Maestro Freeman and the Sinfonietta in paying tribute to Dr. Martin Luther King, Jr. Through a set of five works and multiple guest artists, this celebra‐ tion will commemorate King’s legacy and allow listeners to reflect on King’s indelible mark on American history.

March 28, 2011 Generation Next Looking toward the future of classical music, Maestro Freeman along with guest conductor Terrance Gray, currently the Associate Conductor of the Chicago Youth Symphony Orchestras, welcome some of the city’s finest young musicians for the season’s fourth concert.

May 22 & 23, 2011 Women in Classical Music In his final concert as Music Director, Maestro Freeman will be joined on the podium by Music Director Designate Mei‐Ann Chen for a concert hon‐ oring women in classical music, and includes Maestra Chen’s tribute to the Sinfonietta’s founder and guiding presence.

Chamber Music Series at Brookfield Zoo November 21, February 20, April 3 The Sinfonietta’s annual Chamber Series welcomes new partner Brookfield Zoo to present three Sunday afternoon concerts for the whole family programmed and led by Sinfonietta Principal Violist Renée Baker. We’ll explore the wonders of the natural world through music. Plus, your concert ticket includes admission to the Zoo before and after the show!

Save on multiple show ticket plans. Buy three shows to save 15%, or four to save 20%.*

Visit ChicagoSinfonietta.org or call 312.236.3681 ext 2 to purchase tickets. *Chamber Series sold separately

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

Renée Baker, who should be no stranger to the Sinfonietta audience having performed with the orchestra for twenty-four years, has created a work for her hometeam orchestra combining Japanese Taiko drumming with the Western orchestra.

Renée speaks about the process of creating Sundown’s Promise: “I used what appeared to be integral components of traditional Japanese harvest festivities. Harvest time is an important milestone in many lands. It can last for months depending on the crop but the success of the harvest can determine the quality of life, often for months to come.

Hard labor and a rewarding harvest is certainly reason to celebrate ... imagine a village celebrating the end of the harvesting season and the promise of sundown, with its’ repose until the next harvest. Imagine the anticipation of the soon to come celebration and its festivities. Traditionally in Japan the harvest festival surrounds the rice harvest. However, none of the rice from the harvest can be consumed until the dances, and processionals take place.

These festivals usually involve musicians with drums, flutes and bells.

Sundown’s Promise is comprised of the following sections, some of which are momentary, but all sections segue into the next, continuing the festivities.

I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. XIII.

Company Song Wa ( peace/balance) Wabi Sabi Pride Enkai (Banquet Feast) Transcendence No Mi Kai (Drinking party) Chant Sitting Walking Learning to see the Invisible Shime (Ending of celebration)

As in Haiku tradition, I wish the title(s) to invoke and suggest....

Gratitude to the Creator of the harvest...

In my music, I hope you find strength, hardship and humor…

All necessary realms of labor, resulting in the solidarity of shared community effort to bring in a life-giving harvest.”

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As conductor, educator, and composer for stage, screen, and the concert hall, Leonard Bernstein was one of the most charismatic and communicative advocates for classical music in America. Both consummate musician and showman, at the heart of all of his activities was a commitment to engaging and inspiring his audience. However, his score for the Oscar-winning film On the Waterfront, and the resulting Symphonic Suite from On the Waterfront almost did not exist. When Hollywood producer Sam Spiegel asked Bernstein to compose the score for the film, Bernstein was already in high demand. He had served as Associate Conductor of the New York Philharmonic, received accolades for his “Jeremiah” Symphony, and written the scores the popular Broadway shows Wonderful Town and On the Town. He was very resistant to writing for film, since the composer tends to take a back seat in the process.

Spiegel was able to court Bernstein out to California to see a rough cut of the film, which Bernstein documents in the essay “Upper Dubbing, Calif.” from The Joy of Music: “When I was first shown a rough cut of the picture I thought it a masterpiece of direction; and Marlon Brando seemed to me to give the greatest performance I had ever seen him give... I was swept away by my enthusiasm into accepting the commission to write the score, although I had thereto resisted all such offers on the grounds that it is a musically unsatisfactory experience for a composer to write a score whose chief merit ought to be its unobtrusiveness....” He set to work immediately, fell in love with the film, and became increasingly attached to the detailed and nuanced score he was crafting for it. Again from his essay, Bernstein recalls: “I had to keep reminding myself that it is really the least important part, that a spoken line covered by music is a line lost, and by that much a loss to the picture, while a bar of music completely obliterated by speech is only a bar of music lost and not necessarily a loss to the picture....

And so the composer sits by, protesting as he can, but ultimately accepting, be it with a heavy heart, the inevitable loss of a good part of his score. Everyone tries to comfort him. ‘You can always use it in a suite.’ Cold comfort. But after all is said and done, the others are right.”

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

The film, an intense drama set amongst the docks in post-WWII Hoboken New Jersey, received eight Oscars and in 1955 Bernstein went through his film score to craft a symphonic suite. Rather than assembling several scenes of the film as individual movements, Bernstein selected the strongest musical themes from the score and created a single cohesive work that, according to him, “follow as much as possible the chronological flow of the film itself.” The result is closer to the symphonic poems of Liszt rather than a simple hit-parade of favorite tunes.

Opening with the mournful horn melody, originally used as the main title sequence for the film, which recurs throughout as a way to hold the piece together, the piece explodes into both violent sections for percussion and tender lyrical strains. Most notable is Bernstein’s refusal to pander to his audience. Freed from the constraints of Hollywood, he avoids the obligatory happy ending of a big-budget picture with an outburst of rough and dissonant chords from the orchestra. The Suite far exceeds the obligatory collage of tunes

from a hit film and is, instead, a symphonic ode to the struggles of the working class in the 1950s. A fitting close to a concert dedicated to the Common Man. “I believe in people. I feel, love, need and respect people above all else, including natural scenery, organized piety and nationalistic superstructures. One human figure on the slope of a mountain can make the mountain disappear for me, one person fighting for truth can disqualify for me the entire system which had dispensed it.” - Leonard Bernstein Composer and writer John Glover writes notes, articles, and online courses for organizations such as the Los Angeles Philharmonic, Glimmerglass Opera, the Chicago Sinfonietta, Carnegie Hall, and Opera America. He has received grants and commissions from organizations including Meet The Composer, Glimmerglass Opera, violist Liuh-Wen Ting, and the American Conservatory Theater.

He currently lives in New York City and is developing a new opera ‘Our Basic Nature’ with American Opera Projects.

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PROFILES Maestro Paul Freeman, Music Director Maestro Paul Freeman is in his 24th season as Music Director of the Chicago Sinfonietta, a post he has held since his founding of the orchestra in 1987.

Born in Richmond, Virginia, Maestro Freeman has established himself as one of America’s leading conductors. In 1996, he was appointed music director and chief conductor of the Czech National Symphony Orchestra in Prague, a position he held simultaneously with his Chicago Sinfonietta till 2009.

From 1979 to 1989, he served as music director of the Victoria Symphony in Canada, principal guest conductor of the Helsinki Philharmonic in Finland, associate conductor of the Dallas and Detroit Symphony Orchestras, and music director of the Opera Theatre of Rochester, New York.

A recipient of the Mahler Award from the European Union of Arts, Freeman as a guest conductor has led more than 100 orchestras in over 30 countries. As one of America’s most successful recording conductors, he has approximately 200 releases to his credit. Freeman has been involved in more than a dozen televised orchestra productions in North American and Europe. He has been nominated for two Emmy Awards and constantly receives rave reviews for his recordings. The December 2000 issue of Fanfare magazine proclaimed Maestro Freeman “one of the finest conductors which our nation has produced.”

Dr. Freeman received his Ph.D. from Eastman School of Music. He studied on a U.S. Fulbright Grant in Berlin, and holds honorary doctorate degrees from Dominican and Loyola Universities. In 2005, Maestro Freeman was designated a HistoryMaker, having been nominated by the DuSable Museum of African American History, for his outstanding

contributions to African American life, history, and culture.

Maestro Freeman’s talent was summarized in the following quotation from Robert Marsh, longtime music critic for the Chicago Sun-Times: “Freeman conducts performances which are remarkable for their beauty and communicative force. He brings the sound of the Chicago Sinfonietta to the heights of angels.”

