Here - McAninch Arts Center

NEW PHILHARMONIC
Kirk Muspratt, Music Director and Conductor
39th Season 2015–2016
Baird
and Berlioz
with
Baird Dodge, Violin
Saturday, Nov. 14, 2015, 7:30 p.m.
Sunday, Nov. 15, 2015, 3 p.m.
Belushi Performance Hall
PROGRAM
PROGRAM NOTES
Violin Concerto No. 1 in G minor, op. 26....................................................................... Max Bruch
Vorspiel: Allegro moderato attaca(1838–1920)
Adagio
Finale: Allegro energico
Baird Dodge, violin
Kirk’s Classical Bootkamp, Symphonie fantastique
Max Bruch
Born Jan. 6, 1838, Cologne, Germany. Died Oct. 2, 1920, Friedenau, near Berlin, Germany.
Violin Concerto No. 1 in G Minor, op. 26
Vorspiel (Prelude): Allegro moderato
Adagio (Slow movement)
Finale: Allegro energico
Composition History
Max Bruch began his Violin Concerto in 1864 and finished it in October 1867. The first
performance was given in Bremen, Germany, on Jan. 7, 1868, with Joseph Joachim as soloist. The
orchestra consists of pairs of flutes, oboes, clarinets and bassoons; four horns; two trumpets; timpani;
and strings. Performance time is approximately 24 minutes.
Intermission
Although he was born five years after Johannes Brahms, Bruch hit his stride much sooner. At 11 he
was writing chamber music; in 1852, at the age of 14, he tossed off his first symphony. (Brahms
was 42 when he finished his, after nearly a quarter century of intermittent work.) Bruch’s first violin
concerto was begun in 1864 and first performed, to considerable acclaim, in 1868—before A German
Requiem put Brahms on the map (and more than a decade before his own celebrated violin concerto.)
Young People’s Competition Winner
Alexis E. Johnson, cello
Cello Concerto in D minor, Allegro Vivace — Eduard Lalo (1823–1892)
The downside of early success is the waning star. Several composers, some as great as Felix
Mendelssohn, are regularly accused of failing to sustain their promise. This is a standard line in the
Bruch literature, too, along with that even more worrisome one about a onehit reputation. Neither
assertion is entirely accurate—or fair—although Bruch’s G minor concerto has always been
immensely popular (far more so than his other two) and more frequently performed than Kol nidrei
for cello and orchestra, or the Scottish Fantasy for violin and orchestra. The irony of Bruch’s career—
particularly in light of the current admiration for art that is, above all, accessible—is that by writing
music to please the audience of his day, Bruch lost the interest of succeeding generations.
La damnation de Faust, op. 24.................................................................................Hector Berlioz
Rakoczy March (Hungarian March)
Side by Side with Naperville North High School Symphonic Orchestra
Dana Green, Conductor
Symphonie fantastique, op.14.................................................................................. Hector Berlioz
Reveries-Passions(1803–1868)
Un bal
Scene aux champs
Marche au supplice
Songe d’une nuit de sabbat
The G minor violin concerto, however, has withstood time, and it makes a most persuasive case for
the composer. Soloists keep concertos before the public, and violinists have always loved to play this
piece. Bruch studied violin for several years, and he wrote for the instrument with enormous affection
and skill. When his publisher once suggested he try a work for cello and orchestra, Bruch replied, “I
have more important things to do than write stupid cello concertos.” Eugen d’Albert asked for a piano
concerto in 1886; Bruch fired back: “Me, write a piano concerto! That’s the limit!” (Bruch eventually
wrote beautifully for cello with orchestra, though he never did compose a piano concerto.)
Bruch had difficulty writing this concerto, his first major work. There was even a public performance
of a preliminary version, but Bruch was dissatisfied. Joseph Joachim, the celebrated violinist, offered
important suggestions (he would later play the same role in the creation of Brahms’s concerto), and
Bruch was smart enough to take his advice. When the concerto was presented in its final form in
1868, Joachim was the soloist. (Bruch dedicated the score to him.)
Bruch planned to call the concerto a fantasy, which helps to explain the disposition of the three
movements. The first is a prelude in title and mood, rather than the weightiest movement of
the work. Even though the violinist works as hard as in any of the great virtuoso concertos,
and the dialogue between solo and orchestra is heated and extensive, the tone is anticipatory.
When, without a pause, we reach the slow movement, we find the heart of the concerto: a rich,
wonderfully lyrical expanse of music that shows Bruch at his best and offers melodies tailormade
for the violin. The finale begins in quiet suspense, broken by the entrance of the violin with a
hearty dance tune and more fireworks.
Program note courtesy of Phillip Huscher, Chicago Symphony Orchestra
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PROGRAM NOTES
Hector-Louis Berlioz
Born Dec. 11, 1803, La Côte-St-André, France. Died March 8, 1869, Paris.
Symphonie fantastique (Episode in the Life of an Artist), op. 14
Dreams—Passions (Largo—Allegro agitato e appassionato assai)
A Ball (Waltz: Allegro non troppo)
A Scene in the Country (Adagio)
March to the Scaffold (Allegretto non troppo)
Dream of a Witches” Sabbath (Larghetto—Allegro)
Berlioz composed this work between January and April 1830. The first performance was given on Dec.
5, 1830, in Paris. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets
and E-flat clarinet, four bassoons, four horns, two trumpets and two cornets, three trombones and two
ophicleides (traditionally played by tubas), timpani, snare drum, bass drum, cymbals, low-pitched bells,
two harps, and strings. Performance time is approximately 49 minutes.
Although we generally do not think of it that way, this is the most amazing first symphony ever
composed. Few of us today, as at the first performance in 1830, notice the word symphony in the title;
we are much more taken with the fantastic part—the idea of unbridled passion, a wild opium dream,
and the romantic notion of self-expression—or with Berlioz’s subtitle, which promises a glimpse into
the creative mind.
Berlioz knew audiences well; he provided a title for each of his five movements and distributed a
descriptive program note to tell the story behind the music. The question he begged, however, was not
whether a few words might help someone understand the music, but whether the music made any
sense without them. Even Berlioz eventually changed his mind. The issue was not new. Beethoven had
already famously addressed it by giving descriptive titles to the movements of his Pastoral Symphony.
(And there are other less well-known precedents, some dating from a hundred years earlier.)
Beethoven hedged a bit, calling his work “more an expression of feeling than painting”; Berlioz was
unequivocal—at first.
On April 16, 1830, he wrote to his friend Humbert Ferrand that he had “just written the last note” of
his new symphony. “Here is its subject,” he continued, “which will be published in a program and
distributed in the hall on the day of the concert.” Then follows the sketch of a story as famous as any
in the history of music: the tale of a man who falls desperately in love with a woman who embodies
all he is seeking; is tormented by recurring thoughts of her and, in a fit of despair, poisons himself with
opium; and, finally, in a horrible narcotic vision, dreams that he is condemned to death and witnesses
his own execution. It must have been shocking in 1830; it is strong stuff even today. For Berlioz it
struck very close to home. On Sept. 11, 1827, Berlioz first laid eyes on Harriet Smithson, a young
actress playing Ophelia with an English Shakespearean troupe then visiting Paris—that moment the
Symphonie fantastique was launched, and throughout its composition Berlioz was obsessed with
Henriette, as he referred to her, even though they would not meet until 1832, two years after the
premiere of the work she inspired.
