Holiday acappella-Chi acappella

Holidays a cappella Saturday, December 3, 2011, 8:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston

Friday, December 9, 2011, 8:00 pm Fourth Presbyterian Church Michigan Avenue at Delaware, Chicago

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

Sunday, December 11, 2011, 4:00 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville

Chicago a cappella Kathryn Kamp, Soprano Alexia Kruger, Soprano Elizabeth Grizzell, Mezzo-soprano Sarah Ponder, Mezzo-soprano Klaus Georg, Tenor Garrett Johannsen, Tenor Matt Greenberg, Bass Joe Labozetta, Bass Brian Streem, Bass Founder and Artistic Director Jonathan Miller Music Director Patrick Sinozich 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. 90.9fm WDCB is a media sponsor of Holidays a cappella.

Holiday 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 eight CDs, including its newest release, Days of Awe and Rejoicing: Radiant Gems of Jewish Music, joining previous releases on the Chicago a cappella, Cedille, and Centaur labels. 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 launching its first Youth Choral Festival in March.

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 Meyers, Myles Teague Board of Directors Michelle Eppley William K. Flowers Helen C. Gagel (President) Joyce Grenis (Secretary) Howard Hush 2 Chicago a cappella

Murray Kopelow Leslie Lauderdale Robert B. Linn (Treasurer) Linda Mast (Vice-President) David Perlman

Stephen Shaw Maria T. Suarez Committee Members Carole Baumgart William Thomas Huyck Yvonne Owens Lisa Scott

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 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.

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

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 Holiday 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.

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.

Fourth Presbyterian Church Michigan Avenue at Delaware, Chicago Restrooms and drinking fountain: Through the south transept doors (to your left) and then to the right.

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.

Evanston

Chicago

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)

Jaks Tap Bar & Grill 901 W. Jackson Blvd.

Hours: Fridays until 2 am 15% off all pizzas

Prairie Moon 1502 Sherman Ave. Evanston (one block west of Nichols Hall) Fri. & Sat. 4-11pm 15% off Oak Park Café Winberie 151 N. Oak Park Ave. Hours: Sun. 1-9pm 10% off Cucina Paradiso 814 North Blvd.

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

4 Chicago a cappella

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

PROGR A M Resonet in laudibus

medieval German carol, arr. Chester Alwes

Hymne à Saint Martin

Vaclovas Augustinas

People, Look East

trad. French carol, arr. Howard Helvey *****

In natali Domini

medieval carol, 14th c.

Lo, How a Rose E’er Blooming

trad. German, arr. Wayland Rogers

Rise Up, Shepherd, and Follow

spiritual, arr. Roland Carter *****

Jesus från Nasaret

trad. Swedish, arr. Gunnar Eriksson

Un flambeau, Jeannette, Isabella

trad. Provençal, arr. Stephen Hatfield *****

Longfellow’s Carol

Jonathan Miller

Haneirot Halalu

Robert Applebaum *****

O nata lux

Morten Lauridsen

Go Tell it on the Mountain

spiritual, arr. Brewer INTERMISSION

From the Nutcracker Suite: Dance of the Sugar-Plum Fairy Waltz of the Flowers

P.I. Tchaikovsky, arr. Jeff Funk

Joy to the World

G. F. Handel, arr. Philip Lawson *****

We Three Kings Carol of the Bells

J. H. Hopkins, arr. Darmon Meader Mykola Leontovych, arr. Rich Manners *****

Miracle Jingle Bells Hallelujah Chorus

Matisyahu, arr. Patrick Sinozich arr. Jonathan Miller

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.

Holiday a cappella 5

INTRODUCTION Welcome to the 2011 presentation of Holidays a cappella. How blessed we are to be able to share these concerts with you!

There are few better times to hear a choir than the month of December. It is rather amazing to me that we have done December concerts under the name “Holidays a cappella” for fifteen years now. ******* I like to connect music to other experiences: in this case, I am thinking of food. Like many of you, I enjoy cooking, and like all of you, I enjoy eating. Sometimes I think of enjoying a musical program as being analogous to enjoying a meal. I firmly believe that a truly great concert needs to serve you, the person in the audience, by being as thoughtfully well-balanced and varied as a splendid meal.

The need is particularly acute at the holidays, when we are bombarded with overly orchestrated ditties day and night. Creating a good balance applies as much to the way the repertoire is chosen as it does to the way it is performed by our singers. Since my job as artistic director primarily involves choosing the repertoire, that is what I’m thinking about at the moment; Patrick Sinozich, our brilliant music director, primarily tends to the singer/performance aspects of the experience.

While I was putting our current season together, more than one person on Chicago a cappella’s creative team suggested, with twinkles in their respective eyes, that “maybe for a change” we could have a holiday show in which the first half was mostly serious and the second half was just plain fun. We have a long history of holiday concerts featuring much intense, demanding repertoire throughout the program, with a few lighter pieces included for balance and vocal relief. Using our food metaphor, one might say that our typical holiday concerts have been like seven-course musical meals, rounded out with the appropriate palate cleansers.

