Spring Concert-Loyola

Loyola University Chicago Department of Fine and Performing Arts Presents

Spring 2012 Music Program Orchestra, Chorus & Chamber Choir Concert April 23, 2012 7:30 p.m.

Madonna della Strada

Jazz Band & Wind Ensemble Concert April 26, 2012 7:30 p.m.

Auditorium, Mundelein Center

Spring 2012 Music Program 1

SPRING ENSEMBLES CONCERT Program for April 23, 2012 7:30 p.m.

Chamber Choir Rev. Charles Jurgensmeier, S.J., director Alleluia, Acclamation and Carol Easter Carol

Daniel Pinkham (1923– 2006)

Laudate Jehovam, omnes gentes Georg Philip Telemann

(1681–1767) Claire Gaddis and Paula Grzebien, violins Pieter De Tombe, cello Quatre Motets sur des thèmes Grégoriens, Op. 10 Tu es Petrus Singet dem Herrn, BWV 225 Alles, was Odem hat, Hallelujah!

Maurice Duruflé (1902–1986) Johann Sebastian Bach (1685–1750)

Orchestra Dr. Colin Holman, director Rumanian Folk Dances Joc Cu Bâtă Brâul Pe Loc Buciumeana Poargă Românească Mărunţel Mărunţel

Béla Bartók (1881–1945)

Concerto No. 2 for Clarinet in Eb Alla Polacca John O’Hara, clarinet soloist

Carl Maria von Weber (1786–1826)

Symphony No. 3 in D Franz Schubert Minuetto—Vivace (1797–1828) Presto vivace University Chorus Kirsten Hedegaard, director Lieto Godea Giovanni Gabrielli (1554–1612) Put Vejiņi

Salmo 150

Drew Elliot, soloist Benton Fletcher, student conductor

arr. Imant Raminsh (b. 1943) Ernani Aguiar (b. 1950)

Ain’-a That Good News William Dawson (1899–1990)

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Festival Alleluias William Ferris (1937–2000) set to Toccata from Organ Symphony #5 Charles-Marie Widor Steven Betancourt, organ Chorus and Orchestra Antiphon Ralph Vaughan Williams from Five Mystical Songs (1872–1958)

P R O G R A M N O T E S : A P R I L 2 3 , 2 012 Chamber Choir During his lifetime Bartók collected and classified more than 14,000 folks melodies of Hungarian, Slovak, Rumanian, Croatian, Turkish, Bulgarian, and North African origin.

Much of his original work, done with his friend and colleague Zoltán Kodály, took place in the years preceding World War I. In their collection process, they first jotted down melodies by hand, but later began to use Edison cylinders to record songs and dances.

Bartok was particularly drawn to the Rumanian folk traditions because he felt that the Rumanian groups had been more isolated from outside influences and were therefore more authentic. He also was attracted to the variety and colors of instruments used in the Rumanian music– violins, peasant flutes (panpipes), guitar, bagpipes. The six Rumanian Dances were written for violin and piano in 1916 and arranged for salon orchestra in 1917. Each dance has a distinctive character and mood, encompassing despite such brevity the spirit of joy, mournfulness, mystery, and humor.

Weber wrote a series of solo works for clarinet and orchestra for his colleague Heinrich Bärmann who was considered the greatest clarinet virtuoso of the early nineteenth century. The first performance of the Second Concerto was given on 25th November 1811 and greeted with ‘frantic applause.’ Weber wrote that Bärmann’s playing was ‘godlike’. The work remains to this day one of the greatest in the clarinet repertoire.

The third movement Alla Polacca is a rondo in the Polish style marked ‘Brillante,’ providing the soloist with the opportunity to display great virtuosity through a spectacular series of florid variations.

Schubert’s Third Symphony was completed in two bursts of activity between May and July of 1815 and is thus more or less contemporary with Beethoven’s Eighth Symphony, although the inspiration behind the work clearly lies more with the symphonies of Haydn and Mozart. Schubert was only 18 years old with a prodigious output and studying under Salieri when he completed this work. The third movement is an ebullient and energetic minuet with a contrasting trio featuring oboe and bassoon. The finale provides a sparkling conclusion full of Schubertian melodic invention.

Orchestra Franz Schubert’s Third Symphony was completed in two bursts of activity between May and July of 1815 and is thus more or less contemporary with Beethoven’s Eighth Symphony, although the inspiration behind the work clearly lies more with the symphonies of Haydn and Mozart than of Beethoven. Schubert was only 18 years old with a prodigious output and studying under Salieri when he completed this work. The slow introduction to the first movement creates an air of excitement, and the ensuing allegro con brio grows in stature from the entry of the main theme presented by the clarinet, with a delicacy suggesting chamber music. The second theme is first entrusted to the oboe and later to the clarinet. The slow movement is a straightforward song-like allegretto, whose casual rhapsodic nature gives the impression of an intermezzo.

