A Cappella en Español

Transcription

Saturday, February 7, 2015, 8:00 pm
Nichols Concert Hall
1490 Chicago Ave., Evanston
Friday, February 13, 2015, 8:00 pm
Pilgrim Congregational Church
460 Lake St., Oak Park
Sunday, February 8, 2015, 4:00 pm
Logan Center for the Arts
915 East 60th St., Chicago
Sunday, February 15, 2015, 4:00 pm
Wentz Concert Hall
171 E. Chicago Ave., Naperville
Chicago a cappella
Alexia Kruger, Soprano
Cari Plachy, Soprano
Elizabeth Grizzell, Mezzo-soprano
Emily Price, Mezzo-soprano
Ace Gangoso, Tenor
Garrett Johannsen, Tenor
Joe Labozetta, Bass
Benjamin Rivera, Bass
Michael Roemer, Bass
Founder and Artistic Director
Jonathan Miller
Principal Guest Music Director
John William Trotter
Guest Artists:
Ensemble Español Spanish Dance Theater
In residence at Northeastern Illinois University, Chicago
Irma Suárez Ruíz
José Torres
Monica Saucedo
This concert is generously underwritten by a gift from Joyce Grenis and Michael Koen.
The appearance of Ensemble Español is supported by
Judith Grubner & Craig Jobson and Barbara Butz & Robb Geiger.
Additional support from the Illinois Arts Council Agency, a state agency,
the Elizabeth F. Cheney Foundation, and the Paul M. Angell Family Foundation.
Chicago a cappella is partially supported by the The MacArthur Funds for Arts & Culture at the Richard H. Driehaus Foundation; The
Gaylord and Dorothy Donnelley Foundation; The Pauls Foundation; the Oak Park Area Arts Council, in partnership with the Villages of
Oak Park, Forest Park and River Forest; a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events; and
the Illinois Arts Council Agency, a state agency. This program is also supported by the Center for Latin American Studies at the University
of Chicago and Instituto Cervantes Chicago. Media Sponsors: The Chicago Maroon, The Daily Herald, WBEZ.
UPCOMING EVENTS
BEATLEMANIA
The songs of the Fab Four are now part of our great treasury of popular music,
and we’ll bring a dynamic a cappella take to these timeless classics.
Naperville
Friday, April 10, 8:00 pm
Wentz Concert Hall
Chicago
Friday, April 17, 8:00 pm
Logan Center for the Arts
Oak Park
Sunday, April 12, 4:00 pm
Evanston
Saturday, April 18, 8:00 pm
Nichols Concert Hall
DIVAS! BARBRA, BEYONCÉ, AND BEYOND
Our gala benefit features the timeless classics of our favorite divas and celebrates our Tribute
Award honoree, Patrick Sinozich, our Music Director Emeritus and retiring Artistic Director of
The Chicago Gay Men’s Chorus, and our Friend of the Year, Maria Suarez.
Emcee: Terri Hemmert, WXRT.
Saturday, May 2, 2015, 6:45pm
The Winter Garden at the Harold Washington Library
400 S. State St., Chicago
Tickets and information: chicagoacappella.org or (773) 281-7820
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PROGR A M
Salseo.................................................................................................................................Oscar Galián
Bésame Mucho....................................................................... Consuelo Velázquez, arr. José Galván
Naranjitay.............................................................................................Trad. Bolivian, arr. Luis Graff
Las Bienaventuranzas (The Beatitudes)..................................................... Jorge Córdoba Valencia
Prende la vela................................................................... Lucho Bermudez, arr. Alberto Carbonell
Asturiana from “7 Canciones Populares”............................Manuel de Falla, arr. Jonathan Miller
Choreography: Dame Libby Komaiko,
Founder and Artistic Director of the Ensemble Español Spanish Dance Theater
Triste estaba el Rey David .......................................................................................Joaquín Rodrigo
Jota from “7 Canciones Populares” .....................................Manuel de Falla, arr. Jonathan Miller
Choreography: Dame Libby Komaiko
I N T E RM I S SION
Las Mañanitas.............................................................................. Trad. Mexican, arr. Ramón Noble
Mata del ánima sola (Tree of the lonely soul)........................................................ Antonio Estévez
Hoy recuerdo (“Today I remember” -Dirge of my mother)...................................................................................... Jean Angelus Pichardo
world premiere
Chan Chan.................................................................... Francisco Repilado, arr. Jorge A. Martínez
La Bamba........................................................................................ Trad. Mexican, arr. Deke Sharon
Te quiero.................................................................................Alberto Favero, arr. Liliana Cangiano
Rosa María (flamenco)................... “Camarón de la Isla” (José Monje Cruz) and Paco de Lucia:
Choreography: Irma Suarez Ruiz,
Associate Artistic Director of the Ensemble Español Spanish Dance Theater
Sevillanas.....................................................................................Trad. Spanish, arr. Jonathan Miller
Choreography: Irma Suarez Ruiz
Latecomers will be seated at the discretion of the ushers. Unauthorized photography or sound
recording of any kind are strictly prohibited. Smoking is prohibited in all venues. Food and
beverage are not permitted in the audience seating area. Thank you for your cooperation.
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Honoring Our 2015 Non-Profit
Community Partner Organizations
In conjunction with our “A Cappella en Español” concerts, Chicago a
cappella is honoring and partnering with four exceptional non-profit
organizations, each serving the Latino/Spanish-speaking community
surrounding one of our concert locations. We hope you will enjoy
learning more about these organizations and their outstanding work!
Evanston: Centro Romero
Serving the refugee immigrant population on the northeast side of Chicago
and surrounding areas, Centro Romero provides opportunities for community
residents through education, emphasizing the development of the whole
family unit, the creation of community leadership and self-reliance.
www.centroromero.org
Chicago: Latinos Progresando
Located in Chicago’s Little Village neighborhood, Latinos Progresando’s
mission is to serve immigrants with the highest quality, low-cost legal
immigration services, community education and engagement, and advocacy/
organizing around policy that affects immigrants.
latinospro.org
Oak Park: Corazon Community Services
Corazon Community Services is a Cicero-based organization seeking to
improve the quality of life for families, children and youth through holistic
social services offered in a culturally sensitive and bi-lingual/bi-cultural
environment.
www.corazoncs.org
Naperville: Family Focus Aurora
Family Focus Aurora’s mission is to assist families in low-income, immigrant
communities in giving their children the best possible start in life through
customized classes, support groups and referral services in a warm, caring
environment.
www.family-focus.org
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F R O M T H E A R T I S T I C D I R E C TO R
¡Muchas gracias por venir a escucharnos!
Thanks for coming to hear us!
We welcome you to A cappella en español, a celebration of a cappella
choral music drawn from all over the Spanish-speaking world. We’ll
go on a tour of many lands, from Mexico to Cuba and the countries
of Latin America, then across the ocean to Spain where this wonderful language originated, and back again. You’ll hear folk and folkloric materials, classically
“composed” music, choral arrangements of popular and folk songs, and much more. We’re
honored to do our small part to celebrate la gran herencia -- the great heritage -- that is
becoming more and more a part of our own heritage and culture.
This music is full of rhythm, color, light, and energy. You’ll experience all of these together
as we perform with the Ensemble Español Spanish Dance Theater, a superb ensemble that
really knows its music. I want to give a huge muchas gracias to José Torres, principal dancer,
and Irma Suárez Ruíz, associate artistic director, for their interest and involvement in our
collaboration. I am a better and stronger musician for having worked with them, and our
entire organization appreciates the opportunity to combine our art forms for this program.
*******
When norteamericanos think of music in Spanish, a number of things might come to mind:
dance rhythms, including salsa, rumba, cha cha, tango, son, and so on. Many of these dance
forms are beginning to appear in choral arrangements, and you’ll hear some of these today,
including my own brand-new choral settings of a famous flamenco song, a folk song from
Seville, and two of the “Canciones populares” by Manuel de Falla.
With our neighbor being Mexico, we might think especially of mariachi music, which originated around Guadalajara, as well as the famous Mexican Hat Dance (the jarabe tapatio, also
from the same region). Historically, this association matches the regions from which most of
Chicago’s Mexican immigrants have come: the areas east of the Sierras, coastal mountains,
including parts of Jalisco and Michoacán, as well as Zacatecas, Guanajuato, and of course
more recently, Mexico City (D.F.). Our program wouldn’t be complete without music from the “mother country” of Spain.
Two of the greatest classical composers from Spain were Joaquin Rodrigo and Manuel de
Falla. Rodrigo’s haunting “Triste estaba” is a neo-Renaissance polyphonic setting of a lute
song from the 16th century, composed by Alonso de Mudarra. The songs by de Falla are
about 90 years old and have become recital favorites for female vocal recitalists; my own
transcriptions of the “Asturiana” and the “Jota” are based on the beloved recordings by
Victoria de los Angeles. *******
In our own generation, there is “serious” new classical music coming from all of these
countries. Mexico is seeing a particular rise in such activity, thanks to the efforts of a number
of tireless composers who also serve as producers, promoters, and festival organizers and as
cultural ambassadors for Mexico to the outside world. Two of these composers, Jorge Córdoba and Jean Angelus Pichardo, have pieces on our program today, both written for Chicago a
cappella. We are fortunate to count them as colegas buenos and amigos queridos.