In response to these urgings by my colleagues, I have happily consented. Using our food analogy, the idea this year is that we present you with a show featuring tasty musical vegetables and meaty courses in the first half. We are pleased to bring you some extraor-

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I N T R O D U C T I O N ( c o n t .) dinary pieces on this program, including one of the prettiest pieces I have ever heard— the simply astounding Hymn to St. Martin from Lithuania—along with Wayland Rogers’s harmonically riveting Lo, How a Rose, and Morten Lauridsen’s O Nata Lux, one of the slow movements from his amazing cycle Lux Aeterna. It wouldn’t be Christmas without spirituals, either, and so to our old standby Go Tell it on the Mountain we add a newcomer this year, Roland Carter’s terrific Rise Up, Shepherd, and Follow. There is also an exotic, Orientalflavored, layered piece from Sweden, which comes to us via my dear colleague Gunnar Eriksson, along with a few Renaissance pieces ranging from fanfare-like to contemplative, as well as a slow and haunting prayer in honor of the Chanukah lights.

After intermission, we present a long dessert course or some combination of lighter fare, maybe fruit and cheese and salad, with minstrels serenading the final courses (well, in this case, as you’ll see, it’s more like jugglers). The second half begins with two movements from the Nutcracker in new a cappella settings, followed by three terrific, upbeat carols needing little introduction. We then move into the high-energy closing section, including Miracle by the Chassidic hip-hop artist Matisyahu (arranged by our estimable music director, Patrick Sinozich) and a little holiday sleight-of-hand by yours truly. ******* Of course, it takes phenomenally versatile and skilled musicians to make a Chicago a cappella concert what it is. “Holidays 2011” is an opportunity for us to showcase a wide variety of musical talent. We are pleased to introduce you to three new singers, all of whom are making their Chicago a cappella debut with this set of concerts. Sarah Ponder (mezzo), Garrett Johannsen (tenor), and Joseph Labozetta (bass) are all superb musicians, drawn from the city’s finest soloist-ensemble singers. They all excelled in our rigorous audition process, and each of them brings passion for excellence and a bright personality to our stages. We know that you’ll enjoy hearing and seeing them, along with the entire ensemble. ******* One of the wonderful gifts of the holiday season is that it brings universal themes back over and over, reliably, every year. If we can get quiet enough to hear it, there is indeed in the air at this time a renewed sense of hope, the yearning for peace and justice, the opportunity to make the world better this year. Even when we fall short of the ideal, it is still good to be reminded of the promise of redemption, right here on this earth, right in this lifetime, right now.

When I was on the music staff at Unity Temple in Oak Park in the period from 1997-2006, I had a great privilege. I was permitted not only to provide an entire musical service on the Sunday before Christmas, but also to give the sermon, the readings, and the opening and closing prayers. Browsing through the new Unitarian hymnal one year, looking for a benediction, I came across these famous words from the African-American theologian Howard Thurman, words which are now etched permanently on my heart: When the song of the angels is stilled, When the star in the sky is gone, When the kings and the princes are home, When the shepherds are back with their flocks, The work of Christmas begins: To find the lost, To heal the broken, To feed the hungry, To release the prisoner, To rebuild the nations, To bring peace among brothers, To make music in the heart.

—-“The Work of Christmas,” by Howard Thurman, from The Mood of Christmas (Friends United Press, 1985).

Reprinted with permission.

May it be so, today and always, until the world is completely healed.

—Jonathan Miller

Founder and Artistic Director Holiday a cappella 7

NOTES ON THE MUSIC medieval German Carol, arr. Chester Alwes: Resonet in laudibus A beloved university professor, author, scholar, editor, and director of the Baroque Artists of Champaign-Urbana (BACH), Chester Alwes is enjoying an active retirement from academia after serving with distinction on the faculty at the University of Illinois-Urbana for 27 years.

A joyously rocking tune in a major mode gives the material for Alwes to create a splendid new setting of this medieval carol. Clever shifts of meter keep the momentum driving forward. The opening and closing sections are like brass fanfares, between which the original tune makes itself known.

Resonet in laudibus, Sion cum fidelibus, apparuit quem genuit Maria, Sunt impleta quae praedixit Gabriel.

Let [her] resound in praises, Zion with the faithful: He [Jesus] has appeared born from Mary, Those things which Gabriel predicted were fulfilled.

Eia! Eia! Virgo Deum genuit, quod divina voluit clementia.

Eia! Eia! A virgin bore God, Because [He] wished divine mercy.

Hodie apparuit in Israel, ex Maria Virgine est natus Rex.

Today He appeared in Israel; The King is born from the Virgin Mary.

—trans. Laura Miller and Jonathan Miller © MCMXCV Roger Dean Publishing Company. *

Vaclovas Augustinas: Hymne à Saint Martin This piece was composed on the occasion of the 1600th anniversary of the death of St. Martin of Tours, the first leader of Western monasticism. His feast day, November 11, traditionally marks the start of the 40-day medieval fasting season, which is the precursor to the present-day season of Advent. The composer is a leading choral musician in his native Lithuania, whose choirs have won competitions throughout Europe. One of the loveliest compositions to come to these shores in recent years, this piece is a treasure of sensitive melodic writing with a delightful harmonic palette.

