Loyola University Chicago Department of Fine and Performing Arts Presents
Fall 2011 Music Program University Chorus & Orchestra Concert October 24, 2011 7:30 p.m.
Jazz Band & Wind Ensemble Concert October 27, 2011 7:30 p.m.
Auditorium, Mundelein Center 1032 W Sheridan Road
FA L L E N S E M B L E S C O N C E R T Program for October 24, 2011, 7:30 p.m. Orchestra Dr. Colin Holman, director Symphony No. 6 in F, op. 68 “Pastoral” Ludwig van Beethoven (1770 – 1827) Allegro ma non troppo “Awakening of cheerful feelings on arriving in the country” Andante molto mosso “Scene by the brook” Allegro “Merry assembly of country folk” Allegro “Lightning, Thunderstorm” Allegretto “Shepherd’s Song: Happy grateful feelings after the storm”
University Chorus Kirsten Hedegaard, director Susan Chou, accompanist Heut triumphiert Gottes Sohn
Johann Crüger (1598 – 1662) arr. Moses Hogan (1957 – 2003)
Steal Away The Witches Chorus from Macbeth Der träumende See from Sechs Lieder, op. 33 Little Birds
Giuseppe Verdi (1813 – 1901) Robert Schumann (1810 – 1856) Eric Whitacre (b. 1970)
University Chorus and Orchestra Cindy
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arr. Mack Wilberg (b. 1955)
P R O G R A M N O T E S : O C TO B E R 2 4 , 2 011 Orchestra Nature is one of the main themes in Romanticism (perhaps “the” main theme) and its musical predictors come in Haydn’s oratorios The Creation (1798), The Seasons (1801) and Beethoven’s “Pastoral Symphony, or Recollections of Country Life” (1808). Beethoven’s sketches for this work began in 1804 and his scattered comments about the process are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.” Without doubt there are autobiographical influences on the music itself which his letters reflect: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.” The music received its first performance in a marathon concert of December 22, 1808, at the Theater an der Wien with the Symphony No. 5 in C minor, the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy but the music was typically under-rehearsed and the musicians struggled with his music. From the opening of the first movement, “Awakening of cheerful feelings upon arriving in the country,” the drone in the lower strings sets the mood for a leisurely opening. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and the clarinet for the cuckoo. This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and predates later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” which brings this descriptive and evocative symphony to its close. University Chorus Johann Crüger (1598 – 1662) was a German composer, theologian and teacher. He composed many concert works and hymns, and also wrote extensively on music education. Heut trumphieret Gottes Sohn is taken from the collection Geistliche Kirchenmelodien, printed in 1649. “Steal Away” is an African American spiritual that is attributed to Wallace Willis. It is believed that the melody and text were transcribed by Reverend Alexander Reid around 1862, and sent to the Jubilee Singers at Fisk University. The choir, known for their polished and moving performances of spirituals added the piece to their touring repertoire. Since that time many composers have arranged the song, including Moses Hogan (1957 – 2003), whose arrangement we will be performing this evening. Giuseppe Verdi (1813 – 1901) wrote Macbeth in 1846, following the success of his (now lesser known) opera Attila. The libretto is based on Shakespeare’s Macbeth and tells a dark and ghastly tale complete with witches, ghosts, murder and madness. “The Witches Chorus” opens Act I: The witches gather in the forest to greet the triumphant Macbeth, as he returns from battle. While generally known for his piano and vocal music, Robert Schumann (1810 – 1856) also composed a number of pieces for a cappella choir. His first documented foray into this genre produced the Sechs Lieder (op. 33), six songs for male chorus. The first piece in the collection, “Der träumende See” is brief, but full of gorgeous part writing that beautifully portrays the poem by Julius Mosen. Loyola University Chicago 3
P R O G R A M N O T E S : O C TO B E R 2 4 , 2 011 ( c o n t .) Eric Whitacre (b. 1970) is undoubtedly one the most popular and widely performed composers of his generation. On “Little Birds” Eric Whitacre writes: I found a beautiful Octavio Paz poem and set it in its original Spanish. The work is an homage to Gabriel Faure, with its running piano part and fluid sensual melodies. At the end of the piece the conductor claps his/her hands and all of the singers shake a piece of white paper into the air, emulating the sound of a tree full of birds taking flight. The song “Cindy” has been a standard in the American folk song repertory for many years. It is believed that the song originated in North Carolina and since then has enjoyed great popularity. The tune has been arranged by numerous composers for a wide variety of usage, from its appearance in the John Wayne movie Del Rio to more formal (but not too formal!) arrangements such as the one by Mack Wilberg we are performing at tonight’s concert. University Chorus Translations Witches Chorus Che faceste? Dite su! Ho sgozzato un verro! E tu? M’è frullata nel pensier La mogliera d’un nocchier Al dimòn la mi cacciò Ma lo sposo che salpò Col suo legno affogherò Un rovaio io ti darò I marosi io leverò
What did you do? Say now! I’ve slaughtered a boar, And thou? To me fluttered in thought the wife of a sailor she cast me out to the devil But the spouse who sailed with his ship, I’ll drown. I’ll give thee a north wind The billows I will raise
Per le secche lo trarrò Un tamburo! Che sarà? Vien Macbetto. Eccolo qua! Le sorelle vagabonde van per l’aria, van sull’onde Sanno un circo lo intrecciare Che comprende e terra e mar.
