Holidays a cappella: Tales and Legends Sunday, December 4, 2016, 3:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston Friday, December 16, 2016, 7:30 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville Saturday, December 10, 2016, 8:00 pm 4th Presbyterian Church Michigan Ave. at Delaware Pl., Chicago Saturday, December 17, 2016, 8:00 pm Rockefeller Memorial Chapel 5850 S. Woodlawn Ave., Chicago Sunday, December 11, 2016, 3:00 pm St. Clement Church 642 W. Deming Pl., Chicago Sunday, December 18, 2016, 4:00 pm Pilgrim Congregational Church 460 Lake Street, Oak Park Chicago a cappella Kathryn Kamp, Soprano Alexia Kruger, Soprano Cari Plachy, Soprano Sarah Ponder, Mezzo-soprano Emily Price, Mezzo-soprano Ace Gangoso, Tenor Garrett Johannsen, Tenor Carl Frank, Bass Joe Labozetta, Bass Woo Chan (Chaz) Lee, Bass Founder and Artistic Director Jonathan Miller Guest Music Director Anne Heider Chicago a cappella is partially supported by The Gaylord and Dorothy Donnelley Foundation; The Arts Work Fund for Organizational Development; The MacArthur Funds for Arts & Culture at the Richard H. Driehaus Foundation; a CityArts grant from the City of Chicago Dept. of Cultural Affairs and Special Events; the Oak Park Area Arts Council, in partnership with the Village of Oak Park; the National Endowment for the Arts; and the Illinois Arts Council Agency, a state agency. Media Sponsors: The Daily Herald and NewCity. Holidays a cappella 1 PROGR A M Joy to the World!............................................................................. G. F. Handel, arr. Philip Lawson Rise Up, Shepherd, and Follow............................................................ Spiritual, arr. Roland Carter ******* Videntes stellam................................................................................. Orlando di Lasso (1532-1594) The Cherry Tree Carol..................................................... Appalachian folk song, arr. Alice Parker A la xàcara xacarilla.......................... Trad. Mexican, arr. Juan Gutierrez de Padilla (1590-1664) ******* Ikh bin a kleyner dreydl...................................................Gelbart/Secunda, arr. Mark Zuckerman Śliczna Panienka........................................................ Trad. Polish carol, arr. J. Michael Thompson Kalado..................................................................................... Trad. Latvian carol, arr. Juris Vaivods ******* Longfellow’s Carol......................................................................................Jonathan Miller (b. 1962) The Sycamore Tree............................................................................ Benjamin Britten (1913-1976) ******* Si no me dan de beber lloro............................................... Vicente Carratini, arr. Jonathan Miller INTERMISSION Fum, fum, fum................................................................................ Trad. Catalan, arr. Anne Heider ******* Najświętsza Panienka...................................................................... Trad. Polish, arr. Jacek Sykulski ******* Ain’t Dat A-Rockin’ All Night?.................................................................. Spiritual, arr. Paul Carey Miracle............................................................................................. Matisyahu, arr. Patrick Sinozich ******* Good King Wenceslas............................................................. 13th-century melody with words by John Mason Neale (1818-1866), arr. Anne Heider His piety and marvelous works (excerpt from St. Nicolas, A Cantata)....................................................................Benjamin Britten ******* Jingle Bells Hallelujah Chorus........................................................................... arr. Jonathan Miller Latecomers will be seated at the discretion of the ushers. Smoking is prohibited in all venues. Outside food and beverage are not permitted in the audience seating area. Thank you for your cooperation. 2 Chicago a cappella C H I C AG O A C APPE LL A M E R C H A N D I S E Bound for Glory! New settings of African-American Spirituals Our debut recording on the Gothic Records label is a moving and joyous collection of spirituals, featuring new settings of powerful melodies by a host of brilliant and innovative composers. Days of Awe and Rejoicing: Radiant Gems of Jewish Music Eclectric New works, familiar favorites, pop & jazz. “An overflowing cornucopia of choral delights” (ChicagoTribune) Shall I Compare Thee? Contemporary settings of Shakespeare’s timeless words Go Down, Moses A stunning collection of spirituals Holidays a cappella Live Live performances of Christmas spirituals, Chanukah songs and holiday music from around the world Palestrina: Music for the Christmas Season Brilliant Renaissance polyphony by the Italian master Palestrina Christmas a cappella A celebration of the holiday season with Christmas songs from around the world Available in the lobby: $16 each (includes sales tax) NEW THIS SEASON: Chicago a cappella Mugs Earbuds Tote Bags Mints and water bottles are also available at the merchandise table. Holidays a cappella 3 F R O M T H E A R T I S T I C D I R E C TO R I love programming our “Holidays a cappella” concerts. It may have something to do with the fact that I usually do this in the fall, which is my favorite season. The days are getting shorter; the humidity of summer is gone; the angle of the sunlight outside my home-office window is headed to the south; and the oak leaves are piling up in the yard (which means a few hours of welcome outdoor exercise with Sandy and the dogs). My job, which is now completed for this program, is to capture the essence of the season in about twenty songs. How does one do that? The December holidays are paradoxical. When we get to them, at least in Chicago, it’s usually dark and cold. You might ask, “And you want me to get perky and excited now, with all this holiday music?” Well, no, not really; as always, balance is the key. Yes, a judicious amount of upbeat-ness is in order, but so is contemplation; joy, but also quiet; praise, but also lullabies. I especially love our Polish carol in praise of hay – the lowly and humble hay in which Jesus was laid. What a wonderful image, so different from the usual ones in the American collective mind and media. I have associated December with singing as long as I can recall—in the car on long trips, at camp, in worship services, you name it. In my family, we did not have a particularly materialistic mindset; my parents, especially my mother, were actively cultivating voluntary simplicity, which was gaining popularity in the 1960s. Joining the Chicago Children’s Choir in 4th grade was my initiation into the formal choral tribe; I hope that every child can have some experience that approximates the almost overwhelming awe, joy, and wonder that came from being a part of Christmas Vespers services at First Unitarian Church in Hyde Park. (I’m getting choked up just remembering it now.) That was one of my first experiences of the cup running over: a heart full to overflowing, so much that you’re not sure you can actually handle it—but you do, and your heart grows as a result. If we can give you even a taste of that sort of heart-ful-ness while you’re here with us today, we will be grateful. Thank you for being here, and enjoy the show. —Jonathan Miller, Founder and Artistic Director F R O M T H E G U E S T M U S I C D I R E C TO R Jonathan Miller and I were choral colleagues in the early 1980’s at Holy Name Cathedral. We were also original members of His Majestie’s Clerkes, now Bella Voce, the a cappella ensemble founded by countertenor Richard Childress, who also sang at Holy Name. Some ten years later Jonathan started his own group, Chicago a cappella. As Artistic Director of His Majestie’s Clerkes, I invited Chicago a cappella to be a guest ensemble in concerts in 1994 and again in 1996, and both collaborations were artistically challenging and rewarding. Both ensembles have thrived and become Chicago-area institutions, treasured by their audiences and supporters. It’s an honor and a joy to be invited by Jonathan for a return engagement as Guest Music Director of “Holidays a cappella”. 