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And what do Mexican choirs sing? Well, that was part of what I learned when I visited
Mexico last May. How many American choirs sing American music and nothing else? Very
few. Mexican choral musicians are rather like their American counterparts. They don’t just
want to do music from their own country. They love music from us norteamericanos; they
love European music, to which some of them feel quite connected; they love madrigals. Most
of them love pop and vocal percussion, and they are just as curious and eager for cool stuff
as we are up here. Therefore, very few Mexican choirs specialize in singing Mexican choral
music exclusively. There are a few great ones that serve as Mexican cultural ambassadors,
such as Voz en Punto, a mixed quintet directed by the tireless and hilarious José Galván, and
the brilliant Tuumben Paax (“new music” in Mayan) directed by Jorge Córdoba. Another is
the group Melos Gloriae, which specializes in the amazing cathedral polyphony of the early
Mexican Catholic church. Still, for the most part, choirs there are just like us--no matter
what they’re singing, they want authentic experience. One of the great experiences on my
trip was working with a group of girls who wanted the “real American” to coach them on
“Seasons of Love” from the musical Rent. (Read my Mexico blog for more details and photos
of that experience. It was wonderful.) As I was handed CD after CD by choral conductors in Mexico, which serve as business cards
down there, I started noticing a few patterns. I saw that several songs were favorites of many
ensembles, as is the case here. There are Mexican “greatest hits,” and they’re not all from
Mexico! That was a cool surprise. In fact, some of the songs most beloved by Mexican choirs
are from Cuba, some from Bolivia and Colombia, some from up here in the USA, and so on.
Indeed, on my first weekday in Mexico City, whom should I meet but Prof. Digna Guerra,
probably the greatest Cuban choral conductor active today, who was finishing up a two-year
exchange program at one of the music schools there. As I write these notes, President Obama
is taking steps to normalize diplomatic relations with Cuba, which will do wonders for our
appreciation of that incredibly rich culture, from which we have been isolated for too long.
*******
Demographic trends point to a moment coming ahead, just a few years from now, when
Mexicans -- not just Latinos in general -- will be the single biggest population group in both
the city of Chicago and in Chicago Public Schools. This is a major shift from a few decades
ago and marks how important Latino culture is in our region.
And yet, even as we can look at trends and large societal shifts, I want to share something
that has happened for me very personally as part of this project. Putting this concert together
has opened my eyes and ears to the greatness of Latino culture, not only here in Chicago but
all around. More importantly, however, this project has opened my heart. This is a little hard
to put into words, but I’ll try.
Toward the end of 2013, I found a Spanish-language tutor, with whom I started to meet
weekly at a local Starbucks. We would speak Spanish for most of an hour. (The first time, my
head felt like it was about to explode, from the stretching of language neurons or something like that.) Maureen is a lifelong teacher who has taught all over the city and in many
places in the world, and she was a kind and patient tutor. I began listening to Mexican radio
stations on the way to and from work. At first, I was mostly lost, but over time I could catch
more and more words.
And as my Spanish proficiency slowly improved, something unexpected happened. I had
the sensation that a film was being lifted from my eyes, allowing me to see what had always
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been there but which, culturally, I had been somehow trained to ignore. I began to notice
people speaking Spanish everywhere in my life. I began speaking Spanish to them, haltingly,
but with an open heart. And even before I ever got on a plane to go to Mexico, the response
I received has truly altered my experience of living in the Chicago area. People have been
gracious, generous, kind, thoughtful, grateful for my interest in their culture, curious about
ours. A bartender at a Mexican restaurant in Forest Park, where I was getting some latenight takeout, opened right up and engaged in a warm, deep conversation. The guy who
stocks vegetables at our produce market grinned from ear to ear after a short exchange en
español. My new favorite coffee shop in the western suburbs is run by an entrepreneur from
Chiapas who grows his own beans there and sells them all over the world; he has two locations now and I enjoy helping him rejoice at his success. I now feel that I literally see what
I did not have the ability to see before learning Spanish -- millions of people who live and
work and raise their families here and make this city a great place.
Given what has been happening in Ferguson and elsewhere, when there is so much mistrust
and misunderstanding between segments of our culture, I feel blessed and grateful to have
been allowed an experience in the other direction, toward listening and appreciating and
coming to truly love a new culture. It has humbled and opened me to see what was already
here. That is a gift that I will cherish for my entire life.
Bienvenidos y gracias.
Welcome, and thank you.
--Jonathan Miller
Founder and Artistic Director
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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
Oscar Galián: Salseo
A wordless song that captures the jubilant spirit of Latin American music, this piece comes
from the Venezuelan composer Oscar Galián. The opening bass-and-percussion motif
sets the stage for a layering of musical lines. As one voice after another enters, the result
is something like a Venezuelan band, with the voices taking characteristic syllables of the
instruments they imitate.
Consuelo Velázquez, arr. José Galván: Bésame mucho
Inducted into the Latin GRAMMY™ Hall of Fame in 2001, this song is the most-recorded
and most-sung Latin American song in the world, at least in the pop world where such
statistics are kept. The woman who wrote it in 1940, Consuelo Velázquez, was only fifteen
at the time; she was inspired by the solo piano song, “Quejas, o la maja y el ruiseñor”
(“Complaints, or The Maiden and the Nightingale”) from the cycle Goyescas by Spanish
classical composer Enrique Granados, published in 1911. The tunes are remarkably similar,
at least in the initial contour of Granados’s melody.
The tune made it north of the Rio Grande in the 1940s, when Johnny Mercer produced the
Andy Russell recording that became one of the first big hits for Capitol Records. Jimmy
Dorsey took it to #1 on the Billboard chart in 1944. The Beatles, the Hi-Lo’s and Herb
Alpert, among others known to American listeners, also had the tune in their repertoire;
recently Andrea Bocelli, Diana Krall and Harry Connick, Jr. have recorded it. The choral
setting here is created by one of the top Mexican composers and arrangers of the present
generation, José Galván, creative visionary and leader of the renowned quintet Voz en Punto
from Mexico City, and recorded by choirs all across Mexico.
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Bésame, bésame mucho
Como si fuera esta noche
La última vez
Kiss me, kiss me a lot
As if tonight were
The last time
Que tengo miedo a tenerte
Y perderte otra vez
For I am afraid of having you
And losing you all over again.
La última vez
As if tonight were
The last time
Y perderte otra vez
Quiero tenerte muy cerca
Mirarme en tus ojos
Verte junto a mi
Piensa que tal vez mañana
Yo ya estaré lejos
Muy lejos de ti
I want to have you close to me
To see myself in your eyes
To see you next to me
Think that perhaps tomorrow
I will be far
So far away from you
La última vez
As if tonight were
The last time
Chicago a cappella
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Y perderte otra vez
Quiero tenerte muy cerca
Mirarme en tus ojos
Verte junto a mi
Piensa que tal vez mañana
Yo ya estaré lejos
Muy lejos de ti
I want to have you close to me
To see myself in your eyes
To see you next to me
Think that perhaps tomorrow
I will be far
So far away from you
La última vez
As if tonight were
The last time
Y perderte otra vez
Trad. Bolivian, arr. Luis Graff: Naranjitay
In Spanish, a naranja is an orange, and a naranjita is a little orange. In this song, a traditional
Bolivian huayno with new lyrics by Bolivian poet Gilberto Rojas, the “little orange” is a
young woman, the object of desire of the one who wants to “snatch you away from your
orchard.” The choral setting by Luis Graff incorporates percussion in the rhythm and style of
traditional Bolivian music, which has echoes of Ecuadorian rhythms.
Naranjita’y, pinta, pintita’y,
Naranjita’y, pinta, pintita’y,
Te he de robar de tu quinta,
Si no es esta nochecita,
Mañana por la mañanita
Dear little orange,
colorful little fruit,
I will snatch you away from your orchard.
If it is not tonight,
I will do it early at dawn tomorrow.
A lo lejos, se te devisa.
A lo lejos, se te devisa.
La punta de tu enagüita
La boca se me hace agüita
Y el corazón me palpita
Dear little orange,
From a distance
I see the tip of your slip;
My mouth becomes watery
And my heart beats much faster.
Tus hermanos, mis cuñaditos.
Tus hermanos, mis cuñaditos,
Tu tata será mi suegro
Tu mama será mi suegra
Y tu la prenda más querida.
Your brothers, my little brothers-in-law.
Your brothers, my little brothers-in-law,
Your father will be my father-in-law
Your mother will be my mother-in-law
And you the dearest catch.
—Trad. Bolivian
—J. Miller, used by permission
Jorge Córdoba Valencia: Las Bienaventuranzas (The Beatitudes)
Commissioned by Chicago a cappella in 2012
Jorge Córdoba wrote the following about this piece:
I wrote this piece considering the words of Jesus in the Sermon on the Mount in
the New Testament of the Holy Gospel according to St. Matthew, and that to me is
a reflection of a personal conviction as well as the essentials of the teachings of that
mythical character.
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The simplicity of these truths and constant verification thereof, was the impetus that got
to shape a musical treatment of open structure, sound full of surprises with the idea of
strengthening and opening sonic horizons, converging and moving them, to a common
point, as the saying goes: There is only one way, there is only one end: God.