Harvey Felder, Guest Conductor Described by The Milwaukee Sentinel as “a thoughtful and sincere musician, with a stylish, poised podium presence,” Harvey Felder is currently the Music Director of the Tacoma Symphony.

Also active as a guest conductor, Harvey Felder made his Carnegie Hall debut during the 1991 Carnegie Hall at 100 celebration, leading the American Symphony Orchestra in a series of young people’s concerts. These appearances launched a guest conducting career which has included engagements with the National, Omaha, Baltimore, Seattle, American, Delaware, Honolulu, New Jersey, Baton Rouge, Santa Fe, North Carolina, Indianapolis, Madison, Missouri and Grant Park Symphony Orchestras, as well as the Kansas City, Rochester, Dayton, Orange County and Boulder Philharmonics, the Concord Chamber Orchestra, the Concerto Soloists of Philadelphia and the Pro Musica Chamber Orchestra. He conducted the Atlanta Symphony Orchestra in outreach, education and family concerts, as well as a holiday concert that was nationally televised on PBS. With the Chicago Symphony, Mr. Felder has led family and education concerts, as well as a nationally televised concerto competition concert on PBS. Outside of the U.S. Mr. Felder has appeared with the Osaka Telemann Chamber Orchestra (on two occasions), the Orquesta Sinfonica del Estados de Mexico, the Chicago Sinfonietta 11

P R O F I L E S ( c o n t .)

Orquesta Sinfonica Nacional de Costa Rica, and the New Japan Philharmonic.

He received his B.M. from the University of Wisconsin at Madison and his M.M. from the University of Michigan.

Well known for his music education programs, Mr. Felder was appointed to an ad hoc commission jointly assembled by the Kennedy and Getty Centers to develop recommendations for the inclusion of an arts curriculum in educational reform legislation. The commission’s findings were used by the Secretary of Education in the planning of the Educate America program and the congressional act Improving America’s Schools. He is the recipient of numerous awards, including Tacoma’s Arts Fund Outstanding Achievement in the Arts Award, a Citation of Excellence from the Wisconsin State Assembly, a Distinguished Citizen Award from the Wisconsin Civic Music Association, and the Distinguished Alumni Award from the University of Wisconsin-Madison.

Tai Murray, Violin Acclaimed as “superb” by The New York Times, twentyseven year old violinist Tai Murray is a rising star of her generation increasingly in demand for both recitals and orchestral engagements. She has performed on the stages of Berlin’s Konzerthaus, Chicago’s Orchestra Hall, Copenhagen’s Tivoli Gardens, Shanghai’s Concert Hall and New York’s Carnegie Hall and has collaborated with a wide range of conductors and instrumentalists including Marin Alsop, Alan Gilbert, Richard Goode, Jaime Laredo, Hannu Lintu, Dmitry Sitkovetsky and Mitsuko Uchida. During the 2009/10 season, she will make her Wigmore Hall recital debut as well as debuts with the Houston Symphony and the Detusche Oper am Rhein Orchestra.

She will also return to the Atlanta Symphony Orchestra, among others.

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Other recent debuts include those with the Cincinnati and Dallas symphony orchestras, Shanghai Symphony, London’s BBC Symphony, BBC Scottish Symphony, BBC Proms, the National Youth Orchestra of Venezuela and the Danish National Symphony Orchestra, as well as re-engagements with the Chicago, St. Louis, and Baltimore symphony orchestras.

An avid recitalist, Ms. Murray has performed in Boston, Chicago, La Jolla, Los Angeles, New Orleans, and Philadelphia with pianist Gilles Vonsattel, in addition to a critically acclaimed return to the Philadelphia Chamber Music Society (Winter ‘09) in a performance with pianist Lambert Orkis.

A dedicated chamber musician, Ms. Murray is a member of the conductorless East Coast Chamber Orchestra (ECCO). She has been on tour numerous times with Musicians from Marlboro and was a member of Lincoln Center’s Chamber Music Society II (2004-2006).

A native of Chicago, Ms. Murray studied with Yuval Yaron and Franco Gulli at Indiana University and Joel Smirnoff at The Juilliard School. Winner of an Avery Fisher Career Grant in 2004, Ms. Murray is currently a BBC New Generation Artist (2008-2010). She performs on a violin made for her in 2007 by distinguished and extraordinary luthier Mario Miralles.

JASC Tsukasa Taiko JASC Tsukasa Taiko, one of the leading taiko (Japanese drum) ensembles in the Chicago area, was established as a

P R O F I L E S ( c o n t .) resident arts program of the Japanese American Service Committee of Chicago (JASC) in 2004.

JASC Tsukasa Taiko’s mission is to preserve and pass on the traditional concepts of taiko as a cultural legacy and to utilize these concepts in expanding and evolving the taiko form. Dedicated to strengthening the Chicago Japanese American/Asian American communities and being a leader in the taiko drumming culture of the Midwest, JASC Tsukasa Taiko maintains an international profile by performing around the world throughout the year while remaining an active, positive presence in the metropolitan Chicago area.

In addition to presenting high-quality performance programs, JASC Tsukasa Taiko also offers classes, workshops, lectures, and demonstrations designed to teach people how to play taiko, as well as to advance the understanding of how the cultural arts are a reflection of a community’s heritage and legacy.

JASC Tsukasa Taiko has appeared at the Asian American Jazz Festival: Poland/Malta International Theatre Festival, the Smithsonian, San Francisco’s Yerba Buena Center for the Arts, Chicago’s Museum of Contemporary Art, the Chicago Cultural Center and Millennium Park.

Quarterly taiko class sessions and special workshops are offered throughout the year for students at all levels of experience. It is recommended that children be at least 5 years of age to begin classes.

The Toyoaki Shamisen Project, under the direction of prominent musician Tatsu Aoki, is a branch program of JASC Tsukasa Taiko, and offers instruction in the distinctive Zashiki tradition of shamisen (3-stringed lute) performance. Individual and group lessons in this unique, Tokyo-based style of performance are available.

Drummers: Eigen Aoki, Miyumi Aoki, Kioto Aoki, Kiyomi Negi Tran, Kenji Negi Tran, Koji Negi Tran, Warren Hidaka, Christine Nitahara, Michelle Nitahara, Justin Mark Shamisen: Lori Ashikawa, Amy Homma Head instructor: Amy Homma Instructor: Noriko Sugiyama Executive Producer:Tatsu Aoki Nicole LeGette, Butoh Dancer Nicole LeGette, Blushing Poppy Productions, is the only Midwestern artist dedicated to performing, producing, and teaching butoh; an expressive form of dance-theater that originated in 1959 Japan. She has traveled the world to study with masters of the form and has invited many of them to share their gifts with Chicago. For more information please visit, www.blushingpoppy.org.

Throughout the world, most cultures incorporate dance as part of the celebration of life cycles and significant moments within nature, community, and the individual. Butoh is a contemporary form of dance-theater from Japan (1959) that incorporates specific traditional arts with modern western influences in order to create new rituals for personal and communal deep expression.

Mankwe Ndosi, Vocalist Mankwe Ndosi (Twin Cities, MN) works in voice, word and improvisation, expanding vocabularies of song and collaborating with musicians, dancers, MC’s, and artists of all kinds. She has been performing in the Twin Cities and in Chicago for more than a decade, including national and international appearances with Nicole Mitchell, Atmosphere, Laurie Carlos, Ananya Dance Theater and Douglas R. Ewart. She has received support in Minnesota from the American Composer’s Forum/McKnight Foundation, The Jerome Foundation, and the Minnesota State Arts Board.

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P R O F I L E S ( c o n t .)

Renée Baker, Composer Renée Baker is founder/leader of thirteen contemporary music performance entities-- Chicago Modern Orchestra Project, FAQ tet, Mantra Blue Free Orchestra, Red Chai, Project 6, Wrinkled Linen, Connoisseur Musica String Ensemble (classical), Poemusici (spoken word group), Mimetic Cast (new music performance ensemble and publisher), Blanché (experimental orchestra ), Baker Artet, Tuntui (experimental piano quartet) and the Renée Baker Trio. She has created eclectic chamber festivals for Adler Planetarium, Shedd Aquarium, Joffrey Ballet Chamber Series, Norris Cultural Arts Center and Classical Symphony Hall.

