Loyola University Chicago Department of Fine and Performing Arts Presents
Spring 2012 Music Program Orchestra, Chorus & Chamber Choir Concert February 27, 2012 7:30pm Jazz Band & Wind Ensemble Concert March 1, 2012 7:30pm
Auditorium, Mundelein Center 1020 W Sheridan Road
SPRING ENSEMBLES CONCERT Program for February 27, 2012 7:30pm Chamber Choir Dr. Charles Jurgensmeier, S.J., director Dr. Haysun Kang, accompanist The Silver Swan
Orlando Gibbons (1583–1625)
Viver lieto voglio
Giovanni Gastoldi (1554–1609)
Der Abend, Op. 64, No. 2
Johannes Brahms (1833–1897) Claude Debussy (1862–1918)
Trois Chansons de Charles d’Orléans 1. Dieu! Qu’il la fait bon regarder Come to me, my love
Norman Dello Joio (1913–2008) Orchestra Dr. Colin Holman, director
Symphony No. 3 in D Adagio maestoso--Allegro con brio Allegretto Concerto for Cello in C major Allegro molto Willam Cernota, soloist Overture to Die Zauberflöte
Franz Schubert (1797–1828) Joseph Haydn (1732–1809) Wolfgang Amadeus Mozart (1756–1791)
University Chorus Kirsten Hedegaard, director Susan Chou, accompanist Liebeslieder-Walzer, Op. 52 Johannes Brahms VI. Ein kleiner, hübscher Vogel nahm (1833–1897) Dr. Haysun Kang, guest pianist Five Hebrew Love Songs VI. Éyze shéleg V. Rakút
Eric Whitacre (b. 1970) Momoko Takahashi, violin
Loch Lomond
arr. James Q. Mulholland
Prayer of the Children
Kurt Bestor (b. 1958)
No Rocks A-Cryin’
(b. 1970) Rollo Dilworth Chorus and Orchestra
Worthy Is the Lamb from Messiah 2 Loyola University Chicago
George Frideric Handel (1685–1759)
P R O G R A M N O T E S : F E B R UA R Y 27, 2 012 Chamber Choir This madrigal for five voices by Gibbons is his best-known work. It tells the legend that the seemingly-silent swans do actually sing before their death. It is in two musical sections, with the second section repeating the music with new text. The new text is a metaphor for human behavior, equated with geese and swans. This amusing balletto, a song with la-la or fa la la is one of Gastoldi’s more-remembered works. The English madrigal and ballett composer Thomas Morley translated and refashioned the song and published it in his collection of madrigals of 1595. Originally conceived for solo SATB singers, Brahms, in a letter to his publisher, suggested that they could also be performed by choirs. They have been a significant part of his choral works and performed regularly by choirs ever since. Thetis (a sea-nymph) and Apollo are presented in a dialogue, and Apollo’s horses are portrayed in the lively piano accompaniment. The Trois chansons by Claude Debussy are from a 1908 collection, although two of the three works were written earlier. The songs are composed in the lush harmonies of impressionism, a term Debussy disliked when applied to his music. The texts are by Charles d’Orléans, prince and poet, who was imprisoned in England after the Battle of Agincourt in 1415. The works are not thematically related. The first song, Dieu! qu’il la fait is a love letter dedicated to a woman who represents all women. Come to Me, My Love is based on Christina Rossetti’s poem, Echo. Echo was a nymph who attracted Jupiter with her excellent conversational skills. His wife, Juno became extremely jealous of Echo and cursed her “never to speak first and never to be silent when anyone else spoke.” After this curse, Echo fell in love with Narcissus who was so pleased with himself that he never spoke to her. Poor Echo slowly turned into a bodiless voice. This song is Echo’s yearning to Narcissus to come back to her; in the myth, he never did. Orchestra Franz Schubert’s Third Symphony was completed in two bursts of activity between May and July of 1815 and is thus more or less contemporary with Beethoven’s Eighth Symphony, although the inspiration behind the work clearly lies more with the symphonies of Haydn and Mozart than of Beethoven. Schubert was only 18 years old with a prodigious output and studying under Salieri when he completed this work. The slow introduction to the first movement creates an air of excitement, and the ensuing allegro con brio grows in stature from the entry of the main theme presented by the clarinet, with a delicacy suggesting chamber music. The second theme is first entrusted to the oboe and later to the clarinet. The slow movement is a straightforward song-like allegretto, whose casual rhapsodic nature gives the impression of an intermezzo. Even with Haydn’s prolific nature as a composer, a good number of his pieces were either burnt or lost. The Concerto in C Major for Violoncello and Orchestra was completed in the early 1760s but not heard in modern performance until discovered in 1961 at the National Museum in Prague by Oldrich Pulkert, a Czech musicologist, and first performed in May 1962 . It was probably written for Joseph Weigl, a close friend of Haydn who was the principal cellist in the court orchestra of Prince Esterházy, Haydn’s patron. Only one set of orchestral parts survived, copied in what is probably Weigl’s hand. The concerto is written in the traditional fast-slow-fast style. The final allegro molto allows the soloist a typical virtuosic display amid abundant melodic invention, bringing a satisfying conclusion to this charming work. Die Zauberflöte, or The Magic Flute, is one of Mozart’s most well-known operas, and one of his final works, which premiered just months before his death in 1791. Written in singspiel, a dramatic style incorporating both spoken words and sung dialogue, Die Zauberflöte tells the story of Tamino, a handsome prince, who is on a quest to rescue his love, Pamina, from the evil Sarastro. He is accompanied on his quest by Papageno, a birdcatcher, with only a set of magically protective bells and a magic flute, a flute with the power to change men’s hearts. The overture contains elements of both the Masonic symbolism present in the opera as well as setting the mood and character of the action to come. Loyola University Chicago 3