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Even with Haydn’s prolific nature as a composer, a good number of his pieces were either burnt or lost. The Concerto in C Major for Violoncello and Orchestra was completed in the early 1760s but not heard in modern performance until discovered in 1961 at the National Museum in Prague by Oldrich Pulkert, a Czech musicologist, and first performed in May 1962 . It was probably written for Joseph Weigl, a close friend of Haydn who was the principal cellist in the court orchestra of Prince Esterházy, Haydn’s patron. Only one set of orchestral parts survived, copied in what is probably Weigl’s hand. The concerto is written in the traditional fast-slow-fast style. The final allegro molto allows the soloist a typical virtuosic display amid abundant melodic invention, bringing a satisfying conclusion to this charming work.

Die Zauberflöte, or The Magic Flute, is one of Mozart’s most well-known operas, and one of his final works, which premiered just months before his death in 1791.

Written in singspiel, a dramatic style incorporating both spoken words and sung dialogue, Die Zauberflöte tells the story of Tamino, a handsome prince, who is on a quest to rescue his love, Pamina, from the evil Sarastro. He is accompanied on his quest by Papageno, a birdcatcher, with only a set of magically protective bells and a magic flute, a flute with the power to change men’s hearts. The overture contains elements of both the Masonic symbolism present in the opera as well as setting the mood and character of the action to come.

University Choir In the early to mid-16th century, as the political climate was changing in Italy, many of the musical forces began to depart Rome and migrate to Venice, where a creative environment was steadily growing. From this time of transition, a group of musicians ermerged and were later codified as the Venetian School, a group of talented composers who helped bridge the gap from the late Renaissance into the early stages of the Baroque period. Among a number of identifying characteristics of this new style, grandiose antiphonal writing stands out as one of the most noticeable developments from this period. Exploiting the structure of St. Mark’s Basilica in Venice, which houses two opposing choir lofts, composers began writing more music for double chorus (some of these pieces are written for as many as five choirs!). Giovanni Gabrieli was one of the most prominent composers to gain notoriety during this era. “Lieto godea” is an example of this antiphonal writing as the two choruses echo each other with the same musical material. This madrigal was written to be performed as part of the annual Sposalizio Festival, which was held every spring to offer prayers to San Nicolo on behalf of the Venetian Mariners. After its debut in 1587, “Lieto godea” became quite popluar and was eventually reworked by Gabrieli’s famous pupil, Heinrich Schütz.

After World War II the Baltic states of Estonia, Lithuania, and Latvia suffered severe cultural repression under the Soviet Union. The singing of folk and sacred songs became a means of resistance and helped preserve the nations’ languages and ways of life. “Pūt Vējini” became the unofficial national hymn of Latvia during these times and today is still sung with great emotion. Imant Raminsh was born in Latvia and emigrated to Canada in 1948, where he developed an internationally respected career in choral music.

Brazilian conductor, composer and musicologist, Ernani Aguiar is currently a professor of music at the Federal University of Rio de Janeiro. Outside of his native country, he is known mostly for his choral compositions, although he has written for most mediums, including orchestral, opera and chamber music. “Salmo 150” has enjoyed great populartity in many choral circles around the globe. The setting of the text, with its fiery rhythmns and rapid articulations, creates a highly energized portrait of this joyful ode to music.

African American composer and renowned choral director, William Dawson remains a legendary figure in American choral music history. Born in Alabama in 1899, he ran away from home when he was 13 to enter the Tuskegee Institute. Following his graduation from the Institute, he moved to Kansas City, Missouri where he received his B.M. from the Horner School of Fine Arts. He went on to pursue his M.M. degree from the American Conservatory of Music in Chicago, followed by further studies at the 4 Loyola University Chicago

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Eastman School in Rochester, New York. Eventually he returned to Tuskegee, where he conducted the Tuskegee Institute Singers for 25 years. Among his many compositions, his arrangements of African-American spirituals continue on as enduring staples of the choral repertoire. “Ain’a That Good News” was written in 1937 and was first performed under his direction with the Tuskegee Institute Singers. Subsequently, it has been performed around the world and has been recorded by dozens of choirs at the high school, collegiate, and professional level.

The name William Ferris has become synonymous with contemporary choral music in Chicago. His music has been commissioned by the Boston Symphony and Chicago Symphony and he has composed in many genres. The splendid William Ferris Chorale was founded by the composer and John Vorrasi in 1971 to present to Chicago audiences new choral music of the highest quality. The Chorale is now an artist-in-residence here at Loyola. “Festival Alleluias” is set to the magisterial Toccata from Charles-Marie Widor’s Symphony No. 5 for organ. Mr. Ferris learned of an idea to set a chorus to the Toccata from Dr. Arthur C. Becker, an erstwhile pupil of Widor’s and teacher of Ferris’s.