A few days before the premiere, Berlioz’s full-scale program was printed in the Revue musicale, and,
on the evening of the performance, Dec. 5, 1830, two-thousand copies of a leaflet containing the same
narrative were distributed in the concert hall, according to Felix Mendelssohn, who would remember
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PROGRAM NOTES
that night for the rest of his life because he hated the music so much. No one was unmoved. It is hard
to know which provoked the greater response, Berlioz’s radical music or its bold story. It is possible that
people focus on the program because the music is so much harder to explain. But for Berlioz, who always
believed in the bond between music and ideas, the two were inseparable. In an often-quoted footnote to
the program as it was published with the score in 1845, he insists that “the distribution of this program
to the audience, at concerts where this symphony is to be performed, is indispensable for a complete
understanding of the dramatic outline of the work.” (Berlioz’s own program note appears below.)
But Berlioz changed his mind. Several years later, after he had written Lelio, the bizarre sequel to his
Symphonie fantastique, a new version of the program appeared, allowing that it should be distributed
only when both Lelio and the Symphonie fantastique were “executed dramatically” together, and that,
if the symphony alone was played in a concert the program was no longer necessary. “The symphony
by itself (the author hopes),” wrote Berlioz, “can afford musical interest independent of any dramatic
purpose.” Why did Berlioz change his mind? Possibly in defense of the music, which he thought
compelling enough to stand on its own. Probably because his own Harold in Italy, a program symphony
without a program, had subsequently proved that titles were description enough.
The debate continues. In his landmark Berlioz monograph of 1950, Jacques Barzun advocates
relegating the program “to the role of promotional aid.” But rare is the concertgoer today who comes
to this work innocent of the sensational story it has to tell, and who is truly able to let the music
speak for itself. Even in 1830, all the fuss over the program could not disguise the boldness of the
music. Berlioz’s new symphony sounded like no other music yet written. Its hallmarks can be quickly
listed: five movements, each with its own title (as in Beethoven’s Pastoral Symphony), and the use
of a signature motive, the idée fixe representing Harriet Smithson that recurs in each movement and
is transformed dramatically at the end. But what of the staggeringly inventive use of the orchestra,
creating entirely new sounds from the same instruments that had been playing together for years; or
the daring, unexpected harmonies; or even the melodies that are still, to this day, unlike anyone else’s?
There is hardly a page of this score that does not contain something distinctive and surprising. Some
of it can be explained—Berlioz developed his idiosyncratic sense of harmony, for example, not at the
piano, since he never learned to play more than a few basic chords, but by improvising on the guitar.
But explanation does not diminish our astonishment.
None of this was lost on Berlioz’s colleagues. According to Barzun, one can date Berlioz’s “unremitting
influence on nineteenth-century composers” from the date of the first performance of the Symphonie
fantastique. In a famous essay on Berlioz, Robert Schumann relished the work’s novelty; remembering
how, as a child, he loved turning music upside down to find strange new patterns before his eyes,
Schumann commented that “right side up, this symphony resembled such inverted music.” He was, at
first, dumbfounded, but “at last struck with wonderment.” Mendelssohn was confused, and perhaps
disappointed: “He is really a cultured, agreeable man and yet he composes so very badly,” he wrote
in a letter to his mother. For Liszt, the only admissible question was whether Berlioz was “merely a
talented composer or a real genius. For us,” he concluded, “there can be no doubt.” (He voted for
genius.) When Wagner called the Symphonie fantastique “a work that would have made Beethoven
smile,” he was probably right. But he continued: “The first movement of Beethoven’s Fifth Symphony
would seem an act of pure kindness to me after the Symphonie fantastique.”
What Wagner and many later musicians failed to acknowledge was that Beethoven is behind nearly
every measure of the Symphonie fantastique—it was Berlioz’s discovery of Beethoven that prompted
him to write symphonies in the first place.
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PROGRAM NOTES
(There are two more which followed shortly: Harold in Italy in 1834 and Romeo and Juliet in 1839.) On
the surface, Berlioz seems to forecast Mahler, for whom a symphony meant “the building up of a world,
using every available technical means.” Indeed, the Symphonie fantastique did shelter a lot of previously
composed material under Berlioz’s new literary program, and it did, for its time, stretch the definition of
the symphony to the limit. But it did not shatter the model set by Beethoven. For it was a conscious effort
on Berlioz’s part to tell his fantastic tale in a way that Beethoven would have understood, and to put even
his most outrageous ideas into the enduring framework of the classical symphony.
A parting word about Harriet Smithson, who started it all. She finally met Berlioz on Dec. 10, 1832, the
day after the first performance of the complete Episode in the Life of an Artist, which contained the
Symphonie fantastique as its first half and Lelio as its second. After a rocky courtship, they married the
following October. Within a few years they were miserable; they finally separated in 1844.
Program note courtesy of Phillip Huscher, Chicago Symphony Orchestra
BERLIOZ’S ORIGINAL PROGRAM NOTE
For the first performances of the Symphonie fantastique, Berlioz provided the following program,
indicating that it was indispensable for a complete understanding of the dramatic outline of the work.
Part One: Dreams. Passions
The author imagines that a young musician, afflicted with that moral disease that a well-known writer
calls the vague des passions, sees for the first time a woman who embodies all the charms of the
ideal being he has imagined in his dreams, and he falls desperately in love with her. Through an odd
whim, whenever the beloved image appears before the mind’s eye of the artist, it is linked with a
musical thought whose character, passionate but at the same time noble and shy, he finds similar to
the one he attributes to his beloved.
This melodic image and the model it reflects pursue him incessantly like a double idée fixe. That
is the reason for the constant appearance, in every movement of the symphony, of the melody that
begins the first Allegro. The passage from this state of melancholy reverie, interrupted by a few fits of
groundless joy, to one of frenzied passion, with its gestures of fury, of jealousy, its return of tenderness,
its tears, its religious consolations—this is the subject of the first movement.
Part Two: A Ball
The artist finds himself in the most varied situations—in the midst of the tumult of a party, in the
peaceful contemplation of the beauties of nature; but everywhere, in town, in the country, the beloved
image appears before him and disturbs his peace of mind.
Part Three: A Scene in the Country
Finding himself one evening in the country, he hears in the distance two shepherds piping a ranz des
vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently brushed by the
wind, the hopes he has recently found some reason to entertain—all concur in affording his heart an
unaccustomed calm, and in giving a more cheerful color to his ideas. He reflects upon his isolation;
he hopes that his loneliness will soon be over. —But what if she were deceiving him! —This mingling
of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the
Adagio. At the end, one of the shepherds again takes up the ranz des vaches; the other no longer
replies. —Distant sound of thunder—loneliness—silence.
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PROGRAM NOTES
Part Four: March to the Scaffold
Convinced that his love is unappreciated, the artist poisons himself with opium. The dose of the
narcotic, too weak to kill him, plunges him into a sleep accompanied by the most horrible visions. He
dreams that he has killed his beloved, that he is condemned and led to the scaffold, and that he is
witnessing his own execution. The procession moves forward to the sounds of a march that is now
somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way
without transition to the noisiest clamor. At the end of the march the first four measures of the idée fixe
reappear, like a last thought of love interrupted by the fatal blow.