The piece has been recorded beautifully on the recent 3-CD set by the Erik Westberg Vocal Ensemble from the far north of Sweden.

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N O T E S O N T H E M U S I C ( c o n t .)

O virum ineffabilem, nec labore victum, nec morte timendum, qui nec mori timuit, nec vivere recusavit.

Oh, man unsullied And invincible by work, Fearless of death, Who hasn’t dread of death, Not declined of life.

Oculis et manibus in caelum semper intentus, in victum ab oratione spiritum non relaxabat, alleluia.

Eyes and arms Always turned to the heavens, Not overcoming by the spirit of prayer, And not wearied, Alleluia.

Martinus Abrahae sinu laetus excipitur: Martinus, hic pauper et modicus, caelum dives ingreditur, hymnis caelestibus honoratus.

Martin beaming with Joy of Abraham, Martin, he’s poor and modest, Stepping rich to the heavens, Honored with hymns of heaven.

—© 1999 Laurendale Associates (Now Morningstar Music Publishers). *

trad. French carol, arr. Howard Helvey: People, Look East Eleanor Farjeon (1881-1965) was an English poet and author, who is best known today for her hymn Morning Has Broken, sung by congregations around the English-speaking world and famously recorded by Cat Stevens in the mid-1970s. Her second-most-famous poem is this one, People, Look East, a delightful distillation of the spirit of Advent. The poem is typically associated with the French tune “Besançon,” as it is here; the skillful yet simple arrangement is by Howard Helvey from Cincinnati. He wrote the setting for the church choir he directs there. The music alternates verses between men’s and women’s voices and the entire ensemble, with clear counterpoint and harmony to enhance the message of the poem.

People, look East. The time is near Of the crowning of the year.

Make your house fair as you are able, Trim the hearth, and set the table.

People, look East, and sing today: Love, the Guest, is on the way Furrows be glad. Though earth is bare, One more seed is planted there: Give up your strength the seed to nourish, That in the course the flow’r may flourish.

People, look East, and sing today: Love, the Rose, is on the way.

Birds, though ye long have ceased to build, Guard the nest that must be filled.

Even the hour when wings are frozen, He for fledging time has chosen.

People, look East, and sing today: Love, the Bird, is on the way.

Stars, keep the watch. When night is dim, One more light the bowl shall brim, Shining beyond the frosty weather, Bright as sun and moon together.

People, look East, and sing today:

Holiday a cappella 9

N O T E S O N T H E M U S I C ( c o n t .)

Love the Star, is on the way.

Angels, announce with shouts of mirth Christ who brings new life to earth.

Set every peak and valley humming With the word the Lord is coming.

People, look East, and sing today: Love, the Lord, is on the way.

—Eleanor Farjeon reprinted with permission

For the record: Howard Helvey’s O Lux Beatissima appears on Chicago a cappella’s CD Christmas a cappella. ******* medieval carol (14th c.): In natali Domini Jonathan Miller writes: “When I was in my early 20s, a girlfriend played for me a German recording of In natali Domini, sung by a choir directed by Konrad Ruhland. I had never heard music of such stirring simplicity, and the performance was heartfelt and spoke deeply to me.” This is a version of the same carol, set for three voice parts in simple hymn style that one might find in the work of late-medieval or early Renaissance composers such as Guillaume Dufay. The many first-inversion chords (“6/3 chords” for you harmony geeks) give the piece an open sonority and clarity that keep everything flowing along.

In natali Domini Gaudent omnes angeli et cantant cum iubilo Gloria uni Deo.

On the Birthday of the Lord Angels joy in glad accord, And they sing in sweetest tone Glory be to God alone.

Refrain: Virgo virum peperit virgo deum genuit, virgo simper in tacta.

Refrain: God is born of maiden fair, Mary doth the Saviour bear; Mary ever pure.

Nuncia vit angelus gaudium pastoribus Christi nativitatem magnam iocunditatem.

These good news an Angel told To the shepherds by their fold, Told them of the Saviour’s Birth, Told them of the joy for earth.

Natus est Emmanuel quem praedixit Gabriel, testis est Ezechiel, a patre processit El.

Born is now Emmanuel, He, announced by Gabriel, He, Whom Prophets old attest, Cometh from His Father’s Breast.

Magi deum adorant, aurum thus et mirram dant Regiregum domino, thus sacerdoti magno.

See the wise their gifts unfold, Incense, myrrh, and royal gold; Kneeling to the eternal King, Glory to our God! they sing.

—trans. Choral Public Domain Library

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N O T E S O N T H E M U S I C ( c o n t .) trad. German, arr. Wayland Rogers: Lo, How a Rose E’er Blooming The German carol Es ist ein Ros’ entsprungen is a well-known and beloved traditional holiday offering, with a gently rising and falling melody that matches the tender poetry.

