concert

Featuring DePaul Symphony Orchestra and DePaul Symphonic Choir

Cliff Colnot, conductor

Wednesday, May 23, 2018 Orchestra Hall at Symphony Center 220 S. Michigan Ave.Chicago

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springgala

D E PA U L U N I V E R S I T Y S C H O O L O F M U S I C

6:45 P.M. DePaul Jazz Sextet Black Narcissus 1969 Joe Henderson Jeremy Benshish and Paul Wagner 1937–2001

Cannonball 1956 Julian “Cannonball” Adderley Jacob Delgado and Connor Druhan 1928–1975

Speak Like a Child 1968 Herbie Hancock Simon Ciaccio and Casey Dahl b. 1940

Humpty Dumpty 1978 Chick Corea Jeremy Benshish, Casey Dahl & Jacob Delgado b. 1941

Ballad For Barretto 2008 Joe Magnarelli Connor Druhan b. 1960

8:00 P.M. DePaul Symphony Orchestra and DePaul Symphonic Choir

Schicksalslied, Op. 54 1871 Johannes Brahms 1833–1897

Concerto for Orchestra, Sz. 116 1944 Béla Bartók 1881–1945

Introduzione. Andante non troppo - Allegro vivace Giuoco delle coppie. Allegro scherzando Elegia. Andante non troppo Intermezzo interrotto. Allegretto Finale. Presto

P R O G R A M

Dear Friends,

When I think about the defining characteristics of a DePaul School of Music education, this evening endures, year after year, as a perfect example of our unique identity. While our home base, including the new Holtschneider Performance Center, exists in Lincoln Park, the transformative growth of our students takes place when they step out of what’s familiar and onto the stages of the Jazz Showcase, the Merle Reskin Theatre, the Driehaus Museum or Orchestra Hall. Our young musicians embrace the city, and with growth and maturity, seek out their own gigs in venues large and small, internships at all manner of arts organization and student teaching assignments in every corner of Chicago. DePaul’s urban character is a foundational element of who we are and how we develop the next generation of music professionals.

These experiences are backed by a world class education. Concepts taught and reinforced by Chicago’s most prodigious musicians are made all the more meaningful when students can see those same professors live out their methods during a performance or in a recording studio. Knowing that your teachers perform on the world’s greatest stages is certainly inspiring, but seeing it firsthand makes the dream suddenly seem attainable and worth working for.

Yes, there are other institutions connected to tremendous cultural resources and exceptional working faculty. But this annual evening always seems to demonstrate one final aspect of the DePaul identity hard to find elsewhere: a culture that pushes students hard to achieve their absolute best while also demonstrating care and compassion. Few institutions can successfully navigate this fine line, but tonight’s stunning performance is proof that the DePaul School of Music methodology yields success for you, our audience, and our students who represent the future of this industry.

Enjoy the music!

Ronald Caltabiano Dean of the School of Music

DePaul Jazz Sextet Dana Hall, director

DePaul Symphonic Choir Eric Esparza, conductor

DePaul Symphony Orchestra Cliff Colnot, conductor

Georgiana AdamsChuckie AielloTy AllenKais AliSebastian ArmendárizRose AugustinksyLucy BakerMallory BakerDaniel BeattyPantelis BolorakisMarisa BuchheitKellen CampbellGisselle CervantesJulia ClarkeMaria ConsamusRoy CurialeDrew CurryAngela De VenutoWebb DieterCarmani EdwardsMadeline EhlingerLauren FlorekMatt Galvan

Mason GoldbergStephanie GubinNick GuettermanEllie HeinzenErin HoganDaniel IraniEthan IsaacsonLauren JacobRadka KasparcovaNicole KellyBrennan KennedyZach KuehnRobby KulikBreanna LeachOlivia LeoneMiranda LevinJack MacklinConnor MannebachEmily MargevichAlexander MarkBrandon MengHanna-Grace MoweryLauryn Nelson

Daniel O’HearnBrian O’NeillGia PappasAmanda PatinoTyler RiccoRudy RosenmayerKelby RothDeclan RyanAmon SaheljoDrew SaizEverett SarichSteven ScheinLiliana SchillerRachel SinghBetsy SorensenSarah SzeszolJulie WatkinsShannon WatkinsRyan WolfeChet ZenorAngela Zúñiga