Part Five: Dream of a Witches’ Sabbath
He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers, monsters of every
kind, come together for his funeral. Strange noises, groans, bursts of laughter, distant cries which
other cries seem to answer. The beloved melody appears again, but it has lost its character of nobility
and shyness; it is no more than a dance tune, mean, trivial, and grotesque: it is she, coming to join the
sabbath. —A roar of joy at her arrival. —She takes part in the devilish orgy. —Funeral knell, burlesque
parody of the Dies irae (a hymn sung in the funeral rites of the Catholic Church), sabbath round-dance.
The sabbath round and the Dies irae are combined.
Hector Berlioz
Born Dec. 11, 1803, La Côte Saint André Died March 8, 1869, Paris.
Three Pieces from La damnation de Faust, op. 24
*Dance of the Will-o’-the-Wisps
*Dance of the Sylphs
Hungarian March
Berlioz completed his La damnation de Faust, whose complete title is The Damnation of Faust,
Dramatic Legend in Four Parts, in 1846. The work is neither symphony with vocal elaborations nor
an opera relying on instrumental music to convey its dramatic impact. Here is a truly individual
creation which Berlioz attempted to indicate by the subtitle, “Dramatic Legend.” Berlioz’s great love
for Shakespeare and Goethe led him to compose in 1839 a setting based on the former’s Romeo and
Juliet; it is not so easy to determine when he began work on the Goethe text. As early as 1829, while
Berlioz was still a student at the Paris Conservatory, he composed Eight Scenes from Faust. This music
was later incorporated into the complete setting of 1846.
Berlioz prepared the text of La damnation de Faust with the assistance of Almire Gandonnlère, basing it
on the French translation of Goethe’s Faust by Gérard de Nerval published in 1828. In a preface to the
first publication of the score, 1854, attributed to Berlioz, the composer makes it clear that he departed
widely from Goethe’s poem. He used only a “certain number of scenes which entered into his original
plan — scenes whose charm was irresistible....”
In his Memoirs Berlioz described the circumstances under which he composed his Faust. He began
during a journey through Austria, Hungary, Bohemia and Silesia. He realized that he would have to
compose most of the libretto himself, basing it on the translation of Gérard de Nerval. He described
how and where he wrote several of the scenes. He told of how he came to place his “hero” in Hungary
for the first of the four parts of the score. He wrote the Hungarian march based on the Rákóczy theme
in Vienna. He had been impressed by the great response the march had produced in Pesth, and,
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PROGRAM NOTES
accordingly, “I took the liberty of locating my hero in Hungary when the action begins, and of making
him witness the passage of the Hungarian army across the plain where he wanders, wrapped in
his thoughts. A German critic professed to find it most irregular that I should have done so, and said
I had no business putting Faust there. I cannot see why. I would have had no hesitation in taking
him anywhere in the world if the work would have benefited. I was under no compulsion to keep to
Goethe’s story....”
The two other instrumental selections from The Damnation of Faust appear in Part Two and in Part
Three. In Part Two Berlioz places Faust and Mephistopheles on the banks of the Elbe. Mephistopheles
sets Faust to dreaming and, with the aid of gnomes and sylphs, he conjures up a vision of Marguerite.
Faust is entranced by the vision. Mephistopheles knows that his charm has worked, and he says,
“It is well, young spirits, I am pleased with you. Rock him in his enchanted sleep!” There follows the
orchestral “Dance of the Sylphs.”
In Part Three Mephistopheles finds Marguerite asleep; he is about to bring together the couple.
He invokes the “spirits of the inconstant flames.” “Hurry! I need you,” he calls. And he continues,
“Capricious will-o’-the wisps, your mischievous lights must charm a child and bring her to us. In the
name of the devil, dance! And you, mark well the time, fiddlers of hell, or I shall extinguish you all.”
There follows the orchestral “Minuet of the Will-o’-the Wisps.”
Program note courtesy of Arrand Parson, Chicago Symphony Orchestra
*The first two movements will not be performed at tonight’s concert.
Program notes from the Chicago Symphony Orchestra
provided as a service of the Illinois Council of Orchestras.
8
PROFILES
New York City native
Baird Dodge joined
the Chicago Symphony
Orchestra as a violist in
1996. He moved to the
second violin section
later that same year,
and he was appointed
principal second violin
by Daniel Barenboim in
2002. Dodge studied
violin and viola from an early age and attended
the precollege division of the Juilliard School.
He received a bachelor’s degree in Chemistry
from Swarthmore College in 1990, and a
master’s degree in Music from the State
University of New York–Stony Brook in 1994.
His teachers have included Helen Kwalwasser,
Gregory Fulkerson and Joyce Robbins. An avid
chamber musician, Dodge has collaborated
with such artists as Daniel Barenboim, Isadore
Cohen, Ida Kavafian, Samuel Rhodes, David
Sawyer and Pinchas Zukerman, and he also
has appeared as a guest artist on several
occasions with the Chicago and Colorado
string quartets. He has performed at the
Bravo! Colorado Festival, the Taos Chamber
Music Festival, the Marlboro Music Festival
and on Music from Marlboro tours. Dodge
has a special interest in contemporary music.
He often has performed works by his father
Charles Dodge, including the premiere of his
Violin Etudes at Columbia University’s Miller
Theater in 1994 and a recording of the Viola
Elegy for New Albion Records in 1992. In 2006,
he premiered and recorded Carillon Sky, a
chamber concerto written for him by Augusta
Read Thomas, on the CSO’s MusicNOW series
with Oliver Knussen conducting, and he later
performed the work with Orchestra 2001 in
Philadelphia. He also has championed the
works of composer James Matheson, giving
premieres of several pieces, including the
Violin Concerto, with Esa-Pekka Salonen and
the CSO in 2011.
Kirk Muspratt (Music
Director and Conductor)
was recently named
a “Chicagoan of the
Year” by music critic
John von Rhein and
the writing staff of the
Chicago Tribune. In
honoring Kirk, von Rhein
said, “Ask the delighted
adults and kids who
flocked to his concerts...with the Northwest
Indiana Symphony Orchestra...They will tell
you he made concert-going an interactive
experience that was both enlightening and—
are you ready?—fun.” Recognized as one of
the outstanding figures in the new generation of
conductors, Muspratt has garnered international
critical acclaim and was hailed as a “born opera
conductor” (Rheinische Post) “a knowledgeable
musician who delivers superbly controlled,
gorgeously shaped readings” (St. Louis PostDispatch), and the Los Angeles Times declared
“Watch him!”
Muspratt begins his 16th highly acclaimed
season as music director of the Northwest
Indiana Symphony Orchestra. In his first 15
seasons, he has instituted several highly
commended programs that include a popular
Solo Competition for Children that results in
a child performing at almost every Northwest
Indiana Symphony concert. He has also
implemented an Orchestral Fellowship
Program with Valparaiso University and his
vision was instrumental in founding the South
Shore Summer Music Festival.
One of his most highly praised new projects at
NISO has been the innovative collaborations
with the Lyric Opera Center for American Artists.
Together they have presented La Traviata, Die
Fledermaus, Carmen and La Boheme.
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PROFILES
In order to involve the community to the
maximum, Kirk has created “Just Ask Kirk™”
cards for audience members’ questions,
“Interactive Intermissions” and “Cookies
with Kirk” for patrons and musicians of the
orchestra, chorus and youth orchestra to meet,
and a “Kirkature™” cartoon to help advocate
the credo: “Symphonic music is for everyone.”