I’ll drive him onto the shoals A drum! What will it be? Hail now, Macbeth! The sisters vagabond go through the air, go on the waves They know a circle how to weave
Der träumende See Der See ruht tief im blauem Traum Von Wasserblumen zugedeckt; Ihr Vöglein hoch im Fichtenbaum, Daß ihr mir nicht den Schläfer weckt!
The lake rests in a deep blue dream Covered by water flowers; Your bird high in a pine tree, That you do not wake the sleeper!
Doch leise weht das Schilf und wiegt Das Haupt mit leichtem Sinn; Ein blauer Falter aber fliegt Darüber einsam hin.
But softly blowing the reeds, and weighs The head with a slight sense; A blue butterfly flies but In solitary point.
Little Birds MEDIODIA La luz no parpadea, el tiempo se vaci‘a de minutos, se ha detinido un pa‘jaro en el aire.
NOON Light unblinking, time empty of minutes, a bird stopped short in air.
MAS TARDE Se dispeña la luz, despiertan las columnas y, sin moverse, bailan.
LATER Light flung down, the pillars awake and, without moving, dance.
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P R O G R A M N O T E S : O C TO B E R 2 4 , 2 011 ( c o n t .) PLENO SOL La hora es transparente: vemos, si es invisible el pa‘jaro, el color de su canto.
FULL SUN The time is transparent: even if the bird is invisible, let us see the color of his song.
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 October 27, 2011, 7:30 p.m. Jazz Band Scott Burns, director Four
Miles Davis (1926 – 1991) arr. Mike Tomaro
Invitation
Bronislau Kaper (1902 – 1983) arr. Frank Mantooth
Goodbye Pork Pie Hat
Charles Mingus (1922 – 1979) arr. Andrew Homzy
Afro Blue
Ramón “Mongo” Santamaría (ca. 1917 – 2003) arr. Michael Philip Mossman
Wind Ensemble Frederick Lowe, director Festive Overture Shortcut Home Symphony No. 1 “The Lord of the Rings” I. Gandalf
Dmitri Shostakovich (1906 – 1975) trans. Donald Hunsberger Dana Wilson (b. 1946) Johan de Meij (b. 1953)
Prelude, Siciliano and Rondo Malcolm Arnold (1921–2006) arr. John P. Paynter
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P R O G R A M N O T E S : O C TO B E R 27, 2 011 Jazz Band While working with Tjader in the late 1950s, he composed Afro Blue, a tune that has since been recorded hundreds of times, most notably by saxophonist John Coltrane and his quartet in the early 60s, who played the tune frequently in live performances.” Four is one the most popular songs from the hard-bop era of jazz that grew out of bebop in the 1950s. A favorite among jazz musicians, the tune has been recorded by a variety of performers hundreds of times over the last 60 years. Although there is some uncertainty about the actual composer, a phenomenon not uncommon in the first half century of recorded jazz, it is generally attributed to either trumpeter Miles Davis or alto saxophonist Eddie “Cleanhead” Vinson. Whatever the case, the simple repeating three note figures in syncopation at the beginning of each 16 bar section, creating a stop time effect, render the tune memorable and “catchy”, undoubtedly contributing to its popularity. Mike Tomaro’s exciting big band arrangement makes use of the three note motif in many places: the introduction, interlude between solos, backgrounds behind the second soloist, and in the full ensemble shout chorus. Just prior to the shout chorus, the saxophone section is featured in a harmonized soli. Like Four, film and musical theater composer Bronislau Kaper’s Invitation has become a jazz standard. Born in 1902 in Warsaw, Poland, Kaper’s career as a composer began in the theaters of Berlin, before fleeing Nazi Germany and relocating to Paris, where he began composing for the emerging sound film genre. He then emigrated to the United States, where he worked for MGM Studios in Hollywood, composing music for many films, including On Green Dolphin Street (1947) and Invitation (1952). The harmonically rich and restless theme music for the latter soon after became popular among jazz musicians. The use of wide intervals in the melody and colorful chord extensions in the underlying harmony are interesting musical features. The melody features a haunting melodic phrase in a minor key, which swiftly leaps up by the interval of a seventh before falling back to the original register, gently twisting back on itself along the way. The melody is repeated in another key before leading to a bridge, which features a repeated four bar