As a composer, Ms. Baker has penned creative compositions for her own groups, as well as the Chicago

Sinfonietta Chamber Ensemble and Great Black Music Ensemble/AACM. In 2009, Ms. Baker’s compositions have premiered in Umbria, Italy and also have been performed at Suoni Per Il Popolo in Montreal. Ms. Baker has presented over twenty concerts including her compositions for the Chicago State University Student Afternoon recital Series, from 20022007. She has premiered over ten works on the Chicago Sinfonietta Chamber Series 2008-2010. Ms Baker was accepted into the cutting-edge Jazz Composers Orchestra Institute at Columbia University in July 2010.

She is currently working on music score for a film sponsored by the Chicago Architecture Foundation and is also composing scores for the Museum of Contemporary Art (Chicago), a program entitled Brass Epiphany, part of the 45th Anniversary celebration of the AACM to be presented in November 2010.

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IT’S MORE THAN JUST TALK

R E F L E C T I O N S O N T H E H I S TO R Y O F L A B O R I N C H I C AG O

By Les Orear, President Emeritus, Illinois Labor History Society From its inception, Chicago was assured of its future as a mighty industrial and commercial engine by virtue of its geographic location and growing command of essential transportation networks. Chicago’s future as the leading manufacturing and distribution center of the nation emerged in the post-Civil War period. At that time, industries vital to the national economy blossomed here -- agricultural processing such as livestock slaughter and meat packing, iron and steel production, railroading and other forms of transportation, printing, communication equipment, warehousing, farm equipment, and the manufacture of machinery.

The ability of the area to develop its favorable situations was enhanced by the abundance of labor (historically drawn chiefly from European immigration), the availability of open land, and access to capital in the East where thriving markets for consumption existed.

As industry developed its demand for labor, the urge on the part of labor to organize into unions intensified, particularly in the building trades, where the growth of the city was most immediately felt in the need for housing and commercial structures.

For example, the number of carpenters in Chicago shot up from 6,712 in 1880 to over 20,000 only ten years later in 1890. Within those years, the percentage of carpenters who were unionized also rose rapidly, doubling from 15% in 1880 to 30% in 1890.

As the city’s industries and labor force grew, Chicago became a battleground over the distribution of profits and the political direction that the forces of Capital and Labor would take.

Within this arena of struggle existed a variety of groups and political perspectives. While government sometimes assisted business interests in the suppression of labor activism, at other times it proved to be a legislative force to mitigate the harmful effects of corporate greed and provide for the public good.

On labor’s side, this period was marked by the popularity of a number of distinct political currents, including Populism; Socialism, as exemplified by such figures as American Railway Union leader Eugene V. Debs; and the more controversial ideas of Anarchism, including the IWW (Industrial Workers of the World), which held its founding convention in Chicago in 1905. The standard attitude within the American Federation of Labor was one of “pure-and-simple” trade unionism.

As the years passed, Chicago’s industrial base continued to expand, with the growth at the turn of the 20th century of the needle-craft industries, all of which became the focus of union organizing efforts by the employees. At the same time, public school teacher unionism in Chicago had taken hold and by mid-century, union growth among other public employees was well under way.

With the failure of the IWW to maintain a foothold in American industry, successful organization on an industry-wide basis lagged until the Great Depression and the election of Franklin Delano Roosevelt. As a part of his New Deal program, President Roosevelt urged the Congress to declare its support of collective bargaining Chicago Sinfonietta 15

R E F L E C TI O N S O N T H E H I S TO R Y O F L A B O R I N C H I C AG O ( c o n t .) and the role of organized labor. A tidal change took place with the passage of the National Labor Relations Act in 1935. Commonly referred to as the Wagner Act, it soon became known as labor’s Magna Carta.

Sensing an opportunity, John L. Lewis, President of the United Mine Workers (for many years an industrial union itself ), gathered together a committee of other industrial-style unions already in the American Federation of Labor. Primary among these members of the Committee on Industrial Organization (CIO) were the clothing workers. The committee proceeded to press the AFL to launch a major industrial union organizing campaign. The Lewis forces were rejected, whereupon the committee accepted its expulsion and created a rival central body in 1937, which it called the Congress of Industrial Organization (CIO).

The new CIO moved immediately to organize industrial workers, beginning with the steel and auto industries. Total union membership in the U.S. nearly doubled from 1935 to 1937, going from 3.5 to more than 7.5 million in that short time.

This included a gain for the AFL of around one million new members. The CIO expanded from the original nine internationals to 32 affiliates by 1937. Its ranks grew from 900,000 to 3.5 million. This growth was well reflected in Cahicago. In December 1953 the two federations merged into the AFL-CIO, thus becoming the largest body of organized workers in the world.

Tragically, the deindustrialization era, which began in the late 20th century with the emergence of widespread technological developments, saw significant decline of traditional industries. That is a trend which continues to this day. All of this has placed the service sector of the economy, such as teachers and government employees, into their current prominence within Chicago’s labor landscape.

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CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH Audience Matters is the Chicago Sinfonietta’s core educational program. This program provides an immersive introduction to classical music for elementary school students in the Chicago Public School system. Through the program, students learn about the families of instruments in the orchestra from teaching artists – Sinfonietta musicians – who also relate composers, history, art, and architecture to the various periods of classical music. On multiple visits, musicians from different sections of the orchestra demonstrate their instruments through experiential tools, integrating visual, audio, and tactile elements to help the students learn. In addition, students and their families are invited to all Sinfonietta performances for the season. Over 1,000 students are participating in Audience Matters this year thanks to our generous donors.

SEED (Student Ensembles with Excellence and Diversity) provides mentoring for young musicians. The SEED Program identifies talented high school musicians and offers them a series of workshops and master classes taught by Chicago Sinfonietta teacher-musicians in small ensemble settings. The program concludes with a concert performed by the ensembles. The goal of this program is to both inspire and mentor these young artists, and encourage their professional growth for the future.

Project Inclusion: Musicians of Color Fellowship Program The Chicago Sinfonietta is delighted to introduce the 2010 Class of Fellows for Project Inclusion. This program, begun in 2007, provides professional development opportunities for talented minority musicians funded through the generous support of Aon Cornerstone Innovative Solutions, the Chicago Community Trust, and Hewitt. Project Inclusion addresses the Sinfonietta’s long-term goal of increasing the number of minority musicians playing in orchestras across the U.S. by providing fellowships and ensemble experience for promising young musicians. Recent data shows that less than 3% of orchestral musicians performing with the top 1,000 orchestras are people of color.

Project Inclusion provides 2 year fellowships for young musicians of color that include rehearsing and performing with the orchestra, receiving one-on-one mentoring from senior members of the Sinfonietta, attending master classes and mock auditions, and assistance in job placement after completion of the program. We are delighted to introduce the 2010 class of Project Inclusion Orchestra Fellows. They are: Name Elizabeth Diaz Tamara Gonzalez Tasha Lawson

Instrument Flute Violin Horn

College Loyola DePaul LSU

We are also delighted to introduce the 2010 Project Inclusion Ensemble Fellows who will be performing in smaller ensembles at various locations throughout the year. They are: Name Ricardo Ferreira Kevin Lin Shawnita Tyus

Instrument Violin Viola Violin

College DePaul Roosevelt DePaul

Chicago Sinfonietta 17

CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH Project Inclusion Orchestra and Ensemble Fellows Program is managed by Renée Baker. Our mentors include orchestra members Renée Baker, Principal Viola, John Fairfield, Principal French Horn, Janice McDonald, Principal Flute, and Karen Nelson, Principal Second Violin.

Maestro Freeman notes, “We look forward to working with these talented musicians and aiding in their professional development. This program addresses the core of our mission and is a wonderful continuation of our past work. We sincerely thank all who have contributed to the development and implementation of Project Inclusion.”

We also wish to acknowledge some very important partners whose assistance has been invaluable in developing and implementing Project Inclusion: Chicago College of the Performing Arts at Roosevelt University – Henry Fogel, Dean DePaul School of Music – Donald E. Casey, Dean Northwestern University School of Music – Toni-Marie Montgomery, Dean We thank Aon Cornerstone Innovative Solutions, the Lead Sponsor of Project Inclusion. Thanks also to Supporting Sponsors Chicago Community Trust and Hewitt & Associates LLC.