He also writes monthly columns in two local
newspapers during the concert season.
In July 2004, Muspratt was named both
music director of New Philharmonic and
artistic director/music director of DuPage
Opera Theatre. In 2011, the Illinois Council
of Orchestras named the New Philharmonic
“Professional Orchestra of the Year.” In his
first nine seasons, productions at the DuPage
Opera Theater featured repertoire including
Faust, Otello, Tosca, Turandot, and Carmen.
Repertoire at the New Philharmonic was equally
adventurous, including the world premieres
of the Stybr Variations for Contrabassoon and
Orchestra, Taylor Firefly Orrery and Lofstrom
Oboe and Harp Concertinos.
In his first months at the New Philharmonic,
Muspratt instituted a Side-by-Side program for
local high school students and an Interactive
Intermission Project involving the musicians of
the orchestra, opera and the patrons.
From 1991 through 1996, he served as
resident conductor to Lorin Maazel at the
Pittsburgh Symphony Orchestra. Prior to that,
he was appointed as associate conductor
to Joseph Silverstein at the Utah Symphony
Orchestra (1990-1992). From 1987 through
1990, Muspratt served as assistant conductor
to Leonard Slatkin at the St. Louis Symphony
Orchestra as well as music director of the
St. Louis Symphony Youth Orchestra. He was
music director of the Alberta Ballet from 1997
through 1999. At the New York Philharmonic,
Muspratt served as a cover conductor.
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PROFILES
In addition to his work in Pittsburgh, Utah
and St. Louis, he has guest conducted
the orchestras of Los Angeles, Montreal,
London, Korean Broadcast Symphony, Detroit,
Rochester, National Arts Center, Vancouver,
Knoxville, Puerto Rico, Rhode Island, Winnipeg,
Calgary, Edmonton, Hamilton, Victoria, New
Orleans, Stamford, Binghamton, South Bend,
Lafayette, Puchon, Annapolis, Wisconsin
Chamber Orchestra and Baltimore Chamber
Symphony.
Summer debuts have included the
Tanglewood, Chautauqua and Sewanee Music
Festivals. He has also conducted at the Banff
Center for Performing Arts.
In Europe, Muspratt was assistant conductor
in the opera houses of Monchengladbach/
Krefeld, Germany, from 1985 to 1987. His
American opera conducting debut came with
the Utah Opera in 1991. He returned there to
premiere Mascagni’s L’Amico Fritz. Maestro
Muspratt has conducted Die Fledermaus for
the Calgary Opera, Faust and Merry Widow for
the Utah Opera, Of Mice and Men, Il Barbiere
di Siviglia for the Arizona Opera and Amahl and
The Night Visitors at the Opera Illinois, all to
stunning critical acclaim.
In 1983 and 1984, he was invited to be
a scholarship student at the Chautauqua
Institute and in 1986 was selected as a
Conducting Fellow at the Aspen Music Festival.
A year later, he was invited into the Conducting
Program at the Tanglewood Festival. In 1988,
he was chosen to be one of three Conducting
Fellows for the Los Angeles Philharmonic
Institute at the Hollywood Bowl.
Muspratt has taught at the Conductors’
Institute of the University of South Carolina,
the Conductors’ Guild National Workshops,
Association of Canadian Orchestras National
Conference in Toronto, the Conductors’ Studio
at Illinois State University and at Westminster
Choir College in Princeton. During the
summer, he has taught graduate conducting
classes at VanderCook College of Music,
at the Northwestern University seminar for
singers, and most recently at the SAI National
Convention in St. Louis. Muspratt recently
completed a six-year tenure on the board of
directors of the Conductors’ Guild.
Having always enjoyed working with young
people, he has conducted the Pennsylvania
Regional Orchestra and the Pennsylvania
All-State Orchestra. He has conducted the
Boston University Tanglewood Orchestra at the
Tanglewood Festival.
Muspratt has been the recipient of numerous
awards, among them grants from the Canada
Council and the Presser Foundation. In 1983
and again in 1984, he was winner of the Strauss
Conducting Prize while a conducting student
at the Vienna Conservatory. During his tenure
in Utah, he received the first Utah Up’n Comers
Award ever given to a classical musician for
his work and involvement in the Utah Arts
Community. In 1987, he was named winner of
the prestigious Exxon/Affiliate Artists Award, and
he was named a “Professional to Watch” by the
Times of Northwest Indiana in 2013.
In 2006, Muspratt was initiated as a National
Arts Associate with the Lake County Alumnae
Chapter of Sigma Alpha Iota International
Music Fraternity. He is the first such
Distinguished Member in Northwest Indiana.
A National Arts Associate is a man or woman
who is nationally recognized for distinguished
contribution to the arts. He joins the likes of
other SAI National Arts Associates such as Van
Cliburn, Keith Lockhart, Henry Mancini and
Wynton Marsalis.
He is a native of Crows Nest Pass, Alberta,
Canada. His early training was as a pianist.
After leaving Alberta, he studied in St. Louis
and New York with Harold Zabrack. Muspratt
continued in both a bachelor’s and master’s
performance program at Temple University
with Adele Marcus and Alexander Fiorillo.
Subsequent to that he went on to study
conducting at the Vienna Conservatory of
Music. He became a citizen of the United
States in November 2010.
Alexis Elizabeth Johnson is a junior at
Rosary Catholic High School in Aurora, where
she performs as first chair in the school
orchestra under the direction of Megan
Drahos. She has been playing the cello
for the past 13 years and is a student of
Dr. Tanya Carey of Glen Ellyn, IL. She is
presently a member of the Chicago Youth
Symphony Orchestra (CYSO) and a summer
intern for the Fox Valley Orchestra in Aurora.
Johnson has performed in a number of
rigorous music programs over the past 13
years, including chamber music at Sphinx
Performance Academy, Orchestra Parents/
Patrons’ United Support Association (OPUS),
and CYSO. She was a previous member of
the Joliet Area Suzuki Strings in Joliet, and
participated in the Pre-Collegiate Certificate
Program at Columbia College in Chicago. She
was selected to participate in the Philadelphia
International Music Festival Solo and
Performance program in Philadelphia. Johnson
also participated in several Suzuki Music
programs in Illinois, Indiana, Georgia, Colorado,
and Turin, Italy.
As a cellist, she has been honored for her
accomplishments at regional and state
music competitions. She won first place in
the DuPage County Afro-Academic, Cultural,
Technological and Scientific Olympics
(ACT-SO) Classical Music Category for two
consecutive years. She was also the recipient
of an honorable mention in the Music Chorale
Frank Stehlik Memorial Scholarship Contest
held in Oak Park, IL, in 2011. Johnson has
been further recognized for her musical ability
by the Illinois Music Education Association
(IMEA) and the Illinois High School Association
Solo and Ensemble (IHSA) contests.
11
PROFILES
She believes in giving of her time and talent
at local churches and senior living centers,
and she gives special concerts for friends
and family. In addition to performing, she
volunteers at the Lisle Public Library and
St. John’s Episcopal Church in Naperville. Her
special interests include reading, watching
NEW PHILHARMONIC PERSONNEL
movies, and performing in school musicals.
Her future plans are to attend college and
major in psychology and music. Her goal is to
become a psychologist and/or music therapist.