P R O G R A M N O T E S : F E B R UA R Y 27, 2 012 ( c o n t .) University Choir Composed by Johannes Brahms in 1869, the Liebeslieder Waltzes, op. 52 are scored for vocal quartet and four-hand piano. The set includes eighteen songs set to texts by Georg Friedrich Daumer, and as the title suggests they are love songs composed in the waltz style. While many of the songs are quite short, No. 6, “Ein kleiner, hübscher Vogel nahm” is noticeably longer, with several contrasting sections to reflect the change of mood in the second stanza. Originally scored for solo soprano, piano and violin, Five Hebrew Love Songs were composed for Eric Whitacre’s wife, soprano Hila Plittmann. Eric Whitacre writes: “ I asked Hila (who was born and raised in Jerusalem) to write me a few ‘postcards’ in her native tongue, and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in a small skiing village in the Swiss Alps, and we performed them for the first time a week later in Speyer, Germany. Each of the songs captures a moment that Hila and I shared together. The bells at the beginning of “Eyze Sheleg” are the exact pitches that awakened us each morning in Germany as they rang from a nearby cathedral. These songs are profoundly personal for me, born entirely out of my new love for this soprano, poet, and now my beautiful wife, Hila Plitmann.” The songs have since been arranged into five different versions, including an edition for women’s chorus. This evening the women will perform the last two songs in the cycle. While “Loch Lomond” is arguably one of the most well known Scottish tunes, its origins remain murky. Several different tales of the song’s inception remain a part of the folklore repertory. However, several facts remain consistent: the song was composed by a Scottish Jacobite and it was first published in 1861. The most gruesome interpretation of the song suggests that after the 1745 Jacobite rising, numerous Scots were executed. Their body parts were put on display alongside the most well-traveled road (the high road), while relatives of the deceased were forced to return to their country by the peasant route (the low road). This version of the story is far cry from what some interpret to be a romantic love song. Conductor, composer and educator, Rollo Dillworth has come to prominence in the last ten years through his engaging arrangements of spirituals and newly composed gospel music. Here are his thoughts on “No Rocks A-Cryin’”: “Based on Psalm 47, “No Rocks A-Cryin’” is an original work that is richly rooted in the contemporary African-American gospel tradition. The opening section of the piece presents unison lines and close parallel harmonies in heavily syncopated patterns. The middles section features a contrapuntal treatment of a single melodic theme that is reminiscent of the opening unison statement of the piece. This contrapuntal section concludes with a statement in the parallel major key of A, in which the bass line presents the melodic theme in augmented form. [The final section] brings the piece to a dramatic close with bold syncopated rhythms.” First written as a solo ballad, “Prayer of the Children” was first performed in its TTBB choral version by the 1999 Georgia All-State Men’s Chorus. Since then it has been arranged for both SATB and women’s chorus. Kurt Bestor served as a missionary for The Church of Jesus Christ of Latter-day Saints in Serbia during the 1970s and later wrote about how he came to write the song: “Having lived in this war-torn country back in the late 1970’s, I grew to love the people with whom I lived. It didn’t matter to me their ethnic origin - Serbian, Croatian, Bosnian - they were all just happy fun people to me and I counted as friends people from each region. Of course, I was always aware of the bigotry and ethnic differences that bubbled just below the surface, but I always hoped that the peace this rich country enjoyed would continue indefinitely. When Yugoslavian President Josip Broz Tito died, different political factions jockeyed for position and the inevitable happened - civil war. Suddenly my friends were pitted against each other. Meanwhile, all I could do was stay glued to the TV back in the US and sink deeper in a sense of hopelessness. Finally, one night I began channeling these deep feelings into a wordless melody. Then little by little I added words.... Can you hear....? Can you feel......? I started with these feelings - sensations that the children struggling to live in this difficult time might be feeling. Serbian, Croatian, and Bosnian children all felt the same feelings of confusion and sadness and it was for them that I was writing this song.” 4 Loyola University Chicago
P R O G R A M N O T E S : F E B R UA R Y 27, 2 012 ( c o n t .) Handel’s Messiah endures as possibly the most popular piece of choral music ever written. Since its Dublin premiere in 1741, this sacred oratorio has seen countless performances. (As a coincidental note for this program, Messiah was composed only four years before the 1745 Jacobian rising that produced the aforementioned “Loch Lomond”. Handel’s librettist, Charles Jennens, had his own complicated relationship with the religious powers that be.) The oratorio is divided into three parts, and while many people are only familiar with Part I (“the Christmas part”) and the Halleluiah chorus from Part II, the final chorus “Worthy Is the Lamb” brings the entire work to a ecstatic and grand conclusion.
