Loyola-Feb&March

Loyola University Chicago Department of Fine and Performing Arts Presents

Spring 2011 Music Program

Orchestra, Chorus & Chamber Choir Concert February 28, 2011 7:30 p.m.

Jazz Band & Wind Ensemble Concert March 3, 2011 7:30 p.m.

Auditorium, Mundelein Center 1020 W. Sheridan Road

WINTER ENSEMBLES CONCERT Program for February 28, 2011 7:30 p.m.

Chamber Choir Charles Jurgensmeier, S.J., director Jeffrey Richards, accompanist Sumer is icumen in

Anonymous (c. 1250)

Senex puerum portabat

William Byrd (c. 1549-1623)

Nun danket alle Gott

Johann Pachelbel (1653-1706)

Three Madrigals “O Mistress Mine, where are you roaming?”

“Take, O take those lips away” “Sigh no more ladies, sigh no more!”

Emma Lou Diemer (b. 1927)

Orchestra Dr. Colin Holman, director

Symphony No. 1 in C major, op. 21 Adagio molto--Allegro con brio Menuetto. Allegro molto e vivace

Ludwig van Beethoven (1770-1827)

University Chorus Kirsten Hedegaard, director Jeffrey Richards, accompanist Babethandeza Traditional South African Soloists: Lynnea Malley, Grace Wickert, David Lancelle, Brice Vinson Percussion: Cassy Gerber If Ye Love Me

Thomas Tallis (1505-1585)

Animal Crackers Vol. II The Canary The Eel The Kangaroo

Eric Whitacre (b. 1971)

The Pasture True Light

Z. Randall Stroope (b. 1953) Soloist: Spirit Kimbrough

Keith Hampton (b. 1957)

University Chorus and Orchestra Requiem (selected movements) Rex tremendae Confutatis Lacrimosa 2 Loyola University

Wolfgang Amadeus Mozart (1756-1791)

P R O G R A M N O T E S : F E B R UA R Y 2 8 , 2 011 Chamber Choir This work is the only known musical composition in six-part polyphony prior to the fifteenth century. Also known as the “Summer Canon,” the English text triumphantly acknowledges the world coming to life with the arrival of spring.

This antiphon, Senex puerum portabat, was sung prior to the Magnificat canticle in the Evening Prayer or Vespers service for the Feast of the Purification of Mary. This setting of the antiphon for four voices comes from Byrd’s Gradualia, published in 1610.

Pachelbel’s motet is scored for two four-part choruses. The first section (of three) performed tonight features choirs (vocal and instrumental) antiphonally trading the music between them.

With text taken from Shakespeare’s Twelfth Night, Measure for Measure and Much Ado About Nothing, the three-movement work expertly presents moments of the thoughts of the playwright on love from three of his popular comedies.

Orchestra Many of the musical ideas present in Beethoven’s First Symphony were in his sketch books shortly after arriving in Vienna in 1792, though the work did not come to fruition (typical of his approach to composition) until 1800, and on a concert which included his Septet and Second Piano Concerto. The symphony was dedicated to Baron Gottfried van Swieten, an early patron of the composer. Although the music is clearly indebted to the Classical symphony, especially those of Haydn, Beethoven’s individualistic stamp is present in the use of motivic themes, broadened tonal scope, greater soloistic wind writing and strong, confident rhythmic impetus. Tonight the orchestra plays the first and third movements.

University Chorus Babethandeza is a traditional Zulu folksong from South Africa, which pays homage to the women whose wisdom and spiritual commitment to prayer have affected the lives of future generations. The homophonic structure and strong rhythmic vitality typify this genre, which is often improvised and performed with an array of percussion.

In contrast to the lively syncopation of Babethandeza, Thomas Tallis’ If Ye Love Me is one of many English Tudor anthems (arguably his most famous)that Tallis wrote under the reign of Edward VI. With its gently unfolding phrases and delicate harmony, If Ye Love Me manages to capture the essence of the text in two short pages of music.

Of Animal Crackers, Eric Whitacre writes: “I have always dreamed of writing a substantial collection of choral works that might enter the standard choral repertoire, something with the depth and passion of Monteverdi’s Fourth Book of Madrigals and the charm and timelessness of Brahms’ Liebeslieder Waltzes. I wrote this instead.” Animal Crackers includes six short, witty poems by great American poet, Ogden Nash. University Chorus performed Volume I in the fall and completes the cycle with Volume II on this concert. Enjoy, but look out for stray boomerangs!