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C H I C AG O S I N F O N I E T TA M I S S I O N The Mission of the Chicago Sinfonietta is to serve as a national model for inclusiveness and innovation in classical music through the presentation of the highest quality orchestral concerts and related programs. The Chicago Sinfonietta aspires to remove the barriers to participation in, and appreciation of classical music through its educational and outreach programs that expose children and their families to classical music, and by providing professional development opportunities for young musicians and composers of diverse backgrounds enabling new, important voices to be heard. This will help America become a true cultural democracy, in which everyone can share fully in its cultural resources and in which all can contribute to its cultural richness.

C H I C AG O S I N F O N I E T TA H I S TO R Y Maestro Paul Freeman founded the Chicago Sinfonietta in 1987 in response to the lack of opportunity for minority classical musicians, composers, and soloists.

Twenty-four season later, the Chicago Sinfonietta remains as the national model and true trailblazer for promoting diversity and inclusiveness in orchestral music.

The Chicago Sinfonietta has a proud history of having enriched the cultural, educational, and social quality of life in Chicago, while gaining significant recognition on the national and international stage. Committed to promoting diversity and inclusiveness in classical music, the Sinfonietta performs at Chicago’s Symphony Center, Lund Auditorium at Dominican University, Wentz Concert Hall in Naperville, and the Harris Theater for Music and Dance at Millennium Park. The Sinfonietta presents a full season of symphonic concerts as well as a Chamber Series which for the 2010/2011 season will be held at Brookfield Zoo. The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

Under the guidance of founding Music Director Paul Freeman, the orchestra performs at the highest artistic level and has achieved an outstanding reputation for its innovative programs. The Sinfonietta is dedicated to the authentic performance of Classical, Romantic and Contemporary repertoire and excels at presenting imaginative new works by composers and soloists of color.

Chicago Sinfonietta musicians truly represent the city’s rich cultural landscape and continue to fulfill the orchestra’s mission of Musical Excellence through Diversity™. A 2007 survey of major orchestras revealed that the Chicago Sinfonietta is the most diverse professional orchestra in the United States. Through this distinction, the Chicago Sinfonietta serves as a national model for inclusiveness in classical music.

During the first ten years, the orchestra embarked on six international tours performing concerts in Germany, Austria, Italy, Switzerland and the Canary Islands.

The Chicago Sinfonietta has produced fourteen compact discs, including the much heralded three-disc African Heritage Symphonic Series released on Cedille Records in 2002 and a live recording of the 2007 Tribute to Dr. Martin Luther King, Jr. concert. The orchestra has performed twice at the John F. Kennedy Center in Washington D.C. In August of 2008, the Chicago Sinfonietta made its debut performance at the Jay Pritzker Pavilion in Millennium Park to over 11,000 people and performed for over 90,000 people during 2009-2010.

Chicago Sinfonietta 19

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C H I C AG O S I N F O N I E T TA B OA R D O F D I R E C TO R S Cheri Chappelle........................................................................................................................ Chair Tara Dowd Gurber.................................................................................... Immediate Past Chair Anita Wilson.......................................................................................................................Secretary Mark J. Williams................................................................................................................. Treasurer Dean R. Nelson..............................................................................Marketing Committee Chair Nazneen Razi.................................................................................... Program Committee Chair Virginia Clarke........................................................................... Nominating Committee Chair Patrick Cermak .....................................................................Development Committee Chair Dr. Paul Freeman ............................................................................... Founding Music Director Mei-Ann Chen.................................................................................... Music Director Designate Jim Hirsch.......................................................................................................... Executive Director Dr. Neelum Aggarwal Karim Ahamed Anne Barlow-Johnston Linda Boasmond Phil Engel Margarete Evanoff Phil Gant III Dan Grossman Steven Hunter Gregory P. Jacobson Betty Johnson Nicole Johnson-Scales Kevin A. Krakora

John Luce Stephanie Springs Michelle Vanderlaan Kimberly Waller Greta Weathersby Chairs of Friends Organizations Dr. Lascelles Anderson – West Side Friends Linda Tuggle – South Side Friends Barbara Harper Norman – North Side Friends Kathleen Tannyhill – North Side Friends

C H I C AG O S I N F O N I E T TA A D M I N I S T R AT I V E P E R S O N N E L Jim Hirsch............................................................................................................ Executive Director Renée Baker..................................................................................................... Personnel Manager Paris Braxton...............................................................................Box Office/Database Manager Jeanetta Hampton............................................................................................Financial Director Jeff Handley..................................................................Education Outreach Program Director Christina Harris.........................................................................Production Manager/Librarian Don Macica..................................................................................................Marketing Consultant Courtney Perkins................................................................................. Director of Development William Porter...................................................................................................Assistant Librarian Ryan Smith....................................................................... Administrative/Website Coordinator

We Need You! Volunteer for the Chicago Sinfonietta, meet great people, and make a real difference. For information on how you can become a Sinfonietta volunteer, call Ryan Smith at 312-236-3681 x1552.

Classical music for your special event! The Chicago Sinfonietta’s wonderful and talented musicians are available to perform at parties, weddings, corporate meetings, or special events. For more information, call 312-236-3681 x 1553.

The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

Chicago Sinfonietta 21

BRIO Brio, the Chicago Sinfonietta’s Network for Young Professionals, is an affinity group for the culturally adventurous between the ages of 21 and 44 who embrace the universal language of music.

The mission of Brio is to extend the base of support for the Chicago Sinfonietta and its goals by engaging the next generation of culturally adventurous and philanthropically inclined audiences through access to behind-the-scenes experiences and volunteer opportunities.

To learn more about Brio, visit www.chicagosinfonietta.org/brio, or call Courtney Perkins at 312.284.1559.

BRIO LEADERSHIP COUNCIL Stanley Hill.................................................................................................................................. Chair Jasmin French............................................................................................. Immediate Past Chair Dalida Jongsma..................................................................................................................Secretary Mackenzie Phillips.............................................................................................................Treasurer Dana Austin Matthew Braun Michelle Crisanti

Steven Hunter Micaeh Johnson

Kameron Matthews Jacqueline N’Namdi

Danielle LeRoy David LeRoy Christopher Lloyd Lauren Loew Domingo Lugo Denise Matyas Jennifer Melsheimer Alyson Miller Brandi Mobley Natalie Moore Catherine Mugeria Jumaane N’Namdi Jay Parker Ilona Pawlak Brittany Pedersen Yolanda Pena

Nicole Pittmon Renauda Riddle Diane Robinson Ausra Rudaleviciute Samira Said Ruth Schlitz Nicole Sims Tanya Stanfield Kendra Thompson Lisa Ton Sacha Urban Douglas Weiss Davon Woodard Kara Wright Sherman Wright David Young

BRIO MEMBERS Ashley Amaya Joseph Besch William Biby Barbara Dael Stacey Devore Francine Eisner Jennifer Farkas Kelly Flowers Marcus Gemoets Eda Gjergo Megan Goering Jon Grosshans Shelby Harris Don Hodges Selina Hood-Freshnock Dongyan Huang

Special Occasions call for Special Treats.

Footlights Dining Guide offers great places to dine before the show, after the show, or anytime!

For advertising opportunities, call 888.376.3700.