melodic motif based on descending fifth intervals that modulates down by whole steps, eventually leading back to a recap of the first section. Master arranger, composer and pianist Frank Mantooth sets the tune in Latin rhythm, adding his signature lush harmonies, interesting bass lines, and developmental sections to create a beautiful arrangement of the classic tune. Charles Mingus is unquestionably one of the jazz idiom’s most important composers and bassists. His music fuses elements from a variety of musical styles: AfricanAmerican gospel music, classical music, early jazz, bebop, hard-bop, and free improvisation. Like his idol Duke Ellington, he composed with specific musicians in mind, and as his career and compositional skills progressed, he produced many large-scale works. Goodbye Pork Pie Hat, composed as an elegy to saxophone titan Lester Young on the day of his death and referencing his choice of headwear, is one of Mingus’ most well-known compositions, first appearing on the 1959 record Mingus Ah Um, one of his best-known recordings. The piece is an excellent example of how Mingus could retain the emotional feeling of a rich musical tradition, in this case the blues, but expand on it in a very personal and sophisticated way. The simple bluesy, soulful and mournful melody is set against chord changes that suggest the blues form, but are much more harmonically sophisticated. Contrastingly, the solo form is a variation that more closely resembles the traditional blues form. Musicologist and educator Andrew Homzy’s arrangement for big band draws from the original quintet recording by adopting Mingus’ bass line and phrases from the saxophone solos of Booker Ervin and John Handy. Cuban-born conga player Ramón “Mongo” Santamaría was among a group of Cuban percussionists that emigrated to New York City in the 1940s and ‘50s; a lineage that 6 Loyola University Chicago
P R O G R A M N O T E S : O C TO B E R 27, 2 011 ( c o n t .) also included Frank “Machito” Grillo, Chano Pozo, and Carlos “Patato” Valdez, whom had already collaborated with and inspired leading jazz musicians including Dizzy Gillespie, Charlie Parker, and composer/bandleader Stan Kenton. These Cuban immigrant musicians were instrumental in the formation and refinement of Afro-Cuban jazz and salsa music, which first rose to popularity in New York in the 40s. Mongo Santamaría became well known while playing with Cal Tjader, a leader of California’s Latin jazz scene, who came to New York to record. While working with Tjader in the late 1950s, he composed Afro Blue, a tune that has since been recorded hundreds of times, most by saxophonist John Coltrane and his quartet in the early 60s, who played the tune frequently in live performances. The tune is written in 3/4 time, but has a strong 6/8 undercurrent. This 3 against 2 rhythm creates an inherent rhythmic tension throughout. Arranger and trumpeter Michael Philip Mossman, who specializes in arranging many diverse Latin musical styles for big band, sets the tune in traditional Cuban rhythm. The arrangement makes much use of the aforementioned rhythmic tension in the horn figures, and creates much excitement with solo breaks, interludes, melodic counterpoint, and syncopation. The tune’s relatively simple harmonic structure and form make it a great vehicle for soloists. Wind Ensemble Dmitri Shostakovich is generally regarded as one of the most important composers of the twentieth century, especially in the realm of symphonic music. His compositional career was marked by turns of support and criticism by the Soviet government, especially under the reign of Joseph Stalin. After Stalin attended a 1936 performance of Shostakovich’s opera Lady Macbeth, the state-run newspaper Pravda decried the work as “muddle instead of music,” and warned Shostakovich to reform his “leftist confusion.” He responded by composing his wildly popular Fifth Symphony in 1937, to which he ascribed the subtitle “a Soviet artist’s practical creative reply to just criticism.” Several theories surround the genesis of Shostakovich’s 1954 composition Festive Overture. One author claims that it was originally written in 1947, but was suppressed by Shostakovich along with many of his compositions created during this repressive period of Soviet history. Others believe that the celebratory quality of the overture displays Shostakovich’s