Johnson is very appreciative to all her past
and present music teachers, friends and family
for their love and support of her music.
NAPERVILLE NORTH HIGH SCHOOL
Dana Green received his Bachelor of Music in
Music Education from DePaul University, his
Master of Music with a specialization in Music
Education from Northern Illinois University,
and is a Suzuki certified instructor. Green also
studied orchestra rehearsal techniques at
Indiana University with Dr. Cliff Colnot. He has
been the director of orchestras at Naperville
North High School for 11 years.
Green previously taught at Mill Street
Elementary and Naper Elementary Schools
in District 203. He conducts NNHS’s
advanced string ensemble, Bella Corda, the
Naperville North Camerata, is the NNHS
Musical Conductor, and coordinates the
North Chamber Music String program along
with Naperville North’s String Quartet in
residence program. Outside of his District 203
appointments, he also taught String Techniques
for music education majors at North Central
College and is the conductor of the West
Suburban Youth Orchestra’s Sinfonia Ensemble.
12
Naperville North’s Symphonic Orchestra
is the top curricular orchestra. This ensemble
is part of a very robust offering of curricular
and extracurricular ensembles available
at Naperville North High School. Naperville
North has four curricular orchestras, four
curricular choirs, and three curricular bands.
Extracurricularly, NNHS has three jazz bands,
two show choirs, two madrigal ensembles, a
marching band, a baroque camerata ensemble,
and an advanced string ensemble, Bella Cora.
There are approximately 400 students in the
NNHS music program, about 10 percent of the
school’s student population.
1st Violin
Michele Lekas, Concertmaster
Debra Ponko
Man Man Jiang
Gretchen Sherrell
Miki Santibanez
Karen Nelson
Eric Pidluski
Margaret FioRito
Linda Veleckis
Carol Yampolsky
Whun Kim
2nd Violin
Mara Gallagher, Principal
Kristen LeJeune
Chikako Miyata
Mihaella Misner
Melissa Streidl
Denise Connolly
Elizabeth Novak
Nina Saito
John Heffernan
Viola
Ryan Rump, Principal
Sarah Tompkins
Bill Kronenberg
Noel Navoa
Jennifer Silk
Kjell Sleipness
Robert Hasspacher
Cello
Melissa Bach, Principal
Nancy Moore
Susan Ross
Molly Rife
Anne Monson
Ingrid Krizan
Patricia Garvey
Francisco Malespin
Bass
Judith Hanna, Principal
Michael Meehan
Ruben Gonzalez
Charles Ingrassia
Trumpet
Michael Brozick, Principal
James Hahn
Bill Camp
Charles Finton
Flute
Carolyn May, Principal
Irene Claude
Trombone
Tom Stark, Principal
Cherai McCauley
Darren Castellanos
Oboe
Kevin May, Principal
Melinda Getz
English Horn
Melinda Getz
Clarinet
Mary Payne, Principal
Lacy Garbar
Bassoon
Dianne Ryan, Principal
Lynette Pralle
Karl Rzasa
Susan Nigro
Horn
Phil Stanley, Principal
Mary Jo Neher
Anna Mayne
Ingrid Mullane
Tuba
Kevin Harrison, Principal
Cyndi Stark
Timpani
James Bond-Harris, Principal
Andrew Simco
Percussion
Brandon Podjasek, Principal
Andy Cierny
Kent Barnhart
Harp
Jaina Krueger, Principal
Kate Cockle
Orchestra Manager
Paula Cebula
Librarian
Jack Riddle
Personnel Manager
Karen Dickelman
13
SYMPHONIC ORCHESTRA PERSONNEL
Naperville North High School
Dana Green, Conductor
Violin I
Aditi Prakash
Anna Smith
Madison Penn
Allie Guidish
Grace McCormick
Annarose Keilty
Stephanie Chen
Silas Luk
Neva Manahlil
Reid Vizintos
Shayla Driggs
Howie Guo
Violin II
Ryan Ku
Kelly Fan
Angela Xu
Shweta Manohoran
Duncan Molloy
Julia Thompson
Natalie Wyatt-Aldana
Lily Dholakia
Justin Shiau
Jeannette Wu
Tom Farran
Alex Hanselman
Alicia Crone
Cooper Lundy
Peter Lawrisuk
Viola
Maxwell Lowery
Addie Fuller
Amber Mraz
Emma Hanson
Hannah Cheng
Brett Kaplan
YOUR ORCHESTRA
YOUR MUSIC
YOUR MAESTRO
Cello
Natalie Piehl
Jeremy Ahn
Luc Waked
Phil Zhou
Jessica Hung
Xander Cernek
Lauren Engle
Kimmy Deichstetter
Bennett McAffee
Stephen Kurtides
Bass
Annie Hu
Kunal Ghadge
Artur Genser
Tyler Rynes
Jon Trygstad
Connor Davidson
Make a pledge to New
Philharmonic to support:
• Young People’s Competition
performances
A generous gift ensures a
continuing musical tradition. Your
three-year pledge supports longterm sustainability and guarantees
New Philharmonic a home at the
MAC into the future.
• Kirk’s Classical Bootkamps
DONATE TODAY!
• Distinctive guest artists
• A professional orchestra in
residence
(630) 942-2462
foundation.cod.edu/donate
[email protected]
Thank you and enjoy the performance!
14
15
Fall 2015 Exhibitions
Past Time: Self Taught Art from the Arient Family Collection Sept. 3 to Oct. 10, 2015  Opening Reception: Thursday, Sept. 3, noon to 2p
 MAC GALA Reception: Saturday, Sept. 12, 6 to 8p
MAC Lobby Exhibit:
Quilts of Gee’s Bend Sept. 3 to Nov. 21 B
 Opening Reception: Thursday, Sept. 3, noon to 2p
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Zoe Nelson: Recto/Verso
Oct. 18 to Nov. 21, 2015  Opening Reception: Sunday Oct. 18, 5 to 8p
 Performance of dance work: Sunday, Oct. 18, 6:30p;
Nov. 7 and 14, 1p
 Artist Talk: Saturday, Nov. 7, noon
Found/Made:
Studio Art Faculty Exhibit Dec. 3, 2015 to Jan. 23, 2016 Featuring works by adjunct faculty members
• Opening Reception: Thursday Dec. 3, 6 to 8p
Cleve Carney Art Gallery | McAninch Arts Center at College of DuPage
w w w.W D C B .o r g
16
Hours: Mon‐Thurs 11a ‐ 3p; Thurs 6 ‐ 8p; Sat 11a ‐ 3p; Open during MAC performances www.cod.edu/gallery • 630.942.2321 . 17
Friends of the MAC
The Friends of the MAC is a family of people who have decided
that a world-class performing and visual arts center should reside
in their community. Ticket sales only provide 42 percent of our
$3 million operating budget. It is through the support of College
of DuPage and through the generous gifts from patrons and local
businesses that we can keep art in our gallery and on our stages.
Your gift to the MAC
• Brings nationally and internationally renowned artists to
our community
• Supports our SchoolStage program that annually offers
affordable arts experiences to thousands of school children
downtown style & sophistication with suburban convenience..