WWW.FOOTLIGHTS.COM

22 Chicago Sinfonietta

C H I C AG O S I N F O N I E T TA P E R S O N N E L Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor VIOLIN Carol Lahti, concertmaster David Katz, asst. concertmaster Karen Nelson, principal second Nina Saito, asst. principal Mark Agnor Lucinda Ali Charles Bontrager Elizabeth Brausa-Brathwaite Melanie Clevert-Sarapa Tamara Gonzalez* Terrance Gray Carmen Llop-Kassinger Domnica Lungu Todd Matthews James Sanders Phyllis Sanders Gretchen Sherrell Edith Yokley VIOLA Becky Coffman, principal Andrew Dowd III Scott Dowd Robert Fisher Carl Johnston Vannia Phillips CELLO Edward Moore, principal Mark Anderson Donald Mead William Porter Teddy Rankin-Parker Andrew Snow BASS John Floeter, principal Christian Dillingham Brenda Donati Karl E.H. Seigfried Alan Steiner HARP Faye Seeman PIANO Donald Mead

FLUTE Janice MacDonald, principal Claudia Cryer Nicole Mitchell Elizabeth Diaz* OBOE Ricardo Castaneda, principal June Matayoshi CLARINET Leslie Grimm, acting principal Dileep Gangolli Daniel Won BASSOON Robert Barris, principal Peter Brusen Rachael Young SAXOPHONE Chip Gdalman FRENCH HORN John Fairfield, principal Laura Fairfield Beth Mazur-Johnson John Schreckengost Tasha Lawson* TRUMPET Edgar Campos, principal John Burson Charles Finton Kevin Wood TROMBONE Katherine Stubbins, principal Robert Hoffhines John McAllister TUBA Sean Whitaker TIMPANI Robert Everson, principal Joel Cohen PERCUSSION Jeff Handley, principal Jon Johnson Tina Laughlin

Names of players are listed in alphabetical order, as the Chicago Sinfonietta uses seat rotation except for principals. * Project Inclusion Fellow Chicago Sinfonietta 23

MEET OUR LIFETIME TRUSTEES We are honored to introduce five people who have made a huge difference for the Chicago Sinfonietta since our founding in 1987. Michelle Collins, Bettiann Gardner, Weldon Rougeau, Audrey Tuggle, and Roger Wilson were elected by the Chicago Sinfonietta Board of Directors as members of the first class of Lifetime Trustees in recognition of their contributions and leadership.

Michelle Collins Michelle joined the Chicago Sinfonietta Board of Directors in 1995 and became the chair in 2001. She served as chair until 2007. Michelle has been, and continues to be one of the orchestra’s most creative thought leaders and consistent and generous supporters.

She hired current Executive Director Jim Hirsch in 2004. The Sinfonietta launched some of its most important initiatives under Michelle’s leadership including Project Inclusion, the chamber music series, and the SEED Program that serves high-school age student-musicians. Michelle is the Principal of Cambium LLC. Bettiann Gardner Bettiann has been a stalwart supporter and leader for the Chicago Sinfonietta since the very beginning. She served on the Board of Directors early in the orchestra’s history and as chair of various committees and initiatives throughout her long and ongoing association with the Sinfonietta. Bettiann, and her husband Ed, have been instrumental in supporting our concerts, recordings, tours, and educational programs. We would not be here without their generous and ongoing support.

Weldon Rougeau Weldon served as a founding member of the Sinfonietta’s board and as an officer and president of the organization during his long tenure. He and his wife Shirley have been long-time supporters of the Sinfonietta, even after

24 Chicago Sinfonietta

his work took him to Washington, DC a number of years ago. Weldon served as the president and chief executive officer of the Congressional Black Caucus Foundation and is currently a Principal at Blank Rome in Washington, DC. Audrey Tuggle Audrey was recruited to the South Side Friends by its founder Betty Wilkens and began her work on behalf of the orchestra as a member and leader of this critical support group. She founded the Magical Holiday Breakfast ten years ago, the delightful fundraising event presented every December by the Friends at Navy Pier which has raised well over $250,000 in support of the orchestra’s educational and concert programs since its inception. Audrey chaired the Sinfonietta’s 20th Anniversary celebration in 2007 at the Civic Opera House and turned it into the elegant Ball that it has now become. She continues to support the orchestra through her leadership and volunteering.

Roger Wilson Roger began his work on behalf of the Chicago Sinfonietta in 1987 as one of the original members of the Board of Directors, a position he held until 2005. During his tenure he served as a member of the Executive Committee as both Secretary and Treasurer. Roger also served as chair of the Gala and both raised and personally contributed significant funds that enabled the orchestra to grow and flourish. He is Senior Vice President, General Counsel and Corporate Secretary for Blue Cross Blue Shield Association.

I N D I V I D UA L A N D I N S T I T U I O N A L S U P P O R T E R S The Chicago Sinfonietta gratefully acknowledges the following contributors (as of 9-7-10): Concert Circle ($50,000+) Anonymous Aon Cornerstone Chicago Community Trust The Joyce Foundation National Endowment for the Arts Recovery Act The Wallace Foundation Premier Circle ($25,000-$49,999) Alphawood Foundation Anonymous ABC7 Blue Cross Blue Shield of Illinois The Boeing Company Charitable Trust Mrs. Bettiann Gardner Exelon JP Morgan Chase Foundation Kraft Foods Global, Inc. Prince Charitable Trust Polk Bros. Foundation Lloyd A. Fry Foundation Southside Friends of the Chicago Sinfonietta

Crescendo Circle ($10,000-$24,999) Baxter The Collins Family Fund Gaylord and Dorothy Donnelley Foundation Ms. Tara Dowd Gurber Hewitt Illinois Tool Works, Inc. Jenner and Block LLP Mr. and Mrs. William Johnson John Mathias Elizabeth Morse Genius Charitable Trust National Endowment for the Arts Northern Trust Charitable Trust Northside Friends of the Chicago Sinfonietta People’s Energy The Albert Pick, Jr. Fund PricewaterhouseCoopers Wight & Company Presto Circle ($5,000-$9,999) Anonymous Ms. Renée Baker

Cedar Concepts Corporation Chicago Tribune Foundation DLA Piper US LLP Richard H. Driehaus Foundation Fifth Third Bank – Jacob G. Schmidlapp Trusts Mrs. Jill Fitzgerald Ann and Gordon Getty Foundation Grainger John R. Halligan Charitable Fund Jim and Michelle Hirsch Drs. Peyton and Betty Hutchison Illinois Arts Council Illinois Tool Works Foundation Irving Harris Foundation The Jacobson Group Macy’s Mr. and Mrs. Salhuddin and Nazneen Razi Reed Smith LLP Mr. Mark Williams

The Albert Pick Jr. Fund is a proud sponsor of this evening's performance and joins the Chicago Sinfonietta in paying tribute to working women and men everywhere.

www.albertpickjrfund.org Chicago Sinfonietta 25

I N D I V I D UA L A N D I N S T I T U I O N A L S U P P O R T E R S ( c o n t .)

Vivace Circle ($2,500-$4,999) Dr. Neelum Aggarwal Anonymous Mr. Karim Ahamed Ms. Karen Beal Ms. Anne Barlow Johnston Challenger, Gray and Christmas City Arts - Department of Cultural Affairs Ms. Virginia Clarke Columbia College Chicago, Institute for the Study of Women and Gender in the Arts and Media Deloitte Consulting LLP Ms. Diane Dowd Mr. and Mrs. Philip L. Engel Mr. and Mrs. Phil and LaJule Gant Mr. Dan Grossman Ms. Susan Irion Jack & Jill of America Foundation Jones Lang LaSalle Mr. Kevin Krakora Motorola, Inc. Mr. and Mrs. Dean Nelson Quarles & Brady LLP Mr. and Mrs. Weldon Rougeau Sage Foundation Mr. and Mrs. John and Margaret Saphir Ms. Stephanie S. Springs Ms. Michelle Vanderlaan Ms. Anita Wilson The Farny R. Wurlitzer Foundation Allegro Circle ($1,000-$2,499) Ms. Kathy Abelson In Honor of Maestro Freeman Mr. Richard Anderson Mr. and Mrs. James and Susan Annable In Memory of William Johnston Ariel Capital Management, LLC Linda and Eric Boasmond Ms. Elena Bradie Hon. Roland Burris R. M. Chin & Associates Mr. and Mrs. William and Arlene Connell Ms. Jennifer Connelly Ms. Frances Dixon Ms. Catherine Dowd Mr. Jamal Edwards Barbara J. Farnandis, Ph.D Mr. Doug Freeman Ms. Sharon Hatchett Mr. Prentiss Jackson and Dr. Cynthia Henderson Mr. John Janowiak Ms. Carol B. Johnson 26 Chicago Sinfonietta