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P R O G R A M N O T E S : F E B R UA R Y 2 8 , 2 011 The Pasture, by Z. Randall Stroope is taken from the song set Where the Earth Meets the Sky. Set to poetry by Robert Frost, The Pasture effectively paints the text by adopting the open harmonies and fourth-laden melodies, typical of the “American” style used by composers such as Aaron Copland.

Chicago native Keith Hampton is known for his detailed transcriptions of Black Gospel music. True Light exemplifies his attention to the melodic inflection and rhythmic drive which characterize this style of music.

Mozart began composing his Requiem in the fall of 1791 upon the request of Count Franz von Walsegg, who had commissioned the work to commemorate the death of his wife. While working on the Requiem Mozart fell gravely ill and died on December 5, 1791, leaving the score incomplete. Although there is much mystery surrounding the completion of the work, it is generally accepted that Mozart’s student, Franz Xaver Sussmayr finished composing the score, perhaps with the aid of several other composers. In tonight’s concert, the University Chorus and Orchestra will be performing three movements taken from the Offertorium: Rex tremendae, Confutatis, and Lacrimosa.

Chamber Choir Translations Sumer is icumen in Sumer is icumen in, lhude sing cuccu!

Groweth sed and bloweth med and springth the wde nu. Sing cuccu!

Awe bleteth after lomb, lhuth after calve cu. Bulluc stereth bucke vereth, murie sing cuccu!

Cuccu, cuccu, wel singes thu cuccu, ne swik thu naver nu!

Summer is come, sing loud, cuckoo!

The seed grows and the meadow blooms, and now the wood turns green.

Sing cuckoo!

The ewe bleats after the lamb, the cow after the calf, the bullock leaps, the buck farts, sing merrily cuckoo! cuckoo!

You sing well, cuckoo, don’t stop now!

Senex puerum portabat The old man carried the child, but the child ruled the old man. A Virgin bore Him and adored Him, remaining forever a virgin.

Nun danket alle Gott Now everyone thank God, who does great things to all ends; Who for us, from our mother’s wombs has sustained us in life and done good things for us.

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P R O G R A M N O T E S : F E B R UA R Y 2 8 , 2 011 University Chorus Translations Babethandaza Sin nje nje nje Nge mi thandazo O mama bagu dala babethandaza

Things are as they are because of prayer Our mothers/women of old used to pray

Animal Crackers The Canary The song of canaries Never varies, And when they’re moulting They’re pretty revolting.

The Eel I don’t mind eels Except as meals.

And the way they feels.

The Kangaroo O Kangaroo, O Kangaroo Be grateful that you’re in the zoo, And not transmitted by a boomerang To zestful tangy Kangaroo meringue Requiem 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.

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.

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.

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JA Z Z B A N D & W I N D E N S E M B L E C O N C E R T Program for March 3, 2011 7:30 p.m.

Jazz Band Scott Burns, director Yardbird Suite

Charlie Parker (1920-1955) arr. Mark Taylor

Django

John Lewis (1920-2001) arr. Mike Tomaro

Naima

John Coltrane (1926-1967) arr. Craig Skeffington

Don’t Get Sassy

Thad Jones (1923-1986) arr. Mike Carubia Percussion Ensembles Robert Dillon, director

Trio

John Cage Allegro (1912–1992) March Waltz Michael Comer, Ariana Loehr, Annette Nowacki

Speak Softly

David T. Little (b. 1978) Amanda Chow, Mason Jenkins, Erin O’Neill, James Wentz

Trio per Uno

Nebojsa Jovan Zivkovic (b. 1962) Cassy Gerber, Katie Kirby, Diana Lester

Wind Ensemble Frederick Lowe, director L’italiana in Algeri Gioachino Rossini (1792–1868)

arr. Lucien Cailliet Bali Michael Colgrass

(b. 1932)

Nimrod from Enigma Variations Edward Elgar (1857–1934)

arr. Alfred Reed March from Symphonic Metamorphosis of Themes by Carl Maria von Weber

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Paul Hindemith (1895–1963) trans. Keith Wilson

P R O G R A M N O T E S : M A R C H 3 , 2 011 Jazz Band Alto saxophonist Charlie Parker, often referred to by his sobriquet “Bird”, is undoubtedly one of the jazz idiom’s most important musicians. Born in Kansas City, Kansas, he began his professional career as a teenager with pianist Jay McShann’s band, which toured the Southwest extensively, as well as Chicago and New York. He moved to New York in 1939, and began playing with like-minded musicians who were developing a new jazz style, bebop, that was characterized by faster tempos, increased harmonic and rhythmic complexity, and virtuosic instrumental technique. Positioned at the forefront of the bebop style’s development and rise to prominence in the 1940s, Parker’s style of improvisation and composition has since exerted considerable influence on generations of jazz musicians that have followed. Yardbird Suite is certainly among his most well known and often played tunes. Mark Taylor’s arrangement is notable for its sax soli, a five-part harmonization of Bird’s improvised solo from the original 1946 recording on “Charlie Parker, Vol. 1”.