4 Chicago a cappella F R O M T H E G U E S T M U S I C D I R E C TO R c o n t. Countless tales and legends have gathered around and grown out of the annual midwinter celebration of birth and rebirth. The darkest, coldest season of the year abounds in stories that give us light, warmth, and hope. The small human details—Joseph losing his temper, the peasant with a houseful of kids, the shivering pageboy—anchor us in a world we recognize; then we truly feel the miracle that awaits us in each story. Songs celebrating the special foods and games of the season remind us of our childhood. Some, like the top in Little Dreidl, have acquired a symbolic significance that adds teaching value to the stories. Others, like Kalado and Si non me dan de beber, revel in the giddiness of house-to-house serenading, masquing, drinking and feasting: the solstice has arrived! the days are getting longer and lighter! Songs extolling miraculous deeds by saints give us vivid narratives to help us understand saintliness. (Saint Nicolas is the champion in that regard, and Benjamin Britten folded seven different legends into one piece of music, piling them up one after another until our heads spin.) The singers of Chicago a cappella have plunged with zest into this motley array of stories. They are alert, accomplished vocal artists; they’re open to repertoire of all sorts; they love getting the details right; and they nourish one another with their energy and delight in performing. I am privileged to have worked with them to bring you this eclectic program of holiday tales and legends. —Anne Heider N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R G. F. Handel, arr. Philip Lawson: Joy to the World Yes, the composer of the Messiah also wrote Joy to the World! At least the melody has been attributed to Handel. The familiar tune receives an unusually skillful treatment here in the hands of former King’s Singer Philip Lawson. The rhythm leaps off the page with a Scotch snap, and the lush six-part harmonies propel the piece forward. Spiritual, arr. Roland Carter: Rise Up, Shepherd, and Follow Roland Carter is Holmberg Professor Emeritus of American Music at the University of Tennessee at Chattanooga and currently director of the Chancel Choir at Cascade United Methodist Church in Atlanta. A former president of the National Association of Negro Musicians, he is the arranger of the most commonly-heard version of “Lift Every Voice and Sing.” Prof. Carter has been honored to participate musically in every possible setting, from working in the smallest church to conducting at presidential inaugurations in Washington. An outstanding musician, he has conducted opera as well as choral music nationwide and has been involved in radio and television broadcasts in his role as a preservationist of African-American music. This setting of “Rise Up, Shepherd” follows mostly traditional voicings and harmonies. The piece is effective in its straightforward simplicity. The final chorus takes off in an energetic ascent, speeding up as it sets up a call-and-response dialogue between men and women before rising to the highest soprano heights for a strong finish. Holidays a cappella 5 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Orlando di Lasso: Videntes stellam Lasso is usually mentioned in the same breath with Palestrina, as they were the two most important and influential musicians in the European High Renaissance. Lasso was born in what is now Belgium and went to Italy early in his career; one legend says he was kidnapped at age 12 because of his sweet singing voice. At age 23, he was hired at the Bavarian court in Munich—one of the best “gigs” for an active composer, with a fabulous choir and creative environment—and settled in there for the rest of his life, a stay of almost 40 years. While he worked for the Roman Catholic Church, he kept an open mind to what was happening musically elsewhere, including in Protestant lands. He wrote in every conceivable genre of sacred and secular music, and his music was disseminated all over Europe. Lasso is known as a master of musical rhetoric—the art of using expressive techniques to communicate vividly. A few examples will show his level of skill and playfulness. The opening leap of a fifth and then an octave, which occurs in every voice part, literally forces the singers to look up (at least on the page, if not at the conductor or the audience) and sing upward in their vocal ranges—a clever and evocative way to set the opening words, “looking at the star.” There is a nice chromatic inflection at the words “et intrantes domum” (“upon entering the house”), perhaps signaling in music how special it must have been for the Magi to step into that place and encounter Jesus for the first time. Another attention-getting chord happens at the word “procidentes” (“bowing down”). Finally, in the second section, there is a long, florid melisma on the word “aurum” (“gold”), much as you or I might say “ooooooh” when seeing a treasure-trove like that. 6 Chicago a cappella N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Videntes stellam Magi gavisi sunt gaudio magno: et intrantes domum invenerunt puerum cum Maria matre eius et procidentes adoraverunt eum. Upon seeing the star, the wise men rejoiced with a great joy; and, entering the house, they found the boy with Mary, his mother, and, bowing down, they worshipped him. Et apertis thesauris suis, obtulerunt ei munera, aurum, thus et myrrham. And, with their treasures opened, they offered him gifts: gold, frankincense and myrrh. —English translation by Jonathan Miller —Matthew 2:10-11 Appalachian folk song, arr. Alice Parker: The Cherry Tree Carol One of the heroes of American choral music, Alice Parker is a living cultural treasure. After studying composition and performance at Smith College and choral conducting at Juilliard with Robert Shaw, she came to prominence in the 1950s as the chief arranger for the Robert Shaw Chorale, creating hundreds of settings of folksongs, hymns, and spirituals. Still active at age 91, she was in Chicago just last month for a marathon weekend of teaching and mentoring. She teaches composition and arranging with a special emphasis on melody. She continues to lead Melodious Accord, the New York City-based organization she founded in 1985. Parker’s setting of “The Cherry Tree Carol” works with a version of melody collected from Appalachian Kentucky. The arrangement gives clear prominence to the tune, sung by a tenor soloist. After Jesus speaks to Joseph from the womb (still in the tenor’s voice), the cherry tree bows down so that Mary can gather fruit. The overall effect is gentle, tender, and direct. Trad. Mexican, arr. Juan Gutiérrez de Padilla: A la xácara xacarilla There is a wonderful tradition in Central and South America, stemming originally from Madrid, of xácaras or jácaras, rather raucous songs about Christmas as celebrated by regular people, that are intended for performance outside the context of the liturgical church service. You may recall one such piece from our 2012 program Navidad de Mexico; here is another. Born in Spain, Padilla came to Puebla, the “second city” of Mexico in the 1600s, where he eventually became maestro de capilla and where he was a prolific composer and arranger. In addition to more formal church polyphony, he provided this transcription of a xácara, complete with the usual elements: three-against-two rhythms (hemiola), verses with paired rhyming lines (coplas), and a chorus of onlookers shouting “¡vaya!” Hold the translation close by, and have fun as you listen to this one. Have you been receiving emails from us lately? Visit us in the lobby or email [email protected] with your current email address today. Stay up-to-date with the latest from Chicago a cappella, including special promotions and behind-the-scenes exclusives! Chicago a cappella will not share your phone or email with any third party. Holidays a cappella 7 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. A la xácara xacarilla, de buen garbo y lindo porte, traigo por plato de corte siendo pasto de la villa a la xácara xacarilla. Xacarilla de novedad, novedad de novedades aunque a más de mil navidades que alegra la navidad. To the joyous jamboree, Of good grace and lovely bearing, The village food that I carry is a plate worthy of court, to the joyous jamboree. Celebration of newness, Newness of newness, although already a thousand yesterdays has this happy birth gladdened. ¡Vaya, vaya de xacarilla!, que el altísimo se humilla, ¡vaya de xácara, vaya! que amor pasa de raya, ¡vaya, vaya! Rejoice, rejoice in the revels! for the Highest has become low; rejoice in the jamboree! For love exceeds all bounds; rejoice, rejoice! Coplas: Agora* que con la noche se suspenden nuestras penas y a pagar culpas ajenas nace un bello Benjamí, si el Rey me escuchara a mí ¡oh qué bien cantara yo! Como ninguno canto del niño más prodigioso. Verses: Now with the night our sorrows cease, and to pay for our sing a beautiful Benjamin is born; If the newborn king will listen to my song, Oh, how I will sing! Like no other song will mine be of the prodigious child. Con licençia de lo hermoso rayos desenvaina ardientes. Escúchenme los valientes esta verdadera historia que al fin se canta la gloria y a él la cantan al naçer. General se vió el plaçer que el velo a la tierra envía. By leave of that beautiful child who shoots burning rays, let me tell the valiant-hearted the true tale that to the end the glory of his birth be sung; let all see the pleasure that he was sent to earth. Que en los ojos de María madrugaba un claro sol; con celestial arrebol mostró la aurora más pura muchos siglos de hermosura en pocos años de edad. Si no sol, era deidad, y el sol es quien la ha vestido. —trad. Mexican folk lyrics In Mary’s eyes rose a bright sun; with celestial beauty the purest aurora showed; many signs of the loveliness presaged in her at tender age. If not sun, it was deity, And the sun is the one who clothed her. —English translation by Robert Stevenson and Jonathan Miller Mikhl Gelbart, arr. Mark Zuckerman: Ikh bin a kleyner dreydl (I am a little dreydl) Mark Zuckerman is a New Jersey-based composer with a background in music theory and composition who has devoted many years to applying his skills to traditional Yiddish song. He has created dozens of arrangements, including rather religious songs and ranging all the way to a truly authentic, fully Yiddish rendition of Bay mir bistu sheyn. 