Loyola University Chicago Department of Fine and Performing Arts Presents
Spring 2011 Music Program
Orchestra, Chorus & Chamber Choir Concert April 27, 2011 7:30 p.m.
Wind Ensemble, Percussion Ensembles & Jazz Band Concert April 28, 2011 7:30 p.m. Madonna della Strada Chapel 1032 W. Sheridan Road Auditorium, Mundelein Center 1020 W. Sheridan Road
SPRING ENSEMBLES CONCERT
Program for April 27, 2011 7:30pm Chamber Choir Charles Jurgensmeier, S.J., director Senex puerurm portabat.................................................................................................. William Byrd (c.1549 – 1623) Be unto Me, O Lord Nun danket alle Gott................................................................................................Johann Pachelbel (1653 – 1706) Jordan Farrell, cello Orchestra Dr. Colin Holman, director Symphony No. 8 “Unfinished” .................................................................................. Franz Schubert Allegro moderato (1797 –1828) Viola Concerto in G..................................................................................... Georg Philipp Telemann Largo (1681 –1767) Allegro Andante Presto Kelly Lavieri, viola soloist University Chorus and Orchestra Kirsten Hedegaard, director Ben LeClair, guest soloist Jeffrey Richards, accompanist Requiem Mass in D minor (K. 626)....................................................Wolfgang Amadeus Mozart (1756 – 1791) I. Introitus: Requiem aetern Lisa Sroka, soloist II. Kyrie eleison III. Sequentia Dies irae
Tuba mirum
Daniel Chung, Ben LeClair, Kylie Pascente, Lisa Sroka, soloists
Rex tremendae majestatis Recordare
Daniel Chung, Benton Fletcher, Kylie Pascente, Lisa Sroka, soloists Confutatis maledictis Lacrimosa dies illa
IV. Offertorium Domine Jesu Christe Andrew Ferrer, Anna Schaffer, Jackson Tenclay, Grace Wickert, soloists Hostias et preces V. Sanctus Sanctus Dominus Deus Sabaoth Benedictus
Marco Beccerra, Michelle Beggs, Lenore Ettinger, Eric Holmes, soloists VI. Agnus Dei VII. Communio: Lux aeterna
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P R O G R A M N O T E S : A P R I L 27, 2 011 Chamber Choir This motet, Be unto Me, O Lord, uses a text by Sir William Leighton, an English poet, composer and Gentleman Pensioner of Elizabeth I and James I. He published two volumes of poetry but is best known for The Teares and Lamentations of a Sorrowful Soule (1614), a collection of 54 psalms and hymns for four or five voices, some with lute, which he compiled while in prison for debt. Byrd contributed four works to the collection. In it, he used subtle examples of text painting: the text, “a tow’r of strength,” is set to sturdy, homophonic chords; “with cheerful voice,” introduces happily running eighth notes. The antiphon Senex puerum portabat, was sung prior to the Magnificat canticle in the Even Prayer or Vespers service for the Feast of the Purification of Mary. This setting comes from Byrd’s Gradualia, published in 1610. Pachelbel’s motet Nun danket alle Gott is one of ten motets scored for two choruses and continuo. The music features simple harmonies and very little difficult polyphony, being an great example of what the Germans call Gebrauchsmusik, music written for specific use in the Lutheran Church service. The text is taken from Ecclesiastes 50: 24-26. The last movement is reminiscent of his organ chorales, wherein the chorale melody, featured in longer note values, is sung by the sopranos while the lower three voices in shorter notes. Orchestra As the “epilogue to the Classical period and the prologue to the Romantic period” Schubert’s Unfinished Symphony is noted for its lyricism, colorful orchestration and mellifluous harmony. Schubert only completed two of the traditional four movements, and sent the incomplete work to a friend who apparently shelved the music; it was not rediscovered until 1865 when a first performance was arranged. Sketches for a third movement were made by Schubert and there have been attempts to reconstruct two concluding movements. The first movement, played this evening, is one of the most beloved in the orchestral repertoire. Telemann was one of the most prolific composers with over 3000 works credited to him name. His Viola Concerto in G major is among his most famous and regularly performed works, as well as being the earliest concerto of significance in the viola repertoire. The stately first movement gives way to an energetic allegro. Then a contrasting and solemn third movement leads to a Presto which is full of vitality. University Choir Mozart, Wolfgang Amadeus (1756-1791) Requiem, K. 626 Much has been written, both fact and fiction, about the commissioning, composition, and completion of the Requiem, begun in the last year of Mozart’s life. There have been many mysteries and myths concerning the Requiem and Mozart’s death, which have continued through the two hundred years since his death. Many of these myths have been debunked by recent scholarship. Here is what is known. The saga began with the death of the young wife of an obscure, provincial nobleman, Franz Count von Walsegg. He vowed to memorialize her with two monuments: a sculpture in marble and a requiem composed by Mozart. Sometime in 1791, probably in the summer, he sent a messenger to Mozart asking him to write a requiem mass, but stipulated that any inquiry about the identity of the commissioner would be in vain. The count was in the practice Loyola University Chicago 3