Widor had approved of the plan and Ferris completed the project begun by Becker.

Ralph Vaughan Williams received his formal musical education from the Royal School of Music, studying with Charles Villiers Stanford and, later, Charles Hubert Hastings Parry, the man largely responsible for a kind of late 19th-century renaissance of English music. Vaughan Williams would prove to be Parry’s leading pupil. Throughout his life Vaughan Williams was an active conductor, scholar, editor, and compiler of music as well as a composer. Some of his most cherished work was editing and contributing to the English Hymnal, in which many of the tunes Vaughan Williams found in the countryside were used for new hymns. They are classics now for just about any church choir in England and North America. “Antiphon” is the vigorous final chorus from the set, Five Mystical Songs, to poems by the great poet-priest George Herbert.

Chamber Choir Translations Laudate Jehovam, omnes gentes

Praise the LORD, all you nations; extol him, all you peoples.

For great is his love toward us, and the faithfulness of the LORD endures forever.

Alleluia!

Tu es Petrus You are Peter and upon this rock I will build my church.

Singet dem Herrn (Sing to the Lord) Everything that has breath, praise the Lord. Hallelujah!

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University Chorus Translations Lieto Godea Lieto godea sedendo L’aura che tremolando Dolce spira l’aprile; Ogn’hor sospira d’Amor ogn’animale Con mortal dardo Amor volando venn’ e’l cor mi punse E lass’ oimè fugge meschino me Onde n’havrò la morte S’in lieta non si cangia la mia sorte.

I sat happily enjoying the breeze that sweetly trembling April breathes; every hour every animal sighs with love.

With his mortal dart Love came flying and pierced my heart; and, alas, he escapes to my sorrow: and I shall die of it unless fate grants my happiness.

Put, vejini Put, vejini, dzen laivinu, Aizdzen mani Kurzeme.

Kurzemniece man solija Sav’ meitinu malejin’.

Solit sola, bet nedeva, Teic man’ lielu dzerajin’.

Teic man’ lielu dzerajinu, Kumelina skrejejin’.

Kuru krogu es izdzeru,

Blow wind, drive my boat, Drive me to Kurzeme.

A woman from Kurzeme promised me Her daughter as a bride.

She promised, but didn’t fill the promise, Calling me a drunkard.

She called me a drunkard And a horse racer.

Where is the tavern in which I drank too much,

Kam noskreju kumelin’?

Pats par savu naudu dzeru, Pats skrej’ savu kumelin’

Whose horse did I run down?

I drink for my own money, And ride my own horse.

Put vejini, dzen laivinu Aizdzen mani Kurzeme.

Blow wind, drive my boat, Drive me to Kurzeme.

Salmo 150

Laudate Dominum in sanctis eius.

Laudate eum in firmamento virtutis eius.

Laudate eum in virtutibus eius.

Laudate eum secundum multitudinem magnitudinis eius.

Praise the Lord in his sacred places.

Praise him in the firmament of his power.

Praise him for his mighty acts.

Praise him according to his excellent greatness.

Laudate eum in sono tubae.

Laudate eum in psalterio et cithara.

Laudate eum in tympano et choro.

Praise him with the sound of the trumpet.

Praise him with the psaltery and the harp.

Praise him with the timbrel and the dance.

Praise him with strings and organo.

Praise him with resounding cymbals.

Praise him with joyful cymbals.

Let everything that has breath praise the Lord.

Laudate eum in chordis et organo.

Laudate eum in cymbalis bene sonantibus.

Laudate eum in cymbalis iubilationis.

Omnis spiritus laudet Dominum.

Alleluia!

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Hallelujah!

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 April 26, 2012 7:30 p.m.

Jazz Band Scott Burns, director This I Dig of You

Hank Mobley (1930–1986) arr. Mike Tomaro

Snibor

Billy Strayhorn (1915–1967) Transcribed and edited by Jeff Lindberg

In Times Square

Charles Mingus (1922-1979) arr. Sy Johnson

Jive Samba

Nat Adderley (1931–2000) arr. Alan Baylock Wind Ensemble Dr. Frederick Lowe, director

Serenade in E-flat, Op. 7

Richard Strauss (1864–1949)

Chorale and Alleluia Howard Hanson (1896–1981) Ghost Train

Danza Final (Malambo) from Estancia

Eric Whitacre (b. 1970) Alberto Ginastera (1916–1983) arr. David John

P R O G R A M N O T E S : A P R I L 2 6 , 2 012 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. This I Dig Of You was originally recorded for the 1960 Blue Note album Soul Station, considered by many to be among Mobley’s Spring 2012 Music Program 7

P R O G R A M N O T E S : A P R I L 2 6 , 2 012 ( c o n t .) finest records as a leader. It is a good example of his accessible writing style, which typically features simple singable melodies set over harmony that allows the improvising soloist to “stretch”, and includes interesting and varied rhythmic accompaniment in the rhythm section, creating an arranged sound.