Ms. Jetta Jones Catherine and Jack Koten Mr. Joe Lerner Liberty Mutual Mr. and Mrs. Richard McKinlay Mesirow Financial Mr. Michael Morris Dr. John D. Morrison Mr. Walter Nelson Oak Park Area Arts Council Mr. Quintin E. Primo III Ms. Brenda Pulliam Ruzicka and Associates, LTD. Mr. and Mrs. R.E. Sargent Mr. Michael Sawyier Mr. James Stone Mr. Alexander Terras Ms. Almarie Wagner Ms. Cheri Wilson-Chappelle Roger G. Wilson and Hon. Giovinella Gonthieu Mr. and Mrs. Patrick Wooldridge Mr. and Mrs. Joseph Yokley Forte Circle ($500-$999) Ms. Rochelle Allen Anonymous Mr. Stephen C. Baker Mr. Dennis Bartolucci Ms. Yasmin Bates Mr. and Mrs. Lerone Bennett, Jr. Dr. Vanice (Van) Billups, Ph.D. Mr. Raymond Bisanz Dr. and Mrs. Simon Boyd Ms. Teri Boyd and Mr. Aleksandar Hemon Dr. and Mrs. Arthur Brazier Mr. Rich Brey Ms. Beulah R. Brooks Mr. Brady Brownlee Mr. Paul Bujak Ms. Luz Chavez The Chicago Classical Recording Society Chicago Federation of Musicians Mr. and Mrs. John T. Clark Mr. Wheeler Coleman Dr. Roosevelt Collins and Jean Collins Ms. Rita Curry Mr. and Mrs. Michael Damsky Ms. Marsha Davis Marilyn and Robert Day Ms. Karen DeLau Mr. Michael de Santiago Mr. William DeWoskin Ms. Tatiana K. Dixon Ms. Toni Dunning Mr. Alan Eaks Dr. Gloria Elam-Norris Deborah and David Epstein Foundation Epstein Global Carmen and Earnest Fair Ms. Deb Kerr

Mr. Michael Falbo Mr. James Foley Rosalind and Gilbert Frye Mr. Stanley Hilton Mr. Richard Gamble Ms. Alice Greenhouse Mr. and Mrs. Timothy Greening Ms. Joyce Grey Boston Consulting Group Mrs. Ann E. Grube Ms. Gwendolyn Hatten Butler Dr. and Mrs. James Haughton Mr. Stanley Hill, Sr. Mr. Pran Jha Ms. Phyllis James Ms. Micaeh Johnson Ms. Nicole Johnson Scales Mr. Drew Kent Mr. Eric King Mr. Thomas Kirschbraun La Rabida Children’s Hospital Ms. Natalie Lewis Dr. John and Doug Luce Chuck and Jan Mackie Mr. George Mansour Ms. Toya Marionneaux Ms. Janis E. Marley Mr. and Mrs. Walter and Shirley Massey Ms. Beatrice W. Miller Mr. and Mrs. Stephen and Cindy Mitchell Ms. Constance Montgomery Ms. Isobel Neal Ms. Judy Petty Mrs. Marion Roberts John and Gwendolyn Rogers Mr. Al Sharp Mr. and Mrs. William Scott Sidley Austin Foundation Ruth and Frederick Spiegel Foundation Ms. Alisa Starks Mrs. Tammy Steele Mr. and Mrs. James W. Stone Ms. Kathleen Tannyhill Ms. Jacqueline Taylor Ms. Dana Thomas Austin The Rise Group Ms. Lonnette Tuggle Alexander Mr. and Mrs. Peter and Pooja Vukosavich Mr. and Mrs. David Winton Dr. and Mrs. Roland Waryjas Ms. Thelma Westmoreland Mr. Tramayne Whitney Mr. Hugh Williams Ms. Elizabeth S. Wilkins Mr. and Mrs. Bruce and Rita Wilson Ms. Beatrice Young Patron’s Circle ($250-$499) Advisor Charitable Gift Fund Ms. Iris Atkins Dr. Lascelles Anderson

I N D I V I D UA L A N D I N S T I T U I O N A L S U P P O R T E R S ( c o n t .)

Ms. Mary Lou Bacon*** Mr. Jeff Baddeley Ms. Zita Baltramonas Mr. Peter Barrett Mr. Walter Becky II Mr. Perry Berke Ms. Michelle Bibbs Mr. Arthur Boddie Ms. Barbara Bowles Ms. Laurie Brady Ms. Pauline Spicer Brown Ms. Ina Burd Ms. J.C. Campbell Mr. Ruben Cannon Ms. Kimberly Chase Harding Ms. Aimee Christ Mr. and Mrs. John Clark Mr. Michael Cleavenger Mr. Lawrence Cohn Mr. and Mrs. Lewis and Marge Collens Ms. Kevann Cooke William R. Crozier and Judy Chrisman Ms. Barbara Cress Lawrence Mr. Joseph Danahy Ms. Marsha Davis Ms. Bertha DePriest Ms. Gloria Dillard Mr. Patrick Dorsey Joanne and Bob Dulski Ms. Maxine Duster Ms. Murrell Higgins Duster Ms. Sarah Ebner Ms. Sylvia Edwards Mr. Paul M. Embree Ms. Emelda L. Estell Ms. Margarete Evanoff Ms. Marcia Flick Ms. Roshni Flynn Franczek Radelet Attorneys and Counselors Sue and Paul Freehling Mr. Dennis Fruin Gabriel Fuentes Ms. Denise Gardner Ms. Randilyn Gilliam Ms. Jean Grant Mr. Brian Gurber Ms. Janice Hamasaki Ms. Alyce Hammons Ms. Murrell Higgins Duster C. M. Govia Mr. Scott Hargadon Harris Bank Foundation Ms. Marilyn Heckmyer Mr. Jay Heyman Mr. Stan Hill IBM International Foundation I-Stats Med Inc. The Janotta-Pearsall Family Fund Ms. Carol B. Johnson Mr. and Mrs. George E. Johnson Ms. Joyce Johnson Miller Mr. Todd Much

Ms. Mary James Ms. Paula K. Jones Mr. William Jones Katten Temple LLC Mr. Steve King Mr. Fred Labed Mr. and Mrs. Richard and Roberta Larson Ms. Louise Lee Reid Dr. and Mrs. Edwin J. Liebner Mr. and Mrs. Arnie Lenters Ms. Vivian Loseth Mrs. Christine Loving Mr. Craig Jeffery and Ms. Barua Manali Mr. Matthew Mantell Ms. Janis Marley Mr. Hasan Merchant Ms. Irene Meyer Ms. Doris Merrity Ms. Carole C. Miller –Wood Mr. Scott Miller Ms. Constance Montgomery Ms. Helen Moore Ms. Nailah D. Muttalib Drs. Donald E. and Mary Ellen Newsom Ms. Dorothy Nisbeth Ms. Alison E. Nelson Ms. Joyce Norman Ms. Deidra Ann Norris Jeff and Susan Pearsall Fund Mr. Gary Pelz Ms. Dolores Pettitt Mr. and Mrs. Joe and Naomi Petty Ms. Mackenzie Phillips Ms. Harriet Piccirilli Mr. James W. Rankin Mr. and Mrs. Cordell Reed Andre and Dana Rice Ms. Marion Roberts Ms. Penelope Robinson Susan Rogers Ms. Helen Rosales Ms. Jagriti Ruparel Ms. Nisha Ruparel-Sen Ms. Gloria Silverman Mr. Robert Smith Dr. Glenda Smith Ms. Mary Ann Spiegel Ms. Joyce Stricklin Ms. Sheila Tucker Ms. Audrey Tuggle Ms. Linda S. Tuggle David Hirschman and Morrison Torrey Mr. David J. Varnerin Mr. Darwin Walton Ms. Thelma Westmoreland Ms. Dorothy White Ms. Regina Allen Wilson Ms. Gladys Woods Mrs. Ruth O. Wooldridge Nicala R. Carter-Woolfolk Ms. Aline O. Young

Sustainer’s Circle ($100-$249) Mr. Finis Abernathy Ms. Ruth A. Allin Ms. Arlene Alpert Dr. Anna Anthony…