The tune goes mostly in stepwise motion and is in a range that is easy to sing, rendering the whole package as much like a lullaby as a Christmas carol. The most famous harmonization of the tune is that of Michael Praetorius from the early 1600s. We are pleased to present a recent re-harmonizing of the piece by Chicago’s own Wayland Rogers, a veteran of the local choral scene and a skilled baritone, conductor, composer, and arranger. The tight chords have a remarkable way of preserving the character of the original, while making just enough changes to keep the musical language everfresh and exciting, even at a slow tempo—no mean feat.

Lo, how a rose e’er blooming From tender stem hath sprung!

Of Jesse’s lineage coming As men of old have sung.

It came a flow’ret bright, Amid the cold of winter, When half-spent was the night.

Isaiah ‘twas foretold it Rose I have in mind, With Mary we behold it, The virgin mother kind.

To show God’s love aright She bore to us a savior When half-spent was the night.

This flow’r whose fragrance tender With sweetness fills the air.

Dispels with glorious splendor The darkness ev’rywhere.

True Man, yet very God, From sin and death he saves us, And lightens ev’ryload, —trans. from German by Dr. Theodore Baker reprinted -with permission

For the record: Wayland Rogers’ What Sweeter Music appears on Chicago a cappella’s CD Christmas a cappella: Songs from Around the World. spiritual, arr. Roland Carter: Rise Up, Shepherd, and Follow Roland Carter is Holmberg Professor of American Music at the University of Tennessee at Chattanooga. A former president of the National Association of Negro Musicians, he is the arranger of the most commonly-heard version of “Lift Every Voice and Sing.” Prof. Carter has been honored to participate musically in every possible setting, from working in the smallest church to conducting at presidential inaugurations in Washington. An outstanding musician, he has conducted opera as well as choral music nationwide and has been involved in radio and television broadcasts in his role as a preservationist of African-American music.

This setting of “Rise Up, Shepherd” follows mostly traditional voicings and harmonies. The piece is effective in its straightforward simplicity. The final chorus takes off in an energetic ascent, speeding up as it sets up a call-and-response dialogue between men and women before rising to the highest soprano heights for a strong finish.

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N O T E S O N T H E M U S I C ( c o n t .)

There’s a star in the East on Christmas morn.

Rise up, shepherd and follow.

It will lead to the place where the Saviour’s born.

Rise up, shepherd and follow!

Leave your sheep and leave your lamb.

Rise up, shepherd and follow!

Take good heed to the angel’s word.

Rise up, shepherd and follow!

Leave your flock and leave your herd.

Rise up, shepherd and follow!

Follow! Follow! Rise up, shepherd and follow!

Follow the star of Bethlehem.

Rise up, shepherd and follow!

—reprinted with permission ******* trad. Swedish, text by Anders Frostenson, arr. Gunnar Eriksson: Jesus från Nasaret The ever-inventive Gunnar Eriksson from Sweden is at it again, this time with a layered setting of several tunes. The “main” tune here is the traditional Swedish hymn, “Jesus from Nazareth.” Eriksson writes that his setting is an “attempt to relocate our ‘Swedish Jesus’ to an oriental landscape.” The poetry from the sturdy Swedish hymns can be seen as both Christmas and Easter texts.

Jesus of Nazareth is risen as in times gone by; he resolves powerlessness and shame and brings its power and peace: the kingdom of heaven is at hand.

Poor, he gives his wealth, heals the slain wounds. May he who was tied up and tired create hours of freedom and joy: the kingdom of heaven is at hand.

Some other voices: O Lamb of God, which taketh away the sins of the world, have mercy on us, grant us your peace.

Still other voices: (Macedonian folk song) Na i na ni na….

—trans. Jonathan Miller trad. Provençal, arr. Stephen Hatfield: Un flambeau, Jeanneatte, Isabella This famous tune began life as a drinking song, written by Marc-Antoine Charpentier to be stage music for a play by Molière. The equally famous lyrics were published as early as 1836 in a collection of Christmas songs from Provence, in the south of France. The arrangement is by Stephen Hatfield, a well-known Canadian musician who has set in choral form many folksongs sung in Canada. He explains: Torches are an important Christmas tradition in [Provence]. And while it’s a widespread custom to build a nativity scene . . . they go further, constructing an entire model of a village around the stable, complete with a vivid case of model villagers who were often caricatures of the local people. I like to think of the children in the carol running to see the newly finished Christmas village, but as their imaginations catch fire from the torchlight, they slip back in time to another dark evening filled with magical light.

Hatfield also has slowed down the tempo,“to bring out the lullaby in the song” and to reflect more of the feeling of a Renaissance viol consort than that of a boisterous scamper to the manger.

12 Chicago a cappella

N O T E S O N T H E M U S I C ( c o n t .)

Un flambeau, Jeanneatte, Isabelle, un flambeau, courons au berceau.

C’est Jesus. Bons gens du village, le Christ est né; Marie appelle.

Ah,ah. Que la mère est belle.

Ah, que l’enfant est beau.

Bring a torch, Jeanneatte, Isabelle; bring a torch, let’s run to the cradle.

It is Jesus. Good folk of the village, the Christ is born; Mary is calling.

Ah, ah. How beautiful the mother is.

Ah, how fine and handsome the child is.