Composer, arranger and pianist Billy Strayhorn was born in Dayton, Ohio and began his music education and professional career in Pittsburgh, Pennsylvania. He began composing and playing professionally while in high school, and while still a teenager, displayed an amazing sense of emotional depth and musical sophistication in his early songs, among them “Something to Live For”,“ My Little Brown Book”, and the sublime “Lush Life”. Yet, he is most widely recognized for his collaborative work with Duke Ellington, a partnership that began in 1939 and lasted until Strayhorn’s death in 1967. The two met after an Ellington concert in 1938, and Strayhorn is said to have boldly told the bandleader how he would have arranged one of Duke’s compositions for the band, then showing him at the piano. Shortly afterwards, Ellington hired Strayhorn. The relationship between Ellington and Strayhorn was complex, the details of which are the subject of much debate. Undeniably, the two needed each other. Ellington’s constant touring schedule necessitated having someone behind the scenes who understood his unique musical style and the capabilities of his orchestra’s featured soloists, and could contribute repertoire that integrated seamlessly into the band’s live performances as well as work on an increasing number of larger scale projects and commissions. For Strayhorn, Ellington’s employment and the status that accompanied it eased financial and social pressures associated with his openly gay lifestyle (particularly difficult for an African-American in the mid 20th century), and allowed the gifted composer and arranger to flourish, albeit somewhat in the bandleader’s shadow: Ellington received much of the credit for Strayhorn’s contributions to the Duke Ellington Orchestra’s vast and varied repertoire. Among Strayhorn’s widely known compositions for the band are Satin Doll, and the band’s signature theme song Take The A Train. According to the original liner notes of the Ellington Orchestra’s 1967 dedication album to Strayhorn “...and his mother called him Bill”, recorded shortly after Strayhorn’s death of cancer, Snibor was written in 1949 for a publisher friend named Robins, whose name it spells backwards. It was written to feature the smooth swinging style of one of Strayhorn’s favorite soloists in the Ellington band, lead alto saxophonist Johnny Hodges.

Composer, bassist and bandleader Charles Mingus is one of the jazz idiom’s most important composers. Born in 1922 and raised in Watts, California, his early musical influences came from the church, and from hearing Duke Ellington on the radio as a young boy. He first studied trombone and cello, before turning to the bass as a teenager. He studied double bass and composition formally, and learned jazz by playing with the masters: in the 1940s he toured with Louis Armstrong, Lionel Hampton and others.

Settling in New York in the 1950s, Mingus played and recorded with the leading jazz musicians of the time: Charlie Parker, Bud Powell, Miles Davis, and Duke Ellington. By the mid 1950s, Mingus had formed his own recording and publishing companies to document his growing repertoire of original music. His music fuses elements of classical music, gospel music, Dixieland, modern jazz, and collective improvisation.

Nostalgia In Times Square was originally composed for the soundtrack of Shadows, a film by John Cassavettes. In 1959, it was recorded twice, once with the alternate title of Strollin’. The composition features a quirky melody harmonized in major seconds, an interesting harmonic variation of the 12 bar blues form, and a chorus of stop time, a favorite device of the composer.

Jive Samba is from the repertoire of the small groups led by alto saxophonist Julian “Cannonball” Adderley in the 1960s and 70s. Considered one of the most important and influential alto saxophonists of the post Charlie Parker era, Adderley’s performing career quickly ascended after his arrival in New York City in 1955, after living and teaching in various locations in his native state of Florida. A chance encounter to 8 Loyola University Chicago

P R O G R A M N O T E S : A P R I L 2 6 , 2 012 ( c o n t .) sit in with bassist Oscar Pettiford’s band at the Café Bohemia effectively made him an instant sensation with the local musicians, and Adderley quickly became busy performing and recording. In 1957, he joined the Miles Davis Sextet, one of the premier groups of the time, where he shared the front line with the restlessly creative trumpeter and incendiary tenor saxophonist John Coltrane. After leaving Miles’ group, Adderley became a bandleader, forming a quintet that included his younger brother, cornetist Nat Adderley. The group became a successful outfit throughout the 1960s: their bluesy, energetic and funky style reached a wide audience, and achieved some commercial success. Nat Adderley contributed a few of the group’s most popular songs, among them Work Song and Jive Samba. The latter, although not a true samba in the Brazilian music sense, typifies musical elements common in the hard-bop era of the 1950-60s: influences of rhythm and blues and gospel music, “amen” cadences (plagal cadences), the use of stop-time, and song forms designed for extended improvisation.