Django, written in tribute to Belgian jazz guitar pioneer Django Reinhart, was penned

by John Lewis, a contemporary of Charlie Parker most well known for his lengthy tenure as pianist and music director of the Modern Jazz Quartet, one of the jazz idiom’s most successful and unique small groups. Originally recorded on the quartet’s best-selling record of the same name from 1955, the tune featured the group’s vibraphonist Milt “Bags” Jackson, one of the instrument’s most revered and influential players, known for his bluesy style based in the bebop tradition. Mike Tomaro’s arrangement of Django utilizes of one of the MJQ’s stylistic hallmarks: the use of Baroque style counterpoint juxtaposed with jazz improvisation. The arrangement features the vibraphone playing the tune’s mournful ballad melody with contrapuntal support from the various horn sections. A tempo change marks the beginning of the solo section, where the vibraphone takes center stage, followed by a guitar solo. After an ensemble chorus in the swing feel, new counterpoint supports the return of the ballad melody, and the full ensemble reaches a dynamic climax just prior to the chart’s gentle conclusion.

Saxophonist and composer John Coltrane, like Charlie Parker, is widely considered to be one of jazz’ most important and influential musicians. Born in Hamlet, North Carolina, he later relocated to Philadelphia, where his intensive study of jazz and his professional career began, and later to New York City as his career progressed. He gained widespread exposure during two stints as a member of Miles Davis’s legendary quintet and sextet from 1955-1960, after which he successfully struck out on his own as a leader with his own touring group. In the spring of 1959, Coltrane recorded two of the jazz milieu’s most well known, but musically contrasting albums: the legendary modal masterpiece Kind of Blue with Miles Davis, and his own Giant Steps, notable for the restless and difficult harmonic formulas employed in several of his original tunes. The ballad Naima appeared on the latter, and was written for his first wife. It’s gentle melody and provocative harmony are set over pedal points in the bass, creating a suspended feeling. Arranger Craig Skeffington transforms the ballad feel of the original recording to an even eighth note latin feel, and also employs some tasteful reharmonization. Fittingly, tenor sax is the chief soloist, though the guitar gets a nod near the end of the arrangement.

Trumpeter, composer, and bandleader Thad Jones, originally from Pontiac, Michigan near Detroit, is part of a musical family that also includes two other important jazzmen: an older brother, the consummately tasteful pianist Hank Jones, and a younger brother Elvin Jones, whose incendiary drumming helped fuel the expansive musical excursions of John Coltrane’s “classic” quartet of the 1960s. Thad was a member of the Count Basie Orchestra from 1954, to 1963, where he was a featured trumpet soloist and contributor of compositions and arrangements to the band’s book. In 1965, he and drummer Mel Lewis formed the Thad Jones/Mel Lewis Orchestra, a group that soon took up residence on Monday nights at the storied NYC jazz club, the Village Vanguard, a residence that continues to this day (currently known as the Vanguard Orchestra since the passing of the original founders). Don’t Git Sassy was originally recorded on the band’s Grammy-nominated 1967 album Live at the Village Vanguard. Arranger Mike Carubia’s adaptation of the original chart is based very closely on the original, but lowers the key to create accessibility for younger ensembles. However, Thad’s trademark lines and dissonant chord voicings, full of chord extensions requiring accurate intonation from the ensemble to achieve the desired thick and powerful sound, are left intact, along with the rollicking, bluesy feel of the original chart.

Percussion Ensemble When John Cage composed Trio in 1936, he was just 24 years old. Despite the traditional movement names and straightforward rhythms in this work, the unique instruments that Loyola University 7

P R O G R A M N O T E S : M A R C H 3 , 2 011 ( c o n t .)

Cage chooses (pieces of wood, bamboo and a handful of drums) give us a glimpse into his fascination with timbre, and his desire to create music primarily focused on interesting sounds rather than melody or harmony. This fascination gradually led Cage to grow into the daring and thoughtful experimentalist who would later become infamous for the silent piece 4’33” and other works that challenge the basic premise of what makes music.