C H A M B E R C H O I R T R A N S L AT I O N S I wish to live happily I wish to live happily without any deep sorrow, la la. You can cease, Love, from shooting my heart; make use of your sharp arrows where they may not seem weak. I have little or no esteem for you, and I make fun of you, la la. I enjoy real pleasures without any thought, la la. You cannot trouble my rejoicing with your torments; put out your light, for it neither burns or destroys me. I do not fear your fire, and I make fun of you, la la. I adore and love Bacchus and I yearn for his liquor, la la. He makes me happy and is a dear delight to me; I willingly stay with him both night and day. I always happily call to him, and I make fun of you, la la. The Evening Sink, beaming God; the meadows thirst for refreshing dew, Man is listless, the horses are pulling more slowly: the chariot descends. Beaming God, descend! Look who beckons from the sea’s crystal waves, smiling warmly! Does your heart know her? The horses fly more quickly. Thetis, the divine, is beckoning. Quickly from the chariot and into her arms springs the driver. Cupid grasps the reins. The horses come silently to a halt and drink from the cool waters. In the sky above, with a soft step, comes the fragrant night; she is followed by sweet Love. Rest and love! Phoebus, the amorous, rests. Lord, how good it is to look Lord, how good it is to look upon a woman so sweet and fair; for on such beauty shining bright every swain would stop and stare. Who indeed could pass her by, her beauty every day more rare? My Lord, how good it is to look upon a woman so sweet and fair! For her, a-springing from the sea is perfect more than maid or dame who are but plain though pretty be; to think upon her is to dream, My Lord, how good it is to look upon a woman sweet and fair! Loyola University Chicago 5
U N I V E R S I T Y C H O I R T R A N S L AT I O N S VI. Ein kleiner, hübscher Vogel Ein kleiner, hübscher Vogel nahm den Flug zum Garten hin, da gab es Obst genug. Wenn ich ein hübscher, kleiner Vogel wär, ich säumte nicht, ich täte so wie der.
Liebeslieder Waltzes, Op. 52 A small, pretty bird took flight into the garden there was fruit enough there. If I were a pretty, small bird, I would not hesitate I would do just as he did.
Leimruten-Arglist lauert an dem Ort; der arme Vogel konnte nicht mehr fort. Wenn ich ein hübscher, kleiner Vogel wär, ich säumte doch, ich täte nicht wie der.
Malicious lime-twigs lurked in that place; the poor bird could not escape. If I were a pretty, small bird, I would have hesitated, I would not have done that.
Der Vogel kam in eine schöne Hand, da tat es ihm, dem Glücklichen, nicht and. Wenn ich ein hübscher, kleiner Vogel wär, ich säumte nicht, ich täte doch wie der.
The bird came into a pretty girl’s hand, and it caused him no pain, the lucky thing. If I were a pretty, small bird, I would not hesitate -I would do just as he did.
VI. Éyze shéleg! Éyze shéleg! Kmo chalamót ktaním Noflím mehashamá’im;
Five Hebrew Love Songs VI. What snow! What snow! Like little dreams Falling from the sky.
V. Rakút Hu hayá malé rakút Hi haytá kashá Vechól káma shenistá lehishaér kach, Pashút, uvlí sibá tová, Lakach otá el toch atzmó, Veheníach Bamakóm hachí, hachí rach
V. Tenderness He was full of tenderness; She was very hard. And as much as she tried to stay thus, He took her into himself And set her down in the softest, softest place.
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SPRING ENSEMBLES CONCERT Program for March 1, 2012 7:30pm Jazz Band Scott Burns, director O.P.
Charles Mingus (1922–1979) arr. Sy Johnson
Anthropology
Charlie Parker (1920–1955) arr. Victor Goines
April In Paris
Manteca
Vernon Duke (1903–1969) lyrics by E.Y. Harburg (1896–1981) arr. Andrew Homzy John Birks Gillespie (1917–1993) Chano Pozo (1915–1948) arr. Michael Philip Mossman Wind Ensemble Dr. Frederick Lowe, director
March, Op. 99 Sergei Prokofiev (1891–1953) arr. Paul Yoder Mutations from Bach Samuel Barber (1910–1981) Lincolnshire Posy Percy Aldridge Grainger 1.“Lisbon” (Sailor’s Song) (1882–1961) 2.“Horkstow Grange” (The Miser and his Man: A Local Tragedy) ed. Frederick Fennell 3.“Rufford Park Poachers” (Poaching Song) 4.“The Brisk Young Sailor” (returned to wed his True Love) 5.“Lord Melbourne” (War Song) 6.“The Lost Lady Found” (Dance Song)
Special thanks to Jeremiah Kramper and Hononegah Community High School for the use of their alto clarinet
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P R O G R A M N O T E S : M A R C H 1, 2 012 Jazz Band Composer, bassist and bandleader Charles Mingus is one of the jazz idiom’s most important composers. Born in 1922 and raised in Watts, California, his early musical influences came from the church, and from hearing Duke Ellington on the radio as a young boy. He first studied trombone and cello, before turning to the bass as a teenager. He studied double bass and composition formally, and learned jazz by playing with the masters: in the 1940s he toured with Louis Armstrong, Lionel Hampton and others. Settling in New York in the 1950s, Mingus played and recorded with the leading jazz musicians of the time: Charlie Parker, Bud Powell, Miles Davis, and Duke Ellington. By the mid 1950s, Mingus had formed his own recording and publishing companies to document his growing repertoire of original music. His music fuses elements of classical music, gospel music, Dixieland, modern jazz, and collective improvisation. O.P. was written in homage to another great bassist in jazz, Oscar Pettiford, and was never commercially recorded during Mingus’ lifetime, though he occasionally performed it live with his groups in the 1960s and 70s. The ebullient, almost light-hearted mood of the piece is highlighted by the simple melody motif and a section of stop-time rhythm, inspired by a popular dance tune from the 1920s, The Charleston. Anthropology was written by one of jazz’s preeminent figures, alto saxophonist Charlie Parker, or “Bird” as he is often known. Born and raised in Kansas City, Missouri, and gaining musical experience with the territory band of Jay McShann while still a teenager, Parker eventually moved to New York in 1939. It was there that he collaborated with other forward-thinking musicians who sought to create modern music that pushed beyond the popular music of the swing era, much of which was designed for dancing. The music these musicians created and developed came to known as bebop: Parker was at the forefront of the bebop revolution that began in the 1940s. The bebop style emphasized intricate melodies, advanced harmonies, increased syncopation, faster tempos, and instrumental virtuosity. Many tunes written by bebop musicians were contrafacts: they borrowed the form and harmonic structure of popular tunes from movies and musicals, but included new melodies. Among the most popular forms to serve as vehicles for improvisation were the blues form and “rhythm changes”, the formal and harmonic structure of the tune I Got Rhythm, composed by George and Ira Gershwin. Anthropology is an example of the latter, and is one of the most often played tunes of the bebop era. The arrangement is by