The atmospheric mood created by the repeated melodic fragments evokes a sound-world
somewhat reminiscent of the composer’s Siete Haiku. We were honored to present this
composition in its world premiere in 2012.
Bienaventurados los pobres de espíritu,
porque de ellos es el reino de los cielos.
Bienaventurados los que lloran,
porque ellos recibirán consolación.
Bienaventurados los mansos,
porque ellos recibirán la tierra por heredad.
Bienaventurados los que tienen hambre
y sed de justicia,
porque ellos serán saciados.
Bienaventurados los misericordiosos,
porque ellos alcanzarán misericordia.
Bienaventurados los de limpio corazón
porque ellos verán a Dios.
Blessed are the poor in spirit,
for theirs is the kingdom of heaven.
Blessed are those who mourn,
for they will be comforted.
Blessed are the meek,
for they will inherit the earth.
Blessed are those who hunger and thirst for
righteousness,
for they will be filled.
Blessed are the merciful,
for they will be shown mercy.
Blessed are the pure in heart,
for they will see God.
—Matthew 5:3-12 – The Beatitudes
Lucho Bermudez, arr. Alberto Carbonell: Prende la vela
This song captures a particular folk/cultural phenomenon in a particular place: the coastal
Colombian city of Cartagena. This region’s culture developed from the mingling of native
Colombians and Panamanians, imported African slaves, and the Spanish who settled there.
The “frenzied dances of blacks” along the Caribbean coast of Colombia and Panama were
typified by a courtship dance called the cumbia. Branded as “indecent” by white European
observers as late as the mid-20th century, the cumbia began to take on more mainstream
popularity when Lucho Bermúdez (Luis Bermúdez Acosta, 1912-1994) captured these
dances in his now-famous song, Prende la vela. Bermúdez started playing instruments at the
age of 5 and seems to have had most of his hands-on musical training in the army, which
stationed him at the coast. Following Bermúdez’s popular success with this song in 1944,
when he was invited to perform in the conservative city of Bogotá, the cumbia has spread
all over Latin America; it now has variants in virtually every country and is said to be more
popular than salsa in some regions. Bermúdez spent several years in Mexico, working with
pop musicians there and even covering some Bill Haley songs. It is not an exaggeration to
say that Bermúdez was the primary catalyst for the spread of cumbia across the region.
“Prende la vela” is a stock phrase in many Afro-Latin songs. It basically means “heat up the
drum,” but it has strong sexual overtones that reflect the erotic “flash” between the female
and male dancers. This dance is done at night and therefore requires a lit candle.
¡Negrita ven! Prende la vela.
Prende la vela
que la cumbiamba pida candela.
Prende la vela, mi negra, mi negra.
Prende la vela, mi negra, mi negra.
Look, black (woman)! Heat up the drum.
Heat up the drum
so that the cumbiamba asks for the candle.
Heat up the drum, my black (woman).
Heat up the drum, my black (woman).
que va a empezá la cumbia en Marbella,
Look, black (woman)! Heat up the drum.
Look, black (woman)! Heat up the drum,
For the cumbia is going to start in Marbella,
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cerca del mar y de las estrellas.
Near the sea and the stars.
Prende la vela
que la cumbiamba pida candela,
Prende la vela.
Heat up the drum
so that the cumbiamba asks for the candle.
Heat up the drum.
Manuel de Falla, arr. Jonathan Miller: Asturiana from “7 Canciones Populares”
It is difficult to think of a more heart-wrenching, plaintive song in any genre than the
Asturiana from Manuel de Falla’s cycle of seven popular songs set for solo voice and piano.
The seven songs are taken from folk material derived from different regions in Spain, the
asturiana coming from Asturia. The composer had recently relocated to Spain after seven
years in Paris, and the impressionism of the time does make its way into these songs. The
accompaniment here is achingly spare, transcribed for these performances by Jonathan
Miller in a new a cappella format.
Por ver si me consolaba,
Arrime a un pino verde,
Por ver si me consolaba.
To see whether it would console me,
I drew near a green pine,
To see whether it would console me.
Por verme llorar, lloraba.
Y el pino como era verde,
Por verme llorar, lloraba.
Seeing me weep, it wept;
And the pine, being green,
seeing me weep, wept.
—Trad.
—Claudia Landivar, used by permission
Joaquín Rodrigo: Triste estaba el Rey David
This haunting song comes from the collection Tres canciones sefardíes del siglo XVI (“Three
Sephardic songs from the 16th Century”), premiered in France in 1950. Blinded in his youth
by diphtheria, Rodrigo completed formal piano studies at the age of sixteen and spent the
next six years studying violin, harmony and composition. He moved to Paris to study with
Paul Dukas (of The Sorcerer’s Apprentice fame), met and collaborated with Manuel de Falla
there, and established himself as a pianist and composer of unusual brilliance. Following
the Spanish Civil War, Rodrigo returned to Madrid, where he led artistic activities for the
national organization for the blind, began work as a music critic, and continued composing.
The 1940 Concierto de Aranjuez cemented his reputation as a composer of international
stature. In 1947 he was named to the music faculty at the Complutense University in Madrid.
He is known primarily for orchestral, chamber, and other instrumental works, all of which
he wrote first in Braille and then dictated to a copyist; his vocal output is primarily of larger
works for soloist with orchestra. Of his limited choral work, this is the best by far. The sad
song unfolds like a Renaissance motet, which is appropriate, since the tune on which it is
based is indeed from the Spanish Renaissance. Composers around 1500 would routinely
write polyphonic treatments of popular single-line melodies. Rodrigo evokes that earlier
practice here, with voices imitating one another in different ranges; his control of the four
voice parts is not only admirable technically but also deeply expressive emotionally.
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Triste estaba el rey David, ¡ay!
triste y con gran pasión,
cuando le llegaron nuevas de
la muerte de Absalón.
—Based on II Samuel 18:33
c o n t.
David the King was sad, oh!,
sad and with great passion,
when the news arrived of
Absalom’s death.
Manuel de Falla, arr. Jonathan Miller: Jota from “7 Canciones Populares”
The following notes are provided courtesy of Ensemble Español Spanish Dance Theater:
As one of Spain‘s national dances, La Jota is also regarded as a musical genre, with
its origins in the province of Aragon. Distinguished by a 3/4 rhythm, the music uses
guitars, bandurrias, lutes, dulzaina, and drums, especially in the Castilian tradition.
Bagpipes and drums are often regarded as part of the Galician and Northern Provence
style. In dance, the movement shows a bond to traditional waltz steps, and imitates
elements of nature, as when heel movements replicate the flitting of birds. In fact, in
Aragon, the dancer‘s arms are held up like eagle wings, and in the “warrior position,”
where one arm holds a spear and the other embraces the shield. It should be stressed
that La Jota is danced throughout the country, and is included in celebrations
and religious ceremonies. Likewise, it is enjoyed by the ordinary people as well as
professional dancers who are intent with showcasing this beloved dance form in
theatrical settings.
The music for this dance comes from the beloved cycle for solo voice and piano by Manuel
de Falla, famously recorded by Victoria de los Angeles. That recording is the inspiration for
Jonathan Miller’s a cappella transcription, heard for the first time in these performances.
Dicen que no nos queremos,
dicen que no nos queremos
porque no nos ven hablar;
a tu corazón y al mío
se lo pueden preguntar.
Dicen que no nos queremos
porque no nos ven hablar.
They say we don’t love each other,
hey say we don’t love each other
because they never see us talking;
both your heart and mine
but they only have to ask .
They say we don’t love each other
because they never see us talking .
Ya me despido de ti,
ya me despido de ti,
de tu casa y tu ventana
y aunque no quiera tu madre,
adiós, niña, hasta mañana.
Adiós, niña, hasta mañana.
Ya me despido de ti
Now I bid you farewell,
Now I bid you farewell,
to your house and your window
And even though your mother may not want it,
Farewell, my sweetheart until tomorrow.
Farewell, my sweetheart until tomorrow.
Now I bid you farewell
aunque no quiera tu madre...
Even though your mother may not want it…
—Trad.
—Laura Claycomb, used by permission
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INTERMISSION
SUGGESTIONS FOR INTERMISSION
• Fill out your audience survey and return it to an usher or
to the red box in the lobby for a sweet treat
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c o n t.
trad. Mexican, arr. Ramón Noble: Las Mañanitas
In Mexico, this tune is traditionally sung on birthdays and anniversaries and other festive
occasions. Versions of the song have been collected at many locations in both Mexico and
New Mexico. The song lyrics are sweet and tender; they even seem to have a slight reference
to the Biblical love-lyrics in the Song of Songs, where in the final chapter the poet says,
“Arise, my love; let us go into the garden.” In any event, the famous arranger and organist
Ramón Noble (of the rollicking choral La cucaracha arrangement) has created a lovely,
peaceful setting for this song, including an effective bridge, scored for men’s voices, leading
into the final phrases.
Estas son las mañanitas
que cantaba el rey David,
a las muchachas bonitas
se las cantamos aquí.
These are the songs
That King David sang
To the pretty girls;
We sing them here.
Chorus:
Despierta, mi bien, despierta,
mira que ya amaneció.
Ya los pajarillos cantan
la luna ya se metió.
Chorus:
Awake, my lovely one, awake;
Look, already it has dawned.
Already the birds sing;
The moon already has set.