Doucement dans l’etable close.

Doucement, venez un moment.

Approchez. Que Jesus est charmant.

Comme il est blanc, comme il est rose.

Do, do, que l’enfant repose.

Do, do qu’il rit en dormant.

Softly now, in the closed-up stable.

Softly now, come here a moment.

Come a little closer. How charming Jesus is.

How white he is, how pink he is.

Hush, hush, how peaceful the child is.

Hush, hush, how he smiles in his sleep.

—trans. © 2002 Roger Dean Publishing Company.

All rights reserved. *

Jonathan Miller: Longfellow’s Carol In the famous book titled 100 Carols for Choirs, published by the venerable Oxford University Press, there is a piece for unison voices and accompaniment, called simply “Longfellow’s Carol.” The text is by Henry Wadsworth Longfellow, the Boston-based poet, who was also an ardent pacifist and abolitionist during the Civil War. He and his fellow abolitionist-pacifists lamented any loss of life on either side as they fought their own wars of public opinion on behalf of enslaved African-Americans. The poet begins joyously by hearing Christmas bells proclaiming peace on earth; however, his happiness is dashed by the “accursed” cannonballs thundering forth from cannons in the Southern states where the war is being waged.

The composer writes: “Sometimes composing can go on for weeks or even months, and at other times it happens in a flash. When I was thumbing through the famous Oxford book, looking for carols for this concert, the Longfellow text jumped out at me and demanded of me, as poems sometimes do, a new musical setting. When the book stays open to a page like that, there is no resisting; in this case, before the evening was over, the piece was done. The fourth verse needs to be read with extreme sensitivity, to understand something important: Longfellow is not cursing anyone with black skin in his phrase ‘black accursed mouth,’ but rather the cannons made of black iron, from the mouths of which the terrible cannonballs are fired. It is both sobering and poignant for me to encounter a kindred spirit in a poet from more than 150 years ago: a spirit likewise dejected by humanity’s inability to learn the lessons of war. Longfellow seems to have a way to shake us out of our complacency and awaken our compassion. He did that for me, which is why this music came to be.”

I heard the bells on Christmas Day, Their old familiar carols play, And mild and sweet the words repeat, Of peace on earth, good will to men.

And thought how, as the day had come, The belfries of all Christendom Had rolled along the unbroken song, Of peace on earth, good will to men.

Till ringing, singing on its way, The world revolved from night to day, A voice, a chime, a chant sublime, Of peace on earth, good will to men.

Then from each black accursed mouth The cannon thundered in the South, And with the sound the carols drowned Of peace on earth, good will to men.

Holiday a cappella 13

N O T E S O N T H E M U S I C ( c o n t .)

It was as if an earthquake rent The hearthstones of a continent, And made forlorn the households born Of peace on earth, good will to men.

And in despair I bowed my head: “There is no peace on earth,” I said; “For hate is strong, and mocks the song Of peace on earth, good will to men.”

Then pealed the bells more loud and deep: “God is not dead; nor doth he sleep!

The wrong shall fail, the right prevail, With peace on earth, good will to men.” ­—Henry Wadsworth Longfellow For the record: Works by Jonathan Miller appear on the Chicago a cappella CDs Eclectric, Days of Awe and Rejoicing, and Holidays a cappella Live (which includes his arrangement of “The Coventry Carol”).

Robert Applebaum: Haneirot Halalu This melody and choral setting, both by Bob Applebaum, will probably be less familiar than “The Dreidel Song” or “Oy Chanukah,” which is too bad—this whole piece has a lyrical, contemplative quality rarely found in Chanukah music. The text is an actual prayer, sung right after the Chanukah candles blessings are chanted and the candles are kindled.

Longtime Chicago resident Bob Applebaum, now living in Northern California, wrote this song in 2005, and Chicago a cappella first performed it shortly thereafter.

Applebaum notes that the Hebrew prayer emphasizes—as he does in his own translation— that the candles are not to be used for any ordinary purposes, but only to be looked at. In the composer’s translation, he renders the relevant part of the text as “And we just watch them burn”; his music likewise lingers on these words and prolongs them, so that musically he enhances and stretches the effect of looking at the candles in awe. Applebaum’s harmonies are right on the money here as well; his gently rocking rhythms move slowly through jazz-inflected chord progressions that not only soothe but themselves expand on the wonder of the occasion.

Haneirot halalu, haneirot halalu anachnu madlikin.

Before us the candles of Chanukah; we faithfully kindle the candles of Chanukah.

Each night for eight nights we light the holy lights of Chanukah; and we’ll watch them burn, and just watch them burn.

Haneirot halalu, haneirot halalu anachnu madlikin.

Haneirot halalu kodesh hem.

Before us the sacred candles of Chanukah, their glow sings the song of Your wonders and miracles, remembering how you redeemed our people in days gone by.

And we just watch them burn.

14 Chicago a cappella

N O T E S O N T H E M U S I C ( c o n t .)

Haneirot halalu, haneirot halalu anachnu madlikin.

Al hanisim, v’al haniflaot, v’al hatshuot, v’al hamilchamot.