Wind Ensemble Born in Munich, Germany to a well-known horn player, Richard Strauss demonstrated musical aptitude and talent at a very young age. He was already taking harp lessons at age four, and by age eleven, he had begun serious study of composition and orchestration. He is considered one of the most important German composers of the 1900s, following such late-nineteenth-century composers as Brahms and Wagner. French composer Claude Debussy referred to him as “the dominating genius of our time,” and he is most recognized for his symphonic tone poems, operas, and his Four Last Songs for soprano and orchestra. Strauss composed the Serenade for Winds, Op. 7, when he was seventeen years old. His first publisher, Eugen Spitzweg, sent the score to the famous conductor Hans von Bülow, and Von Bülow was so impressed with the work that he performed it on tour with the Meiningen Orchestra. The single-movement work is in sonata-allegro form, and though it is an early work, many typical qualities of Strauss’s music are present, including long melodic lines, rich harmonic texture, and instrumental virtuosity.

Howard Hanson exerted widespread influence as a composer, conductor, and educator throughout the twentieth century. He taught and composed music in California after earning his degree from Northwestern University in 1916, and in 1921 he won the Prix de Rome, which allowed him to study for three years in Rome with noted Italian composer Ottorino Respighi. Upon his return to the United States in 1924, he became director of the Eastman School of Music in Rochester, New York, a position he held for an impressive forty years. The Pulitzer Prize, awarded to him in 1944 for his Symphony No. 4, was one of the many honors and distinctions he received both in this country and abroad. Chorale and Alleluia was completed in January of 1954, and was Hanson’s first work for band.

The composer writes the following about the work: The composition opens with a fine flowing chorale. Soon the joyous alleluia theme appears and is much in evidence throughout. A bold statement of a new melody makes its appearance in the lower brasses in combination with the above themes.

The effect is one of cathedral bells, religious exaltation, solemnity, and dignity.

Eric Whitacre is a popular young composer, conductor, and public speaker. His first album as both composer and conductor,“Light & Gold,” won a Grammy award in 2012, and became the number one classical album in the US and UK charts within a week of release. Whitacre’s Virtual Choir, Lux Aurumque, has received over three million views on YouTube, and features 185 singers from 12 different countries. He attended the University of Nevada, Las Vegas for his undergraduate degree, and attended the Juilliard School where he earned his master of music degree studying with Pulitzer Prize- and Oscar-winning composer John Corigliano. Whitacre writes the following about his first wind ensemble work, Ghost Train, which received its premiere on March 7, 1994: Spring 2012 Music Program 9

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The legend of the ghost train, a supernatural machine that roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and it was this spirit I worked to capture. I felt that the use of trains as a source of sounds and inspirations was virtually inexhaustible, but I wanted to save the integrity of the original while using it as the architectural foundation.

Ghost Train was written for and is dedicated to Thomas G. Leslie and the University of Nevada, Las Vegas Wind Symphony.

The Argentine composer Alberto Ginastera studied at the National Conservatory of Music in Buenos Aires, taught fellow composer Astor Piazzolla, and later served as dean for the music school at the Catholic University of Argentina.“Danza Final (Malambo)” is the final movement of Ginastera’s four-movement orchestral suite Estancia. The dance is cast in the form of a malambo, a dance specific to Argentina with roots dating to the 1600s. Only males are allowed to participate in this dance, and it often features gauchos (cowboys) looking to prove their manhood. The clapping of hands and use of the feet akin to tap dancing are hallmarks of this style. Originally commissioned as a ballet in 1941, Ginastera later adapted the music from the ballet into an orchestral suite in 1943; the version for band was arranged by David John in 1965.

BIOGR APHIES Steven Betancourt is the director of music for Madonna della Strada Chapel and University Organist for Loyola University Chicago. He teaches applied organ and directs the Schola Cantorum in the Department of Fine and Performing Arts. Additionally, he is Sub-Dean of the Chicago Chapter of the American Guild of Organists, an auxiliary music staff member of the Archdiocese of Chicago’s Office for Divine Worship and a consultant to The American Federation Pueri Cantores.

Steven earned his B.A. in music education from Whittier College in California studying with Dr. Frances Nobert and David McVey. His M.M. from Indiana UniversityBloomington was a double-major program in organ performance and church music.

His teachers at Indiana included Drs. Larry Smith, Carla Edwards and Marilyn Keiser.

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 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 10 Loyola University Chicago

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

Dr. Charles Jurgensmeier, S.J. is currently director of the music program and associate professor of music in the Department of Fine and Performing Arts at Loyola University Chicago. Before coming to Loyola University, he was on the faculty at Creighton University in Omaha.