Si el sereno de la esquina
me quisiera hacer favor
de apagar su linternita
mientras que pasa mi amor.
I would like it if the watchman on the corner
would do me the favor
of turning out his lantern
while my love passes by.
—trad. Mexican folksong
— Ramon Nóble, used by permission
Antonio Estévez: Mata del ánima sola (Tree of the lonely soul)
The Venezuelan plains (llanos) are featured in the poetry of Alberto Alvero Torrealba, the
country’s most famous poet of the last century. His lyrics always focus on the people and
traditions of his country, including in this song the dance called the joropo. The tenor solo in
this song represents the voice of the llaneros (men of the plains), while the choir parts imitate
the instruments that play the joropo: the cuatro (a small 4-stringed guitar) in the inner
voices, the low bordones guitar, and the diatonic harp in the sopranos. The musician Antonio
Estévez was a leader of the second important generation of Venezuelan composers; his most
famous work is a co-creation with Torrealba, the Cantata Criolla.
14
Chicago a cappella
c o n t.
Mata del ánima sola,
boquerón de banco largo
ya podrás decir ahora
aquí durmió canta claro
Tree of the lonely soul,
wide opening of the riverside
now you will be able to say:
here slept Cantaclaro.
Con el silbo y la picada
de la brisa coleadora
la tarde catrira y mora
entró al corralón callada.
With the whistle and the sting
of the twisting wind
the dappled and violet dusk
quietly entered the corral.
La noche, yegua cansada,
sobre los bancos tremolo
la crin y la negra cola
y en su silencio se pasma
tu corazón de fantasma.
The night, tired mare,
shakes her mane
and black tail above the riverside,
and in its silence,
your ghostly heart is filled with awe.
— Alberto Alvero Torrealba (1903-1971)
Reprinted by permission, earthsongs © 1993
—trans. María Guinand, earthsongs
Jean Angelus Pichardo: Hoy recuerdo
(“Today I remember” -- Dirge of my mother) -- world premiere
A composer, arranger and music producer, especially given to connections between music
and other art forms, Jean Pichardo is a rising star on the Mexican musical scene. His
interdisciplinary work connects music to photography, sociology, literature, theatre, visual
art, and more. A tireless promoter of musical events, since 2009 he has been the Coordinator
of Logistics and Planning for not only the Open Seminar of Contemporary Music at UNAM
in Mexico City but also the 2010 and 2011 meetings of the Xicamiti Meetings for Latin
American Composition. He has coordinated festivals in San Miguel de Allende and recently
did the same for the first great Guitar Festival in Mexico City.
This work, Hoy recuerdo, came to Chicago a cappella as a result of Pichardo’s meeting Artistic
Director Jonathan Miller after a rehearsal at UNAM in Mexico City, directed by Jorge
Córdoba in May 2014. Miller and Pichardo established a strong mutual respect through that
encounter—so much so that, during the summer and fall of 2014, Pichardo wrote this piece
for Chicago a cappella upon receiving a government commission for a new piece for mixed
chorus. The story is made further remarkable because Pichardo’s mother, who passed away
in May of 2014, asked her son during her final illness to compose a piece of choral music for
her; this is that piece.
The text is taken from a longer poem by Octavio Paz. The emotion in the text is one of an
almost transparent feeling of one on the threshold of death, and the spare musical texture
reflects the sense of almost floating, suspended, between death and life. We are honored to
have been chosen to receive this musical gift and honored to have the opportunity to share it
with you.
Hoy recuerdo a los muertos de mi casa
el cuerpo que se afianza en un suspiro
un tren que nunca parte, espejo de mi vida
Mirada que se abraza a otra
y nadie sabe en qué silencio entró,
pausa sin color
Codicia, codicia de la boca
Quizá morimos, quizá morimos.
Quizá morimos, sólo quizá, quizá.
Quizá morimos, sólo morimos
Today I remember the dead of my house—
The body that locks in a sigh
A train that never leaves, mirror of my life;
Look that embraces another (a woman),
And nobody knows into what silence she entered—
A pause without color,
Greed, greed of the mouth;
Perhaps we die, perhaps we die.
Perhaps we die, only perhaps, perhaps.
Perhaps we die, we just die
15
porque nadie quiere morirse…
Quizá morimos, sólo morimos
porque nadie quiere morirse con nosotros
Al fin se escapa y ve,
ve desde la orilla
cómo se hunde y pierde cuerpo el alma
allá del otro lado, del otro lado
Allá…
Al fin se escapa y ve
desde la orilla cómo se hunde el alma
el alma.
—Octavio Paz, from “Elegía interrumpida”
c o n t.
Because nobody wants to die…
Perhaps we die, we just die
Because nobody wants to die with us.
At the end one escapes and sees,
Sees from the shore
How one sinks and loses body and soul
Over there on the other side, the other side
Over there…
At the end one escapes and sees
From the shore how the soul sinks,
the soul.
Francisco Repilado, arr. Jorge A. Martínez: Chan Chan
Better known as “Compay Segundo” because he always took the second voice in musical
partnerships, Francisco Repilado was a Cuban musician whose contributions to the field are
many. He created the instrument known as the armónico, a 7-stringed guitar-like instrument.
He was the second voice and player of the tres (a three-stringed guitar-like instrument) in
the duo Los Compadres. They leapt to fame with the 1997 release of the Buena Vista Social
Club album, the blockbuster release in which Ry Cooder championed the work of Cuban
musicians. Chan Chan is the opening track on that album, an example of the Cuban son
genre. The places in the song are four towns near each other on the east side of Cuba.
The lyrics tell of a man, Chan Chan, and his lady, Juanica, who are building a house and go
to the beach to get some sand. Juanica shakes the sand in a sieve, and her shaking gets Chan
Chan aroused. Chan Chan is based on a farmer’s song, which Compay Segundo learned
when he was twelve years old. Segundo said of the song’s inspiration:
I didn’t compose Chan Chan, I dreamt it. I dream of music. I sometimes wake up with
a melody in my head, I hear the instruments, all very clear. I look over the balcony and
I see nobody, but I hear it as if it was played on the street. I don’t know what it can be.
One day I woke up hearing those four sensitive notes, I gave them a lyric inspired by
a children’s tale from my childhood, Juanica y Chan Chan, and you see, now it’s sung
everywhere.
The rhythms are infectious, and it is said that almost everywhere in Latin America, people
can identify this song by its first four chords.
De Alto Cedro voy para Marcané
Llego a Cueto, voy para Mayarí
El cariño que te tengo
No te lo puedo negar
Se me sale la babita
Yo no lo puedo evitar
Cuando Juanica y Chan Chan
En el mar cernían arena
Como sacudía el jibe
A Chan Chan le daba pena
Limpia el camino de paja
Que yo me quiero sentar
En aquél tronco que veo
Y asi no puedo llegar
De Alto Cedro voy para marcané
Llegó a cueto boy para mayarí
16
Chicago a cappella
From Alto Cedro
I’m going to Marcané
I get to Cueto
Then go to Mayari.
The love I have for you
I cannot deny;
My mouth waters,
There’s nothing I can do.
When Juanita and Chan Chan
Sifted sand together on the beach
How her bottom shook,
How Chan Chan was aroused.
Clear the path of dry cane leaves -I want to sit down,
I want to sit down on that trunk over
there, or I won’t make it at all.
c o n t.
traditional Mexican, arr. Deke Sharon: La Bamba
The large Mexican-American community in Chicago began to grow in earnest after 1910.
“La Bamba” is one of the songs that has been sung here since concerts by Mexicans in
Chicago began.
Made famous by Ritchie Valens as the B-side to his 1958 his “Donna,” this song is a traditional son jarocho from Veracruz. The references to sailors and captains come from Veracruz
being a port city. Valens grew up speaking English in the San Fernando Valley around Los
Angeles. He learned the words to La Bamba phonetically from his aunt. The more recent
cover of La Bamba by Los Lobos has given a new life to the song.
Para bailar la Bamba
se necesita una poca de gracia.
Una poca de gracia para mí, para ti,
ya arriba, ya arriba, por ti seré.
To dance the Bamba,
one needs a bit of grace.
A bit of grace for me, for you;
Come on now, I’ll be for you.
Yo no soy marinero, soy capitán.
Bamba, bamba, bamba, bam…
I’m not a sailor, I’m a captain.
Bamba, bamba, bamba, bam…
Alberto Favero, arr. Liliana Cangiano: Te quiero
A poem by the beloved Uruguayan master Mario Benedetti finds musical life in this setting
by Alberto Favero, a popular-music composer from Argentina. This choral arrangement, like
Kasar mie la gaji, is an international best-seller in the choral world, regularly appearing on
repertoire lists for festivals and contests.
Si te quiero es porque sos
mi amor, mi cómplice, y todo.
Y en la calle, codo a codo,
somos mucho más que dos.
If I adore you it is because you are
my love, my intimate friend, my all;
and in the street, arm in arm,
we are so much more than two.
Tus manos son mi caricia,
mis acordes cotidianos*.
Te quiero porque tus manos
trabajan por la justicia.
Your hands are my caress,
my daily affirmations.
I love you because your hands
work for justice.
Tus ojos son mi conjuro
contra la mala jornada.
Te quiero por tu mirada
que vira y siembra futuro.
Your eyes are my lucky charm
against misfortune.