For G-d who’s the maker of miracles, for G-d who has been our redeemer; the flickering flames honor Your name, remembering how You delivered us, in days gone by.

And the candles burn.

And we just watch them burn, we just watch as the candles burn; watch the candles burn.

—English text by Robert Applebaum,

© 2005 Transcontinental Music Publications. *

For the record: Works by Robert Applebaum appear on the Chicago a cappella CDs Days of Awe and Rejoicing, Shall I Compare Thee?, and Holidays a cappella Live (which includes his “Oh Chanukah / Y’mei Hachanukah” and “Funky Driedl”) Morten Lauridsen: O nata lux One of the truly great large choral works of the past fifteen years is the cycle Lux Aeterna by Los Angeles-based composer Morten Lauridsen, composed for chorus and either orchestra or organ. This song, O nata lux, is an excerpt from that larger work. The cycle was premiered, like so many of his works, by the Los Angeles Master Chorale under the baton of Paul Salamunovich. While Lux Aeterna as a whole is, in a sense, an adaptation of the Requiem Mass, this movement has particular beauty on its own, and its emphasis on light makes it perfect for the Christmas season.

The text is taken from the Roman Catholic liturgy. Lauridsen’s melodic and harmonic language in O nata lux closely resembles his work in O magnum mysterium and Les chansons des roses. Nevertheless, Lauridsen—much like Arvo Pärt—has a stunning way of keeping every phrase, every voice part, and even every bar of music fresh and new, as if there were really no other possible manner in which the text could have been set at that moment in the piece, apart from what Lauridsen himself did. Such is the mark of a true master, who creates here a sense of breathless, suspended animation in the middle of a place of luminous radiance.

O nata lux de lumine, Jesu redemptor saeculi, Dignare Clemens supplicum Laudes preces que sumere.

O born light of light, Jesus, redeemer of the world, Mercifully deem worthy and accept The praises and prayers of your supplicants.

Qui carne quondam contegi Dignatus es pro perditis.

Nos membra confer effici, Tui beati corporis.

Thou who once deigned to be clothed in flesh For the sake of the lost ones, Grant us to be made members Of your holy body.

—trans. © 1998 by earthsongs reprinted with permission

For the record: Morten Lauridsen’s Contre Qui, Rose appears on Chicago a cappella’s CD Eclectric and O Magnum Mysterium appears on the CD Holidays a cappella Live.

Holiday a cappella 15

N O T E S O N T H E M U S I C ( c o n t .) spiritual, arr. Brewer: Go tell it on the mountain There are several settings of this tune, but this short and intense version is one of the very best. Eschewing the more languid opening section found in many settings, the late Joseph Brewer—one of the directors of the Chicago Children’s Choir during the 1970s— here keeps the strong pulse going throughout, never letting the joy or momentum stop.

For the record: Joseph Brewer’s Go Tell it On the Mountain appears on Chicago a cappella’s CD Holidays a cappella Live.

INTERMISSION

Suggestions for intermission • Finish your holiday shopping and give the gift of Chicago a cappella! From traditional Christmas carols to sacred Jewish music, our acclaimed recordings are the perfect gift for friends and family. Gift certificates and CDs are available in the lobby.

• 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 Christmas a cappella!

P. I. Tchaikovsky, arr. Jeff Funk: from the Nutcracker Suite

Dance of the Sugar-Plum Fairy

Waltz of the Flowers Just over ten years ago, the inventive composer Jeff Funk decided to create an a cappella version of the Nutcracker Suite. With clever syllables (such as “plum” to indicate a pizzicato in the strings), he pulls off the desired effects beautifully.

G. F. Handel, arr. Philip Lawson: Joy to the World Yes, the composer of the Messiah also wrote Joy to the World! At least the melody has been attributed to Handel, and the tune receives an unusually skillful treatment here in the hands of former King’s Singer Philip Lawson. The rhythm leaps off the page with a Scotch snap, and the lush six-part harmonies propel the piece forward.

J. H. Hopkins, arr. Darmon Meader: We Three Kings Darmon Meader is the founder and one of the primary arrangers for New York Voices. Chicago a cappella first performed this infectiously appealing setting of We Three Kings a few years ago, and it quickly found a place in our file cabinet of music called “We Have To Do This Again.” The vocal percussion line and the extra syllables (which provide faint echoes of the film score The Lion King) create a truly magical effect.

Mykola Leontovych, arr. Rich Manners: Carol of the Bells This is not your mother’s or grandmother’s Carol of the Bells! Watch out, for in addition to the swing rhythm that kicks it off, Rich Manners throws in a terrific curveball about halfway through. Prepare for a laugh or two.

Matisyahu, arr. Patrick Sinozich: Miracle In case you missed him on Letterman or other TV appearances, Matisyahu is that rare combination of observant Chassidic Jew and hip-hop artist. In addition to his media savvy, he has a remarkably ecumenical spirit. He wrote this piece for Chanukah and turned it into a YouTube video, and it was too good for us to pass up. Our Music Director, Patrick Sinozich, has once again turned a pop song with instruments into a superb a cappella arrangement for us to sing to you.