8 Chicago a cappella N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. This setting speaks mostly for itself, being quite sweet and funny. Zuckerman has the lower three voices begin by singing the names of the sides of the dreydl, each of which has one of the four Hebrew letters nun, shin, hey, and gimel. Those four letters begin the four words “Nes gadol hayah sham,” translated as “A great miracle happened there”—the miracle of the oil in the Temple lasting for eight nights. For the record: Mark Zuckerman’s arrangement of Ikh bin a kleyner dreydl appears on Chicago a cappella’s CD Holidays a cappella Live. Nun, shin, hey, giml... (The Hebrew letters nun, shin, hey, and gimel) Ikh bin a kleyner dreydl Gemakht bin ikh fun blay To lo mir ale shpiln In dreydl, eyns, tsvey, dray. I am a little dreidl, I’m made out of clay, Let’s all go a-spinning With the dreidl, one, two, three. Oy, dreydl, dreydl, dreydl, o drey zikh dreydl, drey, to lo mir ale shpiln, in dreydl, eyns un tsvey. —Mikhl Gelbart Oh, dreidl, dreidl, dreidl, o spin, dreidl, spin, Let’s all go a-spinning, With the dreidl, one, and two. —English translation by Jonathan Miller Trad. Polish carol, arr. J. Michael Thompson: Śliczna Panienka The traditional Polish tune has been set for choir by J. Michael Thompson, a beloved choral director and arranger who from 1988 to 1999 was the director of music at St. Peter’s in the Loop on Madison Street in downtown Chicago. Thompson is also founder of the Schola Cantorum of St. Peter the Apostle, a professional ensemble which has recorded prolifically. An expert in Orthodox liturgy, music, and language, and a noted authority on chant, he is ordained as an Eastern Orthodox priest. In 2001 he moved to the Pittsburgh to be professor of liturgical chant at the Byzantine Catholic Seminary of Saints Cyril and Methodius and cantor/director of music at the Byzantine Cathedral there, posts he held for several years. He remains active as a composer, author, and editor. This gentle, rocking carol in 3/4 time tells of the humble hay (siano) in which Jesus was laid. Thompson gives the setting great sweetness and tenderness, drawing our attention to something so ordinary that we usually ignore it. Śliczna Panienka Jezusa zrodziła W stajni powiwszy, siankiem go okryła. The beautiful Maiden bore Jesus; In a barn she bore him, she covered him with hay; O siano, siano, siano jak lilija, na którym kładzie Jezusa Maryja. O hay, hay, hay like the lily, On which lay Jesus and Mary. Czemóż litości nie masz, Panno droga, żeś w liche siano uwinęła Boga O siano, siano, kwiecie drogi, gdy się na tobie kładzie Bóg ubogi. — trad. Polish carol Why don’t you have pity, Maiden, That in poor hay you bundled God; O hay, hay, precious flower When on you poor God is laid. —English Translation by Kasia Dorula and Jonathan Miller Holidays a cappella 9 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Trad. Latvian carol, arr. Juris Vaivods: Kaladō As we learn from ethnographer Christina Jaremko-Porter, a kaladō is a song from Latvia, the small country on the Baltic Sea, sung to celebrate the winter solstice. The repeated word “kaladō” seems sort of like the word “Noel!” in other carols; here, the bouncy rhythm evokes the movement of a sleigh through the snow. In Latvian custom, mummers (ritual dancers) in a group (kopa) drag the Yule log through the village from household to household at the end of the work-day on the farm. On December 21st, a Yule log is dragged through the old town of Riga, the Latvian capital, with many receptions held featuring traditional songs and refreshments. In this respect, the Latvian processions seem similar to the Puerto Rican parranda, about which we’ll sing a bit later. The lyrics here seem to bring us into the mind of one of the revelers, who is trying to figure out how generous (or not) to be with the neighbors. Atīdami Zīmassvātki, kaladō, kaladō, kūjyus lobu atnasuši, kaladō, kaladō. The winter holiday is upon us; what good things will it bring? Klāva raibu raibaļeiti, kaladō, kaladō, stallī siermu kumeļeņu, kaladō, kaladō. A spotted cow in the barn, a grey horse in the stable. Stallī siermu kumeļeņu, kaladō, kaladō dasu kuli muguraī, kaladō, kaladō. A grey horse in the stable with a sack of sausages on its back. Atīdami Zīmassvātki, kaladō, kaladō, atnas dasu lelu kuli, kaladō, kaladō. The holidays have come, bringing a big sack of sausages. Puišim dasu nadūsimi … Puiši cyuku nabarōja ... We won’t give any to the boys; they didn’t feed the pig. Uz brōļeisim gostus gōju ... vucynʼ golva kuļeitēi … I went to visit the neighbor boys with a ram’s head in my bag. Ka brōļeisi namīlōsi ... Graussū sovu vucynʼ golvu … If they won’t give me some holiday treats, at least I’ll have the ram’s head to nibble. Atīdami Zīmassvātki, kaladō, kaladō, kūjyus lobu atnasuši, kaladō, kaladō. —Latvian folk carol The winter holiday is upon us; what good things will it bring? —English translation by Earthsongs Jonathan Miller: Longfellow’s Carol Henry Wadsworth Longfellow, the Boston-based poet of the mid-1800s, was an ardent pacifist and abolitionist during the Civil War. He and his fellow abolitionist-pacifists lamented any loss of life on either side as they fought their own wars of public opinion on behalf of enslaved African-Americans. The poet begins this carol text joyously, by hearing Christmas bells proclaiming peace on earth; however, his happiness is dashed by the “accursed” cannonballs thundering forth from cannons in the Southern states, where the war is being waged. Jonathan Miller writes: “Sometimes, composing a single piece can go on for weeks or even months. At other times, it happens in a flash. When I was thumbing through a book of carols by Oxford University Press, looking for tunes for a concert, the Longfellow text jumped out at me. I had not known it before. It virtually stood up and demanded of me, as poems sometimes do, a new musical setting. When the book stays open to a page like that, there is 10 Chicago a cappella N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. no resisting; in this case, before the evening was over, the piece was done. The fourth verse in particular needs to be read with extreme sensitivity, to understand something important: Longfellow is not cursing anyone with black skin in his phrase ‘black accursed mouth,’ but rather the cannons made of black iron, from the mouths of which the terrible cannonballs are fired. Longfellow seems to have a way to shake us out of our complacency and awaken our compassion. His poetry unlocked, as I like to say, the key to my heart, which is the only way I know how to write a new piece of music.” I heard the bells on Christmas Day, Their old familiar carols play, And mild and sweet the words repeat, Of peace on earth, good will to men. It was as if an earthquake rent The hearthstones of a continent, And made forlorn the households born Of peace on earth, good will to men. And thought how, as the day had come, The belfries of all Christendom Had rolled along the unbroken song, Of peace on earth, good will to men. And in despair I bowed my head: “There is no peace on earth,” I said; “For hate is strong, and mocks the song Of peace on earth, good will to men.” Till ringing, singing on its way, The world revolved from night to day, A voice, a chime, a chant sublime, Of peace on earth, good will to men. Then pealed the bells more loud and deep: “God is not dead; nor doth he sleep! The wrong shall fail, the right prevail, With peace on earth, good will to men.” —Henry Wadsworth Longfellow (18071882) Then from each black accursed mouth The cannon thundered in the South, And with the sound the carols drowned Of peace on earth, good will to men. Benjamin Britten: The Sycamore Tree This is an early work by Britten, which he wrote in 1930 when he was 16 and revised for publication in 1967, a decade or so before his death. It’s a rather unusual setting of a familiar text, “I saw three ships,” taken from English folk traditions. There is something bracing and fresh about this music, with a strong individual stamp unlike any other carol. The music may take its inspiration from the opening verse, “I looked me out upon the sea.” The rhythm is vigorous, the melody rather wavy, and the ending like a blast of sea air that comes when you’re standing on the ship’s prow. As I sat under a sycamore tree, A sycamore tree, a sycamore tree, I looked me out upon the sea On Christ’s Sunday at morn. O they sail’d into Bethlehem To Bethlehem, to Bethlehem, Saint Michael was the steeresman, Saint John sat in the horn I saw three ships a-sailing there, A-sailing there, a-sailing there, Jesu, Mary and Joseph they bear On Christ’s Sunday at morn. And all the bells on earth did ring, On earth did ring, on earth did ring: ‘Welcome be Thou Heaven’s King, On Christ’s Sunday at morn!’ —English folk poem Joseph did whistle and Mary did sing, Mary did sing, Mary did sing, And all the bells on earth did ring For joy our Lord was born. Holidays a cappella 11 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Vincente Carratini, arr. J. Miller: Si no me dan de beber lloro The song draws on the Puerto Rican tradition of parranda, which involves going door-todoor, surprising people and grabbing them to join in the caroling, and staying up singing into the wee hours of the night. In Puerto Rico as in Mexico and many other countries, the primary holiday celebration of the birth of Jesus is not on December 25th but on January 6th, the festival of the three wise men or los tres Reyes (Epiphany). The sentiment of Si no me dan de beber lloro is basically as follows: “Come on out with us and sing, and let’s have a drink while we sing!” In fact, the last verse is a traditional Puerto Rican toast. This song, originally by Vicente Carratini, is so popular that it has the status of a folk song in Puerto Rico. It has amazing energy. Of course, since Puerto Rico is a territory of the United States, you shouldn’t really be all that surprised to find a reference to Santa Claus in one of the verses. Refrain: Si no me dan de beber lloro (3x), Si no me dan de beber. Refrain: If you don’t give me anything to drink, I’ll cry, (3x) If you don’t give me anything to drink. Ésta era la casa, que yo te decía, (2x) Donde Ia parranda dan mucha comida. (2x) Refrain This was the house that I told you about That gives the parranda so much food. Refrain Prendiste la luz, metiste la pata, (2x) Porque ahora sabemos que estás en tu casa. (2x) Refrain You turned on the light and blew it, Because now we know you’re in your house. Refrain Los tres santos reyes junto a Santa Claus (2x) tienen en la sierra sembrada una flor (2x) Refrain The three wise men, together with Santa Claus, Have planted a flower in the mountains. Refrain Saca la botella, vamos a brindar. (2x) Pa’arriba, pa’abajo, pa’al centro y pa’dentro. (2x) Refrain —Vicente Carratini Reprinted by permission of SCSM Inc. Raise the bottle, we will provide: Up, down, in the middle, and within! Refrain —English translation by Jonathan Miller INTERMISSION TAG SHARE LIKE and follow us on social media. facebook.com/chicagoacappella chi_acappella Music is better with friends. Spread the word! 12 Chicago a cappella UPCOMING EVENTS BOUND FOR GLORY No other music matches the power and sheer beauty of spirituals. This moving and joyous concert includes early choral settings like Burleigh’s “My Lord, What a Morning,” as well as exciting contemporary and genre-stretching works by musical greats like Moses Hogan and Adolphus Hailstork. Chicago a cappella will uplift your spirit at this glorious musical event. Evanston Saturday, Feb. 11, 8:00 pm Nichols Concert Hall Oak Park Friday, Feb. 17, 8:00 pm Pilgrim Congregational Church Chicago (Hyde Park) Sunday, Feb. 12, 4:00 pm Rockefeller Memorial Chapel Naperville Sunday, Feb. 19, 4:00 pm Wentz Concert Hall A NIGHT AT THE OPERA Favorite opera melodies take center stage in this fun-filled new concert created by ensemble member Kathryn Kamp. Familiar overtures and arias are re-imagined for our a cappella ensemble, with entertaining and inventive results. And if you’re not a fan of opera … this is the concert for you, too! We’ll have some operatic laughs with wacky parodies, Gilbert & Sullivan silliness, Broadway rock operas, and much more. The opera house has never been this fun! Naperville Friday, April 7, 7:30 pm Wentz Concert Hall Chicago (Hyde Park) Sunday, April 22, 8:00 pm Logan Center for the Arts Evanston Saturday, April 8, 8:00 pm Nichols Concert Hall Oak Park Sunday, April 23, 4:00 pm Pilgrim Congregational Church Gala Concert DANCING IN THE STREET: Music of Motown Thursday, May 25, 2017 The Winter Garden at the Harold Washington Library Tickets and information: chicagoacappella.org or (773) 281-7820 Holidays a cappella 13 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Catalan carol, arr. Anne Heider: Fum, fum, fum This is a lively tune from Catalonia (the autonomous part of northeastern Spain that borders France) in a fun arrangement by Anne Heider. There is not much documentation about this song, but it has become a holiday staple, even in English-speaking countries, partly because the short refrain is so appealing. “Fum, fum, fum” is a Catalan kind of “fa la la,” coming in the middle and at the end of each verse. Heider’s setting moves the melody around to all the voice parts. The “shepherds” in verse 2 are taken by the men, and in verse 4 there is a minifugue of sorts, with the parts each singing the melody in turn in a compressed round. Trad. Polish, arr. Jacek Sykulski: Najświętsza Panienka This remarkable piece comes to us from arranger Jacek Sykulski, director of a boys’ choir in Poznan, a city in western Poland that is the country’s third main cultural city, after Warsaw and Kraków. He has arranged melodies of many centuries and styles. He sent this one to us when we asked him for some traditional Polish music, but what an arrangement! It combines elements of Middle Eastern song, in a Jewish-sounding mode, with a Bolero-like rhythmic underpinning in the lower parts, all the while preserving the original melody collected in Poland. Jacek Sykulski writes: “I found this piece at the beginning of the year 2000, as far as I remember in an old carol songbook. Looking for something for my choir I found this melody, with which I fell in love immediately. This theme was different from most other tunes; that’s why it made my interest. Today I know, the melody was notated by Oskar Kolberg, a very famous Polish ethnographer, folklorist, and composer, who lived in the 19th century. It probably was a part of ‘Christmas dramas’. I wanted to not just arrange, but tell the story about a young Jewish woman, looking for a proper place to give birth to Jesus. Quite a dramatic story. So, in short, this was the idea for this setting.” Najświętsza Panienka po świecie chodziła, kiedy Pana Jezusa w żywocie nosiła. Blessed Virgin around the world wandered, when she carried the Lord Jesus in her womb. Poszła Ona była do Betlejem miasta i napotkała w drodze chłopka ubogiego, i zaraz czym prędzej pobiegła do niego. She had gone to Bethlehem city And encountered a poor peasant Immediately hastily she ran to him. Mój ubogi chłopku, ubogi chłopeczku, przenocuj mnie, przenocuj, w swoim budyneczku. “Oh, poor peasant dear, Let me stay the night in your small house.” O prześliczna Pani, jak Cię przenocować mam, mały budyneczek mam, do Boga dziatek mam. “Dear Beautiful Lady, how can I let you stay here, When my house is small and I have many children? O prześliczna Pani, pójdźże do tej szopy, będziesz ci tam miała swój nocleg spokojny. Oh Beautiful Lady, go to my stable; You will have a good, calm sleep there.” Wyszedł chałupniczek na dwór o północy, [a] nad jego szopą śliczna gwiazda świeci. The poor peasant, when outside at midnight, And over his stable he saw a bright star shine. Żebym [ja] był wiedział, Panienko, o Tobie, że Ty dziś porodzisz Syna w mojej szopie, byłbym ja się układł z dziatkami pod progiem, a Ty, Najświętsza Panno, w izbie z Panem Bogiem. “If I knew that you, oh Lady most Blessed, Will give birth to the Lord tonight at my stable, I would sleep outside with my children; and you, Blessed Virgin, inside my House with the Lord God.” —English translation by Kasia Dorula Reprinted with permission of Jacek Dorula —Trad. Polish carol 14 Chicago a cappella N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R c o n t. Spiritual, arr. Paul Carey: Ain’t Dat A-Rockin’ All Night? Paul Carey, whose settings of spirituals have become some of our favorites, found this tune on one of Odetta’s Christmas albums from the 1960s. The title might fool you into thinking that this is a raucous, driving song, but it’s just the opposite. Carey manages to enhance the folk melody with just enough harmonic dress to provide comfort and beauty, while keeping the setting elegantly simple, allowing the melody itself to blossom toward the end. Matisyahu, arr. Patrick Sinozich: Miracle “Matisyahu” is the stage name for Matthew Paul Miller, who, despite his recent shift away from orthodoxy, remains the world’s leading Jewish reggae artist. This song joyously celebrates the miracle of Chanukah as well as the more common miracle of faith: “Bound to stumble and fall / but my strength comes not from man at all.” This setting was created for Chicago a cappella by Music Director Emeritus Patrick Sinozich. John Mason Neale, arr. Anne Heider: Good King Wenceslas (world premiere) Music Director Anne Heider created this arrangement for these performances. She takes an inventive and most expressive approach to the material. Parallel fourths abound, not an interval series one hears often; these give her setting an archaic sort of sound, reminiscent of medieval composers like Landini. Pay especially close attention to the treatment of the verse starting “Sire, the night is darker now” – there is some fine word-painting here. Benjamin Britten: His Piety and Marvelous Works (from Saint Nicolas, A Cantata) In 1948, Britten and his partner Peter Pears teamed up for the premiere of this cantata, written for Pears’ old secondary boarding school in Sussex. Britten took the story of the 4th-century bishop of Myra in Asia Minor, told in a libretto by Eric Crozier, and set it for tenor solo, chorus, treble semi-chorus, and simple chamber instrumentation including percussion that can be handled by one professional and a cast of amateurs. This excerpt is the eighth movement, with a text consisting of a series of miracles that St. Nicolas performed, followed by a cascading melody, sung like a round, to the text “Let the legends that we tell / Praise him with our prayers as well.” Anne Heider has adapted the music for a cappella performance to round off our journey of tales and legends. Holidays a cappella 15 N O T E S O N T H E M U S I C B Y J O N AT H A N M I L L E R For forty years our Nicolas, Our Prince of men, our shepherd and Our gentle guide, walked by our side. We turned to him at birth and death, In time of famine and distress, In all our grief, to bring relief. He led us from the valleys to The pleasant hills of grace. He fought To fold us in from mortal sin. O! he was prodigal of love! A spendthrift in devotion to Us all and blessed as he caressed. We keep his memory alive in legends that