I adore you for your gaze
that looks to and creates the future.
Tu boca que es tuya y mía,
tu boca no se equivoca.
Te quiero porque tu boca
sabe gritar rebeldía.
Your mouth is yours and mine,
your mouth is never mistaken:
I love you because your mouth
knows how to cry out for rebellion.
Y por tu rostro sincero
y tu paso vagabundo
y tu dando por el mundo,
porque sos pueblo te quiero.
And for your sincere face
and wandering spirit
and your weeping for the world-because you are the people, I love you.
(Y porque amor no es aurora,
ni cándida moraleja,
y porque somos pareja
que sabe que no está sola.)
(And because our love is
neither famous nor naive,
and because we are a couple
that knows we are not alone.)
Te quiero en mi paraíso,
I want you in my paradise,
17
es decir, que en mi país
la gente viva feliz
aunque no tenga permiso.
—Mario Benedetti
c o n t.
which is to say, in my country;
(I want) the people to live happily
Even though they aren’t allowed to!
—trans. María Guinand
“Camarón de la Isla” (José Monje Cruz) and Paco de Lucia: Rosa María (flamenco)
Choreography: Irma Suárez Ruíz, Associate Artistic Director of the Ensemble Español Spanish
Dance Theater
Two of the seminal figures in the flamenco revival of the late twentieth century, singer
“Camarón” and guitarist de Lucia collaborated on nine record albums between 1969 and
1977. “Camarón” was one of the first to introduce electric bass into his arrangements,
which helped to distinguish his work as Nuevo flamenco. While “Camarón” (nicknamed
“shrimp” because he was blond and fair-skinned) died in 1992, Paco de Lucia remains active
around the world as performer, teacher, and mentor, and he is the most successful flamenco
crossover artist ever. This song comes from the 1976 album of the same name.
The history of Spain is rich with foreign cultures - the Greeks, the Romans, the Moors, the
Celts, to name a few. Pride, elegance, passion, the wide range of emotions, the lively taconeo
(footwork), the singing castanets and hypnotic rhythms - all of this is seen in the dance of
Spain.The origin of all dances of Spain is Regional or Folk. Spain has forty-nine provinces,
each province having at least fifteen dances of its own. The dances are divided into three
basic types: Regional, classical and flamenco. The Regional dances depict the Spanish
people and their diverse provincial customs and styles. The Classical dances portray the
varied styles of the Renaissance, Baroque, Court Dances, Escuela Bolera (Bolero School)
and Semi-Classical (Twentieth Century, Contemporary) dances and music. Flamenco is a
culture unto itself. The theories of the origin of flamenco are never agreed upon, even by
the experts. The guitar and singing (Cante Flamenco) represent the Andalusian Province; a
combination of ancient Arabic, Indian, Hebraic and Moorish styles. The word “flamenco”
originally meant “Flemish,” after the band of gypsies that came to Spain in the 18th century.
Flamenco consists of the cante (singing) palmas (hand clapping), the guitars and the dancers.
There are five basic types of flamenco song: the Cante Jondo (deep song). Cante Chico (light
song), Cante Intermedio (intermediate) Cante por Cante (song for singing) and Cante por
Baile (song for dancing). Today, flamenco is associated with its birthplace of Andalusia - its
contradictions, its dynamics, its sorrows and its joys.
Flores silvestres del campo,
agua de laguna clara,
y así tengo comparaos los colores de tu cara.
Rosa María, Rosa María,
si tu me quisieras que feliz sería.
Tengo celos de las flores,
del espejo en que te miras,
del peine con que te peinas,
y del aire que respiras,
y del aire que respiras.
Y en alegría y belleza,
y finura en el andar,
18
Chicago a cappella
Wildflowers of the field,
water of the clear lagoon,
this I compared the colors of your face.
Rosa María, Rosa Maria,
if you want me, how happy I will be.
I am jealous of flowers,
the mirror in which you look,
Comb with which you comb,
and the air that you breathe,
and the air that you breathe.
And in joy and beauty,
and smoothness of gait,
c o n t.
y hasta tu risa es bonita,
y distinta a las demás.
and even your laughter is nice,
and different from the others.
Trad. Spanish, arr. Jonathan Miller: Sevillanas
Choreography: traditional; staging: Irma Suárez Ruíz,
Associate Artistic Director of the Ensemble Español Spanish Dance Theater
This is a tribute to the women and men of the famed city of Seville, celebrated in both music
and dance. The following notes are provided courtesy of Ensemble Español Spanish Dance
Theatre:
Named for the Andalusian capital, the Sevillanas is also one of Spain‘s national dances,
and its popularity has never dimmed. Traditionally, the dance is part of neighborhood
living, where friends and family gather in a corrales and celebrate the highlights of
daily life and special occasions. However, the joy of the sevillanas has easily spread to
night clubs, and increasingly, the dance has become part of the flamenco and classical
traditions, and its variations speak to Spain‘s regional diversity through the preservation
of the sevillanas of the corraleras (for neighborhood patios), bíblicas (with biblical
themes), boleras, liturgícas (with liturgical, or religious, themes), de feria (typical of
feasts) and rocieras (for the rocío feast). The famous La Feria de Sevilla is held for one
week each spring, and Sevillanos prepare all year for this internationally-known fair.
Viva Sevilla (2Xs)
Viva Sevilla llevan la sevillana
En la mantilla un letrero
que dice viva Sevilla
Viva Triana vivan los trianero
Los de Triana
Vivian lo sevillano y sevillana
Long live Seville (2Xs)
Long live Seville; the women of Seville
wear a sign on their head scarves
that reads “long live Seville.”
Long live Triana
long live the people of Triana
Long live the people of Seville
Lo traigo andado (2Xs)
Lo traigo andado la macarena y todo
Lo traigo andado la macarena y todo
Lo traigo andado
caras como la tuya no la he encontrado
La Macarena y todo
Lo traigo andado
I bring them on foot (2Xs)
I bring them on foot, the image of the virgin and all
I bring them on foot, the image of the virgin and all
I bring them on foot
I’ve never seen a face like this
the image of the virgin and all
I bring them on foot
Qué bien parece (2Xs)
qué bien parece, ay río de Sevilla,
qué bien parece.
Qué bien parece,
lleno de velas blancas y ramas verdes.
Ay río de Sevilla, qué bien parece.
Qué bien parece,
Ay río de Sevilla, qué bien parece.
lleno de velas blancas y ramas verdes.
How beautiful it looks (2Xs)
How beautiful it looks, the river in Sevilla
How beautiful it looks.
How beautiful it looks,
Full of white candles and green branches
Oh river of Seville, how beautiful it looks
How beautiful it looks
Oh river of Seville how beautiful it looks
Full of white candles and green branches.
Viva Sevilla…
Long live Seville …
—Trad.
19
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Chicago a cappella
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2015 Gala Raffle
May 2, 2015
Raffle Grand Prize: $2,500 in cash
Raffle tickets are $20 or three for $50
The winner will be drawn at “Divas” Gala on May 2;
winner need not be present to win.
Tickets available in the lobby or at chicagoacappella.org
T H A N K YO U
Jean Angelus Pichardo
Natalie Arsenault, Center for Latin
American Studies, University of Chicago
Chris Baer
Jorge Córdoba Valencia
Enid Frandzel
José Galván
Sonia Gatos
Ken Hannah, Wentz Concert Hall
Teresa Hernando Rojo, Instituto Cervantes
Bill Hoban
Joan Hutchinson and Joycelin Fowler,
Professor Robert Kendrick, University of
Chicago Dept. of Music
Arturo Maldonado Tapia, Cultural Attaché,
Consulate General of Mexico
Eric Miranda, Diction Coach
Dennis Northway and Douglas VanHouten,
Grace Episcopal Church
Ruth Oberg
Fiona Queen and Dan Williams, Music
Institute of Chicago
Greg Redenuis and Bill Michel, Logan
Center for the Arts
Timothy G. Ruff Welch (Chapala, Jalisco,
Mexico)
Carlos Tortolero, National Museum of
Mexican Art
Marco Ugalde, UNAM (Mexico City)
Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff.
For information visit www.saintschicago.org or call 773-529-551
21
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. On October 25, Chicago a cappella brought five choral ensembles
from Chicago-area high schools together for the group’s fourth annual Youth
Choral Festival at the Logan Center for the Arts.
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,
eight talented and motivated students are serving as Chicago a cappella
High School Interns in 2014-15, 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,
customized for the specific needs of each
organization.
Learn more at
chicagoacappella.org/outreach.