saxophonist/clarinetist Victor Goines, currently the Director of Jazz Studies at Northwestern University, and member of the Lincoln Center Jazz Orchestra. Vernon Duke composed April In Paris in 1932 for the Broadway musical Walk A Little Faster. A popular tune with jazz vocalists, instrumentalists and popular singers, it has been recorded by a multitude of artists including: Louis Armstrong, Charlie Parker, Ella Fitzgerald, Frank Sinatra, and the Count Basie Orchestra. In the jazz idiom, Basie’s roaring arrangement from the 1957 album of the same name is certainly one of the most famous, evidenced by the arrangement still being commonly found in the library of many professional, university and high school bands. Saxophonist and prolific arranger Bob Minter has penned a version that is strikingly different from Basie’s bombastic, swinging arrangement: it transforms the tune into an introspective piece set over lilting bossa nova rhythm accompaniment. Many hallmarks of Mintzer’s arranging style are on display: rich extended harmonies, formal development, and varied instrumental timbres achieved by the use of mutes and instrument groupings that cross traditional horn section divisions. However, Mintzer reverently offers a nod to Basie’s classic arrangement by borrowing melodic material from its signature shout chorus. Like Charlie Parker, trumpeter and bandleader John Birks “Dizzy” Gillespie was among the group of forward-thinking musicians in New York City in the 1940s that developed the bebop style. Simultaneously, he developed an affinity for the music of Cuban immigrant musicians who came to New York in the 1930s and 40s. In the 1940s, jazz musicians and Cuban musicians began to collaborate, and a fusion style emerged, Afro-Cuban jazz, sometimes called “Cubop”. Gillespie and his various bands are considered to be important proponents of the style. Among these was a big band led by Gillespie in the 1940s and 50s that included arrangements in both the bebop and Afro-Cuban style. Manteca was cowritten in 1947 by Gillespie and Cuban percussionist Chano Pozo, who played in Gillespie’s big band. In the original recording’s introduction, the band can be heard chanting “I’ll never go back to Georgia”, referring to the racial tensions often encountered by African Americans in the southern United States. Mike Tomaro’s updated arrangement combines some new harmonic movement with many elements central to the Afro-Cuban jazz style: thick ensemble writing, driving rhythmic syncopation, repeating piano figures called montuno, and the use of added percussion instruments. 8 Loyola University Chicago
P R O G R A M N O T E S : M A R C H 1, 2 012 ( c o n t .) Wind Ensemble Sergei Prokofiev was a twentieth century Russian pianist, conductor, and composer of great renown. He attended the St. Petersburg Conservatory, and found success composing numerous works as a student and while teaching at the Conservatory during World War I. After the Russian Revolution at the end of 1917, Prokofiev left Russia and spent four years in the United States, where he conducted the notable premiere of his most famous opera, The Love for Three Oranges, in Chicago in late 1921. He then spent many years in Europe before returning to Soviet Russia in 1936, where he stayed until his death in 1953. In addition to numerous chamber works and music for piano and violin, Prokofiev wrote seven symphonies, several other operas including the epic War and Peace, and the ever-popular Peter and the Wolf. In late 1943, Prokofiev had been invited to Moscow to conduct several of his works, and it was during this time he composed his bright and uptempo March for military band. While written in the standard key of B-flat and featuring a celebratory, almost comical theme first introduced by solo trumpet, the work exhibits some interesting modulatory effects, a rather somber middle section, and difficult passages for the woodwinds and brass alike. Though scored for a military band, it was clearly intended by Prokofiev for concert performance. Born in West Chester, Pennsylvania, Samuel Barber wrote his first piece at age seven and attempted his first opera at age ten. At the age of fourteen, he entered the Curtis Institute of Music, where he studied voice, piano, and composition. His later works were championed by a remarkable range of renowned artists, including Vladimir Horowitz, Martha Graham, Arturo Toscanini, and Dmitri Mitropoulos, and he was the recipient of numerous awards and prizes, including the American Prix de Rome, two Pulitzer Prizes for composition, and was elected to the American Academy of Arts and Letters. Throughout his career, Barber found success in Europe and America, especially after the N.B.C. Symphony Orchestra and Arturo Toscanini premiered his Adagio for Strings in 1938. After 1966 he struggled with depression, alcoholism, and creative blocks that profoundly affected his productivity. Undaunted, he continued to concentrate on what had always been for him the gratifying task of writing vocal music in short forms, or voice-inspired works such as his 1968 composition Mutations from Bach. Barber notes the following about the work: This is a short sequence of transformations of the plain-song, Christe, du Lamm Gottes (Christ, Thou Lamb of God). It is first heard as harmonized by Joachim Decker (1604); then in the harmonization of J. S. Bach from Cantata No. 23. It is then heard in canon at the twelfth, i.e. the chorale prelude No. 21 from Bach’s “Orgelbüchlein” (Little Organ Book). Next, as quoted in the recitative section, “Ach, gehe nicht vorüber,” (Ah, do not pass me by now) from Bach’s Cantata No. 23; and ending with a restatement of the Decker version of the chorale. Australian-born Percy Aldridge Grainger is best known for his transcriptions of English folk songs from the early part of the twentieth century. Home-schooled by his mother in Melbourne until the age of thirteen, he then studied music in Frankfurt for six years before moving to London. After pursuing a career as a concert pianist for fourteen years, he moved to the United States, where be became popular as a performer and composer, and even served in the Army for two years as a performer and a band instructor. His works for concert band are some of the most well-known in the repertoire, and his technique of recording English folk singers with an Edison wax cylinder allowed him to more faithfully transcribe every nuance of their performances. Lincolnshire Posy is considered his masterwork for winds in this form. Premiered in 1937, the composer writes the following about his work: This bunch of “musical wildflowers” (hence the title Lincolnshire Posy) is based on folksongs collected in Lincolnshire, England (one noted by Miss Lucy E. Broadwood; the other five noted by me, mainly in the years 1905–1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly to me. Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody—a musical portrait of the singer’s personality no less than of his habits of song—his regular or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccato, his tendency towards breadth or delicacy of tone.