our children and Their children’s children treasure still. A captive at the heathen court Wept sorely all alone. “O Nicolas is here, my son! and he will bring you home!” “Fill, fill my sack with corn,” he said: “We die from lack of food!” And from that single sack he fed A hungry multitude. c o n t. Three daughters of a nobleman Were doomed to shameful sin, Till our good Bishop ransomed them By throwing purses in. The gates were barred, the black flag flew, Three men knelt by the block, But Nicolas burst in like flame, And stayed the axe’s shock! “O help us, good Nicolas! Our ship is full of foam!” He walked across the waves to them And led them safely home. He sat among the Bishops who were summoned to Nicea: Then rising with the wrath of God Boxed Arius’s ear. He threatened Constantine the Great With bell and book and ban: Till Constantine confessed his sins Like any common man. Let the legends that we tell, Praise him with our prayers as well. We keep his memory alive In legends that our children and Their children’s children treasure still. —Eric Crozier arr. Jonathan Miller: Jingle Bells Hallelujah Chorus Jingle Bells Hallelujah Chorus received more than 30,000 YouTube hits in the first six weeks following its 2011 premiere by Chicago a cappella. Despite its dubious stature as a choral hit, it has attracted conductors around the world and had more than three dozen performances in Australia, Germany, Canada, several places in the UK, and all over the USA, prior to its 2105 publication by Hal Leonard. Jonathan Miller writes: “The idea for this arrangement came while I was whizzing down the Eisenhower Expressway on a beautiful summer day. I was thinking about Christmas music, as choral conductors always do in July. I was in a happy and open mood, and wanting to find something a little bit goofy for our holiday closer, and then it floated into my head: ‘Could you actually switch the words to Jingle Bells and the Hallelujah Chorus and make it work?’ I went home and got out a pencil and my sketchbook, where I try to wrestle some of my musical ideas to the ground. First, I wrote down the words to both songs to see if the line breaks were at least in rough correspondence. It worked, fortunately. I threw in a brief modulation and transition to piece the two songs together, and there it was. (My wife and I giggled for hours at the way ‘Hallelujah’ became ‘in a one-horse...’) This is a song better simply heard than described. Hang on, and—as we like to say in rehearsal—see you at the double bar.” 16 Chicago a cappella NEW OUTREACH PROGRAM OUR NEW OUTREACH PROGRAM – YOUR SUPPORT IS NEEDED! For over 20 years, Chicago a cappella has promoted musical and cultural diversity by offering underrepresented music from many ethnic, religious, and cultural traditions. Now, we are undertaking a major new initiative that will serve more of our diverse city. ¡Cantaré! Chicago brings an acclaimed Mexican composer to work in residence at Chicago schools. This year, composer Rodrigo Cadet from Mexico City is working with schools in Chicago’s Pilsen, West Lawn, and McKinley Park neighborhoods, writing new music especially for each school and teaching students about the music and culture of Mexico. WE NEED YOUR SUPPORT TODAY! To ensure this project’s success and support all of our artistic and education programs, please support Chicago a cappella with a year-end gift. • Get a donation envelope in the lobby • or donate online at chicagoacappella.org. And join us for the free culminating concert of ¡Cantaré! Chicago on May 12, 2017, at beautiful Rockefeller Memorial Chapel in Hyde Park! ¡Cantaré! Chicago is a partner program of VocalEssence ¡Cantaré! based in Minneapolis, MN. Holidays a cappella 17 Chicago a cappella Outreach Chicago a cappella’s Educational Outreach Programs strive to promote and improve the life-long performance, understanding and appreciation of a cappella vocal music through programming, mentorship and collaboration with schools and community organizations in Chicago and beyond. Youth Choral Festival The Youth Choral Festival is a day of workshops, rehearsals, discussions and mentoring for area high school ensembles. The students work with Chicago a cappella’s artists, and the festival culminates in a concert featuring all the groups and Chicago a cappella. The fifth annual Youth Choral Festival was held on November 12, 2016, at the Logan Center for the Arts on the University of Chicago campus. ¡Cantaré! Chicago ¡Cantaré! Chicago is a new education program this year that combines Mexican heritage with choral singing. Rodrigo Cadet, esteemed Mexican composer, will work throughout the school year with two elementary schools and one high school in Chicago. Rodrigo will compose new music for each school, and the three schools, along with our High School Intern ensemble and our Chicago a cappella singers, will come together for a final performance on May 12, 2017 at 7:00 PM, at Rockefeller Memorial Chapel in Chicago. ¡Cantaré! Chicago is a partner program of VocalEssence ¡Cantaré! based in Minneapolis, Minnesota. High School Internship Program Our High School Internship Program gives students a full year of musical and administrative training and mentoring with Chicago a cappella’s singers, directors, board members, and arts administrators. Selected through a comprehensive audition process, six talented and motivated students are serving as Chicago a cappella High School Interns in 2016-17, forming their own a cappella ensemble and gaining skills to further their musical ambitions. Customized Outreach Other programs, such as master classes, choral residencies, and youth concerts, are presented by artists from Chicago a cappella’s professional roster of singers and directors, and are customized for the specific needs of each organization. Learn more at chicagoacappella.org/outreach 18 Chicago a cappella A B O U T C H I C AG O A C A P P E L L A Founded in 1993 by artistic director Jonathan Miller, Chicago a cappella presents an annual series of concerts, performs on tour and in special engagements, creates recordings and broadcasts, and produces educational programs, all with an ensemble of the area’s finest professional singers. The group is heard frequently on radio, including appearances on Performance Today and BBC’s The Choir, and the ensemble’s own syndicated special A Chanukah Celebration with Chicago a cappella. Chicago a cappella has recorded nine CDs, including releases on the Centaur, Cedille, and Gothic labels, and has commissioned new works from acclaimed composers including Chen Yi, Rollo Dilworth, Tania León, and Joseph Jennings. The ensemble has performed on tour in 13 American states and in Mexico and has made appearances at The Ravinia Festival, the Chicago Humanities Festival, and the Art Institute of Chicago. Staff Founder and Artistic Director...................................... Jonathan Miller Executive Director...................................................Matthew Greenberg Marketing and Operations Manager......................................Joy Surber Concert and Box Office Manager........................................... Rob Karel Education Outreach Coordinator.................................. Susan Schober Production Intern................................................................... Dina Pinos Board of Directors Claudia Divis, President Gary Belkin, Vice President David Perlman, Secretary Stephen Shaw, Treasurer William K. Flowers Helen C. Gagel Joyce Grenis Robert B. Linn Jennifer Marling James G. Massie Maria T. Suarez David G. Thompson William Wilson 2936 N. Southport Ave., Room 226 | Chicago, IL 60657 Phone (773) 281-7820 | Fax (773) 435-6453 [email protected] | www.chicagoacappella.org Holidays a cappella 19 A R T I S T I C R O S T E R 2 016 -17 Jonathan Miller..........................................................................................................Artistic Director John William Trotter..................... Principal Music Director (Birds and Bees; Bound for Glory) Anne Heider................................................................ Guest Music Director (Holidays a cappella) Paul Langford.................... Guest Music Director (A Night at the Opera; Dancing in the Street) Benjamin Rivera........................................................... Guest Music Director (¡Cantaré! Chicago) Ryan Cox........................................................................................................... Bass (Birds and Bees) Carl Frank............................................................................................................ Bass (Entire Season) Ace Gangoso................................................................................................Tenor (Holidays; Opera) Garrett Johannsen............................................................................................Tenor (Entire Season) Kathryn Kamp............................................................................................. Soprano (Entire Season) Alexia Kruger........................................................................ Soprano (Holidays; Bound for Glory) Joe Labozetta................................................................... Bass (Holidays; Bound for Glory; Opera) Woo Chan (Chaz) Lee....................................................................................... Bass (Entire Season) Trevor Mitchell................................................................Tenor (Birds and Bees; Bound for Glory) Cari Plachy................................................................................................... Soprano (Entire Season) Sarah Ponder...............................................................................................Mezzo (Holidays; Opera) Emily Price...................................................................................................... Mezzo (Entire Season) Angela Young Smucker................................................ Mezzo (Birds and Bees; Bound for Glory) BIOGR APHIES 20 Carl Frank (baritone) has received praise for his “compelling”, “spirited” and “charming” performances of a wide range of repertoire spanning opera and oratorio. Mr. Frank has appeared with the Florentine Opera Company and Arbor Opera Theater, and been a featured soloist with the Milwaukee Symphony Orchestra, the Elgin Symphony, the Community Chorus of Detroit, and the Lakeview Symphony. Favorite operatic roles include: Count Almaviva (Le Nozze di Figaro), Doncairo (Carmen), Sid (Albert Herring), Guglielmo (Cosi fan tutte), John Brooke (Little Women), and Gianni Schicchi (Gianni Schicchi). Also an active ensemble singer, Mr. Frank performs with Chicago a cappella, Music of the Baroque, Bach Collegium-Ft. Wayne, The William Ferris Chorale, Bella Voce, Schola Antiqua of Chicago, and Musik Ekklesia. Mr. Frank Chicago a cappella received his Master’s degree from the University of Michigan and his Bachelor’s degree from DePauw University. He currently resides in Chicago with his wife, mezzo-soprano, Lindsey Adams and their dog Fiona. Ace Gangoso (tenor), originally from Little Rock, Arkansas, is now in his seventh year living and working in the Chicago area. Now in his fourth season with Chicago a cappella, he also performs with the Chicago Symphony Chorus and the Grant Park Chorus. Ace works as a musician for the Archdiocese of Chicago, serving as the Director of Music at St. Cornelius Parish and choral pianist for St. Patrick High School. Additionally, he is a private voice instructor at Highland Park High School. Ace holds a Bachelor’s Degree in Music Education from the University of Central BIOGR APHIES c o n t. Arkansas, and a Master’s Degree in Voice Performance from Northwestern University. He is a proud alumni member of Phi Mu Alpha Sinfonia, the world’s oldest and largest fraternal society in music. Garrett Johannsen (tenor) is proud to be singing in his sixth season with Chicago a cappella! Originally from Schiller Park, Illinois, he graduated from the Chicago College of Performing Arts at Roosevelt University. His career highlights include Carmina Burana at Carnegie Hall with the Chicago Symphony Orchestra and Chorus, Jane Austen›s Persuasion at the Edinburgh Fringe Festival in Scotland with Chamber Opera Chicago, former apprentice artist at Sarasota Opera and soloist performances with the Elgin, Elmhurst, and Waukegan Symphonies. He has performed with the Lyric Opera, Chicago Symphony and Grant Park Choruses, Bella Voce and The William Ferris Chorale. He has also performed in many operas including Carmen, Les contes d’Hoffmann, The Crucible, I Lombardi, Don Giovanni, La bohème, Faust and La Damnation de Faust. In his free time, Garrett loves to go out to live theatre, live concerts and play pool. Garrett is a member of AEA and AGMA. You can follow Garrett at www.garrettjohannsen.com. Kathryn Kamp (soprano). From the stages of Chicago’s Pritzker Pavillion and Chicago Shakespeare Theater to Frank Lloyd Wright’s concert hall at Taliesen and Muddy River Opera Company in Southern Illinois, Kathryn Kamp has created a career spanning oratorio, opera, operetta and music theater. Her performance of John Corigliano’s Fern Hill with the Grant Park Music Festival was described both “meltingly sung” and “beautifully sung.” Her Despina (Cosi fan Tutte) was “… a display of immense charm and humor…she bounced about the stage with a lightness and relish that seemed the incarnation of mischievous delight…a fine soprano voice.” Other credits include: Kathie (The Student Prince), many Gilbert and Sullivan ingenues, and Sondheim’s Anne Egerman (Muddy River Opera) and Mrs. Segstrom (Chicago Shakespeare Theater). Concert performances include a staged version of Bach’s Coffee Cantata, Mabel and Yum-Yum (Pirates of Penzance and Mikado) at the Grant Park Music Festival, and more Messiahs than she can count. However, no experience tops that of being a member of Chicago a cappella. Alexia Kruger (soprano) recently moved to the Beverly neighborhood of Chicago and is enjoying exploring the historic neighborhood with her husband, toddler, and dog. A member of the Grant Park Chorus and the Chicago Symphony Chorus, Alexia has also been a soloist with such groups as the Fort Wayne Philharmonic, the Chicago Chamber Orchestra, Chicago Sinfonietta at the Shedd and at Joffrey, and the Chicago Modern Orchestra Project. As a recitalist, Alexia has appeared on the PianoForte Salon Series Live on WFMT radio, on the Musicians’ Club of Women Award Winners in Concert series at the Chicago Cultural Center, the Fourth Presbyterian Church Friday noonday concert series, and several locations with VOX 3 Collective. Apart from her professional solo and choral work, Alexia spends most of her time identifying objects, attempting animal sounds, and memorizing children’s books by frequently reading them aloud, sometimes many times in a row. You may also find her digging in the dirt, listening to birds, Holidays a cappella 21 BIOGR APHIES c o n t. watching the clouds, reading a book, or organizing her house (a compulsive, though satisfying, habit). Joe Labozetta (baritone). Since joining Chicago a cappella’s roster in 2011, baritone Joe Labozetta has taken great pleasure in singing with such esteemed colleagues. A career ensemble musician, he also has an instrumental background. Although perfectly content at a keyboard or holding a guitar or bass, small-ensemble choral music is what Joe most enjoys. Beginning as a boy soprano with the Grammy-recognized Ragazzi Boys’ Chorus in northern California, he has continued to pursue every choral niche, no matter how obscure or exotic. Some of his stylistic interests are: vocal jazz, Renaissance polyphony, overtone-singing, vocal percussion, and traditional Georgian folksong. A graduate of DePaul University’s School of Music, Joe currently holds the position of Director of Music at St. Josaphat Church in the Lincoln Park neighborhood of Chicago. When not directing church choirs or ensembles, composing hymnody, or flailing away on the pipe organ, he regularly sings with Chicago-based performing ensembles. He has appeared with the Chicago Symphony Chorus, Grant Park Chorus, Bella Voce, William Ferris Chorale, Ensemble Alioni, The Rookery, and Schola Antiqua. Woo Chan (Chaz) Lee, (bass) is honored and excited to be singing with Chicago a cappella. Born in Korea and raised part-time in the United States, Chaz currently resides in Hyde Park where he studies musicology at the University of 22 Chicago a cappella Chicago. His research explores the interplay between Romantic aesthetics and neoliberal political economy in contemporary instrumental soundtracks and easy listening. Parallel to his life as an instructor and student at the University, he has performed with a variety of ensembles as a conductor, pianist, percussionist, and vocalist. As a choral musician, Chaz can be heard singing with other Chicago-area groups such as the Grant Park Chorus, the Rockefeller Chapel Choir and Decani, Bella Voce, Schola Antiqua, and the Rookery Men’s Choir. In between dissertation-writing and rehearsals, Chaz can be heard singing along to Disney movies, Peter, Paul, and Mary, and the Backstreet Boys, which form the solid bedrock of his musical education. Cari Plachy (soprano) is a highly respected singer in Chicago. She was recently featured as a soloist with the Chicago Symphony Orchestra’s Beyond the Score Concert, Things Our Fathers Loved. She has been seen throughout the Midwest with Opera for the Young, DuPage Opera Theater, Light Opera Works, and Bowen Park Opera. Favorite roles include Mabel (Pirates of Penzance), Yum-Yum (The Mikado), Gretel (Hansel and Gretel), and Rosina (The Barber of Seville.) She currently sings with Chicago a cappella and the Chicago Symphony Chorus. In 2008, the Chicago Sun Times said she had a ”sparkling, and aggressively sung solo” as soloist in Bruckner’s Psalm 150 with the CSO. Cari received her Bachelor’s degree in music education from DePaul University. Since then, she has been working with the Institute at the Chicago Symphony Orchestra, bringing music to children all over Chicago. In addition to her work in Chicago, Cari runs a home studio teaching Musikgarten classes to babies, toddlers, and preschoolers. BIOGR APHIES c o n t. Sarah Ponder (mezzosoprano) enjoys a busy career as a soloist and ensemble singer in Chicago. Hailed as “Deeply expressive” (Chicago Sun Times) and a “first-class soloist” (Chicago Classical Review), some of Sarah’s recent favorite performances include two featured solo appearances with the Grant Park Music Festival, starring as Julia Child in Lee Hoiby’s one-woman opera, Bon Appétit! and a rousing trio rendition of “Row, Row Your Boat” with Yo-Yo Ma at Children’s Memorial Hospital as part of her ongoing work with the Citizen Musician Initiative. Through her outreach at Chicago Symphony Orchestra, Sarah has also “beguilingly” (Chicago Tribune) performed several solo concerts with famed maestro Riccardo