22
Chicago a cappella
A B O U T C H I C AG O A C A P P E L L A
Board of Directors
Joyce Grenis, President
Claudia Divis, Vice President
David Perlman, Secretary
Stephen Shaw, Treasurer
Gary Belkin
William K. Flowers
Helen C. Gagel
Howard Hush
Robert B. Linn
Monroe Roth
Maria T. Suarez
Barbara Volin
Staff
Founder & Artistic Director.................................................. Jonathan Miller
Executive Director...........................................................Matthew Greenberg
Box Office & Concert Manager.................................................... Deb Hoban
Marketing/Operations Coordinator......................................Casey Shipman
Education Outreach Coordinator........................................... Susan Schober
Production & Operations Intern..............................................Patrick Firme
Marketing Intern........................................................................Bryan Alvarez
Music Librarian..................................................................Ellen Marchessault
Artistic Roster
Jonathan Miller......................................................................Artistic Director
John William Trotter................................... Principal Guest Music Director
Paul Langford...................................... Guest Music Director (Beatlemania)
Paul Nicholson........................ Guest Music Director (Holidays a cappella)
Patrick Sinozich....................................................... Music Director Emeritus
Megan Bell............................................................................ Soprano (Global)
Carl Frank...................................................................Bass (Global; Holidays)
Ace Gangoso..........................................................Tenor (Holidays; Español)
Matt Greenberg................................................................. Bass (Beatlemania)
Elizabeth Grizzell........................................................ Mezzo (entire season)
Garrett Johannsen..........................................................Tenor (entire season)
Kathryn Kamp............................. Soprano (Global; Holidays; Beatlemania)
Alexia Kruger....................................................Soprano (Holidays; Español)
Joe Labozetta.................................................................... Bass (entire season)
Trevor Mitchell..................................................Tenor (Global; Beatlemania)
Cari Plachy.................................Soprano (Holidays; Español; Beatlemania)
Emily Price.................................................................... Mezzo (entire season)
Benjamin Rivera........................................................................ Bass (Español)
Michael Roemer............................................................... Bass (entire season)
High School Interns 2014-15
Kaci Campbell ......................................................................................soprano
Julia Wellisch.........................................................................................soprano
Kerry Koznarek ........................................................................................... alto
Abby Schwarz............................................................................................... alto
Anthony Charletta.................................................................................... tenor
Brandon Ripoli.......................................................................................... tenor
Andrew Gonzalez....................................................................................... bass
Anand Lal-Tabak........................................................................................ bass
23
BIOGR APHIES
24
Jonathan Miller,
Founder and Artistic
Director
Since founding Chicago
a cappella in 1993,
Jonathan Miller has
guided the ensemble
through hundreds of
performances and nine commercial CD
releases. He is responsible for maintaining
the ensemble’s standards for both
performance and programming. He received
the 2008 Louis Botto Award from Chorus
America for his entrepreneurial zeal. He was
fortunate to be exposed at an early age to a
wide range of music by a remarkable group
of musical mentors, including Christopher
Moore, Lena McLin, Max Janowski, Howard
Mayer Brown, Richard Proulx, John Nygro,
and Anne Heider. During the early-music
explosion of the 1980s and ‘90s, he was a
founding member of His Majestie’s Clerkes
(now Bella Voce) and spent ten years with
the Harwood Early Music Ensemble. Eager
to learn research tools for repertoire,
Jonathan pursued musicology, earning his
doctorate at UNC-Chapel Hill. Since
returning to the Chicago area, Jonathan has
served as Music Director at Unity Temple in
Oak Park and is active as a choral coach,
clinician and composer. He has written
more than eighty choral works in a variety of
genres and languages; his music has been
sung at venues including St. Patrick’s
Cathedral in New York City and the
Pentagon. Jonathan has become a leader in
the Jewish-music community, serving
Congregation Rodfei Zedek in Hyde Park as
high-holiday cantor and holding as a great
honor his role as publisher of the Max
Janowski catalog. He has been a repeat
faculty member at the North American
Jewish Choral Festival. In 2012 he conducted
the Janowski centenary concert at KAM
Isaiah Israel Congregation and received the
Perelmuter Award there in 2013; he was
Scholar-in-Residence at Lakeside
Congregation in November 2014. Jonathan
is Director of Choral Catalog at Musicnotes.
com, the world’s largest retailer of legal,
licensed, downloadable sheet music.
Chicago a cappella
Matt Greenberg,
Executive Director
A founding ensemble
member of Chicago a
cappella, Matt has
served as the
organization’s Executive
Director since 1995.
Combining a career in arts management
with that of a professional singer, he has
been an active member of the Chicago arts
community for over 25 years. Matt has led
workshops for Chorus America’s national
conference and for the Arts and Business
Council of Chicago. He has sung with
Chicago a cappella since the group’s
inception in 1993, and has performed in
musical theater and with many of Chicago’s
other leading choral ensembles, including
the Chicago Symphony Chorus, Music of the
Baroque, William Ferris Chorale, and the
Grant Park Chorus.
John William Trotter,
Principal Guest
Music Director
John William Trotter is
a rapidly rising
conductor on today’s
concert music stage. His
work from the podium
has been recognized internationally through
numerous prizes, grants, and guest
conducting invitations. To date, he has
conducted more than a dozen professional
orchestras and choirs in seven countries.
Trotter earned the Doctor of Musical Arts
degree in Conducting from the University of
Michigan (Ann Arbor). He was awarded
honors from the American Choral Directors
Association and the Canada Council for the
Arts before joining the Vancouver Chamber
Choir, Canada’s most active professional
choir, as a full-time conductor in 2009. Over
three seasons, he led the ensemble in more
than twenty-five performances throughout
Canada, Taiwan, and Japan. His
performance of the Vivaldi Magnificat was
hailed by the Vancouver Sun as “a radiant
performance of this work that overstated
nothing and brought out all of its freshness
BIOGR APHIES
c o n t.
and charm.” In 2011, his season-opening
concert with the ensemble was broadcast
nationally by CBC Radio. In the course of
his work with the professional ensemble,
Trotter became recognized for establishing
and enhancing education, outreach, and
engagement programs for composers,
conductors, singers, and audiences. In 2012,
he was appointed to the Wheaton College
Conservatory of Music as Assistant
Professor, where he teaches conducting and
leads the Wheaton College Concert Choir,
the Conservatory’s select SATB ensemble.
Trotter’s current musical activities range
from traditional choral/orchestral repertoire,
new music, jazz, and film score recording to
work as a consultant, clinician, writer,
speaker, composer/arranger, and leader of
improvisation workshops.
(www.johnwilliamtrotter.com)
Ace Gangoso, tenor
Ace Gangoso, tenor, hails
from Little Rock,
Arkansas, and is now in
his fifth year living and
working in the Chicago
area. As an ensemble
singer, he can often be
seen with the Chicago Symphony Chorus,
Schola Cantorum Cathedralis (Holy Name
Cathedral), and Chicago a cappella. He also
appears as a soloist on recordings with the
Chicago Galant Masters Project. Ace was
recently appointed Assistant Director of
Music at First United Methodist Church of
Evanston, adding to an eclectic résumé in
church music leadership. In his hometown,
he served as Youth Choir Director at Greater
Archview Baptist and Union A.M.E. Church,
where he began to learn and love gospel
music. Concurrently, he served as a Cantor
for the Cathedral of St. Andrew, the mother
church of the Catholic Diocese of Little
Rock. In Chicago, he has also served at Alice
Millar Chapel, Holy Name Cathedral, and
other local churches as a singer and pianist. Additionally, he serves as the choral
accompanist for St. Patrick High School,
located in Chicago’s northwest side. Ace
holds a Bachelor’s Degree in Music
Education from the University of Central
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. Ace is
honored to return for a second season to
sing alongside his colleagues in Chicago a
cappella.
Elizabeth Grizzell,
mezzo
Mezzo-soprano
Elizabeth Grizzell has
performed with groups
both in Chicago and
abroad. She has
appeared as soloist with
the Tunbridge Wells Opera, the Marlow
Choral Society, and the Wooburn Singers of
England. As a member of the Chicago
Symphony Chorus, she has recorded the role
of Apprentice with the late Sir Georg Solti
and the Chicago Symphony Orchestra in
Wagner’s Die Meistersinger. Betsy is also a
member of the Grant Park Chorus, and
records regularly as a soloist for GIA
Publications. She holds a Bachelor of Music
degree with a vocal emphasis from DePaul
University.This will be Betsy’s 13th season
with Chicago a cappella. She has previously
programmed the ensemble’s 2012 All About
the Women concert and 2009 The Birds and
the Bees concert. Of special note is her
Betsy’s MusiKids program, a musical
education experience designed for children
ages 16 months to 9 years old. Her studio in
Naperville introduces more than 100
children each year to the fun and beauty of
music. Find her on Facebook at “Betsy’s
MusiKids”, or at www.grizzell.com.
Garrett Johannsen,
tenor
Garrett Johannsen is
proud to be singing
with Chicago a cappella! He grew up in Schiller
Park, IL and graduated
from The Chicago
College of Performing Arts at Roosevelt
25
26
Chicago a cappella
BIOGR APHIES
c o n t.
University. Over the years, he has sung for
the Lyric Opera Chorus, Chicago Symphony
Chorus, Grant Park Chorus, William Ferris
Chorale, and Bella Voce. Operatic roles
include; Spalanzani / Les contes d’Hoffmann,
Rev. Parris (Cover) / The Crucible, The
Realtor / The Yellow Wallpaper, Nanki-Poo
/ The Mikado, The Lover / Amelia Goes to
the Ball and Lucano / The Coronation of
Poppea. He has appeared as soloist with the
International Chamber Artists / Mozart’s
Requiem, the Elmhurst Choral Union &
Waukegan Symphony / Handel’s Messiah. Garrett has recently ventured into the
wonderful art of cabaret performance with
three shows last year alone. He has also been
invited back to sing for his favorite sports
team, The Chicago White Sox, four times.
Follow Garrett at garrettjohannsen.com.