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BIOGR APHIES Scott Burns is the Director of the Loyola University Chicago Jazz Band and Instructor of Applied Jazz Saxophone. Burns earned his Bachelor of Music degree in Jazz and Studio Music from the University of Cincinnati College-Conservatory of Music, graduating at the top of his class. After gaining varied professional performing and teaching experience both regionally and internationally, he relocated to Chicago to attend DePaul University, where he earned his Master of Music degree in Jazz Studies. While playing with DePaul’s award-winning jazz ensemble, Burns was a prominently featured soloist alongside legendary jazz performers Joe Lovano, Kenny Werner, Louis Bellson, and Tom Harrell, and received an outstanding soloist award from Down Beat magazine in 1999. As an established member of the Chicago jazz scene, Burns frequently shares the stage as a leader and sideman with the area’s finest jazz musicians. His wideranging performing credits include select dates with popular singer/pianist Harry Connick Jr., national tours with the Mighty Blue Kings, and performances with the Cincinnati Pops Orchestra and Chicago Jazz Orchestra. He has played at the JVC Jazz Fest, Newport Jazz Fest, Chicago Jazz Fest, Symphony Center, Kennedy Center and many other festivals and venues, and has appeared with international jazz artists McCoy Tyner, David Hazeltine, Ira Sullivan, and Ahmad Jamal. Scott’s debut CD as a leader, Passages, was released on Origin Records to critical acclaim, and features his original compositions. He can currently be heard performing in Chicago and the Midwest region. Burns has been a guest soloist and/or clinician at the University of Cincinnati, University of Illinois, Bowling Green University, and Bloomington North H.S (IN). He has also taught at Columbia College, the Thelonious Monk Institute of Jazz, and the Northwestern University High School Music Institute summer program, as well as maintaining a private teaching studio. William Cernota, cellist with the Lyric Opera of Chicago, is also principal cellist of Concertante di Chicago, Chicago Opera Theater, and the Chicago Chamber Orchestra. He has been a regular substitute with the Chicago Symphony Orchestra at Orchestra Hall and Ravina, as well as on recordings and tours. Cernota’s solo appearances have included Strauss’ Don Quixote, Strauss’ Romance, Bloch’s Schelomo, Beethoven’s Triple Concerto, Brahm’s Double Concerto, Tchaikovsky’s Variations on a Rococo Theme, Dvorak’s Silent Woods, Boellmann’s Symphonic Variations and the cello concerti of Dvorak, Schumann, Lalo, Ibert, Haydn, Monn, and Vivaldi. He performed Schubert’s Arpeggione Sonata on a nationwide live broadcast from WFMT Fine Arts Radio in Chicago and appeared as soloist on the 1992 and 1994 European Tours of the Chicago Chamber Orchestra. His recitals have included the complete Sonatas and Variations of Beethoven and the complete Gamba Sonatas of J.S. Bach. With special interests in new and old music, Cernota appears regularly in contemporary music concerts. He has performed Lutoslawski’s works for solo cello at Orchestra Hall in Chicago for the composer. He has also performed on baroque cello with The City Musik, Basically Bach, Orpheus Band and Galena Baroque Ensemble. Cernota has also pursued a career in science and engineering, is a Research Scientist at Fermalogic, Incorporated, and received a Master of Engineering Degree from the University of Illinois at Chicago. 10 Loyola University Chicago
B I O G R A P H I E S ( c o n t .) Susan Chou was awarded full scholarship to study with Men ahem Pressler at Indiana University Jacobs School of Music, where she completed her Master degree in piano performance and continued on to her doctorate degree. Chou also served as an Associate Instructor from 2004 to 2010. In addition to giving numerous solo and chamber recitals, she had worked with famous musicians such as Cliff Colnot, Julian Martin, Ursula Oppens, Miriam Fried, Victor Yampolsky and Trio Chicago and Friends. She has appeared as soloist with the Good Samaritan Symphony Orchestra, IU University Orchestra, Northwestern University Symphony Orchestra and Symphony of the Mountains. Chou was a prize winner in the 2008 National Society of Arts and Letters Music Competition and the winner of 2011 Farwell Trust Award from Musician’s Club of Women. Currently, she is a Doctoral Candidate in Piano Performance at Indiana University. Dr. Charles Jurgensmeier, S.J. is currently director of the music program and associate professor of music in the Department of Fine and Performing Arts at Loyola University Chicago. Before coming to Loyola University, he was on the faculty at Creighton University in Omaha. For several years he performed with Opera Omaha and the Omaha Symphonic Chorus as singer, soloist, and conductor. He has given solo recitals in Holland, Italy, and Germany, as well as in Omaha, Los Angeles, San Francisco, and Cambridge, Massachusetts. He has worked as a church musician and choral director while pursuing his theological studies at the Weston Jesuit School of Theology and later at Loyola Marymount University during his doctoral studies. He continues to be active as a church musician as well as devoting his time and talents in the performance of early music, focusing on the choral music of J. S. Bach, Johann Valentin Rathgeber, O.S.B., and Marc-Antoine Charpentier. He is also active as a scholar, writing on Franz Schubert’s only psalm setting in Hebrew, Psalm 92, Tov lehodos, the Magnificat settings from the Vespers services and the Rural Masses of the eighteenth-century German composer, Valentin Rathgeber. He has presented papers on the composer in the United States and in Germany. He recently had two articles published in the New Grove Dictionary of American Music (Oxford University Press, 2011). Kirsten Hedegaard has enjoyed a duel career as a singer and conductor. As a soprano soloist, she has been praised for her voice that “blends beautifully” (Chicago Tribune) and “soars perfectly in the upper registers” (Barrington Quintessential). She has performed numerous Bach cantatas and baroque chamber music and has been a soloist with many early music specialists including Nicholas McGegan, Paul Hillier, Ivars Taurins, Kenneth Slowik, and John Butt. Ms. Hedegaard has sung with Tafelmusik, Philharmonia Baroque, Mercury Baroque, Ensemble viii, Baroque Band, the Newberry Consort, Ars Antiqua, the Opera Company and Bella Voce, among other ensembles. Ms. Hedegaard has performed numerous new works, including an international tour of Louis Andriessens’s The Odyssey with the Beppie Blankert Dance Company. This past winter she made her debut with the Grammy-award winning new music ensemble, eighth blackbird. Currently on faculty at Loyola University, Hedegaard has taught conducting at Concordia University, River Forest and has conducted choirs and orchestras for various institutions including Eastman House, Chicago Children’s Choir, Gallery 37, Loyola Academy, and the University of California. She was guest conductor with Chicago Choral Artists for the 2009-10 season and is the former conductor for the Bella Voce Outreach program. In 2000, she co-founded The Musical Offering, Loyola University Chicago 11