P R O G R A M N O T E S : A P R I L 27, 2 011 of commissioning other composers for works which he would then claim as his own compositions, and intended to do the same for the Requiem, hence the secrecy. A fee was negotiated, half of which was given at the time of the commission; the balance would be paid upon delivery of the completed work. It is unclear when Mozart began work on the Requiem; however the bulk of his work probably occurred in the period between October and when he took to his bed on November 20. It was left incomplete at his death on December 5, 1791. Only the first movement, the “Requiem” (i.e., Introit) was complete with all vocal and instrumental parts. Subsequent movements, from the “Kyrie” through “Hostias,” consisted of only the 4-part vocal lines, figured bass (bass with chord symbols), and brief passages for first violin and other instruments. The exception was the “Lacrimosa” movement, of which only the first eight measures were written out. The “Kyrie” was orchestrated by two or three of Mozart’s colleagues for a performance of at least part of the Requiem at a requiem mass for Mozart on December 10, 1791. Mozart’s widow Constanze, eager to collect the balance of the commission, tried to get two of Mozart’s colleagues to complete the work before recruiting Franz Xaver Süssmayr. She could then send the completed work to the Count, representing it as entirely Mozart’s composition. Süssmayr completed the orchestration for the movements from “Dies irae” through “Hostias,” completed the “Lacrimosa,” and wrote new material for the “Sanctus,”“Osanna,” “Benedictus,” and “Agnus Dei” movements. Süssmayr created a copy of the completed work in which he forged Mozart’s handwriting so well that only handwriting experts could tell the difference. Two copies were left to Constanze, who used them for performances and eventual publication. Much of the mystery surrounding the commissioning and composition of the work can be attributed to the secrecy of the commission and the desire of Constanze and Süssmayr to pass off the entire work as solely Mozart’s. A copy of the work was delivered to Count Walsegg in early March, 1792. Walsegg did not present a performance of the work until December, 1793 and again on the third anniversary of his wife’s death on February 14, 1794. Meanwhile Constanze beat him to the punch by having a performance organized by Mozart’s friend Baron von Swieten on January 2, 1793. Subsequently several performances were given during Constanze’s lifetime as benefit concerts for Constanze and her children. Program notes by Robert Acker University Chorus Translations I. Introit: Requiem Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis care veniet. Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.
Grant them eternal rest, Lord, and let
perpetual light shine on them.You are praised, God, in Zion,and homage will be paid to You in Jerusalem. Hear my prayer,to You all flesh will come. Grant them eternal rest, Lord, and let perpetual light shine on them.
II. Kyrie Kyrie, eleison. Christe, eleison. Kyrie, eleison.
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Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us.
P R O G R A M N O T E S : A P R I L 27, 2 011 III. Sequence 1. Dies irae Dies irae, dies illa Solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus! 2. Tuba mirum Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.
Day of wrath, day of anger will dissolve the world in ashes, as foretold by David and the Sibyl. Great trembling there will be when the Judge descends from heaven to examine all things closely.
Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
The trumpet will send its wondrous sound throughout earth’s sepulchres and gather all before the throne. Death and nature will be astounded, when all creation rises again, to answer the judgement. A book will be brought forth, in which all will be written, by which the world will be judged.
udex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit.
When the judge takes his place, what is hidden will be revealed, nothing will remain unavenged.
Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus?
What shall a wretch like me say? Who shall intercede for me, when the just ones need mercy?
3. Rex tremendae Rex tremendae majestatis, qui salvandos savas gratis, salve me, fons pietatis.
King of tremendous majesty, who freely saves those worthy ones, save me, source of mercy.
4. Recordare Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die.
Remember, kind Jesus, my salvation caused your suffering; do not forsake me on that day.
Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus.
Faint and weary you have sought me, redeemed me, suffering on the cross; may such great effort not be in vain.
Juste judex ultionis, donum fac remissionis ante diem rationis.
Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.
Ingemisco, tamquam reus: culpa rubet vultus meus; supplicanti parce, Deus.
I moan as one who is guilty: owning my shame with a red face; suppliant before you, Lord.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
You, who absolved Mary, and listened to the thief, give me hope also..
Preces meae non sunt dignae, sed tu, bonus, fac benigne, ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.
My prayers are unworthy, but, good Lord, have mercy, and rescue me from eternal fire. Provide me a place among the sheep, and separate me from the goats, guiding me to Your right hand. Loyola University Chicago 5
P R O G R A M N O T E S : A P R I L 27, 2 011 5. Confutatis Confutatis maledictis, flammis acribus addictis, voca me cum benedictus. Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
When the accused are confounded, and doomed to flames of woe, call me among the blessed. I kneel with submissive heart, my contrition is like ashes, help me in my final condition.
6. Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amen.
That day of tears and mourning, when from the ashes shall arise, all humanity to be judged. Spare us by your mercy, Lord, gentle Lord Jesus, grant them eternal rest. Amen.
IV. Offertory I. Domine Jesu Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum.
Lord Jesus Christ, King of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth, lest hell swallow them up, lest they fall into darkness.
Sed signifer sanctus Michael repraesentet eas in lucem sanctam.
Let the standard-bearer, holy Michael, bring them into holy light.
Quam olim Abrahae promisisti et semini ejus.
Which was promised to Abraham and his descendants.
2. Hostias Hostias et preces tibi, Domine, laudis offerimus. Tu sucipe pro animabus illis, quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti et semini ejus.
Sacrifices and prayers of praise, Lord, we offer to You. Receive them in behalf of those souls we commemorate today. And let them, Lord, pass from death to life, which was promised to Abraham and his descendants.
V. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takes away the sins of the world, grant them eternal rest. Lamb of God, who takes away the sins of the world, Grant them eternal rest. Lamb of God, who takes away the sins of the world, grant them eternal rest forever.
VI. Communion: Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternum dona eis, Domine, et Lux perpetua luceat eis, cum Sanctus tuis in aeternum, quia pius es. 6 Loyola University Chicago
Let eternal light shine on them, Lord, as with Your saints in eternity, because You are merciful. Grant them eternal rest, Lord, and let perpetual light shine on them, as with Your saints in eternity, because You are merciful.
WIND ENSEMBLE, PERCUSSION ENSEMBLES & JA ZZ BAND CONCERT Program for April 28, 2011 7:30 p.m. Wind Ensemble Frederick Lowe, director The Wraggle Taggle Gipsies from Old Wine in New Bottles........................................... Gordon Jacob (1895–1984) Funeral March in Memory of Rikard Nordraak.................................................................... Edvard Grieg (1843–1907) arr. Geoffrey Emerson Marche Hongroise from La damnation de Faust...............................................................Hector Berlioz (1803–1869) trans. Clark McAlister Hail to You, Loyola........................................................................................................Gregory D. Luckhaupt Recognition of Graduating Seniors (1953–1994) text by John H. Reinke, S.J. (1915–2003) Hail to you, all praise to you, Loyola, Loyola! Voices strong, our alma mater, hail. Sons and daughters, everywhere, Loyola, Loyola! Pledge to you: our love will never fail. So we rise to honor you, Loyola, Loyola! God be with you, our alma mater, hail! Blue Shades...................................................................................................................................... Frank Ticheli (b. 1958) Percussion Ensembles Robert Dillon, director Pulse................................................................................................................................................. Henry Cowell (1897–1965) Amanda Chow, Mason Jenkins, Diana Lester, Annette Nowacki, Erin O’Neill, James Wentz, Trio....................................................................................................................................................Daniel Levitan (b. 1953) Michael Comer, Ariana Loehr, Annette Nowacki Catfish....................................................................................................................................... Mark Applebaum (b. 1967) Cassy Gerber, Katie Kirby, Diana Lester INTERMISSION Saxophone Quartet Blue Rondo A La Turk...................................................................................................................Dave Brubeck (b 1920) arr. Harley Sommerfeld Roxanne Able alto, Cassandra Gerber drums, Eric Pedone soprano Connor Sewing tenor, Joel Thorson baritone Jazz Band Scott Burns, director Special Guest: Victor Garcia, trumpet (LUC Faculty Member) High and Flighty........................................................................................................................... Hank Mobley (1930–1986) arr. Mark Taylor Recorda Me..................................................................................................................................Joe Henderson (1937–2001) arr. Eric Richards Nardis.....................................................................................................................................................Miles Davis (1926–1991) arr. George Stone A Night in Tunisia................................................................................................ John Birks “Dizzy” Gillespie (1917–1993) Frank Paparelli (1917–1973) arr. Michael Philip Mossman Loyola University Chicago 7
P R O G R A M N O T E S : A P R I L 2 8 , 2 011 Wind Ensemble Gordon Jacob was born in 1895, the last child in a family of ten. He lost his father at a young age, and joined the British Army at the age of nineteen. After serving in World War I and spending time as a prisoner of war, Jacob returned to London to study at the Royal College of Music; seven years after first attending the RCM, he would return there to teach composition for forty years. Though he was considered a conservative composer among his peers (Holst, Vaughan Williams, Britten, and Elgar), Jacob was respected for his contributions to wind band music. Like many other English band works from the first half of the twentieth century, his 1958 composition Old Wine in New Bottles was an arrangement of various English folk songs scored for chamber winds. Born in 1843, Edvard Grieg took inspiration from Norwegian folk music while using techniques from the Romantic era to become the most