Alexia Kruger, soprano
Alexia Kruger enjoys
performing a wide variety
of music from the stage
to the recital hall. A
member of the Chicago
Symphony Chorus and
the Grant Park Chorus,
Alexia has also been a soloist with such
groups as the Chicago Chamber Orchestra
(J.S. Bach’s Cantata 51), Chicago Sinfonietta
at the Shedd and at Joffrey, Mantra Blue Free
Orchestra, the Valparaiso University
Symphony Orchestra (R. Strauss Beim
Schlafengehen and Im Abendrot), and the
University of Illinois Percussion Ensemble
(Stravinsky’s Les Noces). She loves art song
as well and has given recitals at such venues
as the Chicago Cultural Center, Fourth
Presbyterian Church, and several locations
with VOX 3. Past roles have included
Susanna and Contessa D’Almaviva (Le
Nozze di Figaro), Giulietta (Les Contes
dHoffmann), the title role in Suor Angelica,
Lola (Gallantry), and Eve (Children of Eden).
She is very excited to sing with Chicago a
cappella this season!
Joe Labozetta, bass
Now in his fourth season
with Chicago a cappella,
baritone Joe Labozetta is
thrilled to be singing with
such esteemed colleagues.
Ever the ensemble
musician, Joe has an
instrumental background as well. Although
perfectly content at the piano and organ, or
holding a guitar or bass, choral singing is
what he most enjoys. Starting 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.
Stylistic interests include: symphonic
masterworks, Renaissance polyphony, tight
jazz harmonies, vocal percussion, overtonesinging, 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 his own church choirs,
composing hymnody or flailing away on the
pipe organ, he regularly appears with
Chicago-based performing ensembles:
Chicago Symphony Chorus, Grant Park
Chorus, William Ferris Chorale, Bella Voce,
Ensemble Alioni, The Rookery, and Schola
Antiqua.
Cari Plachy, soprano
Soprano Cari Plachy is
enjoying splitting her
time between choral and
opera singing. 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). Her choral
work includes singing with the Chicago
Symphony Chorus. In 2008, she had an
opportunity to step out from the chorus
and sing a solo in Bruckner’s Psalm 150.
The Chicago Sun-Times recognized it as
27
BIOGR APHIES
c o n t.
being a “sparkling, and aggressively sung
solo.” Cari received her Bachelor’s degree in
music education from DePaul University.
Since then, she has been working with
the education department of the Chicago
Symphony Orchestra, bringing music to
children all over Chicago. In addition to
her work in Chicago, Cari was fortunate
to bring her love of music to deaf children
at Child’s Voice School in Wood Dale.
Currently, her days are mostly spent
playing mommy to her two little girls!
Emily Price, mezzo
Mezzo-soprano Emily
Price 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.
28
Benjamin Rivera, bass
Benjamin Rivera is
chorus director of the
Fort Wayne
Philharmonic and
artistic director of
Cantate, a Chicagobased chamber choir
performing music from all genres and
Chicago a cappella
periods. He is also Cantor (Music Director)
at Immanuel Lutheran Church in Evanston.
He has prepared and conducted choruses at
all levels in repertoire from gospel, pop, and
folk to sacred polyphony, choral/orchestral
masterworks, and contemporary pieces. In
his seventeenth season as a member of the
Chicago Symphony Chorus, including ten
seasons as bass section leader, Benjamin also
sings professionally with the Grant Park
Chorus and many other ensembles. He is a
frequent soloist, most often in sacred and
concert works. He has sung across the U.S.,
and can be heard on numerous recordings.
He has been on the faculty of several
universities, directing choirs and teaching
voice, diction, music theory, and history. In
addition, he has adjudicated many
competitions (solo and ensemble), and he
recently presented at the Iowa Choral
Directors Association summer conference.
Especially adept with languages, Benjamin
frequently coaches German and Spanish,
among several others. He holds degrees in
voice and music theory from North Park
University and Roosevelt University,
respectively, and is writing his dissertation
for the doctorate in choral conducting from
Northwestern University.
Michael Roemer, bass
Michael Roemer, hailing
from Brodhead, WI,
earned his degrees from
the University of
Wisconsin-Madison
(MM) and the
University of
Wisconsin-Whitewater (BM). Currently
residing near Chicago, Michael sang with
the Lyric Opera of Chicago’s chorus in
Parsifal and is a excited to be a new artist
with Chicago a cappella. Michael is a
teaching artist with Chicago Opera Theater
for Teens at Solorio Academy, leading music
direction for teens in opera, operetta, and
musical theater. Michael played Bill Bobstay
in Light Opera Works’ HMS Pinafore, and
he is a part of Chicago Opera Playhouse’s
production of Humperdinck’s Hansel and
Gretel, playing piano and performing the
BIOGR APHIES
c o n t.
role of the father. Michael is a past
Metropolitan Opera National Council
Encouragement Award winner, and has also
performed with the UW-Madison
Symphony Orchestra as one of the 2012
UW-Madison Concerto Competition
winners. While studying in Madison,
Michael has played leading roles in Don
Giovanni, La Bohème, and The Consul, and
was a summer Des Moines Metro Opera
Apprentice in 2011. Michael has also
frequented La Musica Lirica, a young artist
program based in Novafeltria, Italy,
performing under the baton of Maestro
Joseph Rescigno in productions of La
Bohème and Falstaff.
E N S E M B L E E S PA Ñ O L S PA N I S H DA N C E T H E AT E R
In residence at Northeastern Illinois
University, Chicago
IRMA SUAREZ RUÍZ,
Associate Artistic Director,
Rehearsal Mistress,
Teacher, Choreographer,
Director of Education and
Community Outreach, was
born in Chicago, then
moved to Mexico City to live with her family.
Her formal dance training in classical ballet
and Spanish dance began with Dame Libby
Komaiko in 1979. She graduated with honors
from NEIU in April 1983 with a B.A. in
Foreign Languages and Literature and a
minor in Dance. Irma has been honored
with the Artistic Ambassador Award from the
Ruth Page Foundation and NEIU in
recognition of her artistic achievements and
contributions to dance internationally. Irma
is on the dance faculty of NEIU.
JOSÉ TORRES, Principal
Dancer, Rehearsal
Assistant, from Bayamon,
Puerto Rico, began his
formal dance training
with Dame Libby
Komaiko as a member of
the “All-City Jr. Ensemble Español” at the age
of sixteen in 1995. In 1997 he was promoted
to the professional company and in 2002 was
promoted to Principal Dancer. José has
taught Spanish Dance for the E.E.S.D.T.
community outreach and education
programs. Jose traveled to Australia in 2007,
2008 and 2013 on the invitation of Danza
Viva Spanish Dance Company as a guest
performer, choreographer, and teacher to
rave reviews.
MONICA SAUCEDO,
Company Dancer,
Community Spanish
Dance Instructor, of
Mexican-Ukrainian
descent, was born and
raised in Chicago. She
began dancing with the Nobleza Azteca
Mexican Folkloric Dance Group at the age of
five at her elementary school, Kanoon
Magnet. Monica began her formal dance
training with Dame Libby Komaiko at age
eleven in the spring of 1999. In the Winter of
2001, Monica was given a scholarship to the
All City “Jr” Ensemble Español. In the spring
of 2004, Monica was promoted to understudy status with the E.E.S.D.T. In January
2005 she became an apprentice to the
company. In July 2005, she became a full
company dancer. She teaches Math at the
Chicago High School for the Performing
Arts.
29
C H I C AG O A C APPE LL A C D S
Bound for Glory!
New setting 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
Christmas a cappella
A celebration of the
holiday season with
Christmas songs from
around the world
Shall I Compare Thee?
Contemporary settings
of Shakespeare’s timeless
words
Eclectric
New works, familiar
favorites, pop & jazz. “An
overflowing cornucopia
of choral delights”
(ChicagoTribune)
Holidays
a cappella Live
Live performances of
Christmas spirituals,
Chanukah songs and
holiday music from
around the world
Go Down, Moses
A stunning collection of
spirituals
Mathurin Forestier:
Masses
World-premiere
recording of breathtaking
Renaissance church
music
Palestrina: Music for the
Christmas Season
Brilliant Renaissance
polyphony by the Italian
master Palestrina
Available in the lobby: $16 each (includes sales tax)
30
Chicago a cappella
SUPPORT CHICAGO A CAPPELLA
Chicago a cappella is a creative enterprise devoted to furthering the art
of singing together without instruments. Founded in 1993, our classical
vocal ensemble of professional singers moves the heart and spirit with
fun, innovative concerts. Through our Chicago-area subscription series,
guest appearances both locally and on tour, CD recordings and broadcast
appearances, and educational and community outreach programming, we
strive to enrich lives through music.
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, email [email protected] 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 networks, 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.
2936 N. Southport Ave., Room 226 | Chicago, IL 60657
Phone (773) 281-7820 | Fax (773) 435-6453
[email protected] | www.chicagoacappella.org
31
DONORS
THE ACCOMPANISTS
Chicago a cappella is honored to acknowledge the charter members of The
Accompanists, a group of donors who make three-year pledges in support
of Chicago a cappella’s educational and artistic programs.