B I O G R A P H I E S ( c o n t .) a nonprofit music school in Evanston where she held the position of Executive Director until 2005. She also holds the position of Director of Music at the Presbyterian Church of Barrington. Hedegaard holds a BM from Northwestern University and her MA in conducting from the University of CA, where she was assistant to Paul Hillier. In 2008, she was invited to be a conducting Fellow at the Yale Norfolk Festival, studying with Simon Carrington. Dr. Colin Holman maintains an active professional career in Chicago where he divides his energies between conducting and musicology. Holman graduated from the University of Birmingham, England and was awarded a Direct Exchange Scholarship and a Graduate Honors Fellowship to complete his Masters degree in orchestral conducting and his Ph.D. in musicology from the University of Kansas, where he was a conducting student of George Lawner and Zuohuang Chen. For two years, Holman taught Japanese and American students at Teikyo Westmar University before moving to Chicago, where he has lectured at both the undergraduate and graduate level at Northwestern University, Northern Illinois University, Wheaton College, and North Park University. Holman’s extensive conducting credits include work in opera and musical theatre, with orchestras and concert bands, and in early music. Since moving to Chicago, he has conducted many of the orchestras in the area, including a tenure with the Fox Valley Symphony Orchestra and guest appointments with the Wheaton College Symphony Orchestra, the Elgin Symphony Orchestra, the Harper Symphony Orchestra, the West Suburban Symphony Orchestra, and the Chicago Virtuosi. Holman began his tenure as Orchestra Director at Loyola University in the Fall 2007 and was recently named founding conductor of the newly formed Fox Valley Orchestra. Dr. Haysun Kang is an internationally acclaimed pianist recognized for her performances of elegance with a wide palette of colors. The Polish music journal, Ruch Muzyczny, proclaimed her performance with the Philharmonia Sudecka as having “immaculate technique and flawless dexterity.” The Texas Monitor said of her performance, “… her performance was magnificent and we really were mesmerized…” Haysun Kang has appeared extensively in solo recitals, chamber music concerts and as the soloist with orchestras at major concert venues such as the Carnegie Hall, Merkin Hall, Donnell Library Center, Chicago Cultural Center, and Pick-Staiger Concert Hall. Her performances were broadcasted live on WQXR-FM radio in New York and televised on cable TV. Her performances have taken her throughout America, Europe, and Asia. In the United States, she has been a featured soloist with orchestras such as South Texas Symphony Orchestra, Chicago Chamber Orchestra, Northwest Symphony Orchestra, Metropolitan Youth Symphony Orchestra, Kankakee Valley Symphony Orchestra, and American Legion Symphonic Band. A native of Korea, Haysun Kang received her first piano lessons at the age of four and won the Asian Young Artist Piano Competition when she was twelve. She earned her bachelors degree in piano performance from Seoul National University, Korea. In the United States, she received her Master of Music degree from DePaul University where she studied with a Chopin International 12 Loyola University Chicago
B I O G R A P H I E S ( c o n t .) Competition laureate, Dmitry Paperno. and Doctor of Music degree from Northwestern University under the guidance of the renowned pianist and teacher Dr. David Kaiserman. She also received her musical training from Julian Martin at the Peabody Conservatory of Music, and Alexis Golovin at the Academy of Mozarteum in Salzburg, Austria. Haysun Kang is a laureate of numerous competitions, including the Frinna Awerbuch International Piano Competition, the Young Keyboard Artist Association International Piano Competition, the Verna Ross Orndorff AustrianAmerican Music Award, the Society of American Musicians Competition, the Cliff Dwellers Arts Foundation Award, and the Hoverson Piano Award. As an active adjudicator, she has been invited to judge many competitions including Steinway Young Artist Competition, Kankakee Valley Symphony concerto competition, Northwestern University Concerto Competition, and Sorantin International Young Artist Competition. She is currently a faculty member of Loyola University in Chicago, where she serves as the director of applied music. Haysun Kang recently has been endorsed by Yamaha as a Yamaha Artist in Education. Dr. Frederick Lowe conducts the Wind Ensemble and also directs the basketball pep band, the Band of Wolves. Lowe earned his bachelor of music degree at the University of Michigan, after which he directed the concert, symphonic, and marching bands and taught music theory and electronic music composition as assistant band director at Lake Zurich (IL) High School. Lowe earned his master and doctor of music degrees in conducting at Northwestern University, where he conducted the Contemporary Music Ensemble, Concert Band, Symphonic Band, Symphonic Wind Ensemble, and also assisted with the “Wildcat” Marching Band and the Men’s Basketball Band. Lowe has served as guest conductor with the Singapore Festival Winds and the McHenry County (IL) Youth Orchestras, he has judged several music festivals in the Chicago area, and he has served as a high school band guest clinician. His music analyses are published in the GIA Publications series Teaching Music Through Performance in Band, in both Volume VI, the second edition of Volume I, and the recently released volume of solo music with wind ensemble accompaniment.