famous Scandinavian composer of his time. His Piano Concerto is still in the repertory and is well known as one of the most entertaining and showy works of the genre. In 1863, Grieg met Rikard Nordraak, a fellow composer also in his early twenties. They formed an immediate kinship, but that bond was soon broken when Nordraak fell ill while visiting Berlin and died in 1866. Grieg was in Rome at the time, but the very day that he heard of Nordraak’s untimely death, he wrote the Funeral March for piano. Twelve years later, Grieg arranged the work for brass choir, and thought so much of the work that he even arranged a military band version to be performed at his own funeral. Like many musicians of his time, Hector Berlioz did not set out to be a composer. When he reached the age of 18, his parents sent him to Paris to study medicine. He proved to be disgusted by the sight of a human corpse, and began visiting the Paris Conservatory library to study scores. Much to his parents’ disappointment, he left his study of medicine and enrolled in the Paris Conservatory in 1826. His 1830 work Symphony fantastique still stands as a landmark in program music and as a representative work of the early Romanic era. Berlioz called his 1846 work The Damnation of Faust a “dramatic legend,” as it is not quite an opera or an oratorio. The Hungarian March that Berlioz uses to conclude the first act of the work is based on the “Rákóczi March,” a work that originated in Hungary one hundred years earlier and is named after Prince Francis Rákóczi II, who led his people in a revolt against the Austrian Habsburgs Frank Ticheli is one of the most well-known living composers of wind band music. His compositions span a wide range of difficulty levels, and are popular with bands from the middle school level up through the advanced college or professional ensemble. A professor of composition at the University of Southern California, Ticheli writes the following about his 1997 composition Blue Shades: As its title suggests, the work alludes to the Blues, and a jazz feeling is prevalent—however, it is not literally a Blues piece. There is not a single 12bar blues progression to be found, and except for a few isolated sections, the eighth-note is not swung. The work, however, is heavily influenced by the Blues: “Blue notes” (flatted 3rds, 5ths, and 7ths) are used constantly; Blues harmonies, rhythms, and melodic idioms pervade the work; and many “shades of blue” are depicted, from bright blue, to dark, to dirty, to hot blue. 8 Loyola University Chicago
P R O G R A M N O T E S : A P R I L 2 8 , 2 011 ( c o n t .) Percussion Ensemble A tireless musical explorer and inventor, Henry Cowell’s use of varied sound materials, experimental compositional procedures, and a rich palette colored by multiple nonEuropean and folk influences revolutionized American music and popularized, most notably, the tone cluster as an element in compositional design. Pulse, dedicated to John Cage and his percussion group, is scored for six players. Each player has two sets of three like instruments. The piece is in 7/8 time throughout, outlined by an irregular pulse that all the other percussionists play off of. Daniel Levitan is the composer of numerous works for percussion ensemble that are regularly performed at colleges and universities across the country and around the world. He works as a piano technician in New York City, and writes and lectures on tuning topics for the Piano Technicians Guild. Mark Applebaum is Associate Professor of Composition and Theory at Stanford University. In addition to being one of the most distinctive compositional voices in modern American music, Applebaum is an active jazz pianist and builds electroacoustic instruments out of junk, hardware, and found objects for use as both compositional and improvisational tools. Catfish is for any multiple of 3 percussionists, each with 3 instruments of like materials; player 1 is metal, player 2 is wood, and player 3 skin, though the choice of specific instruments is left up to the performers. Catfish makes use of a complex rhythmic vocabulary, including quintuplets, septuplets, and arhythmic gestures, as well as the technique of metric modulation, where a common subdivision is used to shift from one tempo to another (ie, the sixteenth note becomes the new triplet). Jazz Band Tenor saxophonist Hank Mobley was born in Georgia and raised in New Jersey. His playing and composition style is closely associated with the sub-style of jazz known as hard bop, which developed out of bebop in the 1950s and is typified by the influence of gospel and rhythm & blues fused with the instrumentation, harmony and virtuosity of bebop. Mobley worked with Dizzy Gillespie and Max Roach early in his career, but it is his association with pianist Horace Silver and drummer Art Blakey’s seminal hard bop group, The Jazz Messengers, that introduced him to a wider audience. Mobley was a prolific composer and recording artist: between 1955 and 1970, he recorded well over twenty albums as a leader and countless more as a sideman, chiefly for the Blue Note label, one of the jazz idiom’s most successful and long-standing record labels. He was dubbed by jazz critic Leonard Feather as “the middleweight champion of the tenor saxophone” because his softer tone and melodic style fell somewhere in between the heavier style of Sonny Rollins and the smoother style of Lester Young (who was an obvious influence). The comment nonetheless became generally misconstrued as meaning Mobley’s playing was on a lower tier among the history of jazz’ many great tenor saxophonists, a misconception that sadly led to Mobley being vastly underrated in the history of jazz. The sprightly, bebopish tune High And Flighty was originally recorded on the album Peckin’ Time, co-led by Hank Mobley and trumpeter Lee Morgan, released in 1958.