Ms. Rita Bakewell Ms. Karen Beal Mr. David Beedy Ms. Janice Bell Ms. Melanie Berg Ms. Geneva Bishop Mr. Stephen Blessman Ms. Diana Frances Blitzer John Paul Blosser Mr. Darryl Boggs Ms. Joyce Bowles Ruby and Romural Bradley W. G. and Joann Braman Ms. Martha Brummitt Bob Bujak In Honor of Dorothy White Irving and Ragina L. Bunton Dr. Rose Butler Hayes Ms. Karen Callaway Ms. Debra O. Callen Mr. Greg Cameron In Honor of Audrey Tuggle M. J. Cannizzo Mr. David Carnerin Richard and Nancy Carrigan Ms. Julia Cartwright Certified Tax Service Mr. and Mrs. Richard and Jeanne Chaney Mr. Thomas Chesrown Mr. and Mrs. Robert and Vivian Church Michael and Peg Cleary Ira and Nancy Cohen Mr. William Cousins, Jr. Ms. Mary-Terese Cozzola Bob and Mary Ellen Creighton Ms. Geraldine Cunningham Ms. Gwendolyn Currin Mr. and Mrs. Tapas and Judy Das Gupta Ms. Donna Davies Mr. and Mrs. Charles and Rosalie Davis Thomas and Linda Davis Joseph and Susanna Davison Mr. and Mrs. Kenneth H. Dawson Tom and Samantha DeKoven Ms. Shirley Dillard Joann and Bob Dulski Mr. and Mrs. Goodwin W. Duncan Clarice Durham Ms. Patricia Eichenold Robert Elston and Patricia Sloan Barbara and Charlotte Fanta Mr. and Mrs. Paul and LaVergne Fanta Ms. Susan Fiore Chicago Sinfonietta 27

I N D I V I D UA L A N D I N S T I T U I O N A L S U P P O R T E R S ( c o n t .)

Ms. Joan Y. Fleming Ms. Pricilla Florence Dr. Juliann Bluitt Foster Ms. Victoria Frank Ms. J. Friedman Mr. and Mrs. James Gervasio Ms. Barbara Gilbert Ms. Phyllis Glink Mr. and Mrs. Timothy Greening Mr. James Grisby Anita & Warren Harder Ms. Gwendolyn Hudson Ms. Doric Hullihan Mr. Clifford Hunt Ms. Delores Ivery Ms. Pat Emmer Ms. Carol Gilbertson Ms. Irene Goldstein Ms. Andrea Green Ms. Flora Braxton Green Mr. and Mrs. Andrew and Mary Lee Greenlee Ms. Susan Grossman In Honor of Dan and Caroline Grossman Mr. Calvin Hall, Sr. Ms. Alyce G. Hammons Ms. Gwendolyn Harden Doris J. Harris Mr. Dolphin S. Harris Mr. Herbert C. Harris

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Ms. Deborah Minor Harvey Gloria O. Hemphill Ms. Barbara J. Herron Ms. Ruth Horwich Ms. Yvonne Huntley Ms. Delores Ivery Mr. and Mrs. John and Leola Jackson Mr. Prentiss Jackson Ms. Kennie M. James Ms. Mary L. Jannotta Mr. Dwayne Jasper Mr. James Johnson Ms. Sharon R. Johnston Ms. Constance J. Jones Ms. Marion Jones Ms. Patricia Kilduff Mr. Bryant Kim Marie C. King Ms. Patricia Koldyke Joan H. Lawson Mr. Robert B. Lifton Mr. and Mrs. J. Samuel Lovering Ms. Patricia Long Ms. Corinne Allen McArdle Ms. Sylvia McClendon Estelle McDougal Lanier Ms. Rosemary Levine Nini and Tom Lyman III Ms. Shirley Martin

Ms. Grace L. Mathis Mr. Ruben McClendon, Jr. Mr. and Mrs. Thomas McLean Ms. Joyce Merriwether Dr. Irene M. Meyer Ms. Cindy Mitchel Robert Moeller Mary Momsen Calvin Morris Edgar and Wilda Morris Ms. Peggy Montes Ms. Catherine Mugeria Monica Murtha Mr. James Myers Ms. Myrna Nolan Ms. Joyce Norman Ms. Karen Noorani Mr. Dragic M. Obradovic Margaret O’Hara Mr. Paul Oppenheim Ms. Dorris Ove Mr. Larry Owens Allen and Georga Parchem Ms. Gail Harvey Parker Ms. Maude Patterson Ms. Donna M. Perisee McFarlane Ms. Anna M. Perkins Toussaint and Thelma Perkins Martha B. Peters Ms. Catherine Pickar

I N D I V I D UA L A N D I N S T I T U I O N A L S U P P O R T E R S ( c o n t .)

Ms. Rosemary Pietrzak Mr. and Mrs. Larry and Judy Pitts Ms. Katherine Ragnar Mr. Brian Ray Ms. Elizabeth Ray Ms. Lois Wells Reed Mr. and Mrs. Jack Rogers Ms. Marcia L. Rogers Ms. Susan Rogers Ms. Ida L. Scott Mr. Howard J. Seller Ms. Elizabeth Selmier Howard S. Shapiro Mr. and Mrs. Martin Silverman Mr. Craig Sokol South Shore Cultural Center In Memory of Anna Anthony Ms. Jeanne Sparrow Doris and Herman Smith Ms. Hope D. Smith Franklin St. Lawrence Mr. and Mrs. Joan and Charles Staples Ms. Betty J. M. Starks Ms. Marie Stauch Mr. Frankie Stephens Mr. Brian Stinton Mr. James Stone Ms. Lisa Sullivan Ms. Peggy Sullivan Mr. Michael Sutko Mr. and Mrs. Steven and Astrida Tantillo Janet and Samme Thompson Ms. Bradena Thomas Cordelia D. Twitty Ms. Gloria Cecilia Valentino Mr. John J. Viera Ms. Carol R. Vieth Ms. Audrey Walker Mr. John Wallace Anita M. Ward Ms. Jean E. Webster Ken and Marie Wester Mr. Jay N. Whipple, Jr. Ms. Melissa A. Whitson Ms. Vera Wilkins Mr. Brian Williams Mr. Harold Wingfield Ms. Gladys Woods Mr. and Mrs. Eric Yondorf Mr. Clyde A. Young III Ms. Milicent Young Yvonne L. Young Friend’s Circle (To $99) Anonymous Mr. Howard Ackerman Ms. Carolyn S. Austin Mr. Charles A. Baker Ms. Barbara Ballinger Ms. Gail Banks Crotaluer Barnett Ms. Jann Beauchamp Ms. Judith Beisser Mr. Tomas G. Bissonnette

Ms. Mary Blomquist Bruce and Faith Bonecutter Donald and Irma Bravin Ms. Cynthia Brown Ms. Laura Bunting Ms. Trina Burruss Ms. Anne Canapary Mr. William Cassin Dr. and Mrs. Roque Cordero Reverend Robert Cross William and Arlene Connell Mr. Andrew Cutler Ms. Kassie Davis Mr. Thomas Davis Mr. and Mrs. Ted and Joanne Despotes Ms. Alison Donn Ms. Joan Doss Anderson Marshall Keltz and Bill Drewry Mr. Marvin Dyson Mr. and Mrs. John and Pamela Eggum Ms. Delores Ellison Ms. Sondra L. Few Ms. Annette Ford Ms. Diana Frances Ms. Laura Dean Friedrich Martha Garrett Ms. Ellen Gary Mr. and Mrs. James and Annleola Gervasio Ms. Phyllis J. Gilfoyle Ms. Marcella E. Gillie Mr. James Ginsburg Ms. Julia Golnick Ms. Ophelia Goodrum Ms. Barbara Greenlee Ms. Doris M. Gruskin Ms. Phyllis Handel Ms. Harriet Hausman Ms. Lori Hayes Shaw Marilyn Heckmyer Mr. William Heelan Ms. Mia Henry Ms. Rhonda Hill Ms. Florence L. Hirsch Alsencia Warren Hodo In Honor of Patricia Bournique Holloway Ms. Holly Hughes Ms. Rosemary Jack Ms. Doris Jackson Ms. Vera Curry James Ms. Argie Johnson Ms. Beulah Johnson Mr. Ray Johnson Mr. and Mrs. Kenneth and Charlotte Kenzel Carol Kipperman George & Velna Kolodziej Mr. Robert Lardner Mrs. Willie E. Legardy Ms. Pearl Madlock Pearl Malk Alefiyah Master June Matayoshi Mr. John M. McDonald