For several years he performed with Opera Omaha and the Omaha Symphonic Chorus as singer, soloist, and conductor. He has given solo recitals in Holland, Italy, and Germany, as well as in Omaha, Los Angeles, San Francisco, and Cambridge, Massachusetts. He has worked as a church musician and choral director while pursuing his theological studies at the Weston Jesuit School of Theology and later at Loyola Marymount University during his doctoral studies. He continues to be active as a church musician as well as devoting his time and talents in the performance of early music, focusing on the choral music of J. S. Bach, Johann Valentin Rathgeber, O.S.B., and Marc-Antoine Charpentier.

He is also active as a scholar, writing on Franz Schubert’s only psalm setting in Hebrew, Psalm 92, Tov lehodos, the Magnificat settings from the Vespers services and the Rural Masses of the eighteenth-century German composer, Valentin Rathgeber.

He has presented papers on the composer in the United States and in Germany. He recently had two articles published in the New Grove Dictionary of American Music (Oxford University Press, 2011).

Kirsten Hedegaard has enjoyed a duel career as a singer and conductor. As a soprano soloist, she has been praised for her voice that “blends beautifully” (Chicago Tribune) and “soars perfectly in the upper registers” (Barrington Quintessential). She has performed numerous Bach cantatas and baroque chamber music and has been a soloist with many early music specialists including Nicholas McGegan, Paul Hillier, Ivars Taurins, Kenneth Slowik, and John Butt. Ms. Hedegaard has sung with Tafelmusik, Philharmonia Baroque, Mercury Baroque, Ensemble viii, Baroque Band, the Newberry Consort, Ars Antiqua, the Opera Company and Bella Voce, among other ensembles. Ms. Hedegaard has performed numerous new works, including an international tour of Louis Andriessens’s The Odyssey with the Beppie Blankert Dance Company. This past winter she made her debut with the Grammy-award winning new music ensemble, eighth blackbird.

Currently on faculty at Loyola University, Hedegaard has taught conducting at Concordia University, River Forest and has conducted choirs and orchestras for various institutions including Eastman House, Chicago Children’s Choir, Gallery 37, Loyola Academy, and the University of California. She was guest conductor with Chicago Choral Artists for the 2009-10 season and is the former conductor for the Bella Voce Outreach program. In 2000, she co-founded The Musical Offering, 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.

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

For two years, Holman taught Japanese and American students at Teikyo Westmar University before moving to Chicago, where he has lectured at both the undergraduate and graduate level at Northwestern University, Northern Illinois University, Wheaton College, and North Park University.

Holman’s extensive conducting credits include work in opera and musical theatre, with orchestras and concert bands, and in early music. Since moving to Chicago, he has conducted many of the orchestras in the area, including a tenure with the Fox Valley Symphony Orchestra and guest appointments with the Wheaton College Symphony Orchestra, the Elgin Symphony Orchestra, the Harper Symphony Orchestra, the West Suburban Symphony Orchestra, and the Chicago Virtuosi. Holman began his tenure as Orchestra Director at Loyola University in the Fall 2007 and was recently named founding conductor of the newly formed Fox Valley Orchestra.

Dr. Frederick Lowe conducts the Wind Ensemble and also directs the basketball pep band, the Band of Wolves. Lowe earned his bachelor of music degree at the University of Michigan, after which he directed the concert, symphonic, and marching bands and taught music theory and electronic music composition as assistant band director at Lake Zurich (IL) High School. Lowe earned his master and doctor of music degrees in conducting at Northwestern University, where he conducted the Contemporary Music Ensemble, Concert Band, Symphonic Band, Symphonic Wind Ensemble, and also assisted with the “Wildcat” Marching Band and the Men’s Basketball Band. Lowe has served as guest conductor with the Singapore Festival Winds and the McHenry County (IL) Youth Orchestras, he has judged several music festivals in the Chicago area, and he has served as a high school band guest clinician. His music analyses are published in the GIA Publications series Teaching Music Through Performance in Band, in both Volume VI, the second edition of Volume I, and the recently released volume of solo music with wind ensemble accompaniment.

John O’Hara is a junior at Loyola University Chicago. He is majoring in Psychology and Music with a minor in Neuroscience and is also pre-med. He has been in the LUC Wind Ensemble as well as the LUC orchestra since his freshman year. He is also a member of the university pep band (Band of Wolves), and was in the pit orchestra for last season’s Pippin. In the past John has earned many awards for his performances including Division I ratings at IHSA Solo and Ensemble Contests(including the best of day award in 2009), selection to the IMEA All-District and All-State Honors Ensembles. He has studied with Laurie Beard, Andrea DiOrio, and is currently under the tutelage of Loyola faculty member Dr. Sunshine Simmons. He has been playing clarinet for 11 years. John also studied piano privately with Patti Nyien for 10 years, and has been playing for a total of 14 years. After his last year at Loyola, hopes to go to medical school, while maintaining active participation in the arts.