relief at the death of Stalin in 1953. Most probably, the work was commissioned for a gathering at the Bolshoi Theater in November 1954, celebrating the thirty-seventh anniversary of the October Revolution. Festive Overture has proved to be one of Shostakovich’s most frequently performed works, and the opening fanfares of the overture were even used to announce the start of each day’s events at the 1980 Moscow Olympics. Dana Wilson holds a doctorate from the Eastman School of Music, and is currently the Charles A. Dana Professor of Music in the School of Music at Ithaca College. His works have been commissioned and performed by such diverse ensembles as the Chicago Chamber Musicians, Detroit Chamber Winds and Strings, Buffalo Philharmonic, Memphis Symphony, Washington military bands, Netherlands Wind Ensemble, Syracuse Symphony, and Tokyo Kosei Wind Orchestra. Shortcut Home was commissioned in 1998 by the Hillsborough (New Jersey) High School Band, directed by Mindy Scheierman. The composer writes the following about the work: Shortcut Home is a rousing and rather elaborate fanfare that features each section of the ensemble. Drawing upon various jazz styles, the music proclaims and cascades, always driving towards the “home” of the final, C major chord. Born in 1953 in Voorburg, the Netherlands, Johan de Meij studied trombone and conducting at the Royal Conservatory of Music in The Hague. His first symphony, “The Lord of the Rings,” is based on the trilogy of that name by English author J. R. R. Tolkien. Written between March 1984 and December 1987, the work was awarded first prize in the 1989 Sudler International Wind Band Composition Competition in Chicago. The orchestral version was premiered by the Rotterdam Philharmonic Orchestra in 2001 Loyola University Chicago 7
P R O G R A M N O T E S : O C TO B E R 27, 2 011 ( c o n t .) and has been recently recorded by the London Symphony Orchestra. The symphony consists of five separate movements, each illustrating a personage or important episode from the books. This evening’s performance will feature the first movement, “Gandalf (The Wizard).” The composer describes the first movement as follows: The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motif. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful horse Shadowfax. Malcolm Arnold, along with William Walton and Benjamin Britten, was one of England’s most prolific and well-respected composers of the twentieth century. In 1948, after holding the first chair in the trumpet section of the London Philharmonic Orchestra for six years, Arnold retired from professional performing and dedicated himself to composing. His works are known for memorable tunes and exciting flourishes, and he wrote music in numerous compositional genres. Arnold composed Little Suite for Brass, Op. 80 in 1963 as a work for brass band; the version heard this evening, Prelude, Siciliano and Rondo, was arranged for concert band in 1979 by John P. Paynter, Director of Bands at Northwestern University from 1953–1996. The arranger writes the following about the work: All three movements are written in short, clear five-part song forms (ABACA). The Prelude begins bombastically in fanfare style, but reaches a middle climax, and winds down to a quiet return of the opening measures that fades to silence. The liltingly expressive Siciliano is both slower and more expressive, allowing solo instruments and smaller choirs of instruments to be heard. The rollicking five-part Rondo provides a romping finale in which the technical brilliance of the modern wind band is highlighted.
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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. Kirsten 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, Ms. Hedegaard has premiered several new works and was engaged as soprano soloist for an international tour of Louis Andriessens’s The Odyssey. This past winter she made her debut with the Grammy-award winning new music ensemble, eighth blackbird. Currently on faculty at Loyola, Ms. 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. Ms. Hedegaard holds a B.M. from Northwestern University and her M.A. in conducting from the University of California, where she was an assistant to Paul Hillier. In 2008, she was invited to be a conducting Fellow at the Yale Norfolk Festival, studying with Simon Carrington.