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P R O G R A M N O T E S : A P R I L 2 8 , 2 011 ( c o n t .) Joe Henderson was born in Lima, Ohio to a large family that included 14 siblings. He took up the saxophone at an early age, after being inspired by an older brother’s jazz record collection. Henderson became active on the Detroit jazz scene of the mid 1950s while still a teenager, playing with many New York based jazz professionals that came through town. He studied music at Kentucky State University and Wayne University in Detroit, followed by a two-year stint in the US Army. After being discharged in 1962, Henderson moved to New York City, where he quickly gained a formidable reputation. Trumpeter Kenny Dorham was an early mentor to Henderson in New York, introducing him to many of the jazz scene’s top players, and asking him to record with him. Henderson’s playing on Kenny Dorham’s 1963 album Una Mas so impressed Blue Note Records boss Alfred Lion, that he awarded him a recording contract with the label. His first recording as a leader for the label was Page One, and included perhaps his most well-known composition, Recorda Me, which has since become a jazz standard. According to Henderson it was his first composition, written at the age of 14 or 15. Over his career, Henderson went on to record over 30 records as a leader and many more as a sideman, ultimately winning several Grammy awards for various recordings he made in the 1990s for the Verve record label. Though perhaps not as well known to the general public as fellow saxophonists John Coltrane and Sonny Rollins, Joe Henderson is nonetheless widely considered by many jazz players, critics and aficionados as one of the “titans” of the tenor saxophone, with a distinctly original voice. Trumpeter and bandleader Miles Davis is one of the jazz idiom’s most iconic figures. A restlessly creative artist, Davis and the various groups he led are positioned at the forefront of many major stylistic developments within the jazz idiom, thus he is considered one of its most influential musicians. Davis was raised in East St. Louis, Illinois, where he began playing professionally as a teenager. He moved to New York City in 1944 to attend the Julliard School of Music, but eventually dropped out, having become enamored with the flourishing jazz scene that was in the midst of a major stylistic development, the crucible of bebop. Davis sought out saxophonist Charlie Parker, who was one of the bebop style’s most important figures, and joined Parker’s quintet in 1945, where he gained valuable experience with master musicians. After his tenure with Parker, Davis went on to lead some of the most important and successful jazz groups in jazz history, recording many albums which are considered stylistic landmarks in the jazz milieu: Birth Of The Cool (1956, recorded in 1949), Kind of Blue (1959), Nefertiti (1967), In A Silent Way (1969), and Bitches Brew (1970). While there has been some speculation as to who wrote Nardis, it is generally credited to Miles Davis, though he never recorded it himself. The tune first appeared on alto saxophonist Julian “Cannonball” Adderley’s, “Portrait of Cannonball” (1958). The album also featured the playing of pianist Bill Evans, whom some speculate wrote the tune. Both Adderley and Evans were members of the Miles Davis Sextet at the time of the recording. Born in Cheraw, South Carolina, John Birks “Dizzy” Gillespie had access to musical instruments early in life, as his father was a local bandleader. Early on, he played piano and trombone, before eventually settling on the trumpet. He began his professional career playing in various big bands led by Teddy Hill, Cab Calloway, and Billy Eckstine, and began composing music for these bands as well as others. Eventually, he became interested in playing more advanced music, and began sitting in around New York City with similar10 Loyola University Chicago
P R O G R A M N O T E S : A P R I L 2 8 , 2 011 ( c o n t .) minded musicians. Along with saxophonist Charlie Parker, pianists Thelonious Monk and Bud Powell, Gillespie was a major contributor to the development of bebop in the 1940s. Along with his virtuosic playing, his signature puffedcheeks, scat-singing, and vivacious comedic personality helped the complex musical offerings of bebop reach a wider audience. Dizzy’s work with Charlie Parker during this period is some of the most electrifying and influential music in the style. In 1945, Dizzy formed his own big band grounded in the bebop style. Though his first attempt at leading a large ensemble was short lived, due largely in part to the economics of such an endeavor, he returned to the format in the mid 1950s when he was contracted by the US State Department to tour the Middle east. The tour was very successful, and Gillespie become one of the jazz idiom’s most important ambassadors abroad. A Night In Tunisia, written in 1942, is one of his most well known compositions. The tune features rhythmic elements of traditional Afro-Cuban music, which was a fascination of Gillespie throughout his career. It was recorded several times by Charlie Parker, with versions featuring both Gillespie and later Miles Davis, and was recorded with Gillespie’s big band in the 1950s. The tune’s signature interlude section was possibly composed by pianist Frank Paparelli, though this is the subject of some debate. Whatever the case, the tune’s popularity cannot be debated: it has been recorded over 1500 times by a myriad of artists. 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 CollegeConservatory 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. Loyola University Chicago 11