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CHAMBER CHOIR SOPRANO I Meridith Glass Diana Gyulai Angela Jin Makiah Nuutien SOPRANO II Grace Affeltranger Anna George Kathryn Schmitz
ALTO Clara Flaherty Mollie Heath Claire Orzel
BASS Nicholas Harris Timothy McAlister Zachary Martinez Brice Vinson
TENOR Alex Chellberg Andrew Ferrerj Ryan Masterson, SJ
ORCHESTR A VIOLIN 1 Sarah Bruce Claire Gaddis Jordyn Kowalski Melissa Mandarino Sara Randazzo Momoko Takahashi* Annarita Tanzi Sara Zaza VIOLIN 2 Paula Grzebian* Sarah Livergood Laura Palarz Mary Kate Styler Sonia Szawdyn Janna Trautwein Meriam Ben Hadj Tahar Elyse Voyen Aleksandra Wojtowicz VIOLA Philip Arbogast-Wilson Courtney Bowe Colleen Hautzinger Hillary Jagiello Rachel Wood* CELLO Geneva Costopoulos Pieter De Tombe* Andrea Marshall Rachel Mignin Mike Niroumandpour Elizabeth Sullivan
BASS Jeremy Beyer* FLUTE Susan Nordstrand Connor Quinby* OBOE Elizabeth Griewe Abby Levy* CLARINET Katrina Lamont John O’Hara* BASSOON Gwyn Downey Derek Kane* FRENCH HORN Anne Hauser Jonathan Hauser* TRUMPET Edward Loy Rebecca Brantley* TIMPANI Thomas Moushey*
*denotes section principal LUC Orchestra utilizes rotating seating. Players are listed alphabetically by section. 14 Loyola University Chicago
CHORUS SOPRANO Natasha Adib Grace Affeltranger Emma Anderson Victoria Bain Vivianna Castilleja Arianna Chiu Allie Cole Sarah Comer Nathalie Corbett Drew Elliot Meredith Glass Joanna Harris Brenna Hogan Heather Hooker Bridget Houl Heather Kita Katie Little Lindsay Maher Amy Mestelle Mia Morzel Corrine Natyshak Makiah Nuutinen Eda Obermanns Hollis Redmon Tammy Salazar Holly Scheltens Sarab Shada Emily Tishler Kelsey Welch BASS Jeff Barak Evan Czerwonka Benton Fletcher Chris Gammad Ryan Hamman David Lancelle Kyle Lilly Michael Macdonald Zach Martinez Rogelio Realzola Victor Reyes Ray Rivera Victor Schneider Kevin Sisler Jonny Swift Jackson Tenclay Brice Vinson
ALTO Pooja Agrawal Claire Blakemore Veronica Burns Nicole Cribaro Lydia Decloud Callie Degnan Angelica D’Souza Alexis Gaines Christine Garces Lliani Gardiner Moira Geary Mallory Grembowski Mollie Heath Kelly Hof Jessica Jandura Tania Jocius Francina Juncaj Anna Kebe Spirit Kimbrough Paityn Korner Lindsey Kurdi Monika Makurath Samantha Mascari Brienne Moore Tiara Morgan Katharine Mosher Lauren Nelson Anna Perrotti Priya Shah Christina Skopec Emily Smith Teresa Veselack Olivia Walker Lindsey Wedow Holly Zissman TENOR Alex Chellberg Andrew Ferrer Gabriel Gonzale Paul Guziewski Ryan Haller Graham Henderson John Holland Fotis Masoungainakis Bobby O’Mullan Kevin Pastores Max Senn
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WIND ENSEMBLE PICCOLO Sarah Ellis Connor Quinby FLUTE Sarah Ellis Maria Klingelhoffer Monica Mills Kya Nordstrand Connor Quinby Rebecca Schuck Meghan Verbus Meagan Yothment Rebecca Youssef OBOE Erin Baumann Alexandra Carley Bianca Grove Abigail Levy ENGLISH HORN Abigail Levy E-FLAT CLARINET John O’Hara CLARINET Rachel Bohmbach Emily A. Caminiti Ashley Fitzgibbons Sarah Formentini Katie Lamont Marisol Magallanes Lauren Murljacic Amanda Newling Ashleigh Nichols John B. O’Hara Maritza Pinto Emily Poynton Meghan Zozokos ALTO CLARINET Katie Lamont BASS CLARINET Cheryl Hwang BASSOON Maria Marchione Jeremy Mozwecz
SOPRANO SAXOPHONE Nikki Gaseor ALTO SAXOPHONE Evan Czerwonka Nikki Gaseor Ciara Nicholson Brendan O’Brien TENOR SAXOPHONE Jesse Jimenez BARITONE SAXOPHONE Joel Thorson TRUMPET Jessica Drafke David Lancelle Zachary Parsons Ian Rogers Chris Urbon Nikolaus Weiner HORN Ruth M. Bisek Laura Grenlin Kyle Sullivan Aleksander Weismantel TROMBONE David Kantor Sean Keenan* Brent Marquart* Brian May Mike Welch EUPHONIUM Brian May TUBA Chris Waskiewicz Mike Welch PERCUSSION Dominic Fante Tom Hopkins Thomas M. Moushey Marcella Perez Ellie Ritzer
† The Wind Ensemble uses rotating seating. Players are listed alphabetically. * Guest musicians. 16 Loyola University Chicago
JA Z Z B A N D ALTO SAX Nicholas Bush Addison Jacobs TENOR SAX Justin Howe Maria Marchione
TROMBONE Erol Atac Laurie Mascali *Raphael Crawford BASS TROMBONE Mike Welch
BASS Benjamin Pellitieri DRUMS Stevenson Valentor VIBRAPHONE & PERCUSSION Cassandra Gerber
BARITONE SAX Roxanne AbleÂ
PIANO *Pat Collins
TRUMPET Cory Engler Nicholas Hadjokas Kevin Trieu Chris Urbon
GUITAR Jarrett Donoghue
*guest performer
Christine Hwang Charles Jurgenmeier, SJ Haysun Kang Rebecca Kornick Benjamin LeClair Gustavo Leone Rick Lowe Michael McBride Anthony Molinaro