CHAMBER CHOIR SOPRANO I Meridith Glass Diana Gyulai Angela Jin Makiah Nuutien SOPRANO II Grace Affeltranger Anna George Kathryn Schmitz

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ALTO Clara Flaherty Mollie Heath Claire Orzel TENOR Alex Chellberg Andrew Ferrer Ryan Masterson

BASS Nicholas Harris Timothy McAlister Zachary Martinez Brice Vinson

ORCHESTR A VIOLIN 1 Sarah Bruce Claire Gaddis Jordyn Kowalski Melissa Mandarino Sara Randazzo Momoko Takahashi* Annarita Tanzi Sara Zaza VIOLIN 2 Paula Grzebian* Sarah Livergood Laura Palarz Mary Kate Styler Sonia Szawdyn Janna Trautwein Meriam Ben Hadj Tahar Elyse Voyen Aleksandra Wojtowicz

VIOLA Philip Arbogast-Wilson Courtney Bowe Colleen Hautzinger Hillary Jagiello Rachel Wood* CELLO Geneva Costopoulos Pieter De Tombe* Andrea Marshall CELLO cont.

Rachel Mignin Mike Niroumandpour Elizabeth Sullivan

CLARINET Katrina Lamont John O’Hara* BASSOON Gwyn Downey Derek Kane* FRENCH HORN Anne Hauser Jonathan Hauser* TRUMPET Edward Loy Rebecca Brantley*

BASS Jeremy Beyer*

TIMPANI Thomas Moushey*

FLUTE Kya Nordstrand Connor Quinby*

*denotes section principal

OBOE Elizabeth Griewe Abby Levy*

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

CHORUS SOPRANO Natasha Adib Grace Affeltranger Emma Anderson Victoria Bain Vivianna Castilleja Arianna Chiu Allie Cole Sarah Comer Nathalie Corbett Drew Elliot Meredith Glass Joanna Harris Brenna Hogan Heather Hooker Bridget Houl Heather Kita Katie Little Lindsay Maher Amy Mestelle Mia Morzel Corrine Natyshak Makiah Nuutinen Eda Obermanns Hollis Redmon Tammy Salazar Holly Scheltens

Sarab Shada Emily Tishler Kelsey Welch ALTO Pooja Agrawal Claire Blakemore Veronica Burns Nicole Cribaro Lydia Decloud Callie Degnan Angelica D’Souza Alexis Gaines Christine Garces Lliani Gardiner Moira Geary Mallory Grembowski Mollie Heath Kelly Hof Jessica Jandura Tania Jocius Francina Juncaj Anna Kebe Spirit Kimbrough Paityn Korner Lindsey Kurdi Monika Makurath

Samantha Mascari Tiara Morgan Katharine Mosher Lauren Nelson Anna Perrotti Priya Shah Christina Skopec Emily Smith Teresa Veselack Olivia Walker Lindsey Wedow Holly Zissman TENOR Alex Chellberg Andrew Ferrer Gabriel Gonzale Paul Guziewski Ryan Haller Graham Henderson John Holland Fotis Masoungainakis Bobby O’Mullan Kevin Pastores Max Senn

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C H O R U S ( c o n t .)

BASS Jeff Barak Evan Czerwonka Benton Fletcher Chris Gammad Ryan Hamman David Lancelle

Kyle Lilly Michael Macdonald Zach Martinez Rogelio Realzola Victor Reyes Ray Rivera Victor Schneider

Kevin Sisler Jonny Swift Jackson Tenclay Brice Vinson

Maritza Pinto Emily Poynton Meghan Zozokos

Kyle Sullivan Aleksander Weismantel

*denotes student assistant conductor

WIND ENSEMBLE PICCOLO Sarah Ellis Maria Klingelhoffer Connor Quinby FLUTE Sarah Ellis Maria Klingelhoffer Monica Mills Kya Nordstrand Connor Quinby Rebecca Schuck Meghan Verbus Meagan Yothment Rebecca Youssef

BASS CLARINET Cheryl Hwang BASSOON Maria Marchione ALTO SAXOPHONE Evan Czerwonka Nikki Gaseor Ciara Nicholson Brendan O’Brien

TROMBONE David Kantor Sean Keenan* Brent Marquart* EUPHONIUM Brian May Mike Welch TUBA Chris Waskiewicz Mike Welch

OBOE Erin Baumann Alexandra Carley Bianca Grove Abigail Levy

TENOR SAXOPHONE Jesse Jimenez

PIANO David Lancelle

BARITONE SAXOPHONE Joel Thorson

CLARINET Rachel Bohmbach Emily A. Caminiti Ashley Fitzgibbons Sarah Formentini Katie Lamont Marisol Magallanes Lauren Murljacic Amanda Newling Ashleigh Nichols John B. O’Hara

TRUMPET Jessica Drafke David Lancelle Zachary Parsons Ian Rogers Chris Urbon Nikolaus Weiner

PERCUSSION Dominic Fante Cassy Jerber Mason Jenkins Thomas M. Moushey Marcella Perez Ellie Ritzer

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HORN Ruth M. Bisek Laura Grenlin

† The Wind Ensemble uses rotating seating.