Muti at the piano. A passionate educator, Sarah holds a teaching position at Loyola University and maintains a large private studio in addition to supporting young composers in workshops throughout the city. She also recently finished recording works from Carnegie Hall’s Lullaby Project partnered with the CSO, assisting young mothers to create original lullabies. Emily Price (mezzosoprano) is a graduate of Northwestern University and enjoys performing in opera, choral and musical theater productions. In Chicago she sings with the Grant Park Chorus, Music of the Baroque and Lyric Opera. Internationally, she has performed in over 35 countries as a soloist with the Voices of Baha International Choir in venues such as Carnegie Hall, the Vienna Konzerthaus, and the National Theaters of Spain, Catalonia, and India. She has also performed with the Czech National Symphony, Budapest Symphony Orchestra, and the Warsaw Philharmonic. Favorite theater productions include the premiere of RESPECT! A Musical Journey of Women (Cuillo Center/CCPA) and Rona in The 25th Annual Putnam County Spelling Bee (Drury Lane Watertower). She can be heard on a number of recordings, including The Voices of Baha at Carnegie Hall, RESPECT! The Original Cast Album, and a solo album to be released entitled Songs of the Nightingale with the Slovak Radio Symphony Orchestra. Anne Heider (Guest Music Director) is an award-winning conductor, composer, arranger, and teacher. She is Artistic Director Emerita of the Chicagobased professional chamber choir Bella Voce, of which she was a founding singer and which she led for over sixteen years to consistent critical acclaim. Under her leadership the ensemble made several significant commissions, including the Stabat Mater by Frank Ferko. She served on the board of Chorus America from 1999 to 2008; she is active as a guest conductor and choral consultant. Choral octavos of editions and arrangements by Dr. Heider are published by GIA. Her research in early vocal music has been supported by the National Endowment for the Humanities, the Newberry Library, and Roosevelt University. She has recorded with Bella Voce (founded as His Majestie’s Clerkes) for Harmonia Mundi, Cedille Records, Centaur Records, and Narada. She is Associate Professor Emerita of Chicago College of Performing Arts, Roosevelt University. Anne Heider was the recipient of Chicago a cappella’s first Tribute Award in 2006. Holidays a cappella 23 BIOGR APHIES c o n t. Jonathan Miller (Founder and Artistic Director) created Chicago a cappella in 1993 to give accomplished ensemble singers an experience of performing eclectic and exciting repertoire and to share the resulting beauty with the world. A champion of innovative programming, Jonathan has been the group’s driving artistic force through more than 300 performances and nine commercial CD releases, work which was recognized with the 2008 Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America. When Jonathan was a teenage bass in the Chicago Children’s Choir, he was bitten hard by the choral bug. He was fortunate to be exposed to a wide range of repertoire by a remarkable group of mentors, including Christopher Moore, Lena McLin, Max Janowski, Howard Mayer Brown, Richard Proulx, John Nygro, and Anne Heider. Eager to learn research tools for choral music, Jonathan earned his doctorate in historical musicology at UNC-Chapel Hill. After returning to the Chicago area, Jonathan led the choir at Unity Temple in Oak Park for nine years and began composing new choral music while serving there. He has written more than 75 choral works in a variety of genres and languages, on the poetry of such writers as Mark Jarman, Peter Watson Jenkins, and Leonard Cohen; his music has been sung at venues including St. Patrick’s Cathedral in New York City, the Lincoln Memorial, and the Pentagon. His mashup “Jingle Bells Hallelujah (Chorus)” is a minor hit, and his series of Wacky Christmas Carols continues to mix words and tunes in new combinations. He also is a leading figure in Jewish choral music, active as composer, cantor, conductor, and producer. He serves as high-holiday cantor at Congregation Rodfei Zedek in Chicago’s Hyde Park neighborhood. He conducted the Janowski 24 Chicago a cappella Centenary Concert at KAM Isaiah Israel Congregation, also in Hyde Park, in 2012; he received the Perelmuter Award at KAMII in 2013; and he was Scholar-in-Residence at Lakeside Congregation (Highland Park, IL) in 2014. He is the host for the new broadcast, “A Chanukah Celebration with Chicago a cappella,” on the WFMT Fine Arts Network. An enthusiastic auctioneer for charity events, Jonathan serves as Director of Choral Catalog (and in-house choral arranger) at Musicnotes.com and is a former board member of Chorus America. Matthew Greenberg (Executive Director) has served as Chicago a cappella’s Executive Director for 21 seasons. Under his leadership, Chicago a cappella has grown from a founder-based startup to a well-recognized and highly-respected arts organization with broad community support, a loyal audience base, and a solid infrastructure. Matt has led workshops for Chorus America’s national conference and the Arts and Business Council of Chicago and has served as a panelist for the Chicago Department of Cultural Affairs granting programs. He received his degree in music/ business from DePauw University, worked at the St. Louis Symphony Orchestra, and performed with the Santa Fe Desert Chorale prior to launching his career in Chicago. As a singer, Matt was a founding ensemble member of Chicago a cappella. He appeared frequently on Chicago’s concert and theater stages, singing everything from Bach to Broadway. He performed with many of Chicago’s other leading ensembles, including the Grant Park Chorus, Music of the Baroque, the William Ferris Chorale, and the Chicago Symphony Chorus, where he made over a dozen solo or small ensemble appearances. SUPPORT CHICAGO A CAPPELLA Chicago a cappella is a creative enterprise dedicated to advancing the art and appreciation of ensemble singing. Through our performances and outreach programming, we strive to enrich lives through music. Now, we hope you will support our work to continue making great music and positively impact our community. DONATE Make a gift today! Ticket sales cover only a portion of our costs. In fact, as a not-for-profit organization, our single largest source of revenue is the generosity of individual donors like you! Your tax-deductible gift supports our educational and artistic work and allows it to thrive and grow. Join our family of supporters by donating in the lobby, or online at chicagoacappella.org/support. VOLUNTEER Give the gift of time and talent! We often seek volunteers for office work and events, as well as for specialized skills such as music librarian, photography and videography, and more. To receive periodic emails about volunteer opportunities, contact Joy Surber at jsurber@ chicagoacappella.org or call 773-281-7820. BOARD SERVICE Our Board members are passionate individuals committed to guiding Chicago a cappella to its next stage of success. Each brings a unique skill, professional expertise, and personal and professional network, and all are deeply supportive of our mission. To learn more contact Matt Greenberg at [email protected]. CONNECT Sign up for our e-newsletter at chicagoacappella.org. Find us on Facebook at facebook.com/chicagoacappella. Holidays a cappella 25 DONORS THE ACCOMPANISTS Chicago a cappella is honored to acknowledge members of The Accompanists, a group of donors who make three-year pledges in support of Chicago a cappella’s educational and artistic programs. Gary Belkin and Ed Tuder Claudia and Timothy Divis William and Jeanetta Flowers Helen Gagel Marina Gilman Joyce Grenis and Michael Koen Lawrence Hamilton and Ann Hicks Hank and Becky Hartman Howard and Jane Hush Margaret Huyck Douglas and Christine Kelner Murray Kopelow and Cathy Bachman Leslie Lauderdale Dan and Cari Levin Robert and Fleury Linn Jennifer Marling Mary Miller James G. and Christine Massie Ruth Oberg David and Carole Perlman Bette Sikes and Joan Pederson Monroe and Elaine Roth Steve and Priscilla Shaw Ann Stevens Maria T. Suarez David G. Thompson and Beatriz E. Medwecky Barbara Volin Dee Dee Whipple William Wilson KEEP THE MUSIC GOING You can help ensure the ongoing success of our musical and educational programs by including Chicago a cappella as part of your estate plan. Your commitment provides an opportunity for continued financial support without a current cost. Including Chicago a cappella in your estate planning can be done through any number of vehicles, including bequests, retirement plans, and life insurance. For more information contact Matt Greenberg at (773) 281-7820 or visit chicagoacappella.org/support. 