16 Chicago a cappella

N O T E S O N T H E M U S I C ( c o n t .)

Just livin’ in the miracle, Candles on my vehicle, Eight nights gonna shine invincible, No longer be divisible, Born through the struggle, Keep on movin’ through all this hustle, Head’s up, head’s down through all a’ da bustle, Whoa, Chicago, wanna flex your muscle, Look so down, look so puzzled, Huddle ‘round your fire through all the rubble, Refrain: Bound to stumble and fall But my strength comes not from man at all, Bound to stumble and fall But my strength comes not from man at all.

Do you believe in miracles, And am I hearing you, So am I seeing you?

So eight nights and eight lights And these rights keep me right And bless me to the highest heights With your miracle.

Against all odds drive on ‘til tomorrow, Wipe away your tears and your sorrow, Sunrise in the sky like an arrow, No need to worry no need to cry, Light up your mind, no longer blind, Him who searches will find, Leave your problems behind, You will shine like a fire in the sky, What’s the reason we’re alive?

Refrain Eight is the number of infinity, One more than what you know how to be, And this is the light of festivity, When your broken heart yearns to be free.

Refrain —reprinted with permission

arr. Jonathan Miller: Jingle Bells Hallelujah Chorus Jonathan Miller writes: “The idea for this arrangement came while I was whizzing down the Eisenhower Expressway one day a few months ago. I was thinking about Christmas music, and in a happy and open mood, and wanting to find something a little bit goofy for our holiday closer, and then it floated into my head: ‘Could you actually switch the words to Jingle Bells and the Hallelujah Chorus and make it work?’ I went home and got out a pencil and my sketchbook, where I try to wrestle some of my musical ideas to the ground. First, I wrote down the words to both songs to see if the line breaks were at least in rough correspondence. It worked, fortunately.

I threw in a brief modulation and transition to piece the two songs together, and there it was.

(My wife and I giggled for hours at the way “Hallelujah” became “in a one-horse…”) Like Hoss Brock’s legendary arrangement of Bohemian Rhapsody, this is a song better simply heard than described. Hang on, and—as we like to say in rehearsal—”see you at the double bar.”

For all texts and translations denoted with an asterisk (*) All rights reserved. Reprinted under OneLicense.net #E-802304 Holiday a cappella 17

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SPECIAL THANKS 90.9fm WDCB: Ken Scott Chris Baer Bo Ejeby First Bank and Trust, Evanston Fourth Presbyterian Church: John Sherer Enid Frandzel Bill Hoban Merit School of Music: Tom Bracy, Brian Gordon Laura Miller Music Institute of Chicago: Fiona Queen, Jared Scott North Central College: Ken Hannah Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler Erik Westberg 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.

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 2 011-12 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 perHoliday a cappella 19

B I O G R A P H I E S ( c o n t .) former. 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 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 ar20 Chicago a cappella

rangements). 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 Jeffaward 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.

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

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

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 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.

Garrett Johannsen, tenor Garrett Johannsen grew up in Schiller Park, IL. He started singing shortly after learning to play the trumpet at Kennedy School. Garrett decided to take private voice lessons at East Leyden High School which led him to study voice at Roosevelt University. Beyond Roosevelt, he has

performed with the Chicago Symphony Chorus, Grant Park Chorus, William Ferris Chorale, Bella Voce, and Lyric Opera Chorus. Garrett has branched out of the city limits to work with Chorus Angelorum in Indiana, Opera for the Young in Wisconsin, and Sarasota Opera in Florida, and to participate in a week-long workshop with the a cappella group Chanticleer in California. He hopes in the near future to continue traveling nationally to share his love of singing opera and Broadway music. One of his favorite moments to date is an invitation to sing the National Anthem for his family’s favorite sports team, the Chicago White Sox…..four times.

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.

Alexia Kruger, soprano Alexia Kruger enjoys performing a wide variety of music from the stage to the recital hall. A Holiday a cappella 21

B I O G R A P H I E S ( c o n t .) member of the Chicago Symphony Chorus and the Grant Park Chorus, Alexia has also been a soloist with such groups as the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), Chicago Sinfonietta at the Shedd and at Joffrey, Mantra Blue Free Orchestra, the Valparaiso University Symphony Orchestra (R. Strauss Beim Schlafengehen and Im Abendrot), and the University of Illinois Percussion Ensemble (Stravinsky’s Les Noces). She loves art song as well and has given recitals at such venues as the Chicago Cultural Center, Fourth Presbyterian Church, and several locations with VOX 3. Past roles have included Susanna and Contessa dAlmaviva (Le Nozze di Figaro), Giulietta (Les Contes dHoffmann), the title role in Suor Angelica, Lola (Gallantry), and Eve (Children of Eden). She is very excited to sing with Chicago a cappella this season!