Anonymous
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
Tom and Margaret Huyck
Murray Kopelow and Cathy Bachman
Leslie Lauderdale
Dan and Cari Levin
Robert and Fleury Linn
Jennifer Marling
Mary Miller
David and Carole Perlman
Bette Sikes and Joan Pederson
Maria T. Suarez
Barbara Volin
Dee Dee Whipple
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) 2817820 or visit chicagoacappella.org/support.
32
Chicago a cappella
DONORS
We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella since January 1, 2014. 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+
Paul M. Angell Family Foundation
The MacArthur Funds for Arts and Culture
at the Richard H. Driehaus Foundation
Up to $999
First Bank and Trust Evanston
Northern Trust
Pierce Family Charitable Foundation
$5,000-$9,999
The Gaylord and Dorothy Donnelley
Foundation
Illinois Arts Council Agency
Matching Gifts
JP Morgan Chase Foundation
Nuveen Investments
$1,000-$4,999
Elizabeth F. Cheney Foundation
The Pauls Foundation
City of Chicago Dept. of Cultural Affairs
and Special Events
Oak Park Area Arts Council
In-Kind
Arts & Business Council of Chicago
AV Chicago
Homestead Hotel
Press America
Norbert Shimkus Design
Media Sponsors
Chicago Jewish News
Chicago Maroon
The Daily Herald
WBEZ 91.5
INDIVIDUAL CONTRIBUTORS
VISIONARY
($10,000 or more)
Anonymous
Hyslop Shannon Foundation
Klaff Family Foundation
UNDERWRITER
($5,000 or more)
Joyce Grenis and Michael
Koen
Lawrence Hamilton and Ann
Hicks
GRAND BENEFACTOR
($2,500 or more)
Margaret and Gary
Kachadurian
Murray Kopelow and Cathy
Bachman
Bette Sikes and Joan Pederson
Maria Suarez
Barbara Volin
BENEFACTOR
($1,000 or more)
Gary Belkin and Ed Tuder
Claudia and Timothy Divis
Frank G. and Gertrude
Dunlap Fund
Bill and Jeanetta Flowers
Helen Gagel
Hank and Becky Hartman
Dick Hewitt
Deb and Bill Hoban
William J. and Sharon Hupp
Jay and Jackie Lauderdale
Leslie Lauderdale
Dietra and Tony Millard
Ruth Oberg
Alice and David Osberg*
David and Carole Perlman
Monroe and Elaine Roth
Steve and Priscilla Shaw
Margaret and Ron Spears
Kris Swanson
Lance and Stephanie
Wilkening
PATRON ($500 or more)
Anonymous (2)
Marguerite Bloch
Laura and Gary Cooper
James and Ellen Dalton
Barbara Butz and Robb Geiger
Marina and Sander Gilman
Matt Greenberg and Chris
Baer
33
DONORS
c o n t.
Judith Grubner and Craig
Jobson
Joan and Guy Gunzberg
Terri Hemmert
Ann Hewitt*
Jim and Lois Hobart
Tom and Margaret Huyck
Douglas and Christine Kelner*
Marina and Andrey Kuznetsov
Dan and Cari Levin
Joan Levin In Honor of Dan
and Cari Levin
Bob and Fleury Linn
Mary Miller
James and Kimberly Norman
Dale and Donna Prest
Doris Roskin
Carolyn Sacksteder*
Benjamin H. and Marianne
Schapiro
Jennifer and Warren Schultz*
M. Rosie Rees and Eugene
Servillo
Frank Villella*
Duain Wolfe
SPONSOR ($250 or more)
Anonymous
Tom Andrews
Ann and Roger Cole
Harvey and Arlene Coustan
Howard and Judy Gilbert
Don and Joanna Gwinn*
Robert Harris
Nancy and Arthur Hirsch
Charles Katzenmeyer
Rae Kendrick*
Shirlene Ward and Kevin
Kipp*
Leo and Elizabeth Lanzillo
Ivan and Jasna Lappin
Stephen and Lisbeth Lerner
Jennifer Marling
Jonathan Miller and Sandra
Siegel Miller
Drs. Donald and Mary Ellen
Newsom*
Ken Novak*
Richard and Cindy Pardo
Sanford Greenberg and Betsy
Perdue*
34
Chicago a cappella
Joan and Jeff Petertil
Norman and Patricia Sack
Ann Stevens*
Gordon and Evelyn Straw
Joan Ward
Anne Heider and Steve
Warner
Betsy Meisenheimer and
Richard W. Westerfield
Penny Yunker In honor of Bill
Flowers
SUPPORTERS
($100 or more)
Anonymous (3)
Dr. Diane Altkorn
Eula Lewis Anderson and
Nathaniel Anderson
Steve and Sally Anderson
Francine Atkins
Vivien and John Barkidjija
Noel and Dan Barnes
Dian and David Barth
Carole Baumgart
Susan Beal*
Allan I and Jan L Bergman
Blumenthal and Associates,
LLC
Carolyn Broquet
Maria K Carrig
Judy Chernick
Fay Clayton
Shawn Ying and Jason Cohen
Ruth Crippen
Dolores Cross
Emily Ellsworth
Jane and Joel Erkenswick
Ron and Judy Eshleman
Maurice Fantus and Judith A.
Aiello Philanthropic Fund
In honor of Helen Gagel
Terry Yale Feiertag
Dale and Marilyn Fitschen
Hugh and Mary Flowers In
honor of Bill Flowers
Jerry Smith and Dottie Fugiel
Katie Frankle and David
Goldman
Mark Greenberg
Margo Lynn Hablutzel
Irene Hansen
Munn and Bonnie Heydorn
Louise Holland
Valerie Humowiecki
Elizabeth J Hurtig
Joe Jania
Susan Kamp
Tom and Linda Kamp
Paige and Matt Kerr
John and Martha Kopczyk
David and Darlene Landsittel
Helen Lauderdale
Lindy Lauderdale
Herm and Barbara Lefevre
Tom Letscher In honor of
Marty and Barbara Letscher
Susan and Joe Lunn
Jay Lytle
Mary and Steven Magnani
Dick and Linda Martens
Karen Maurer
Dorothy B. Mayer
Lester McKeever
David Miller & Mary Ellen
McNish
Cheryl and Tom McRoberts
Glenn Meade
David Thompson and Beatriz
Medwecky
Robert and Lois Moeller
Lauren Verdich and Gail
Morse
Alice E. Moss
Vreni Naess*
Cathy and Paul Newport
Tom and Marianne Orland
Carolyn and Peter Pereira
Marianne and Bernard A
Phelan
Larry and Judy Pitts
John and Gail Polles
Jane Ann Prest
Elizabeth Ray
Wendy Anker & Edward Reed
Ken and Kristine Rupert
Scott and Laura Sandee
Suzanne and Tim
Schoolmaster
Jim and Jenny Sherman
Norbert Shimkus
Laura Smith
Les and Bev Smulevitz
DONORS
c o n t.
Geri Sztuk
Dave and Carolyn Utech*
Brad Wainer and Lori Weiss
Wainer
Seth Wainer
Tracy and Tony Weisman
Rebecca Wellisch
Bob and Sue Wieseneck
Alita Winters
Robert Wolff
Lisa Wright
Dimis J. Wyman
FRIEND ($50 or more)
Anonymous
Donna Brazulis In Honor of
Mr. & Mrs. Walter Brazulis
Kathryn Kamp and Erich
Buchholz
Jennifer Burrus
David Carr
Ioanna and Robert Chaney
Julia and Daniel Coyne
Arthur and Maureen
Davenport
Lynn and Jim Denton
Ann Dwyer
Ralph and Jenny Earlandson
Jeanine Farwell
Norma Felbinger*
Mary Flowers Boyce and
David Boyce
Evelyn Gaudutis
Jo-Ann and Stanley Gaynor
Geraldine L. Oberman and
Eleida M. Gomez
Dennis Hammer
Carolyn Hayes
Barbara Hofmaier and David
Heim
Judy and Matt Iverson
Mark and Amy Jarman
Sonia Ness and Peter Jenkins
John and Martha Jurecko
Kelsey Kamp
Janis Kanter
Linda Kaplan
Jerry Kavouras
George Klippel
Patience Kramer In honor of
Helen Gagel
Colleen Labozetta
Lenore and James Lindsey
Frank Brockway and Margaret
Lonquist*
In Honor of Monroe Roth
Scott and Kelly McCleary
Daniel Melamed
William Miles
Thomas Platt and Carolyn
Notkoff
Jennifer Lee O’Neil
Marjorie Pentland
Joe and Julie Polanski In honor
of Bill Flowers
Tom and Karen Reepmeyer
Raiselle and Kenneth Resnick
Debra Rice
Jonathan and Joy Rosner
Brenda Russell In Honor of
Monroe Roth
Linda Mast and Bard
Schatzman
Charles Hoffman and Tamara
Schiller
Howard and Roberta Siegel
Robin Simon
David and Barbara Slivnick
Marilyn Steenwyk
Gene and Mindy Stein
Nikki and Fred Stein
Terrill L Stumpf
Juan and Olga Suarez
Marty and Michael Swisher
Willard Thomen
Paul and Sara Vandeberg
John Vorrasi
Phyllis Walden
William Wallace
Eileen and Dirk Walvoord
Robert and Barbara
Wichmann
Alfreda Williams
Deety and Bruce Winograd
*Sustaining donor
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35
36
Chicago a cappella

A Cappella en Español

Transcription

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