B I O G R A P H I E S ( c o n t .) Robert Dillon is chair of percussion studies at Merit School of Music, percussion instructor at Loyola University Chicago, and a founding member of Third Coast Percussion, a percussion ensemble that presents a full season of concerts in Chicago each year in addition to performances across the country (). He has also performed as a substitute with the Chicago, Boston and San Diego Symphony Orchestras, and has appeared numerous times on the Chicago Symphony’s contemporary music series, MusicNow, as well as the University of Chicago’s Contempo series alongside eighth blackbird and the Pacifica Quartet. For the 2007–08 season, Robert served as principal percussionist in the Madison Symphony Orchestra, and has previously held positions in the Civic Orchestra of Chicago and the Southwest Michigan Symphony Orchestra. He is also a member of the unique, international 12-percussionist Ensemble XII (formerly the Lucerne Festival Percussion Group), and has participated in Pierre Boulez’s Lucerne Festival Academy (Switzerland), Tanglewood Music Center, Spoleto Festival USA, National Repertory Orchestra and Pacific Music Festival (Sapporo, Japan). Robert holds a Bachelor of Music from Northwestern University and a Master of Music from the New England Conservatory, where he received the John Cage Award for Outstanding Contribution to Contemporary Music Performance. His teachers include Michael Burritt, James Ross, and Will Hudgins. Victor Garcia is the current Instructor of Music: Trumpet here at Loyola. He was introduced to music via the piano at age 4. At age 8, Victor began learning the guitar and singing with his father and brother in a Latin American-style Trio, a setting in which he gained a deep sense of harmony. He began teaching himself to play the trumpet in high school, being influenced by recordings of jazz musicians such as Dizzy Gillespie, Clifford Brown, Charlie Parker, and Freddie Hubbard, and by the middle of his senior year enrolled in the Merit School of Music, studying under Michael McLaughlin. By the time he left for college at the University of Illinois at Urbana-Champaign, Victor had begun playing with various Latin bands, including Ricky Luis (singer of N’Klabe of Universal Records), Angel Melendez & the 911 Mambo Orchestra, Johnny Rodriguez’s Latin Inspiration, and Papo Santiago & Infraverde. Today, he continues to freelance in Chicago and beyond, some notable performances including the Montreal Salsa Festival with Angel Melendez, a live DVD recording at the Grand Ballroom in Navy Pier with Ernie Haase & Signature Sound, the Blues & Brews Fest in Telluride, CO with Lubriphonic, winning the Grand Prize at Buddy Guy’s Legends for the Union League Club Jazz Improvisation Competition (2009), and playing aboard Oprah Winfrey’s Trip Of A Lifetime Mediterranean Cruise with Walt Cunningham. Kirsten Hedegaard hailed as “one of the most dynamic musicians of her generation” (John Butt, Dunedin Consort), 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, the Newberry Consort, Ars Antiqua, the Opera Company and Bella Voce, among other ensembles. Also interested in contemporary music, Hedegaard has premiered several new works and was engaged as soprano soloist for an international tour of Louis Andriessens’s The Odyssey, with performances throughout the US and the Netherlands. 12 Loyola University Chicago
B I O G R A P H I E S ( c o n t .) 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, 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. Fr. Charles Jurgensmeier, S. J. is currently Director of Music and Associate Professor of Music in the Department of Fine and Performing Arts at Loyola University Chicago. Previous to his coming to Loyola University, he was on the faculty in the Department of Fine and Performing Arts 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 NE, Cambridge MA, Los Angeles and San Francisco, CA. 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, Henry Purcell, Johann Valentin Rathgeber, O.S.B., and Marc-Antoine Charpentier. Loyola University Chicago 13
B I O G R A P H I E S ( c o n t .) He is also active as a scholar, writing on Franz Schubert’s only psalm setting in Hebrew, Psalm 92, Tov lehodos, and on the Magnificat settings of the eighteenthcentury German composer, Johann Valentin Rathgeber. He has presented and had published papers on Schubert in the United States and on Valentin Rathgeber during the First and Second Rathgeber International Symposiums (2008 and 2010) in Germany. Kelly Lavieri is a senior at Loyola who began playing viola at the age of 10. She began private lessons that same year under the instruction of Rachel Bierkan. In 2002, she joined Cincinnati Junior Strings and two years later toured with this orchestra throughout Eastern Australia for one month. In 2003, Kelly was awarded the principal violist position in the Ohio District 14 Honors Orchestra. She then joined the Blue Ash Youth Symphony Orchestra, Cincinnati Community Orchestra and became the principal violist of the Loveland High School Chamber Orchestra for the following four years. Kelly was also a member of the Ohio AllState Orchestra. Kelly has enjoyed playing in various chamber groups throughout her career, including the Giardi Quartet, under the coaching of Dr. Gerald Doan and various Loyola quartets. Kelly was also the recipient of the Loveland Music Boosters Scholarship in 2007. Upon Kelly’s arrival at Loyola, she secured the principal violist seat and has occupied it for all four years. She has taken lessons from Martin Davids and MingHuan Xu while at Loyola. After graduation in May, Kelly looks forward to her career at Asset Management Investors, LLC while also playing viola in a local city orchestra. She would like to thank her family, friends, Dr. Holman, and the entire music faculty at Loyola for being so supportive and enthusiastic of her musical endeavors. 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 has pursued graduate conducting studies 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 and the second edition of Volume I. Jeffrey Richards is the accompanist for the Loyola University Chorus. He attended Michigan State University, and for seven years was the accompanist for the Chicago Gay Men’s Chorus. He has accompanied voice students for DePaul University and Northwestern University, and for students of Acclaimed Soprano Catherine Malfitano. He currently accompanies students of the Chicago School of Professional Singing and serves as organist for Bethlehem United Church of Christ in Chicago and Temple Chai in Long Grove.