• Beautifully Appointed Guestrooms & Suites
• Elegant Meeting & Banquet Rooms
• Allgauer’s Restaurant Award Winning Service & Cuisine
• 24 Hour Business Center
• Beautiful Indoor Pool, Whirlpool Spa & Fitness Center
Whether you join us for a spectacular weekend get-away,
exquisite dining experience or a once-in-a-lifetime
special occasion banquet, rest assured our staff and
accommodations will exceed your expectations.
• Provides students and community members the opportunity
to interact with artists
• Enhances the quality of life in our community
Without the generous support of the Friends of the MAC we would
not be the cultural hub of DuPage County. We gratefully thank our
friends and we invite others to join them.
For complete details, visit the MAC Ticket Office or call the
MAC at (630) 942-2263 or the College of DuPage Foundation
at (630) 942-2466.
Arts Center and MAC-tastic Treat Seats Endowments
Donors may choose to direct gifts to the Arts Center Endowment
or the newly established MAC-tastic Treat Seats — Tickets for
Kids & Families Endowment. Donations made to these MAC’s
Endowments, our “savings accounts,” go into a principal secured,
invested accounts that will provide ongoing support for arts
programs and arts accessibility for years to come.
The McAninch Arts Center and the College of DuPage Foundation can
also provide you with information on Planned Giving opportunities.
Hilton Lisle/Naperville & Allgauer’s Restaurant
3003 Corporate West Drive, Lisle, IL 60532
630.505.0900 | hiltonlislenaperville.com
18
For more information, please contact the MAC at (630) 942-2263,
the College of DuPage Foundation at (630) 942-2466 or visit
foundation.cod.edu.
19
FRIENDS OF THE MAC
FRIENDS OF THE MAC
McAninch Arts Center acknowledges and gives grateful thanks to those donors who have
contributed in support of the MAC mission and vision. This list of donors reflects contributions made
from Dec. 1, 2013 through Aug. 31, 2015. While we carefully prepared this list we recognize that errors
may have occurred. Please accept our apology if you are not properly represented on this list and
contact the College of DuPage Foundation at (630) 942-2462 so we may correct our records.
Encore Circle ($2,500 and up)
Anonymous (4)
Lowell and Barbara Anderson
Arthur J. Gallagher &
Company
James A. Belushi
Mark Wight and
Eszter Borvendeg
Dr. and Mrs. Robert L. Breuder
Catherine M. Brod
Mr. and Mrs. Steven G. Brown
Cleve Carney*
Mrs. Clark G. Carpenter
College of DuPage
Alexander and Lisa Demos
Follett Higher Education Group
Franczek Radelet P.C.
Mr. and Mrs. Michael Hanes
Herricane Graphics Inc.
Sara and Stacey Huels
Dr. Jean V. Kartje
Karen and Gene Kuhn
Mr. and Mrs. Keith R. Kushner
Landworks
Mr. and Mrs. Joe Legat
Legat Architects, Inc.
Dr. Daniel E. Lloyd
Peter* and Gretchen Maren
Barb and Scott R. Marquardt
Marquardt & Belmonte, P.C.
David and Carolyn May
Dr. and Mrs. Harold D. McAninch
Ed Miniat, LLC
Mitsubishi UFJ Financial
Group, Inc.
Mortenson Construction
Northwestern Medicine
Central DuPage Hospital
Judith May O’Dell
Mr. and Mrs. Donald Panovich
Pepper Family Foundation
Robbins Schwartz
20
Steven M. Ruffalo and
Lisa Jones Ruffalo
Charles Schlau
Ms. Dianne M. Skeet*
SmithGroup JJR
Terrence J. Taylor and
Maureen Sullivan Taylor
The JCS Fund of The DuPage
Foundation
The PrivateBank
DuPage Foundation
U.S. Bank
Mr. Bjarne R. Ullsvik
VALIC
Mr. and Mrs. Michael V. Vivoda
Dr. Donald G. Westlake
Bonnie M. Wheaton
Wheaton Bank and Trust —
A Wintrust Community Bank
Wight & Company
William Blair and Company
Director’s Circle
($1,000–$2,499)
Anonymous (3)
Anthony and Gwen Achilles
Mr. James R. Adams
Mr. Larry Armour and
Dr. Kim L. Armour
Mr. Anson Arndt
The John A. Attard Family
Foundation
Mr. Andrew J. Balint and
Ms. Julie R. Bradley
Anna Ball
Milton and Heide Bentley
Mr. John Mulherin and
Dr. Sara Bonkowski
Ronald and Hope Bucher
Chapman and Cutler, LLP
Chicago Regional Council of
Carpenters
Ginni and Chris
Stephen and Sunday Cummins
Mark and Kim Dorn
James and Marie Drasal
William Dunn
George and Kathryn Fairbairn
Ken and Debbie Fulks
Jeanette N. and Renee
Giragos, in memory of
Dr. Henry G. Giragos
Mary Gower
Mr. and Mrs. Randy Gunst
John and Katharine Hamilton
Don and Jackie Hegebarth
Dr. and Mrs. Ryon Hennessy
Mrs. Heidi Heutel Bohn
Jeffrey Jens and Ann Boisclair
Mr. Lawrence P. Katzenstein
Mr. Thomas Kiley
Jacqueline Vernot and
Raymond Kotz
Anne and Ira J. Kreft
Susan and Richard Lamb
Charitable Fund of the
DuPage Foundation
Mary Anne Lambert
Eliot and Eileen Landau
Gil and Lola Lehman
Alice Logan
Ms. Diana L. Martinez
John and Lynette McCortney
Margaret and Michael McCoy
Terrance and Linda McGovern
Sandy and Keith Moore
Bill and Nancy Moore
Dr. and Mrs. Joseph S.
Morrissey
Kirk Muspratt
Drs. Donald E. and
Mary Ellen Newsom
Rebecca Nicholson
Alan Peterson, in memory of
Carolyn Levickas
Meri Phillips
Jeffrey and Debora Ponko
Richard and Elizabeth
Quaintance
Roland and Kelly Raffel
Riverside Technologies, Inc
The Rev. Dr. Curtis and
Leanne Rolfe
Nancy and John Rutledge
William and Nancy Schierer
Mr. and Mrs. Henry W.
Steinbrecher
Theodore M. Utchen
James and Patricia Vary
Scott and Kristen Wiersum
Ms. Cynthia Williams Cappello
Ambassador ($500–$999)
Anonymous (5)
Robert and Laura Barron
Mr. and Mrs. Thomas F. Belle
Ray Billett
Mr. Paul Bradley
Dr. and Mrs. Christopher B.
Burke
Rick and Patty Carney
Bill Charis
Greg and Janet Chejfec
Chicago Blackhawks Hockey
Team, Inc.
Chicago Bulls
Diane Cooper
Mr. Brett A. Coup
Don and Anna Mae Davia
Mr. and Mrs. Kevin T. Dixon
DML Solutions
Drasal Family Fund of Fidelity
Charitable Gift Fund
Mr. and Mrs. Gerald Droszcz
Eagle Ridge Resort
Robert Eakins
ECOLAB Inc.