David T. Little is a composer and drummer based in Weehawken, New Jersey. His music explores the world of rock performance practice and the intersection of music and social engagement. Composed in 2004, Speak Softly is for four percussionists playing large wooden sticks of varying sizes; the title, of course, is a reference to President Theodore Roosevelt’s foreign policy catchphrase, “Speak softly and carry a big stick.” A bit of a rhythmic power struggle takes place throughout the piece, with each percussionist sometimes laying low and blending into the ensemble, and sometimes attempting to dominate the texture with their own rhythmic groupings, giving rise to alliances and conflicts between different players.

A native of Serbia, Nebosja Zivkovic now resides in Germany and his explosive personality can be seen both in his solo percussion performances and his compositions for percussion.

The third movement of his 1995 composition Trio per Uno is an energetic and ritualistic work for three players each with three drums.

Wind Ensemble Gioachino Rossini was one of the great composers of Italian operas, even though most of his career he lived in Paris. He penned a remarkable 38 operas between 1810 and 1829, and after composing his last opera, Guillaume Tell, he never wrote another stage work, and spent much of the last forty years of his life burnishing his reputation as a gourmand and amateur chef. The Italian Girl in Algiers was written in 1813 when Rossini was 21 years old, and tells the story of Isabella, an Italian girl who is caught in a comic love triangle while on a quest to find her missing fiancé Lindoro.

A Pulitzer Prize and Emmy Award winning composer, Michael Colgrass began his career as a freelance percussionist in New York City. In his mid-thirties, he devoted himself entirely to composing, and has earned two Guggenheim Fellowships along with Rockefeller and Ford grants to continue his exploration of music and the arts at large. Colgrass writes the following about his 2005 composition Bali: Bali was inspired by my two summers living in Ubud, the arts-and-crafts center of Bali.

The very first sound I heard every morning was a gamelan instrument playing the fivenote scale unique to that region of the island. The Balinese are a quiet and peace-loving people, and this work offers an example of their indomitable spirit.

Edward Elgar was considered one of the greatest English composers of the late Romantic era. His Pomp and Circumstance marches are well known around the world, and his many other works gave him fame throughout Europe. Written in 1899, his Enigma Variations stands as perhaps his most well-known work. Constructed as a theme and fourteen variations, the piece became internationally popular and the subject of speculation because of the “enigma” in its title, which Elgar noted was a hidden theme that was “not played.” He also gave curious titles to each of the variations, with various initials representing family, friends, fellow musicians, and other well-known British citizens. Nimrod (the ninth variation) was dedicated to his friend Augustus Jaeger; the name “Nimrod” comes from the Old Testament patriarch described as “a mighty hunter before the Lord,” and the German word “Jäger” is translated as “hunter.”

Known to Germans and Americans as a composer, theorist, and teacher, Paul Hindemith composed and taught music theory in Germany up until 1940, when he moved to the United States just after the beginning of World War II. He taught at Yale University, and became a U.S. citizen in 1946. Perhaps the most well-known German composer of his era, Hindemith composed in a style that defied the Serialist movement of Arnold Schoenberg and instead drew upon late Romantic music and infused it with a kind of Bach-influenced neoclassicism. His 1943 orchestral composition Symphonic Metamorphosis of Themes by Carl Maria von Weber exemplifies this style by taking various melodies from many of Weber’s works and transforming them so that each movement is based on one theme. The “March” is based on Weber’s 1818 work titled Four Pieces for Piano Duet; while Weber marked that the fourth of his Four Pieces be played like a solemn funeral march, Hindemith quickened the tempo to create the work that we hear tonight.

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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 awardwinning 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 wide-ranging 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.

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 (www.thirdcoastpercussion.com). 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.

Kirsten Hedegaard hailed as “one of the most dynamic musicians of her generation” (John Butt, Dunedin Consort), Hedegaard has enjoyed a dual 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.

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 10 Loyola University

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

University of California. She was guest conductor with Chicago Choral Artists for the 200910 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.

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 eighteenth-century 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.