Kelli Morgan McHugh Keith Murphy Andrew Nogal Sunshine Simmons Cameron Smith Steve Suvada MingHuan Xu
M U S I C FAC U LT Y Kyle Asche Steven Betancourt Scott Burns William Cernota Robert Dillon Victor Garcia Kirsten Hedegaard Colin Holman Ellen Huntington
D E PA R TM E N T O F F I N E A N D P E R F O R M I N G A R T S S TA F F Chair...................................................................................................................... Sarah Gabel, Ph.D Director of Music.................................................................................Charles Jurgensmeier, SJ Managing Director.................................................................................................April Browning Director of Public Programming......................................................................... Jennie Martin Operations Manager.................................................................................................Scott Heston Management Assistants........... Andrew Dillon, Ali Drumm, Julian Gonzalez, Andrew Lehmkuhl Office Assistants.............................................................................. Nina Bonano, Marta Wasko Box Office Manager.............................................................................................. James Dunford Box Office Staff.................................................................. Beatrice Brittan, Gabrielle Caputo, Megan Hazelwood, Claire Hawkes, Ysatis Hill, Sara Hubbard, Michelle Peters, Sallyann Price, Kathryn Siemianowski, Margaret Tomasik, Rachel Toporek, Daniel Tsang, Alyssa Vitale, Ceara Zennie MUSIC EVENTS CREW Evan Fazio, Manager of Events Jacob Ahnen Cassy Gerber David Lancelle Arianna Loehr
Ashley Lundgren David Marrah Anne McCauley Monica Mills Rachel Wood Loyola University Chicago 17
UPCOMING CONCERTS All concerts are in the Auditorium in the Mundelein Center unless noted otherwise and are free and open to the public. Sounds of Luxemburg II MAR 12 | Mon. 7:30 PM | Auditorium @ Mundelein Center | Free
Con Spirto! Loyola Music Faculty Concert MAR 16 | Fri. 7:30 PM | Auditorium @ Mundelein Center | Free
Honors Recital APR 20 | Fri. 7 PM | Madonna della Strada Chapel | Free
Jazz Chamber Recital APR 24 | Tues. 7:30 PM | Mullady Theatre | Free For more information, you can visit our blog at blogs.luc.edu/artsalive
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ABOUT LOYOL A’ S DEPARTM ENT OF FINE AN D PER FOR MING ARTS Loyola’s Department of Fine and Performing Arts combines the disciplines of dance, music, theatre, and the visual arts, and provides students with a quality arts education. This alignment of creative energies, which helps foster interdisciplinary collaboration, combined with the renovation of two buildings on the Lake Shore Campus, has inspired a renaissance of the arts at Loyola University Chicago. The arts are alive at Loyola. We offer a variety of music concerts, plays, and gallery events throughout the year. Visit LUC.edu/dfpa for more information, or call the box office at 773.508.3847 Box Office Contact Information Phone: 773.508.3847 Email: Boxoffice@luc.edu Hours are from 12p.m.-5p.m., Monday through Friday in Mundelein 1302, and an hour before curtain on performance days or you can order your tickets online at LUC.tix.com Information The taking of photographs and the use of any type of recording devices are not allowed in the theatre during performances and are a violation of state and federal copyright laws. Tape or film will be confiscated. Electronic pagers and portable phones should be given to the house manager, who will notify patrons in the event that they are paged, if it is necessary that they be contacted during the performance. Patrons wearing alarm watches are respectfully requested to turn them off before entering the facility. Patrons are asked to turn off portable phones before entering the facility. Lost and Found information may be exchanged at the Box Office; please call 773.508.3847. Smoking is prohibited. If you have any questions about the Department of Fine and Performing Arts, or would like to volunteer or support the theatre program in any way please call us at 773.508.7510 or you can visit our website at LUC.edu/dfpa or our blog at blogs. LUC.edu/artsalive Thanks again for your patronage!
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