Mr. and Mrs. Christopher
C. Faber
Mr. and Mrs. Donald H. Fischer
Four Leaf Clovers Garden
Center, LLC
Joan and Ken Frank
Dick and Marge Gieser
Jacquelyn L. Gill
Mr. and Mrs. William Gillard
Ms. Jean D. Goris
Mr. and Mrs. Linsley Gray
Mr. Fred Greenwood and
Ms. Dianne A. McGuire
Georgia Hamilton
Mr. and Mrs. Robert
G. Hartman
Gwen and Chet Henry
Hotel Arista at CityGate Center
Stephen and Michelle Hujar
Jorge and Beatriz Iorgulescu
Mr. and Mrs. William S. Kenshol
Kenneth and Rosemarie Kuhn
Mary Lou Lowry
Theresa A. Mally
Mr. Robert Marks
Aurelia and Ronald Maslana
Ellen and Daniel McGowan
Dr. and Mrs. John Messitt
Ms. Patricia G. Murray
Charles and Kay Myler
Mr. and Mrs. Sherman L. Neal
North Central Illinois Labor Council
Bob and Joan Olach
Helen Pachay
Madeleine Pachay
Mr. and Mrs. William Parker
PowerForward DuPage
Judy Ronaldson
Ms. Theresa M. Sak
Dave and Margie Scheffler
Beth Schell
Jerry and Susan Schurmeier
Skeet and Laura Skeet
Mr. Craig Smith, RATIO Architects
Lloyd Smith
Cherry Stoddard
E.J. and Joyce Van Cura
and the E Jay Van Cura M.D.
Charitable Fund of Vanguard
Charitable
Mr. Robert H. Eakins and
Mrs. Julie L. Wachowski
Robert and Kay Wahlgren
Dr. and Mrs. Matthew
C. Wanzenberg
Ms. Kathy Wessel
Wheaton Grand Theater
Joan and Raymond Wielgos
Woods Event Management
Ms. Kathleen Yosko
Performer ($250–$499)
Anonymous (7)
Young Ahn
Irene D. Antoniou
Katherine Balek
Mary Ellen and Jack Barry
Harold and Karen Bauer
Ms. Eunice Becker
Biff Behr and Lynne Richman
Mr. and Mrs. James R. Benté
Peggy Bickham
Mr. and Mrs. Tyler Birt
Judith L. Bittikoffer
Mary and Bill Boylan
Broadway in Chicago
Mr. and Mrs. Thomas Brosseau
Mr. and Mrs. Charles A. Buettner
Carolyn B. Collins
Dr. and Mrs. Joseph E. Collins
Dr. and Mrs. Charles Currier
George W. and Ann Dervis
Barbara and George DiGuido
Mr. and Mrs. Earl E. Dowling
Edwin A. and Gerry Dulik
Joseph and Frances Eraci
Camille and Joe Esterman
Marcela Fanning
Elinor Flanigan
Mr. and Mrs. Thomas J. Glaser
Bill and Alyce Grant
Mr. and Mrs. James E. Haley
Dr. Eugene G. Hallongren and
Dianne J. Hallongren
Dr. Steven L. Havens
Aleene L. Henninger-Boyden
John A. Herndon
Lance Herning
Mrs. Jo Ann Jacobson
Ms. Sharon Jurgensen
Virginia and Charles
Klingsporn
Ms. Susan Kolavo
Charlene Kornoski-Du Vall
21
FRIENDS OF THE MAC
FRIENDS OF THE MAC
Performer ($250–$499) cont.
Laborers Local 68
Ida Lee
James and Kimberley McDonnell
Mr. and Mrs. Francis Mies
Mr. and Mrs. Joseph Moore
Mr. Randle Jennings and
Ms. Jennine S. Moorman
J. C. Morgan
Mr. and Mrs. David W. Morton
Bud and Pat Motz
Michael and Judith Nigro
North American Roller
Products, Inc
Mr. and Mrs. Bernard
Nusinow
Jane Oldfield
Sarah Packard
Byrd and Alice Parmelee
Jim and Lorraine Paulissen
Jack and Marilyn Pearson
William Podgorski
Mr. Daniel B. Porter
Ruth J. Pozesky*
Tom and Karen Pulver
Ginny and Don Raths
Ms. Rose Reever
Donald and Mary Rericka
Ms. Lynne E. Richman and
Mr. Biff Behr
Jack E. Riddle
Jack E. Riddle, II
Mr. and Mrs. Stephen Rochlis
Nancy L. Ruby
Lynn Sapyta
Mary K. Smith
Marilyn Smrcina
Ellen and Grier Stephenson
Richard and Janice Sticka
Dr. and Mrs. E. Veleckis
Carol C. Wallace Family
Lyn and Debbie Whiston
Ms. Alice M. Wilbur
Dr. and Mrs. K. M. Wilcox
Ken and Viviane Wilcutts
Jo Anne Zipperer
Friend ($50–$249)
Anonymous (28)
22
Sue Adams
Peggy Aldworth
Nancy Allured
Mrs. John Andersen
AT&T
Auditorium Theatre
Renato and Mary Bacci
Darlene Barger
Alyce Barnicle
Debbie Barrett and
Barry Zelinski
Michael and Gail Baruch
Richard and Grace Bauer
Patricia and Bruce Beck
Dennis and Mary Beemer
Ms. Margaret Beile
Mr. Ronald Ben
Martin and Betty Bender
Fred and Judy Bennett
Ken and Annabel Bergman
Ms. Carolyn E. Blatt
Doris M. Blickle
Mr. and Mrs. Joseph Boryla
Mr. and Mrs. James Boves
Mrs. Aleene L. HenningerBoyden
Kay Braulik
Mr. and Mrs. William Bulger
Ed and Kay Burton
The Cantlin Family
Kevin and Lori Carlson
Mr. Joseph Cassidy and
Mrs. Tatiana Sifri
Paula and John Cebula
Robert and Barbara Ciesko
Gail Christoffer
Peggy Connolly
The Honorable and
Mrs. Daniel J. Cronin
Marsha Cruzan and Thomas
McGinnis
Jennifer and Matt Darnall
Jeanne E. Davik
Dorothy Deen
Ms. Lynn F. Dempsey and
Mr. Brian Musker
Janet Derber
Mr. and Mrs. George W. Dervis
Joy and Ron Detmer
Linda A. Dickerson
William Donnelly
Alan and Carolyn Drake
William and Kathleen Drennan
Ms. Marilyn R. Drury-Katillo
John T. Earley, Jr.
Joanne East
Daniel Edelman and
Fran Kravitz
Ms. Sally Effner
Robert and Linda Fairbairn
William and Sally Newton
Fairbank
Geraldine Fekete
Jack and Janet Feldman
Janet Ferroni
Stanley Flis
Eric and Marilyn Fors
Earl Stubbe and
Kathleen Frank
David and Helen Fraser
Janet R. Gahala
Annette Gambo
Sandra M. Ganakos
Urs Geiser and Mary Hobein
Phil Gelber
Pamela and Jerome Giermann
Goodman Theatre
Mr. and Mrs. Jerry Graham
Roy and Priscilla Grundy
Dr. and Mrs. Richard D. Guerra
Susan and Robert Haa
Rebekah and Rodney Harris
Patricia A. Harrison
David and Karen Haugen
Jean M. Hawkinson
Sandra Hill
Allan Hins and Marilyn
Wilgocki
Paul and Jessica Holler
IBM
Stephanie Iglehart
Inn at Water’s Edge
Edward and Susan Jeszka
Bob Johnson
Mr. and Mrs. Charles Jonah
Mr. John R. Wolff and
Mrs. Shirley Justin-Wolff
Senator Doris Karpie (Ret.)