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B I O G R A P H I E S ( c o n t .) 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 Master’s 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 in the fall 2007 and was recently named founding conductor of the newly formed Fox Valley Orchestra. Frederick Lowe conducts Loyola’s Wind Ensemble and directs the men’s and women’s basketball pep band, the Band of Wolves. Mr. Lowe earned his bachelor of music degree at the University of Michigan, after which he became assistant band director at Lake Zurich (IL) High School (LZHS). While at LZHS, Mr. Lowe directed the concert, symphonic, and marching bands and also taught music theory and electronic music composition. Mr. Lowe has pursued graduate conducting studies at Northwestern University, where he led six graduate conducting recitals in addition to guest conducting the following ensembles: Contemporary Music Ensemble; Concert Band; Symphonic Band; Symphonic Wind Ensemble; “Wildcat” Marching Band; and Men’s Basketball Band. Mr. Lowe has served as guest conductor with the Singapore Festival Winds, and has made frequent guest appearances with the McHenry County (IL) Youth Orchestras. He has judged several music festivals in the Chicago area and 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 Volume I (second edition), Volume VI, and the soon-to-be released volume of solo music with wind ensemble accompaniment. Susan Chou is the accompanist for the Loyola University Chorus. In 2004, she was awarded full scholarship to study with Menahem 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.
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ORCHESTR A VIOLIN 1 Sarah Bruce Mary Daly Logan Finucan Kara Fleherty Claire Gaddis Jordyn Kowalski Melissa Mandarino Meriam Ben Hadj Tahar Momoko Takahashi Sarah Zaza VIOLIN 2 Meagan Arrott Megan Carnes Paula Grzebien Paul Guziewski Agnes Kukla Molly O’Brien Sara Randazzo Eunji Shin Allie Rosales Mary Kate Styler Aleksandra Wojtowicz VIOLA Philip Arbogast-Wilson Courtney Bowe Colleen Hautzinger Olivia Hedstrom Kelly Lavieri Rachel Wood
BASS Jeremy Beyer FLUTE Mazy Hofman Connor Quinby OBOE Elizabeth Greiwe Abigail Levy CLARINET Karolina Krawczyk John O’Hara BASSOON Gwyn Downey Derek Kane FRENCH HORN Anne Hauser Jonathan Hauser TRUMPET Rebecca Brantley Edward Loy TROMBONE David Kantor TIMPANI Thomas Moushey
CELLO Sarah Anderson Geneva Costopulos Pieter De Tombe Jordan Farrell Andrea Marshall Anita Mendoza Kara Kwiatkowski Kelsey Nippert Mike Niroumandpour Marylin Palackel
LUC Orchestra utilizes rotating seating. Sectional Coaches: MingHuan Xu (violins/violas) and William Cernota (cellos)
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UNIVERSIT Y CHORUS SOPRANO Grace Affetranger Morgna Barry Allison Cole Sarah Comer Nathalie Corbett Meredith Glass Eileen Grogan Shelby Hart Chitra Iyer Jenna Janiga Heather Kita Kathleen Lewis Katherine Little Lindsay Maher Lynnea Malley Jaclyn Martin Amelia Mestelle Luchia Moreno Mia Morzel Makiah Nuutinen Danielle Parde Hollis Redmon Sarab Shada Kristina Skul Lisa Sroka Alex Thielen Emily Tishler Rachel Toporek Katherine Walther Lydia Wassman Alexa Welch Kelsey Welch Meagan Westhoven BASS Jeff Barack Evan Czerwonka Benton Fletcher* Ryan Hamman David Lancelle Zach Martinez Victor Reyes Ray Rivera Billy Schmitt Kevin Sisler Jonny Swift Jackson Tenclay Brice Vinson
ALTO Pooja Agrawal Sarah Banks Bethany Collins Nicole Cribaro Vania Davalos-Martinez Coralia Davila Mary DeHaas Gabriella Demirdjian Angelica D’Souza Amatzia Escamilla Gomez Emily Frankman Alexis Gaines Christine Garces Lliani Gardiner Moira Geary Mollie Heath Olivia Hedstrom Kelly Hof Francina Juncaj Anna Kebe Julie Kim Spirit Kimbrough Paityn Korner Lindsey Kurdi Samantha Mascari Kaitlin McMurry Katharine Mosher Victoria Mronga Lauren Nelson Katherine O’Neil Anna Perrotti Claudia Salvador Priya Shah Charu Singhal Christina Skopec Teresa Veselek Lindsey Wedow Jasmine Wilson TENOR Alex Chellberg Daniel Chung* Andrew Ferrer Graham Henderson Jack Holland Fotis Manousogianakis Max Senn Josh Zepeda *denotes student assistant conductor