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 Loyola University 11

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

CHAMBER CHOIR SOPRANO ALTO Lenore Ettinger Angelica D’Souza Diana Gyulai Natalie Duthoy Lauren Rodgers Kelli Guo Anna Schaffer Mollie Heath Elizabeth Spaargaren Faith Moore Katherine Murphy ORCHESTR A VIOLIN I Anne Burkhardt Logan Finucan Claire Gaddis Amit Mittal Cristina Roy Momoko Takahashi Annarita Tanzi VIOLIN II Rebecca Bowman Megan Gluchman Paula Grzebien Paul Guziewski Agnes Kukla Molly O?Brien Alexandra Rosales Monique Shamoon Vithya Vazhakoottathil VIOLA Courtney Bowe Colleen Hautzinger Kelly Lavieri Noah Whitney Rachel Wood CELLO Geneva Costopoulos Megan Crompton Jordan Farrell Rachel Mignin Kelsey Nippert Mehrdad Niroumandpour

TENOR Marco Becerra, Jr. Daniel Chung BASS Jose Castellanos Alexander Chellberg

STRING BASS Amy Warmenhoven FLUTE Morgan Pitz Connor Quinby OBOE Abigail Levy Reana Thomas CLARINET Karolina Krawczyk John O’Hara BASSOON Gwyn Downey Derek Kane FRENCH HORN Jessica Coutre Jonathan Hauser TRUMPET Rebecca Brantley Edward Loy TROMBONE David Kantor Dan Sartori Tom Stark TIMPANI Emily Bolte Thomas Moushey

LUC Orchestra utilizes rotating seating. Players are listed alphabetically by section.

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CHORUS SOPRANO Morgan Barry Michelle Beggs Lenore Ettinger Marissa Frederick Eileen Grogan Jenna Janiga Alyssa Jutovsky Catherine Kauffmann 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

Laura Koppen 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

ALTO 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

BASS 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

TENOR 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

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UNIVERSIT Y WIND ENSEMBLE PICCOLO Sarah Ellis

BASS CLARINET Jewell N. Briggs

FLUTE Erin Berry Ariana Bovell Sarah Ellis Rachel Henry Joseph LaMagna-Reiter Emily Mueller Connor Quinby Sylvia Sadowicz Colleen Sewing Meghan Verbus Meagan Yothment Rebecca Youssef

ALTO SAXOPHONE Roxie Able Brendan O’Brien Joel Thorson

OBOE Erin Baumann Olivia Chan Bianca Grove CLARINET Agnes Bider Emily A. Caminiti Nick Fiarito Courtney Grimes Romina Khouri Lindsey Kramer Katie Lamont Ieva Misiūnaite Amanda Newling Ashleigh Nichols John O’Hara Maritza Pinto Emily Sammon Sarah Wolpoff

TENOR SAXOPHONE Connor Sewing BARITONE SAXOPHONE Jack York HORN Ruthie Bisek Hannah Dwyer Laura Grenlin Tim Nickels Aleksander R. Weismantel

TROMBONE Thomas Boisseau Sharon Limpert Mike Welch EUPHONIUM Janine Bologna Caryn Pavlak TUBA Brittney Cabrera Mirza Krijestorac Chris Waskiewicz PIANO David Lancelle

TRUMPET Rebecca Brantley Kevin Dorsey Jessica Drafke Nicholas Hadjokas Eric Holmes David Lancelle Alyssa O’Malley Zachary Parsons Ian Rogers Chris Urbon Nikolaus Weiner

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. * Guest performer.

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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 Tynan Alexander Green Cory Engler Nicholas Hadjokas Chris Urbon

TROMBONE Erol Atac *Raphael Crawford *Tom Garling BASS TROMBONE Mike Welch PIANO Nolan Chin *Pat Collins

BASS Benjamin Pellitieri DRUMS Dylan Andrews Stevenson Valentor VIBRAPHONE & PERCUSSION Cassandra Gerber

GUITAR Justin LaForte

*guest performer

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

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

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.............................. Maddie Lenarz Hooyman, Chris Thompson Administrative Assistant..........................................................................................Nina Bonano Office Assistants......................................................................................................... Marta Wasko 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

Cassie Gerber Courtney Grimes Colleen Hautzinger Justin LaForte David Lancelle Arianna Loehr

Ashley Lundgren Yoni Manolopoulos Anne McCauley Kelsey Nippert Nick Weiner Rachel Wood Loyola University 15

UPCOMING CONCERTS William Ferris Chorale Concert Saturday, March 19 at 7:30 p.m.

Choir & Orchestra Concert Wednesday, April 27 at 7:30 p.m.

Music of the Jesuit Missions of the Chiquitos Thursday, April 14 at 3 p.m.

Jazz Band & Wind Ensemble Concert Thursday, April 28 at 7:30 p.m.

Honors Recital Friday, April 15 at 7:30 p.m.

Classical Chamber & Guitar Ensemble Concert Friday, April 29 at 7:30 p.m.

Jazz Chamber Recital Wednesday, April 20 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 T H E AT R E P R O G R A M 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!

16 Loyola University