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CHAMBER CHOIR SOPRANO Rebekah Comerford Lenore Ettinger Diana Gyulai Lauren Rodgers Anna Schaffer Elizabeth Spaargaren
ALTO Angelica D’Souza Natalie Duthoy Kelli Guo Mollie Heath Faith Moore Katherine Murphy
TENOR Marco Becerra, Jr. Daniel Chung
VIOLIN I Anne Burkhardt Logan Finucan Claire Gaddis Amit Mittal Cristina Roy Momoko Takahashi Annarita Tanzi
CELLO Geneva Costopoulos Megan Crompton Jordan Farrell Rachel Mignin Kelsey Nippert Mehrdad Niroumandpour
BASSOON Gwyn Downey Derek Kane
VIOLIN II Rebecca Bowman Megan Gluchman Paula Grzebien Paul Guziewski Agnes Kukla Molly O’Brien Alexandra Rosales Vithya Vazhakoottathil
STRING BASS Amy Warmenhoven Jeremy Beyer
BASS Jose Castellanos Alexander Chellberg
ORCHESTR A
VIOLA Courtney Bowe Colleen Hautzinger Kelly Lavieri Noah Whitney Rachel Wood
FRENCH HORN Jessica Coutre Jonathan Hauser TRUMPET Rebecca Brantley Edward Loy
FLUTE Morgan Pitz Connor Quinby
TROMBONE Dan Sartori Casey Maday David Kantor
OBOE Abigail Levy Reana Thomas
PERCUSSION Thomas Moushey Emily Bolte
CLARINET Karolina Krawczyk John O’Hara
HARPSICHORD Father Charles Jurgensmeier
LUC Orchestra utilizes rotating seating. Players are listed alphabetically by section.
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CHORUS SOPRANOS Morgan Barry Michelle Beggs* Lenore Ettinger* Marissa Frederick* Eileen Grogan Jenna Janiga Alyssa Jutovsky CatherineKauffmann* Heather Kita Gwen Klemenz* Mary Kate Knorr Nicole Krawczyk Kathleen Lewis Lynnea Malley Katie Mc Donald Luchia Moreno Victoria Mronga Selenia Murillo Kylie Pascente* Emily Paul Hollis Redmon Christel Richard Anna Schafer* Christine Smith* Sara Snider Lisa Sroka* Cassie Stewart Emily Tishler Rachel Toporek Katherine Walther Kelsey Welch* ALTOS Jumana Al-Qawasmi Sasha Attoh Rebekah Babis Madison Bailey Vanessa Brignol Angela D’Souza Lexie Gaines Patrice Gardner Gina George Amatzia Gomez Teresa Guliotta Kelly Guo Diane Haberkorn Elizabeth Hanson Lorena Hudbert Spirit Imbrough Laura Koppen
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Lindsey Kurdi* Ann Leither Taylor Leonard Sahar Lewis Alexis Matesi Katharine Mosher Anna Perrotti* Bailey Ragusin Claudia Salvador Kelly Schmitz Emily Scorby Priya Shah Teresa Veselack Grace Wickert* Sarah Whitman TENORS Marco Becerra* Colin Caufield Alex Chellberg Daniel Chung*† Andrew Ferrer* Doug Fielder Michael Hairsine Tyler Hughes David Lancelle* Fotis Manousogianakis* Kevin Pastores Max Senn Michael Tomczak* Joshua Zepeda BASSES Jeff Barak Jeffrey Bocci Alex Coronado Evan Czerwonka Benton Fletcher*† Chase Hanley Eric Holmes* Michael Licari Zach Martinez Simon Morgan Mark Peterson Victor Reyes Jonathon Swift* Jackson Tenclay* Brice Vinson* *denotes semi-chorus † Student Conductors
WIND ENSEMBLE PICCOLO Sarah Ellis
BASS CLARINET Romina Khouri
Chris Urbon Nikolaus Weiner
FLUTE Erin Berry Ariana Bovell Rachel Henry Joseph LaMagna-Reiter Emily Mueller Connor Quinby Sylvia Sadowicz Colleen Sewing Meghan Verbus Meagan Yothment Rebecca Youssef
SOPRANO SAXOPHONE Roxie Able
TROMBONE Thomas Boisseau Sharon Limpert Mike Welch
OBOE Erin Baumann Olivia Chan Bianca Grove CLARINET Agnes Bider Emily A. Caminiti Nick Fiarito Courtney Grimes Lindsey Kramer Katie Lamont Ieva Misiūnaite Amanda Newling Ashleigh Nichols John O’Hara Maritza Pinto Emily Sammon Sarah Wolpoff
ALTO SAXOPHONE Roxie Able Brendan O’Brien Joel Thorson TENOR SAXOPHONE Jewell N. Briggs Connor Sewing BARITONE SAXOPHONE Jack York HORN Ruthie Bisek Hannah Dwyer Laura Grenlin Tim Nickels Aleksander R. Weismantel TRUMPET Rebecca Brantley Kevin Dorsey Jessica Drafke Nicholas Hadjokas Eric Holmes David Lancelle Alyssa O’Malley Zachary Parsons Ian Rogers