D E P A U L J A Z Z S E X T E T Dana Hall, director of jazz studiesJim Trompeter, ensemble coach

D E P A U L S Y M P H O N Y O R C H E S T R ACliff Colnot, conductor

First ViolinAlina Kobialka, concertmasterShaleah Feinstein, assistant concertmasterAdam DornHeidi HatchKonrad KowalLara MaddenRasa MahmoudianYefim RomanovCourtney SilverBarbora ValiukeviciuteYu XinSofie Yang

Second ViolinEce Dolu, principalLuis Salazar, assistant principalAngelo Horngtay Chiu LeeMeghan HensonJoseph JungNatasha KubitAlexandra KwasnyJong Sean LeeRuoyao LiDiana Ortiz SalazarBrent Taghap

ViolaMichael Zahlit, principalAnnika Sundberg, assistant principalDavid Beytas*Caleb HenryAleksa Kuzma†Kevin Lin†Rachel MostekJonathan Walters

CelloDavid Sands, principalEmily Munn-Wood, assistant principalMichelle DodsonJingjing HuAurora LawriePhilip LeeSarah NailKeegan O'DonaldAnna PattersonZachary SearsNomin Zolzaya

BassTeddy Gabrielides, principalIsaac Polinsky, assistant principalNicholas DeLaurentisChris DeMarcoMicah Stoddard

FluteEmily BiekerAna BoulasEmily DePalmaErin Wallace

PiccoloAna Boulas

OboeErik AndrusyakAndrew CooperLindsay Wiley

English HornErik Andrusyak

ClarinetLaurie BlanchetEmily KerskiLouis KimMichael TranTheresa Zick

Bass ClarinetMichael Tran

BassoonSandra BaileyJonathan LiVolsiNick Ritter

ContrabassoonJonathan LiVolsi

HornAbby BlackPayton ChadwickFiona ChisholmAli NizamaniEmily Whittaker

TrumpetJ. R. BuzzellRuben CovaAdam ShohetJulia Tsuchiya-Mayhew

TromboneDavid BehmNate DoucettePrapat PrateepphleeponCaleb ShemwellLucas Steidinger

TubaKevin Wenglin

TimpaniSarah ChristiansonLeo Taylor

PercussionChristian HughesBoyan TantchevLeo Taylor

HarpMichael Maganuco*Jennifer Ruggieri*

* Guest† Alumni

Connor Druhan, trumpetJacob Delgado, alto saxophonePaul Wagner, tenor saxophoneCasey Dahl, pianoSimon Ciaccio, bassJeremy Benshish, drums and cymbals

D E P A U L S Y M P H O N I C C H O I REric Esparza, conductorMichael McElvain, pianist

Johannes Brahms 1833–1897Schicksalslied, Op. 54 1871

Duration 17 minutes

For most of Brahms’ works with text, he chose words from which he could create an atmosphere over words of great substance. However, struck by the work of poet Friedrich Hölderlin, Brahms wrote his first sketches for Schicksalslied in the summer of 1868, while he was on a trip to view the North Sea naval base at Wilhelmshaven with conductor/composers Albert Dietrich and Karl Reinthaler and their wives. Dietrich recalls the excursion:

Our friend, usually so cheery, was silent and serious on the journey. He told us how, early that morning (he . . . got up extremely early), he had found [Friedrich] Hölderlin’s poems in the bookcase and been profoundly stirred by Hyperion’s Song of Destiny. Later, as we rested by the sea after much walking about and looking at interesting sights, we discovered Brahms far removed from us, sitting on the beach and writing. It was the first sketch for the Schicksalslied.

Friedrich Hölderlin lived a colorful life that created a voice unlike any of Brahms’ previous literary muses. In his twenties, he was diagnosed with schizophrenia, a mental illness that governed the last

37 years of his life. His odes, elegies and other verse forms were complex in their language and thought, drawing from his university years spent alongside philosophers G.W.F. Hegel and F.W.J. Schelling, as well as his mentor and first publisher, