loyola - october program

1Loyola University Chicago

Loyola University ChicagoDepartment of Fine and Performing Arts

Presents

Fall 2010 Music Program

Orchestra, Chorus & Chamber Choir Concert

October 25, 2010 at 7:30pm

Jazz Band & Wind Ensemble ConcertOctober 28, 2010 at 7:30pm

Auditorium, Mundelein Center1020 W Sheridan Road

2 Loyola University Chicago

FALL ENSEMBLES CONCERT

Program for October 25, 2010 at 7:30pm

Chamber ChoirCharles Jurgensmeier, S.J., director

Il bianco e dolce cigno Jacob Arcadelt(c.1507-1568)

Come again John Dowland(1563-1626)

Dido and Aeneas Henry Purcell “When I am Laid in Earth” (1659-1695)“With Drooping Wings”

Lenore Ettinger, soprano

Six Chansons Paul Hindemith III. Puisque tout Passe (1895-1963) V. En Hiver

OrchestraDr. Colin Holman, director

Prelude to Khovanshchina Modest Mussorgsky(1839-1881)

Serenade for Strings Josef Suk(1847-1935)

Andante con moto

Norwegian Dances op. 35 Edvard Grieg(1843-1907)

Allegro marcato Allegretto tranquillo e grazioso Allegro moderato alla Marcia Allegro molto

University ChorusKirsten Hedegaard, director

Jeffrey Richards, accompanist

Shenandoah American Folk Song / arr. James Erb(b.1926)

Keep Your Lamps Spiritual / arr. Andre Thomas(b.1952)

Cassy Gerber, percussion

Animal Crackers, Vol. I Eric Whitacre I. The Panther (b.1970) II. The Cow III. The Firefly

Requiem Eliza Gilkyson (b.1950) / arr. Craig Hella Johnson

Hope for Resolution Paul Caldwell and Sean IvoryJustin Hike, saxophone; Cassy Gerber, percussion

University Chorus and Orchestra

Welten singen Dank und Ehre from Christus am Ölberge Ludwig van Beethoven(1770-1827)


PROGR A M NOTES : OCTOBER 25, 2010

Chamber Choir Texts

Il bianco e dolce cignoThe gentle white swan sings while dying, and I approach the end of my life weep-ing. Howstrange and different a fate, that he dies disconsolate and I die happy in a death that fills me with joy and desire. If I were to feel no other pain in my death I would be happy to die a thousand times.

Puisque Tout PassePuisque tout passe, faisons Since everything passes,la mélodie passagère; let us make fleeting melody;celle qui nous désaltère the one that refreshes usaura de nous raison. will get the better of us.Chantons ce qui nous quitte Let us sing that which is leaving usavec amour et art, with love and art;soyons plus vite let us be quickerque le rapide départ. than its swift departure.

En HiverEn hiver, la mort meurtrière In Winter, murderous Deathentre dans les maisons; comes into the houses,elle cherche la soeur, le père seeks out sister and fatheret leur joue du violon. and plays to them on the fiddle.Mais quand la terre remue, But when the earth turnssous la bêche du printemps, under Springtime’s spadela mort court dans les rues Death runs through the streetset salue les passants. and greets the passers-by.

The 4-part madrigal (like a secular part-song) by Belgian Renaissance musician Jacob Arcadelt, arose out from the early 16th century. Arcadelt wrote in several languages and this madrigal is in Italian. The narrator contrasts the gentle white swan’s dying moments to his own, sweet “death” for experiencing love with all its joys. This is Arcadelt’s most famous madrigal.

John Dowland was an English composer, singer and lutenist. Most of Dowland’s work is written for his own instrument, the lute. Come again was originally written for voice and lute, but has been been transcribed for chorus. Most likely Dowland would have both sung and played these pieces himself.

Henry Purcell’s masterpiece, Dido and Aeneas, is considered the high point of Eng-lish opera. “When I Am Laid in Earth” is a poignant, lovely aria sung by the lovelorn, dying Queen Dido as her hero Aeneas sails away from her and Carthage in order to go to war and found the city of Rome. Following her aria is the closing chorus, “With drooping wings,” wherein a chorus of Cupids gather around her, spreading roses on her tomb and forever keeping watch around her.

Homage to the early French chanson is very much evident in the Six Chansons, settings of verse by Rainer Maria Rilke. Here is Hindemith’s unmistakable harmonic language and syntax adapted to the most gracefully inflected and text-sensitive vocal declamation that can be found in his work for chorus. The unique liquid and soft sound of the French language, the pastoral subject matter, the very French-like curve of the melodic line, the seductive harmony -- all are conscious, carefully considered components of a reflection of a French style of song. Janequin and even Fauré are possible inspirations for these gentle, lovely works.


PROGR A M NOTES : OCTOBER 25, 2010 (c o n t.)

Orchestra

Khovanshchina (The Khovansky Affair) is an opera in five acts by Modest Mussorgsky written between 1872 and 1880 in St. Petersburg, Russia. The composer wrote the libretto based on historical sources but never lived long enough to see a complete performance. The story concerns an unsuccessful rebellion of Prince Ivan Khovansky against Peter the Great. In the opera, Khovansky’s followers commit mass suicide. The Prelude is in great contrast to the bloody story, setting the scene of dawn on the Moscow River, and heard today in Rimsky-Korsakov’s orchestration. Josef Suk’s youthful Serenade for Strings (1892) is probably his best known work and one that combines his personal harmonic style with clear influences from both Brahms and Dvorak. Suk’s training as a professional violinist enabled him to de-velop the skills to explore the resources of string instruments which are heard to full effect in the first movement of the Serenade performed today. Grieg’s Norwegian Dances are based on actual traditional tunes which were taken from Lindeman’s collections of Mountain Melodies Old and New (1853). Grieg was a pioneer of Scandanavian nationalism, and composed the Norwegian Dances in 1881 originally for piano duets. They were later orchestrated by Czech-born conductor/violinist Hans Sitt. The first dance is based upon a tune called “Sinclair’s March” and the other three are all Hallings (Scandanavian dance movements in ternary form).

ChorusTexts

The Panther The panther is like a leopard, Except it hasn’t been peppered. If you behold a panther crouch, Prepare to say Ouch. Better yet, if called by a panther, Don’t anther.

The Cow The cow is of the bovine ilk; One end is moo, the other milk.

The Firefly The firefly’s flame Is something for which science has no name I can think of nothing eerier Than flying around with an unidentified glow on a Person’s posterior.

Hope for ResolutionThula sizwe, ungabokhala Nation, do not cry.uJehova wakho uzokunqobela. Jehovah will protect us.Inkululeko, sizoyithola, We will attain freedom.uJehova wakho uzokunqobela. Jehovah will protect us.

Welten Singen Dank und EhreWelten singen dank und ehre Worlds sing thanks and praisedem erhab’nen Gottessohn. to the exalted Son of God.Preiset ihn, ihr Engelchöre, Glorify him, O choirs of angels,laut im heil’gen Jubelton. loudly with holy, triumphal cheers.


JA ZZ BAND & WIND ENSEMBLE CONCERT

Program for October 28, 2010 at 7:30pm

Jazz BandScott Burns, director

Missing Tooth comp./arr. Doug Beach

Red Clay comp. Freddie Hubbard(1938-2008) /arr. Mark Taylor

(Fee-Fi-Fo-Fum) comp. Wayne Shorter(b.1933) /arr. Mike Tomaro

Una Mas comp. Kenny Dorham (1924-1972) /arr. Michael Philip Mossman

Wind EnsembleFrederick Lowe, director

Nobles of the Mystic Shrine John Philip Sousa(1854–1932)

ed. Frederick Fennell

When Jesus Wept William Schuman(1910–1992)

Nicholas Hadjokas, trumpet and Janine Bologna, euphonium

Strange Humors John Mackey(b. 1973)

Cassy Gerber, djembe

Molly on the Shore Percy Aldridge Grainger(1882–1961)

ed. R. Mark Rogers

Second Suite in F Gustav Holst 1. March (1874–1934) 2. Song Without Words “I’ll Love my Love” ed. Colin Matthews 3. Song of the Blacksmith 4. Fantasia on the “Dargason”

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PROGR A M NOTES : OCTOBER 28 , 2010

Jazz Band

Missing Tooth, penned by Elmhurst College Director of Jazz Studies Doug Beach, is dedicated to the late pianist, composer, educator, and eleven-time Grammy nominee, Frank Mantooth. The tune is based on the chord changes of the popular tune “I Got Rhythm”, or “rhythm changes”, as they are referred to in jazz parlance. The intro features the horns stating short figures interspersed with drum fills. The 32-bar melody features the horns playing rhythmic hits anticipating the beat alternating with longer melodic lines played over a swing feel. The sax section takes over the melody for the bridge, accented by punches in the brass. The second chorus is largely a soli for tutti horns, culminating in a melodic variation of the original melody in the last 8 bars that launches into the solo section. After the solos, there is an interesting section that breaks down the form and rhythm, providing a nice contrast from the swinging solo section. The intro returns, followed by more variations of the melody, with the saxophones re-stating the original melody of the bridge. The chart winds up in energetic fashion by tying the intro figure to the end of the form.

Freddie Hubbard (1938-2008) was one the most influential and exciting trumpet players in the history of jazz. Red Clay, from his 1970 album of the same name, remains one of his most popular compositions. Played in a funky rock feel, the tune is constructed of three distinct parts stated in staggered entrances. First, the bass plays a repeating 4 bar line. Next, the bass line’s rhythm is accentuated by a recurring chordal figure. Lastly, the melodic line is stated over the bass line and recurring chords. The harmonic structure of the melody and solos is relatively simple and brief, making the tune a favorite for improvisers to “stretch out” on. Mark Taylor’s arrangement stays very true to the original recording in terms of the overall form. A small group within the band effectively states the melody in unison the first time, and in harmony the second time. The rhythm section and horns in turn support the melody with the aforementioned recurring chord figure. There is ample solo space for a variety of instruments, and the background figures from the original recording are kept in tact, as is the double-time feel that culminates each solo. After the solos, the band states the last section of the melody together, leading to a brief drum solo. An exiting melodic varia-tion stated in stop-time is the culmination of the arrangement, which leads back to the final statement of the staggered three-part melody form.

Prolific composer and saxophonist Wayne Shorter (b 1933) has written scores of composi-tions that have become standards of the jazz repertoire. Fee-Fi-Fo-Fum was originally record-ed on his landmark record for the Blue Note label “Speak No Evil”, which should be consid-ered a must-have for any student of the jazz idiom and/or serious jazz fan. (The album also features aforementioned trumpeter Freddie Hubbard, and pianist Herbie Hancock,). In Mike Tomaro’s tasteful arrangement, the tune’s beautiful melody is played over a relaxed swing feel, and is distributed to different horn sections for each phrase. Solos by trumpet, alto sax, and piano follow, with varied backgrounds in the horns. The chart culminates in an ensem-ble chorus that builds until the penultimate phrase, in which a variation of the tune’s melody returns, drawing the arrangement to an effective close with a brief but familiar recap.

Trumpeter and composer Kenny Dorham (1924-1972) is considered by many musicians and critics to be an “unsung hero” of sorts in jazz history. Despite having risen through the ranks during the bebop and hard bop eras in the small groups of Charlie Parker, Max Roach, and the original Jazz Messengers, as well as the big bands of Dizzy Gillespie, Billy Eckstein and others, Dorham’s popularity with the general public was somewhat overshadowed by another fine trumpeter and bandleader whose career began concurrently, Miles Davis. His lively Latin-influenced tune Una Mas is from the 1963 album of the same name. The tune is composed of two contrasting sections: the first consists of a simple repeating melodic and rhythmic figure, the second is a melodic figure that gracefully descends in range and key area, underpinned by energetic rhythmic figures by the rhythm section. Michel Philip Mossman’s arrangement adds interesting melodic and rhythmic material to Dorham’s original melody during its initial statement, but never overshadows its simple elegance. The solo sections are divided by an ensemble chorus that features new melodic material with interesting reharmonizations. After the last soloist, Dorham’s original shout chorus is deftly arranged my Mossman, complete with its characteristic montuno figure. A restatement of the melody and a brief coda that tags the last phrase complete this enjoyable arrangement.


PROGR A M NOTES : OCTOBER 28 , 2010 (c o n t.)

Wind Ensemble

Born in Washington, D.C., the “March King” John Philip Sousa was accepted into the Marine Band at the age of thirteen, and later was appointed the band’s leader, a position he held for twelve years before founding his own band. During the Sousa Band’s history (1892–1932), the ensemble performed over 15,200 concerts, establishing Sousa at the turn of the century as one of the most recognized names in music anywhere in the world. Sousa wrote hun-dreds of pieces, including comic operas and orchestral works, but is most famous for his 135 marches. Sponsored into the Almas Temple of Shriners (Ancient Arabic Order of the Nobles of the Mystic Shrine) by his nephew in 1922, Sousa composed Nobles of the Mystic Shrine march in honor of the occasion and was appointed honorary conductor. At the national Shriners’ convention in 1923, Sousa led this work in a performance by a gigantic band of 6,200 Shriners at Griffith Stadium in Washington, D.C.

William Schuman entered New York University in 1928 pursuing a business degree while working at an advertising agency. As the years passed, his love for music won out, and he left business school to study composition at the Juilliard School and Columbia University during the 1930s. His breakthrough came in 1938 when he won a composition contest with his Sec-ond Symphony, bringing his music to the attention of composer Aaron Copland and Boston Symphony Orchestra conductor Serge Koussevitzky. Both men championed Schuman’s mu-sic, and over the next five years his works became great successes both with the public and critics. This success led to positions as president of the Juilliard School and later president of the Lincoln Center for the Performing Arts, thought he always continued to compose throughout his administrative career. Schuman was honored by countless awards and dis-tinctions, including the Pulitzer Prize in Music, two Guggenheim fellowships, and Kennedy Center honors in 1989. Schuman originally wrote his New England Triptych for orchestra in 1956, and rescored the second movement, When Jesus Wept, for the famous Goldman Band in New York in 1958. The triptych is based on hymns by eighteenth century American choral composer William Billings. Written in Boston around the time of the Revolutionary War, the short canon of When Jesus Wept features the following lyrics: “When Jesus wept, the falling tear/In mercy flowed beyond all bound/When Jesus groaned, a trembling fear/Seized all the guilty world around.”

Born in 1973 in New Philadelphia, Ohio, John Mackey holds a master of music degree from the Juilliard School and a bachelor of fine arts degree from the Cleveland Institute of Music. His works have been performed at the Sydney Opera House; the Brooklyn Academy of Music; Carnegie Hall; the Kennedy Center; Italy’s Spoleto Festival; Alice Tully Hall; and throughout the United States and the world. Mackey wrote the first version of Strange Humors in 1998 for string quartet and djembe and adapted the work for wind ensemble in 2006. Described by the New York Times as a “sultry score” dealing with “mysterious passions,” the piece represents a merging of musical cultures—the modal melodies and syncopated rhythms of Middle Eastern music melded with the percussive accompaniment of African drumming. At the heart of the work lies the pulse of the djembe, an hourglass-shaped drum played with bare hands. The djembe is a major part of the customs of West African countries such as Mali and Guinea, where djembe ensembles accompany many functional celebrations of society.

Australian-born Percy Aldridge Grainger is best known for his transcriptions of English folk songs in the early part of the twentieth century. Home-schooled by his mother in Melbourne until the age of thirteen, he then studied music in Frankfurt for six years before moving to London. After pursuing a career as a concert pianist for fourteen years, he moved to the United States, where be became popular as a performer and composer, and even served in the US Army for two years as a performer and a band instructor. His works for concert band are some of the most well-known in the repertoire, and his technique of recording English folk singers with an Edison wax cylinder allowed him to more faithfully transcribe every nuance of their performances. Molly on the Shore was written in 1907 as a gift to his mother, Rose, and was originally scored for string quartet. The work is based on excerpts from “Molly on the Shore” and “Temple Hill,” two Irish reels, or dance tunes, written without text for fiddle. Grainger rescored the work for band in 1920


B IOGR APHIES

Scott Burns is the Director of the Loyola University Chicago Jazz Band and Instructor of Applied Jazz Saxophone.

B.M., Jazz and Studio Music, University of Cincinnati College-Conservatory of Music M.M., Jazz Studies, DePaul University. Mr. Burns earned his Bachelor of Music degree in Jazz and Studio Music from the University of Cincinnati College-Conservatory of Music, graduating at the top of his class. After gaining varied professional performing and teaching experience both regionally and internationally, he relocated to Chicago to attend DePaul University, where he earned his Master of Music degree in Jazz Studies. While playing with DePaul’s award-winning jazz ensemble, Scott was a prominently featured soloist alongside legendary jazz performers Joe Lovano, Kenny Werner, Louis Bellson, and Tom Harrell, and received an outstanding soloist award from Down Beat magazine in 1999. As an established member of the Chicago jazz scene, Scott frequently shares the stage as a leader and sideman with the area’s finest jazz musicians. His wide-ranging performing credits include select dates with popular singer/pianist Harry Connick Jr., national tours with the Mighty Blue Kings, and performances with the Cincinnati Pops Orchestra and Chicago Jazz Orchestra. He has played at the JVC Jazz Fest, Newport Jazz Fest, Chicago Jazz Fest, Symphony Center, and many other festivals and venues, and has appeared with international jazz artists McCoy Tyner, David Hazeltine, Ira Sullivan, and Ahmad Jamal. Scott’s debut CD as a leader, Passages, was released on Origin Records to critical acclaim,

and features his original compositions. He can currently be heard performing in Chicago and the Midwest region. Mr. Burns has been a guest soloist and/or clinician at the University of Cincinnati, University of Illinois, Bowling Green Uni-versity, and Bloomington North H.S (IN). He has also taught at Columbia College, the Thelonious Monk Institute of Jazz, and the Northwestern University High School Music Institute summer program, as well as maintaining a private teaching studio.

Kirsten Hedegaard Hailed as “one of the most dynamic musicians of her genera-tion” (John Butt, Dunedin Consort), Kirsten Hedegaard has enjoyed a duel career as a singer and conductor. As a soprano soloist, she has been praised for her voice that “blends beautifully” (Chicago Tribune) and “soars perfectly in the upper registers” (Barrington Quintessential). She has performed numerous Bach cantatas and baroque chamber music and has been a soloist with many early music specialists including Nicholas McGegan, Paul Hillier, Ivars Taurins, Kenneth Slowik, and John Butt. Ms. Hedegaard has sung with Tafelmusik, Philharmonia Baroque, the Newberry Consort, Ars Antiqua, the Opera Company and Bella Voce, among other ensembles. Also interested in contemporary music, Ms. Hedegaard has premiered several new works and was engaged as soprano soloist for an international tour of Louis Andries-sens’s The Odyssey, with performances throughout the US and the Netherlands.

Currently on faculty at Loyola University, Ms. Hedegaard has taught conducting at Concordia University, River Forest and has conducted choirs and orchestras for various institutions including Eastman

PROGR A M NOTES : APR IL 20, 2010 (c o n t.)

Born in 1874 in Cheltenham, England, Gustav Holst’s music bears the unique influences of both English folks songs and Hindu philosophy, though he was well grounded in the British military band tradition as a trombone player. After a studying composition and trombone at the Royal College of Music, Holst accepted a position in 1905 as the direc-tor of music at the St. Paul’s Girls’ School in Hammersmith, London, where he would teach for the rest of his life. He composed his Second Suite in F for military band in 1911, just a few years before writing his monumental suite The Planets. The four move-ments of the Second Suite are based entirely on folk songs and morris dances, and the final movement features two competing themes, the “Dargason” and the well-known “Greensleeves.”


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Y O U R O N L I N E G U I D E T O T H E P E R F O R M I N G A R T S

Photo: Parsons DanceB IOGR APHIES (c o n t.)

House, Chicago Children’s Choir, Gallery 37, Loyola Academy, and the University of California. She was guest conductor with Chicago Choral Artists for the 2009-10 season and is the former conductor for the Bella Voce Outreach program. In 2000, she co-founded The Musical Offering, a nonprofit music school in Evanston where she held the position of Execu-tive Director until 2005. She also holds the position of Director of Music at the Presbyterian Church of Barrington.Ms. Hedegaard holds a BM from North-western University and her MA in conducting from the University of CA, where she was assistant to Paul Hillier. In 2008 she was invited to be a conduct-ing Fellow at the Yale Norfolk Festival, studying with Simon Carrington.

Dr. Colin Holman maintains an active professional career in Chicago where he divides his energies between conducting and musicology. Dr. Holman graduated from the University of Birmingham, Eng-land and was awarded a Direct Exchange Scholarship and a Graduate Honors Fel-lowship to complete his Masters degree

in orchestral conducting and his Ph.D. in musicology from the University of Kansas where he was a conducting student of George Lawner and Zuohuang Chen. For two years Dr. Holman taught Japa-nese and American students at Teikyo Westmar University before moving to Chicago where he has lectured at both the undergraduate and gradu-ate level at Northwestern University, Northern Illinois University, Wheaton College, and North Park University. Dr. Holman’s extensive conducting credits include work in opera and musi-cal theatre, with orchestras and concert bands, and in early music. Since moving to Chicago, he has conducted many of the orchestras in the area, including a tenure with the Fox Valley Symphony Orchestra and guest appointments with the Wheaton College Symphony Orchestra, the Elgin Symphony Orchestra, the Harper Symphony Orchestra, the West Suburban Symphony Orchestra, and the Chicago Virtuosi. Dr. Holman began his tenure as Orchestra Director at Loyola


B IOGR APHIES (c o n t.)

University in the Fall of 2007 and was recently named founding conductor of the newly formed Fox Valley Orchestra.

Fr. Charles Jurgensmeier, S. J. is currently Director of Music and Associate Professor of Music in the Department of Fine and Performing Arts at Loyola Uni-versity Chicago. Previous to his coming to Loyola University, he was on the faculty in the Department of Fine and Performing Arts at Creighton University in Omaha. For several years he performed with Opera Omaha and the Omaha Sym-phonic Chorus, as singer, soloist and conductor. He has given solo recitals in Holland, Italy, and Germany, as well as in Omaha NE, Cambridge MA, Los Angeles and San Francisco CA. He has worked as a church musician and choral director while pursuing his theological studies at the Weston Jesuit School of Theology and later at Loyola Marymount University during his doctoral studies. He contin-ues to be active as a church musician as well as devoting his time and talents in the performance of Early Music, focus-ing on the choral music of J. S. Bach, Henry Purcell, Johann Valentin Rathgeber, O.S.B., and Marc-Antoine Charpentier. He is also active as a scholar, writing on Franz Schubert’s only psalm set-ting in Hebrew, Psalm 92, Tov lehodos, and on the Magnificat settings of the eighteenth-century German composer, Johann Valentin Rathgeber. He has presented and had published papers on Schubert in the United States and on Valentin Rathgeber during the First and Second Rathgeber International Symposiums (2008 and 2010) in Germany.

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

Jeffrey Richards is the accompanist for the Loyola University Chorus. He at-tended Michigan State University, and for seven years was the accompanist for the Chicago Gay Men’s Chorus. He has accom-panied voice students for DePaul Univer-sity and Northwestern University, and for students of Acclaimed Soprano Catherine Malfitano. He currently accompanies students of the Chicago School of Profes-sional Singing and serves as organist for Bethlehem United Church of Christ in Chicago and Temple Chai in Long Grove.

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CHA MBER CHOIR

Jeff BarakJoshua BartlettAlexander ChellbergVinson DanhNatalie DuthoyLenore EttingerKinga KucharskaTimothy McAlister

Katherine MurphyMark NottLauren RogersAnna SchafferKristina SkulElizabeth SpaargarenChidinma UchenduKevin San Juan

ORCHESTR A

VIOLIN I Ana Bottecchia Anne Burkhardt Logan Finucan Claire Gaddis Amit Mittal Cristina Roy Momoko Takahashi Daniel Ventura

VIOLIN II Rebecca Bowman Megan Carnes Megan Gluchman Paul Guziewski Agnieszka Kukla Molly O’Brien Alexandra Rosales Annarita Tanzi Vithya Vazhakoottathil

VIOLA Courtney Bowe Elaine Disbro Colleen Hautzinger Kelly Lavieri Elizabeth Pelker Rachel Wood

CELLO Geneva Costopoulos Megan Crompton Christopher Hunt Rachel Jussel Kara Kwiatkowski Rachel Mignin Mehrdad Niroumandpour Susan White

BASS Amy Warmenhoven

FLUTE Hanna Green Morgan Pitz

OBOE Abigail Levy Reana Thomas

CLARINET Karolina Krawczyk John O’Hara

BASSOON Thomas Jones Derek Kane

FRENCH HORN Hannah Dwyer Jonathan Hauser

TRUMPET Rebecca Brantley Tynan Green Katherine Manos

PERCUSSION Emily Bolte Thomas Moushey

HARP Jennifer Gomulka

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


CHORUS

SOPRANOS Shannon Armstrong Morgan Barry Michelle Beggs Rachel Berg Alicia D’Agostino Lenore Ettinger Marissa Frederick Eileen Grogan Olivia Hurtgen Jenna Janiga Catherine Kauffmann Heather Kita Gwen Klemenz Karissa Lehman Lynnea Malley Anne Mccauly Brittany Montana Mattison Moran Victoria Mronga Selenia Murillo Kylie Pascente Emily Paul Amy Peterson Sophia Pimsler Christiana Prucnal Hollis Redmon Christel Richard Claire Schwab Kristina Skul Christine Smith Sara Snider Lisa Sroka Emily Tishler Ruth Tomuta Rachel Toporek Katherine Walther Kelsey Welch

ALTOS Sasha Attoh Rebekah Babis Madison Bailey Christina Brandt Rachel Christiansen Cherice Costentino Michelle Crisp Anna Dauzvardis Alison Drumm Emily Frankman Kelly Guo Diane Haberkorn Elizabeth Hanson Candace Hurt Antoinette Isama Madison Johnston

Ann Leither Alexis Matesi Melissa Meier Brienne Moore Katharine Mosher Cajuana Newman Erin Nordquist Brittany Price Claudia Salvador Alex Scharf Kelly Schmitz Priya Shah Anna Sherman Jessica Starr Haein Sung Chidinma Uchendu

TENORS Joshua Bartlett Marco Becerra Alex Chellberg Daniel Chung Vince Danh Andrew Ferrer Glen Fielder Mark Heard Tyler Hughes David Lancelle Randy Martinez Fotis Manousogianakis Mark Nott Benjamin Sejdak Max Senn Michael Sepulveda Michael Tomczak Joshua Zepeda

BASSES Jacob Ahnen Jeff Barak William Beischel Evan Czerwonka Benton Fletcher Mark Foley Chase Hanley Eric Holmes Richie Magallon Zach Martinez Timothy McAlister Simon Morgan Jonathon Paloma Mark Peterson Victor Reyes Michael Scaramelli Jonathon Swift Jackson Tenclay Brice Vinson


UNIVERS IT Y WIND ENSEMBLE

PICCOLOSarah EllisHannah GreenHaley KeeganColleen Sewing

FLUTESarah EllisHannah GreenAmy JurczakHaley KeeganJoseph LaMagna-ReiterColleen SewingMeghan VerbusMeagan YothmentRebecca Youssef

OBOEErin BaumannOlivia ChanAbigail LevyReana Thomas

ENGLISH HORNAbigail Levy

BASSOONThomas Bailey Jones IIJeremy MozweczEmily Mueller

CLARINETRoberta AnglinAgnes BiderEmily A. CaminitiNick FiaritoDiane GarciaCourtney GrimesKathy JurczakRomina KhouriLindsey KramerKatie LamontIeva MisiūnaiteAshleigh NicholsJohn O’HaraMaritza PintoSarah Wolpoff

BASS CLARINETJewell N. Briggs

SOPRANO SAXOPHONEJustin Hike

ALTO SAXOPHONERoxie AbleJustin HikeKendra HolewaLuke Mirabelli

TENOR SAXOPHONEAasim ChowdhryConnor Sewing

BARITONE SAXOPHONE Robby DeGraff

HORNRuthie BisekLaura GrenlinAaron KirkmanTim NickelsAleksander R. Weismantel

TRUMPETKevin DorseyJessica DrafkeBob FarrisNicholas HadjokasEdward LoyAshley LundgrenZachary ParsonsIan RogersChris UrbonNikolaus Weiner

TROMBONEErol AtacThomas BoisseauMike Welch

EUPHONIUMJanine BolognaCaryn Pavlak

TUBAMirza Krijestorac

PERCUSSIONMason BrownMichael ComerCassy GerberMason JenkinsDiana LesterAriana LoehrThomas M. MousheyJames Wentz

† The Wind Ensemble uses rotating seating. Players are listed alphabetically.


MUSIC FACULT Y

Kyle AscheSteven BetancourtScott BurnsWilliam CernotaRobert DillonVictor GarciaKirsten HedegaardColin Holman

Christine HwangCharles Jurgenmeier, SJHaysun KangJulie KoidinRebecca KornickBenjamin Le ClairGustavo LeoneRick Lowe

Kelli Morgan McHughAnthony MolinaroKeith MurphyAndrea Di OrioCameron SmithSteve SuvadaMingHuan Xu

DEPARTMENT OF F INE AND PERFOR MING ARTS STAFF

Interim Chair .......................................................................................................... Mark E. LococoDirector of Music ...............................................................................Charles Jurgensmeier, SJManaging Director .............................................................................................. April BrowningDirector of Public Programming ...................................................................... Jennie MartinOperations Manager ..............................................................................................Scott HestonManagement Assistants................................. Andrew Dillon, Maddie Lenarz Hooyman,

Chris ThompsonOffice Assistants .......................................................................Dennise, Isidoro, Marta Wasko Box Office Manager ............................................................................................ James DunfordBox Office Staff .................................... Kara Baumgartner, Owen Brittan, William Brown,

Faith Ann Chen, Ysatis Hill, Candace Hurt, Kathryn Siemianowski, Margaret Tomasik ,

Rachel Toporek, Daniel Tsang, Alyssa Vitale, Ceara Zennie

House Manager ...................................................................................................... Sallyann Price Student Publicist....................................................................................................... Jose Nateras

MUSIC EVENTS CREW

Evan Fazio, Manager of EventsJacob Ahnen Monica Dennis Robert Farris

Chris Hunt Yoni Manolopoulos Rachel Wood

JA ZZ BAND

ALTO SAXNicholas Bush Evan Czerwonka

TENOR SAXJustin Howe Connor Sewing

BARITONE SAXEric Pedone TRUMPETTynan Alexander GreenCory Engler Nicholas Hadjokas Ashley Lundgren

TROMBONEErol Atac Claire DeGrazia *Raphael Crawford

BASS TROMBONEMike Welch

PIANOMaxx McGathey

GUITARJustin LaForte

BASSAled Fain Benjamin Pellitieri

DRUMSDylan Andrews Stevenson Valentor

VIBRAPHONE & PERCUSSIONCassy Gerber

*guest performer


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ABOUT LOYOL A UNIVERS IT Y ’ S THEATRE PROGR A M

Loyola’s Department of Fine and Performing Arts combines the disciplines of dance, music, theatre, and the visual arts, and provides students with a quality arts education. This align-ment of creative energies, which helps foster interdisciplinary collaboration, combined with the renovation of two buildings on the Lake Shore Campus, has inspired a renaissance of the arts at Loyola University Chicago.

The arts are alive at Loyola. We offer a variety of music concerts, plays, and gallery events throughout the year. Visit LUC.edu/dfpa for more information, or call the box office at 773.508.3847

Information The taking of photographs and the use of any type of recording devices are not allowed in the theatre during performances and are a violation of state and federal copyright laws. Tape or film will be confiscated. Electronic pagers and portable phones should be given to the house manager, who will notify patrons in the event that they are paged, if it is necessary that they be contacted dur-ing the performance. Patrons wearing alarm watches are respectfully requested to turn them off before enter-ing the theatre. Patrons are asked to turn off portable phones before entering the theatre. Lost and Found information may be exchanged at the Box Office; please call 773.508.3847. Smoking is prohibited. Box Office Contact InformationPhone: 773.508.3847 Email: [email protected] Hours are from 1p.m.-5p.m., Monday through Friday in Mundelein 1302, and an hour before curtain on performance days or you can order your tickets online at LUC.edu/dfpa If you have any questions about the Department of Fine and Performing Arts, or would like to volunteer or support the theatre program in any way please call us at 773.508.7510 or you can visit our website at LUC.edu/dfpa or our blog at blogs.LUC.edu/artsalive Thanks again for your patronage!

UPCOMING EVENTS

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

Let It Be: Beatles Tribute ConcertFriday, November 5th at 7:30 pm

Chopin at 200: An Evening of Music Celebrating the 200th Anniversary of His Birth

Saturday, November 13th at 7:30 pm

Christmas Chapel Concert: Featuring the University Orchestra and Chorus

Monday, December 6th at7:30pm in Madonna della Strada

Joyola! A Night of Holiday Favorites Performed by the Wind Ensemble and Jazz Band

Thursday, December 9th at 7:30pm

loyola - october program

Documents

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famous madrigal

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