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WIND ENSEMBLE PICCOLO Sarah Ellis Connor Quinby FLUTE Sarah Ellis Audrey Gelb Kristin Hoffman Amy Jurczak Monica Mills Connor Quinby Meagan Yothment Rebecca Youssef OBOE Olivia Chan Bianca Grove Abigail Levy ENGLISH HORN Abigail Levy CLARINET Emily A. Caminiti Ashley Fitzgibbons Sarah Formentini Tracy Kanda Lindsey Kramer Katie Lamont Ieva Misiūnaitė Amanda Newling John B. O’Hara Emily Sammon
TENOR SAXOPHONE Joel Thorson BARITONE SAXOPHONE Jack York TRUMPET Jessica Drafke David Lancelle Zachary Parsons Ian Rogers Nick Thomas Kevin Trieu Chris Urbon Nikolaus Weiner HORN Ruth M. Bisek Laura Grenlin Aaron Kirkman Kyle Sullivan Aleksander Weismantel TROMBONE David Kantor Brian May Julian Terry EUPHONIUM Brian May Caryn Pavlak
BASS CLARINET Dominique Kincaid
TUBA Brittney Cabrera Mirza Krijestorac Chris Waskiewicz
BASSOON Maria Marchione
PIANO Mason Brown
ALTO SAXOPHONE Roxie Able Evan Czerwonka Nikki Gaseor Ciara Nicholson Brendan O’Brien
PERCUSSION Mason Brown Tom Hopkins Mason Jenkins Thomas M. Moushey Annette J. Nowacki Ellie Ritzer
† The Wind Ensemble uses rotating seating. Players are listed alphabetically.
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JA Z Z B A N D ALTO SAX Nicholas Bush Addison Jacobs TENOR SAX Justin Howe Maria Marchione BARITONE SAX Roxanne Able TRUMPET Cory Engler Nicholas Hadjokas
Kevin Trieu Chris Urbon TROMBONE Erol Atac Thomas Boisseau Julian Terry **Andy Baker PIANO *Pat Collins GUITAR Jarrett Donoghue
BASS Zachary Brand Benjamin Pellitieri DRUMS Stevenson Valentor VIBRAPHONE & PERCUSSION Cassandra Gerber *guest performer **Loyola faculty member
M U S I C FAC U LT Y Kyle Asche Andrew Baker Steven Betancourt Scott Burns William Cernota Robert Dillon Victor Garcia Kirsten Hedegaard Colin Holman
Ellen Huntington Christine Hwang Charles Jurgensmeier, S.J. Haysun Kang Rebecca Kornick Benjamin LeClair Gustavo Leone Rick Lowe Anthony Molinaro
Kelli Morgan McHugh Keith Murphy Andrew Nogal 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, 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, Julian Gonzalez, Andrew Lehmkuhl Office Assistants............................................................................. Nina Bonano, Marta Wasko Box Office Manager.............................................................................................. James Dunford Box Office Staff................................................................. Beatrice Brittan, Gabrielle Caputo, Ysatis Hill, Sara Hubbard, Ayman Moussally, 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 Cassie Gerber David Lancelle 14 Loyola University Chicago
Arianna Loehr Ashley Lundgren Monica Mills Rachel Wood
UPCOMING CONCERTS All concerts are free and open to the public Honors Recital Friday, December 2 at 7:00 p.m. Madonna della Strada Christmas Chapel Concert Monday, December 5 at 7:30 p.m. Madonna della Strada Jazz Chamber Recital Tuesday, December 6 at 7:30 p.m. Mullady Theatre Joyola! Thursday, December 8 at 7:30 p.m. Mundelein Auditorium Classical Chamber Recital Friday, December 9 at 7:30 p.m. Mundelein Center 14th Fl William Ferris Chorale Concert Saturday, December 10 at 7:30 p.m. Madonna della Strada For more information, you can visit our blog at blogs.luc.edu/artsalive
Dinner after the Check out the
show?
Dining Guide for an
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selection of Area Restaurants Loyola University Chicago 15
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 12 p.m.-5 p.m., Monday through Friday in Mundelein 1302, and an hour before curtain on performance days. Book your seats 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!
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