Ms. Yvonne D. McElroy Mr. and Mrs. Dick and Peg McKinlay Mr. and Mrs. Thomas and Sharon McLean Irene M. Meyer Barbara Millar Ms. Vivian Mitchel Ms. Madeline Moon Kathryn and Fred Nirde Ms. Earnestine Norwood Ms. Sally Nusinson Jewell K. Oates Delano and Bonita O’Banion Ms. Irma Olmedo Ms. Gertrude O’Reilly Mr. Gary C. Pelz Noel and Bella Perlman Joan and Robert Pope Mr. Clyde Proctor Ms. Jennifer Reed E. Dolores Register Ms. Janice E. Rhodes J. Dennis and Eli Rich Ms. Gloria Rigoni Mr. Arnold Robinson Ms. Michele Robinson In Memory of Ethel Sparrow Ms. Marguerite L. Saecker Ms. Mary Rose Sarno Rev. and Mrs. Don Schilling Mr. Jeff Scurry In Honor of Josephine Scurry Ms. June Shivers Mr. Herbert Siegel Mr. Brian Sikoyski Gloria P. Silverman Living Trust Tomas Bissonnette and Rita Simo Ms. Anna Cooper Stanton Ms. Lydia Smutny Sterba Caesar and Patricia Tabet In Honor of Jacquié Taylor from Claire Laton-Taylor Ms. Shelby Tennant Mr. Melvin Thomas Albert and Glennette Turner Ms. Dorothy V. Wadley Ms. Georgene Walters Ms. Erika Walton Mr. and Mrs. Bruce and Rita Watson Mr. Jay Wilcoxen Ms. Consuelo Williams In Memory of George Williams Ms. Ruth Teena Williams Ms. Lynn Winikates David and Nancy Winton Kionne Annette Wyndewicke Michele Sutton Yeadon ***

In Loving Memory

Chicago Sinfonietta 29

OTHER SUPPORTERS The Chicago Sinfonietta is supported by grants from the Illinois Arts Council, a state agency; the Joyce Foundation; the Chicago Community Trust; the Chicago Department of Cultural Affairs CityArts Program; the National Endowment for the Arts, and other generous sponsors.

– Chicago Sinfonietta patrons are invited to enjoy a special $41 three-course pre-or post-concert dining menu at aria.

– The official hotel sponsor of the Chicago Sinfonietta.

– Parking partner of the Chicago Sinfonietta

The Chicago Sinfonietta is represented by the Silverman Group for public relations services.

The Sinfonietta thanks Starbucks for the donation of coffee for our Lund Auditorium concerts.

THANKS TO THE SAINTS, Volunteers for the Performing Arts. For information visit

www.saintschicago.org or call 773-529-5510.

30 Chicago Sinfonietta

T H E F R I E N D S G R O U P S O F T H E C H I C AG O S I N F O N I E T TA The Friends of the Chicago Sinfonietta is made up of three volunteer organizations - the North, South, and West Side chapters - that promote the Sinfonietta and its mission. These groups introduce the Sinfonietta to new audiences and seek their involvement as subscribers, attendees, contributors, and volunteers.

For more information about how you can become involved, contact the Chicago Sinfonietta at 312.236.3681.

North Side Chapter Barbara Norman, Co-Chair Kathleen Tannyhill, Co-Chair Rochelle Allen Anna Anthony Rita Curry Dr. Milton Draper Stanley Hilton Drs. Betty and Peyton Hutchison Carol Johnson Constance Montgomery Nailah Muttalib Charlz Payne Beverly Washington

Antoinette Scott Sharon E. Scott Glenda Smith, Ph.D. Joyce Occomy Stricklin Sheila Tucker Audrey Tuggle Dorothy R. White Elizabeth Wilkins Rita Wilson Barbara Wright-Pryor Aline O. Young West Side Chapter Dr. Lascelles Anderson, Chair

South Side Chapter Linda Tuggle, Chair Lonnette Alexander Iris Atkins Julie Bargowski Beulah R. Brooks Pauline Spicer Brown Christine Browne Carole H. Butler Anna Cannon Cheri Chappelle Bobbi Jo Donelson Elise Howard Edmond Emelda L. Estell Eileen Foggie Ellen Gary Joyce R. Grey Janice M. Hamasaki Sharon Hatchett Veronica S. Jenifer Nekesa J. Josey Janis E. Marley Doris Merrity Beatrice W. Miller‌ Helen P. Moore Jacqueline L. Moore Joyce M. Norman Marcia A. Preston Gwendolyn Ritchie Marion E. Roberts

Barbara Ballinger Jann Beauchamp Angela Billings Drs. Ernest and Vanice (Van) Billups, Ph.D. Bruce and Faith Bonecutter Byron T. Broderick Judy Chrisman William and Barbara Coates Bob and Mary Ellen Creighton William Crozier Eleanor M. Dunn Mr. and Mrs. Robert Freeman Flora Green Laurie Heckman Carole Hohmeier Linda Jacobson Mary James Bob Kohl Fred and Barbara Larson Mr.& Mrs. Kweku Leighton-Armah Everlean Manning Dick and Peg McKinlay Dr. John Morrison Adekunle Onayemi Ruth Peaslee John Putnam Richard and Roberta Raymond-Larson Lois Reed Janice Rhodes Jane Shirley Mabel Sims-Barnes John Troelstrup Chicago Sinfonietta 31

C H I C AG O C L A S S I C A L M U S I C .O R G Don’t miss out – visit chicagoclassicalmusic.org today! Highlighting an in-depth, behind-the-scenes look into Chicago’s world of classical music, the site features a comprehensive classical music events calendar, Hot Deal discounted tickets, a classical music news feed, forums to discuss the arts, blogs and articles written by musicians and leaders of top classical organizations in Chicago (including the Sinfonietta’s own Executive Director, Jim Hirsch),and much, much more. You can create your own user profile, post comments, articles and reviews!

So get engaged and join Chicago’s classical music online community – www.chicagoclassicalmusic.org!

Our 31 Participating organizations include Ars Antigua, Ars Viva, Avalon String Quartet, Baroque Band, Cedille Records, Chicago a cappella, Chicago Chamber Musicians, Chicago Cultural Center – Department of Cultural Affairs, Chicago Opera Theater, Chicago Philharmonic, Chicago Sinfonietta, Chicago Symphony Orchestra, CUBE, Dominican University Performing Arts Center, Elmhurst Choral Union, Fulcrum Point New Music Project, Grant Park Music Festival, Harris Theater for Music and Dance, Illinois Philharmonic Orchestra, Light Opera Works, Mostly Music Chicago, Music of the Baroque, Newberry Consort, Pacifica Quartet, Pick-Staiger Concert Hall, Northwestern University, Ravinia, Rembrandt Chamber Players, St. Charles Singers, The Chicago Ensemble, University of Chicago Presents, and WFMT.

Generous support is provided by the MacArthur Foundation.

7900 West Division Street River Forest, IL 60305

BOX OFFICE (708) 488-5000 or dom.edu/pac

Friday, September 10, 2010 | 7:30 p.m.

PRESIDENT’S SIGNATURE CONCERT

Sara Evans

Saturday, October 9, 2010 | 7:30 p.m.

The Wiz Music and lyrics by Charlie Smalls, book by William F. Brown; Based on The Wonderful Wizard of Oz by L. Frank Baum November 12-14, 2010

Sérgio and Odair Assad Saturday, November 20, 2010 | 7:30 p.m.

HOLIDAY CONCERT

Sweet Honey in the Rock® Saturday, December 4, 2010 | 7:30 p.m.

Ensemble Español Spanish Dance Theater Saturday, January 29, 2011 | 7:30 p.m.

The Women of Lockerbie

by Deborah Brevoort February 24–27, 2011

Circo Aereo Friday, March 4, 2011 | 7:30 p.m.

31ST ANNUAL TRUSTEE BENEFIT CONCERT

Camerata Ireland

Saturday, March 12, 2011 | 5:00 p.m.

She Stoops to Conquer

by Oliver Goldsmith April 14–17, 2011

Garrison Keillor Sunday, May 1, 2011 | 7:30 p.m.

32 Chicago Sinfonietta

2010-11 SEASON

Billy Bragg