EUPHONIUM Janine Bologna Brian May Caryn Pavlak TUBA Brittney Cabrera Mirza Krijestorac Chris Waskiewicz PERCUSSION Dillon Burke Cassy Gerber Mason Jenkins Diana Lester Ariana Loehr Thomas M. Moushey Annette J. Nowacki James Wentz
† The Wind Ensemble uses rotating seating. Players are listed alphabetically.
Y O U R
O N L I N E
G U I D E
T O
T H E
P E R F O R M I N G
A R T S
Y WEEKLT E K TIC YS WA
GIVE A
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JA Z Z B A N D ALTO SAX Nicholas Bush Evan Czerwonka TENOR SAX Justin Howe Connor Sewing BARITONE SAX Eric Pedone TRUMPET Cory Engler Tynan Alexander Green Nicholas Hadjokas Chris Urbon
TROMBONE Erol Atac *Joel Adams *Tom Garling BASS TROMBONE Mike Welch PIANO Nolan Chin *Pat Collins GUITAR Justin LaForte
BASS Benjamin Pellitieri DRUMS Dylan Andrews Stevenson Valentor VIBRAPHONE & PERCUSSION Cassandra Gerber
*guest performer
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
Christine Hwang Charles Jurgenmeier, SJ Haysun Kang Julie Koidin Rebecca Kornick Benjamin LeClair Gustavo Leone Rick Lowe
Kelli Morgan McHugh Anthony Molinaro Keith Murphy Sunshine Simmons Cameron Smith Steve Suvada MingHuan Xu
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, PhD Director of Music................................................................................. Charles Jurgensmeier, SJ Managing Director................................................................................................ April Browning Director of Public Programming........................................................................ Jennie Martin Operations Manager ................................................................................................Scott Heston Management Assistants............................... Julian Gonzalez, Maddie Lenarz Hooyman, Andrew Lehmkuhl, Chris Thompson Administrative Assistant.........................................................................................Marta Wasko Office Assistant.......................................................................................................... Nina Bonano Box Office Manager............................................................................................. James Dunford Box Office Staff.......................... Owen Brittan, Ysatis Hill, Candace Hurt, Sallyann Price, Kathryn Siemianowski, Margaret Tomasik, Rachel Toporek, Daniel Tsang, Alyssa Vitale, Ceara Zennie Student Publicist........................................................................................................ Jose Nateras MUSIC EVENTS CREW Evan Fazio, Manager of Events Jacob Ahnen Matt Connelly Monica Dennis Hannah Dwyer Robert Farris 18 Loyola University Chicago
Cassy Gerber Courtney Grimes Colleen Hautzinger Justin LaForte David Lancelle Ariana Loehr
Ashley Lundgren Yoni Manolopoulos Anne McCauley Kelsey Nippert Rachel Wood
UPCOMING CONCERTS All concerts are in the Auditorium in the Mundelein Center unless noted otherwise and are free and open to the public. Classical Chamber & Guitar Ensemble Concert Friday, April 29 at 7:30 p.m. William Ferris Chorale Concert Saturday, April 30 at 7:30 p.m. For more information visit our blog at blogs.LUC.edu/ArtsAlive A B O U T L O YO L A U N I V E R S I T Y ’ S F I N E A N D P E R F O R M I N G A R T S 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 theatre. Patrons are asked to turn off portable phones before entering the theatre. 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! Loyola University Chicago 19
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