Joe Labozetta, bass Hailing from Northern California, Joe Labozetta moved to Chicago in 2003 to further his musical studies at DePaul University’s School of Music. After finishing a degree in Sound Recording Technology, he quickly immersed himself into a full-time career as a professional musician. Joe currently holds the position of Director of Music at St. Josaphat Church, where he is kept busy with choirs, pipe organs, handbells and composing hymnody. His local choral activities have included Chicago Symphony Chorus, Grant Park Chorus, Bella Voce, and the William Ferris Chorale. Joe is also an award-winning baritone soloist, notably at the International Choral Kathaumixw in Powell River, B.C., Canada. Additionally, as an accomplished keyboardist, guitarist and bassist, Joe performs in venues other than churches and concert halls. In fact, Labozetta sightings have been reported in dive bars, hotel lounges and almostbut-not-yet foreclosed recording studios.

22 Chicago a cappella

Sarah Ponder, mezzo Originally from Nebraska, mezzo-soprano Sarah Ponder found her way to classical singing after early dreams of pursuing a career in jazz. After a fateful trip to the opera house to see Turandot, she was hooked! Although one may not hear her singing the soprano role of “Liu” as she once hoped, Sarah enjoys a busy career as a soloist, ensemble singer, and dedicated teacher in Chicago. Hailed as “Deeply expressive” (Chicago Sun-Times), some of Sarah’s recent favorite performances include a full recital at the Cultural Center as part of the Musicians Club of Women “Award Winners in Concert” series, the alto soloist in Bach’s B Minor Mass with the North Shore Choral Society, and a thrilling rendition of “Row, Row Your Boat” with YoYo Ma at Children’s Memorial Hospital as part of the Citizen Musician Initiative.

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.

DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between July 1, 2010 and November 7, 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 90.9fm WDCB 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 ($5,000 or more) Anonymous Estate of Helen Asher Hyslop Shannon Foundation ARCHANGEL ($2,500 or more) Howard and Jane Hush Murray Kopelow and Cathy Bachman ANGEL ($1,000 or more) Marguerite Bloch Frank G. & Gertrude Dunlap Fund Five K. Family Fund at The Chicago Community Trust Bill and Jeanetta Flowers Helen Gagel Joyce Grenis and Michael Koen Jay and Jackie Lauderdale Leslie Lauderdale Susan and Joe Lunn Alice and David Osberg Diana Ramirez Priscilla and Steve Shaw Maria Suarez

BENEFACTOR ($500 or more) Anonymous Bonnie Benson Michelle Eppley Marina Gilman Matt Greenberg and Chris Baer Hank and Becky Hartman Ann Hicks and Lawrence Hamilton Terri Hemmert Tom and Margaret Huyck Douglas and Christine Kelner Ronna Lerner Dan and Cari Levin Bob and Fleury Linn Linda Mast and Bard Schatzman Jonathan Miller and Sandra Siegel Miller Mary Miller Nora Bergman Fund Ken Novak Bette Sikes and Joan Pederson Ann Stevens Frank Villella and Oscar Ivan Zambrano

SPONSOR ($250 or more) Don and Joanna Gwinn Anne Heider and Steve Warner Susan Kamp 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 John Washburn PATRON ($100 or more) Anonymous Wendy Anker and Edward Reed Susan Beal David and Denise Bunning Trent and Kara Coleman Laura and Gary Cooper Thomas Doyle Mary Ekins Ron & Judy Eshleman Holiday a cappella 23

UPCOMING CONCERTS 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

Evanston Saturday, Feb. 11, 8:00 pm Nichols Concert Hall

Naperville Sunday, Feb. 4, 8:00 pm Wentz 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 Saturday, April 14, 8:00 pm Nichols Concert Hall Oak Park Sunday, April 15, 4:00 pm Pilgrim Congregational Church

Chicago Friday, April 20, 8:00 pm Gottlieb Hall at Merit School of Music Naperville Saturday, April 21, 8:00 pm Wentz Concert Hall

SAVE THE DATE

Come Together:

A Benefit Bash Featuring the Music of Lennon and McCartney Join us at for a magical evening of music and revelry amid the antique wonderland of Chicago’s Salvage One. Groove to the ensemble’s performances of Lennon and McCartney songs, and enjoy hors d’oeuvres, wine, and dessert as well as an exciting raffle and silent auction. All proceeds support Chicago a cappella’s educational and artistic programs. Don’t miss this unforgettable event!

Thursday, May 17, 2012 · Salvage One Tribute Award Honoree: John Vorrasi Friends of the Year: The Arts & Business Council of Chicago with special recognition to Joan Gunzberg 24 Chicago a cappella

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

PATRON (cont.)

Anne Evans Kris and Julie Gagnon Howard and Judy Gilbert Norm and Judy Greenberg Robert Harris F. James & Margery Heider Ann Hewitt Munn and Bonnie Heydorn Jim and Lois Hobart Troy Huber Jean and Lester Hunt Charles Katzenmeyer John and Karen Kruger Helen and John Lauderdale Stephen and Lisbeth Lerner Joan Levin Jay Lytle 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 Geri Sztuk Laura Temple and Andrew Wood

Dave and Carolyn Utech Barbara Volin Gary and Beth Wainer 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 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 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 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 and Ralph Brown

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 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

Holiday a cappella 25

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

26 Chicago a cappella

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 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.

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

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.

Holiday a cappella 27

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28 Chicago a cappella