26 Chicago a cappella DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella since July 1, 2015. We regret that we are unable to list the many thoughtful contributors who made gifts under $50. If this list contains an error, please accept our apologies and kindly let us know so that we may correct it. CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT $10,000+ The Arts Work Fund for Organizational Development City of Chicago Dept. of Cultural Affairs and Special Events The Gaylord and Dorothy Donnelley Foundation The MacArthur Funds for Arts and Culture at the Richard H. Driehaus Foundation Paul M. Angell Family Foundation $5,000-$9,999 Children’s Care Foundation Elizabeth F. Cheney Foundation Illinois Arts Council Agency The Saints $1,000-$4,999 Community Bank of Oak Park River Forest MusicNotes Oak Park Area Arts Council Polk Bros. Foundation Richard H. Driehaus Foundation Up to $999 Amazon Smile Foundation First Bank & Trust Forefront North Shore Community Bank Northern Trust Pierce Family Foundation Press America Matching Gifts IBM International Foundation Nuveen Investments Media Sponsors The Daily Herald NewCity WFMT 98.7 FM INDIVIDUAL CONTRIBUTORS VISIONARY ($10,000 or more) Anonymous (2) Lawrence Hamilton and Ann Hicks Hersch and Avril Klaff Dee Dee Whipple UNDERWRITER ($5,000 or more) Claudia and Timothy Divis Joyce Grenis and Michael Koen Vreni Naess* David and Carole Perlman Barbara Volin GRAND BENEFACTOR ($2,500 or more) Howard and Jane Hush Murray Kopelow and Cathy Bachman James G and Christine Massie Bette Sikes and Joan Pederson Margaret and Ron Spears Maria Suarez BENEFACTOR ($1,000 or more) Gary Belkin and Edward Tuder Bill and Jeanetta Flowers Frank and Gertrude Dunlop Fund Helen Gagel Hank and Becky Hartman Dick Hewitt Louise Holland Margaret Huyck Margaret and Gary Kachadurian Jay and Jackie Lauderdale Leslie Lauderdale Bob and Fleury Linn Jennifer Marling Dietra and Tony Millard Mary Miller Alice and David Osberg* Doris Roskin Holidays a cappella 27 DONORS c o n t. Monroe and Elaine Roth Steve and Priscilla Shaw Ann Stevens David Thompson and Beatriz Medwecky Richard Tribble Frank Villella* Lance and Stephanie Wilkening William Wilson PATRON ($500 or more) Anonymous (2) Bonnie Benson Joan Ward and Joe Chandler Laura and Gary Cooper Harvey and Arlene Coustan David and Lisa Davoust Bonnie Forkosh Stephen and Kathleen Gaffney 28 Chicago a cappella Marina and Sander Gilman Don and Joanna Gwinn* Terri Hemmert Ann Hewitt* Thomas and Linda Kamp Douglas and Christine Kelner Lindy Lauderdale Dan and Cari Levin Joan Davis Levin Robert and Laure Mineo Corinne Morrissey Drs. Donald and Mary Ellen Newsom* Ruth Oberg Dale and Donna Prest Carolyn Sacksteder* Marianne Schapiro Linda Mast and Bard Schatzman Jennifer and Warren Schultz* Jeni Spinney John and Eileen Sterling John and Marie Trotter Laura and Bruce White Duain Wolfe SPONSOR ($250 or more) Dr. Diane Altkorn Tom Andrews Marguerite Bloch Martin and Debra D’Amico Marlene Dubas Katie Frankle and David Goldman Howard and Judy Gilbert Sanford Greenberg and Betsy Perdue* Joan and Guy Gunzberg Gregg and Sue Hartemayer David and Nedra Heckler in honor of Michael Mitzen DONORS c o n t. Anne Heider and Steve Warner Nancy and Arthur Hirsch Jim and Lois Hobart Emily Troxell Jaycox and Lonnie Jaycox in Memory of Ephraim Miller Shellena and Kevin Johnson Charles Katzenmeyer Rae Kendrick* Robert E McKenzie Betsy Meisenheimer and Richard W. Westerfield Michael and Phyllis Mitzen Michael and Mary O’Malley Michael Reed Suzanne and Tim Schoolmaster Gordon and Evelyn Straw Alvan and Hollis Turner Gary and Beth Wainer Shirlene Ward and Kevin Kipp* Tom and Denise Whennen SUPPORTERS ($100 or more) Paul and Mary Altman Jovito M. Alvarez Wendy Anker and Edward Reed Dian and David Barth Susan Beal* Allan and Jan Bergman Steven and Betsy Blumenthal Anne Bowhay and Jeff Hanneman Donna Brazulis in honor of Walter and Dorothy Brazulis Frank Brockway and Margaret Lonquist Sigrid Brooks Jennifer Burrus Barbara Butz and Robb Geiger Maria K Carrig Judy Chernick Richard Cohn Thomas and Sally Coyle Henry and Ellen Criz Jeanne Crowe Jim and Ellen Dalton Theodore and Ann Doege Edward F. Dobbins in honor of Bob Linn Bruce and Jane Dresner Ron and Judy Eshleman Jim Fancher Maurice Fantus and Judith Aiello in honor of Helen Gagel Norma Felbinger* Carma Forgie Susan and Larry Frank Terry and Judy Feiertag Dale and Marilyn Fitschen Dr. and Mrs. Melvin Gerbie in honor of Michael Mitzen Felix and Faith Germino Alan and Marla Giblichman Margaret Goldberg Christopher and Barbara Granner Mark Greenberg Judith Grubner and Craig Jobson Nina Hallquist-Sykes Bill N Hensley Terry Hodges Arnold Hoffman and Janet Jacobson Charles Hoffman and Tamara Schiller Elizabeth J Hurtig Joe Jania Mark and Amy Jarman Ellen Jorstad-Stein and Dr. Adam Stein Susan Kamp Alex and Jennifer Karan Peter P. Kezon and Barbara Jacobs George Klippel Durema Kohl Colleen Labozetta Ivan and Jasna Lappin Helen Lauderdale in honor of Leslie Lauderdale Barbara and Martin Letscher Cheryl and Tom McRoberts Dick and Linda Martens Glenn Meade Liz Meade Sharon Meltzer David Miller and Mary Ellen McNish Irving Miller Alice E. Moss Wendy Morgan Alan Nesburg Cathy and Paul Newport Richard and Karen Olson Richard and Cindy Pardo Carolyn and Peter Pereira Larry and Judy Pitts John and Gail Polles Stephen and Ruth Pordes Susan Poser Jane Ann Prest Wendy and Wayne Rhodes in honor of Michael Mitzen Benjamin and Alexia Rivera Rosemarie Rogers Virginia Russell Margo and Joel SchwartzNewton Leonard and Lisa Servedio Laura Smith Les and Bev Smulevitz Larry and Margaret Sondler Gene and Mindy Stein Amelia J Stone Geri Sztuk Peggy Sullivan Dorothy and Casmir Szczepaniak Virginia Tobiason Dave and Carolyn Utech* Seth Wainer Eileen and Dirk Walvoord Tracy and Tony Weisman Joanne Whitmore Robert and Barbara Wichmann Monica and Alexander Williams Virginia Witucke Robert Wolff Cheryl Wollin Dimis J. Wyman Penelope Yunker FRIEND ($50 or more) Tom and Polly Aschom Noel and Dan Barnes Holidays a cappella 29 DONORS c o n t. Carole Baumgart Charles and Roberta Bernstein Frank Brockway* Dan and Amy Burke Kristen Cerer Ioanna and Robert Chaney Tom and Sandy Cherubini Sandy and Terry Clifford Mary Coglianese Susan M Crowell Lynn and Jim Denton Denise Freier Evelyn Gaudutis Jo-Ann and Stanley Gaynor Jim Ginsburg and Patrice Michaels Sharon and Elliot Goldman Pauline and Thomas Grippando Carolyn Hayes Barbara Hofmaier and David Heim James Hoover Valerie Humowiecki Linda Kraft Patience Kramer Bruce Kuehl and Mary Jane Cross David and Darlene Landsittel Stephen and Lisbeth Lerner Marshall and Laurie Levine Paula Linn Dianne and Philip Luhmann Debra Magad in honor of Michael Mitzen and Monroe Roth Mary and Steven Magnani Ann C. Mallow Ellen and Richard Marchessault Nora Linn Massey Branka Matevich Kathy and Jack Mattox Dorothy B. Mayer Don McKay Daniel Melamed David and Janet Midgley Martha Miller Sandi and Mike Miller Jennifer Mitzen Sandie and Bob Morgan Belverd and Marian Needles Sonia Ness and Peter Jenkins* Dr Kathleen A Occhipinti Rosalie and Mark Oppenheim Shelby Parchman Marjorie Pentland Marianne and Bernard A Phelan Bonnie Poole Elizabeth McCabe Postell Jonathan and Joy Rosner Iris and Gerald Rudnick Maria A Sharkey Howard and Roberta Siegel Dennis and Patricia Smith Hilary Smith Jerry Smith and Dottie Fugiel Sara Stiefel Daniel Stucker Nancy Ellen Tauchman Willard Thomen James Venskus Steven Warkentin Barbara Washington Waring and Ellen Webb Deety Zbaraz Winograd and Bruce Winograd *Sustaining donor T H A N K YO U Production Support: Chris Baer Elizabeth Davenport, Rockefeller Memorial Chapel Kasia Dorula Mike Foster, Whitehall Hotel Joycelin Fowler, Pilgrim Congregational Church Ken Hannah, Wentz Concert Hall Anne Heider Pavel Łukaszewski Eric Miranda Paul Nicholson and Patrick Sinozich, St. Clement Church Fiona Queen, Music Institute of Chicago Tyler Pouros Jason Schober Carolyn Stoner, Chicago Symphony Chorus Jacek Sykulski In Kind: Kristen Cerer Norbert Shimkus Designs Jim Parks Press America Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff. For information visit www.saintschicago.org or call 773-529-5510. 30 Chicago a cappella DONORS c o n t. IN KIND CONTRIBUTIONS (SINCE JANUARY 1, 2016) 4th Presbyterian Church About Face Theater American Rhythm Center Arts N Spirits AV Chicago Ballroom Dance Chicago Basketworks Bella Voce Bloom Yoga Studio Broadway in Chicago Capital Genealogy Kristen Cerer Chicago Athletic Clubs Chicago Bears Chicago Botanic Garden Chicago Gay Men’s Chorus Chicago Opera Theater Chicago Shakespeare Theater Chicago Sinfonietta Chicago Symphony Orchestra Chicago White Sox Chicago Zoological Society City Lit Theater Company Comedysportz Theater Corepower Court Theater Dance Center Chicago Dance Spa Eataly Chicago Eli’s Cheesecake Emerald City Theatre Ensemble Español Evanston Symphony Orchestra Field Museum First Folio Theatre Frank Lloyd Wright Trust Goodman Theatre Grant Park Music Festival Harris Theater for Music and Dance Howl at the Moon IMAX at Navy Pier Joffrey Ballet Chicago Margaret Kachadurian Kingston Mines Koval Distillery Maria Lagios Lagunitas Brewing Company Lifeline Theatre Light Opera Works Logan Center Lou Malnati’s Lyric Opera Chicago May I Have This Dance Merit School of Music Metropolis Performing Arts Center Lettuce Entertain You - Mity Nice Grill Moksha Yoga Center Morton Arboretum Music of the Baroque Norbert Shimkus Designs North Central College Northlight Theater Nuns 4 Fun Entertainment Old Town School of Folk Music Om on the Range Jim Parks Pinstripes Bistro Bowling Bocce Porchlight Music Theatre Press America Pride Films and Plays Ravinia Festival reflective beings Remy Bumppo Theatre Company Revolution Brewing Rockefeller Chapel Shedd Aquarium Shiraleah Sips on Sherman Smylie Bros Brewery Steep Theater Strawdog Theatre Company Sullivan Steakhouse Swedish Bakery Thodos Dance Chicago Timeline Theatre Company Treasure Island University of Chicago Presents Victory Gardens Theater WFMT Cheryl Wollin William Ferris Chorale Zanies Comedy Nite Club Holidays a cappella 31 32 Chicago a cappella
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