Mr. James Karpus
Anne V. Klecka
Lawrence and Ellen Klinger
Mr. and Mrs. R. P. Kolak
Wayne H. Koepke
Marcia A. Koppenhoefer
Mr. and Mrs. Joseph Kovacic
Michael F. Kozlowski
Mr. John L. Ladle, Jr.
Ms. Patricia Leahy
Gintautas Leonavicius and
Ryte Leonaviciene
Elaine Libovicz
Drs. David and Joanna
Livengood
Mr. and Mrs. James Long
Nancy Louck
Ms. Norma MacKay
Madeleine and Ralph
Marbach
John Mategrano
Richard and Mary Ellen
Matthies
Jeffrey May
Paul McCurnin and
Evelyn McNeill
Donald E. McGowan and
Mary Leah Prazak
Marty and Marian McGowan
Diane Meiborg and
Roger Zacek
Ms. Sharon Metz-Gohla
Ms. Mary C. Michna
Mr. and Mrs. Thomas Morgan
Joan Mueller
Holly Myers
Susan Neustrom
Betty and John North
Mr. Gerard Nussbaum and
Dr. Linda Veleckis Nussbaum
Eileene Nystrom
Jean and Joanne Oliphant
Ms. Shirley H. Orlopp
Mr. Jeff Orlove
Kay Osborne*
Karen Webb Owen
Alice E. Packard
Mr. Peter Pattison
Roberta and Thomas Pawlak
Mr. and Mrs. Scott Pector
Robert Pendlebury
George Pepper, M.D.
Mr. and Mrs. Charles Polito
Anna Marie Poll
Rita Potter
Susanne Riedell
Ms. Elizabeth Robertson
Gail Robinson
Marlene and Bob Romba
Marlene and Bob Rosecrans
Edward Rosiar
S. E. Ross
Mr. and Mrs. Mark Sand
Geri Sandford
Mr. and Mrs. J. Patrick
Sanford
Janey Sarther
Ms. Kim Savage
Mr. and Mrs. Patt Schiewitz
Kathy L. Schleicher
Ken and Trish Scott
Dr. Thomas R. Scott
Vikki Scull
Roger and Ann Shipley
Sigma Alpha Iota LaGrange
Alumnae Chapter
Dolores and Warne Stauss
Ms. Dawn D. Stefek
Mr. Arnold R. Stenvog
Carolyn and Joe Stoffel
Mr. Russ G. Streeter
Melissa Striedl
Mr. and Mrs. Thomas J.
Suhrbur
Dr. Nancy E. Svoboda
Grace and Len Swanson
Mr. and Mrs. Richard E.
Swanson
Bob and KC Swininoga
Anthony and Mona Taylor
Wendolyn E. Tetlow
William and Mary Jane
Thomas
Virginia and Jerry Thompson
Tom and Teri Tracey
William and Roberta Treasurer
Mr. and Mrs. Jerome L. Ulane
Eugenio and Carmen Valdes
Gerry Vandenbrook
Olga and Henry Vilella-Janeiro
Marilee Viola
Lucy and George Vorick
Penelope Wainwright
Ms. Janine Wallin
Ms. Mary Ward
Mr. and Mrs. Edward
Warmowski
Mr. Roland Weber
Judy Webster
Anne and Jim Wengerd
West Suburban Affiliate of the
Museum of Contemporary Art
Kathy and Rich Wilders
Carol Woods
Mr. and Mrs. Robert Wulffen
Beverly Yacko
Lori and Gary Zeman
Mr. James Zilligen
Margot & Arthur Zwierlein
* deceased
Corporate and Community
Sponsors
Arts Midwest
BMO Harris Bank
Brookdale Glen Ellyn
Cabernet & Company
Carlucci
COD Foundation
DuPage Foundation
Follett
Glen Prairie
Hilton Hotels —
Lisle/Naperville
I Have a Bean
Illinois Arts Council
JCS Fund of the DuPage
Foundation
National Endowment for
the Arts
Parkers’ Restaurant and Bar
Smith Financial Advisors Inc.
U.S. Bank
Warren’s Ale House
90.9PM WDCB
23
HOUSE NOTES
• Mailing List: If this is your first visit to the McAninch
Arts Center, please stop by our Box Office to add
your name to our mailing list or register your email
at www.AtTheMAC.org.
• Cameras and recording devices are not allowed
in the theater and are prohibited by our contracts
with the artists.
• Smoking is not permitted in the theater or on campus.
• Electronic pagers and patrons’ seat locations should
be given to the House Manager, who will notify you
in the event of a call. Patrons wearing wristwatch
alarms or carrying cellular phones are respectfully
requested to turn them off while in the theater.
• Emergency phone number at College of DuPage Police
Department for after-hour calls is (630) 942-2000.
• Latecomers are seated at the discretion of the
House Manager.
• Groups of 15 or more may contact the Box Office at
(630) 942-4000 to arrange for group discounts.
• If you notice a spill in the theater, please notify an usher.
• McAninch Arts Center volunteers are people
who assist the house staff in areas of ticket taking,
ushering and general management during
performances. To get involved, call (630) 942-4000.
• For Americans With Disabilities Act
accommodations, call (630) 942-2141 (voice)
or (630) 858-9692 (TDD).
• Infrared Assistive Listening Devices: For
audience members who desire audio amplification
of performances, headsets with individual volume
controls are now available. You may check out the
headsets at the Ticket Office with a credit card or
driver’s license. Underwritten by a generous gift
from The Knowles Foundation.
For monthly updates register your email at www.AtTheMAC.org
MAC Administrative Staff
Director of the McAninch Arts Center.............................................................................. Diana Martinez
Marketing and Donor Relations Coordinator.......................................................................Roland Raffel
Business Manager..........................................................................................................Ellen McGowan
Cleve Carney Art Gallery Curator.......................................................................................... Justin Witte
Education and Community Engagement Coordinator......................................................... Janey Sarther
Director of Development for Cultural Arts.......................................................................... Janie Oldfield
Group and Rental Sales Coordinator............................................................................. Melissa Mercado
Administrative Assistant....................................................................................................Mandy Rakow
Student Assistants...............................................................Sherry Gendel, Molly Junokas, Ana Moultrie
MAC Box Office and Front of House Staff
Box Office Manager...............................................................................................................Julie Elges
Assistant Box Office Manager......................................................................................Mary Ellen Reedy
Box Office Assistants.......................................................................... Colleen Trinko, Gretchen Woodley
Patron Service Manager....................................................................................................... Tom Murray
Patron Services Assistant..................................................................................................... Rob Nardini
House Manager..............................................................................................................Jessica Shelvik
MAC Resident Professional Ensemble
New Philharmonic, Conductor and Music Director..............................................................Kirk Muspratt
New Philharmonic Manager............................................................................................... Paula Cebula
MAC Design and Technical Staff
Technical Production Coordinator.............................................................................................Jon Gantt
Technical Director........................................................................................................ Michael W. Moon
Costume and Make-up Design Coordinator................................................................ Kimberly G. Morris
Production Manager............................................................................................................ Joe Hopper
Assistant Production Managers....................................................................Ben Johnson, Elias Morales
Sound and Equipment Manager...............................................................................................Bob Murr
Stage Hands................................................................. Bobby Bryan, Amanda Hantson, Sabrina Zeidler
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