Players are listed alphabetically. * Guest musicians.

JA Z Z E N S E M B L E ALTO SAX Nicholas Bush Addison Jacobs

TROMBONE Erol Atac Laurie Mascali *Raphael Crawford

TENOR SAX Justin Howe Maria Marchione

BASS TROMBONE Mike Welch

BARITONE SAX Roxanne Able

PIANO *Pat Collins

TRUMPET Cory Engler Nicholas Lyons Kevin Trieu Chris Urbon

GUITAR Jarrett Donoghue

BASS Benjamin Pellitieri DRUMS 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 Ellen Huntington

Christine Hwang Charles Jurgenmeier, SJ Haysun Kang Rebecca Kornick Benjamin LeClair Gustavo Leone Rick Lowe Michael McBride Anthony Molinaro

Kelli Morgan McHugh Keith Murphy Andrew Nogal Sunshine Simmons Cameron Smith Steve Suvada MingHuan Xu

D E PA R TM E N T O F F I N E A N D P E R F O R M I N G A R T S S TA F F Chair..................................................................................................................... Sarah Gabel, Ph.D Director of Music................................................................................Charles Jurgensmeier, SJ Managing Director................................................................................................April Browning Director of Public Programming........................................................................ Jennie Martin Operations Manager................................................................................................Scott Heston Management Assistants..................................................................................... Andrew Dillon,

Ali Drumm, Julian Gonzalez, Office Assistants............................................................................. Nina Bonano, Marta Wasko Box Office Manager............................................................................................. James Dunford Box Office Staff................................................................. Beatrice Brittan, Gabrielle Caputo,

Claire Hawkes, Ysatis Hill,

Sara Hubbard, Michelle Peters, Sallyann Price,

Kathryn Siemianowski, Margaret Tomasik, Rachel Toporek,

Daniel Tsang, Alyssa Vitale, Ceara Zennie MUSIC EVENTS CREW Evan Fazio, Manager of Events Jacob Ahnen Cassy Gerber

David Lancelle Arianna Loehr Ashley Lundgren David Marrah

Anne McCauley Monica Mills Rachel Wood

Spring 2012 Music Program 15

UPCOMING CONCERTS All concerts are in the Auditorium in the Mundelein Center unless noted otherwise and are free and open to the public.

Jazz Chamber Recital APR 24 | Tues. 7:30 PM | Mullady Theatre | Free Classical Chamber Recital APR 27 | Fri. 7 PM | Madonna della Strada Chapel | Free

ABOUT LOYOL A’ S DEPARTM ENT OF FINE AN D PER FOR MING ARTS Loyola’s Department of Fine and Performing Arts combines the disciplines of dance, music, theatre, and the visual arts, and provides students with a quality arts education. This alignment of creative energies, which helps foster interdisciplinary collaboration, combined with the renovation of two buildings on the Lake Shore Campus, has inspired a renaissance of the arts at Loyola University Chicago.

The arts are alive at Loyola. We offer a variety of music concerts, plays, and gallery events throughout the year. Visit LUC.edu/dfpa for more information, or call the box office at 773.508.3847 Box Office Contact Information Phone: 773.508.3847 Email: Boxoffice@luc.edu Hours are from 12p.m.-5p.m., Monday through Friday in Mundelein 1302, and an hour before curtain on performance days or you can order your tickets online at LUC.tix.com Information The taking of photographs and the use of any type of recording devices are not allowed in the theatre during performances and are a violation of state and federal copyright laws. Tape or film will be confiscated.

Electronic pagers and portable phones should be given to the house manager, who will notify patrons in the event that they are paged, if it is necessary that they be contacted during the performance.

Patrons wearing alarm watches are respectfully requested to turn them off before entering the facility. Patrons are asked to turn off portable phones before entering the facility.

Lost and Found information may be exchanged at the Box Office; please call 773.508.3847.

Smoking is prohibited.

If you have any questions about the Department of Fine and Performing Arts, or would like to volunteer or support the theatre program in any way please call us at 773.508.7510 or you can visit our website at LUC.edu/dfpa or our blog at blogs.LUC.edu/artsalive Thanks again for your patronage!

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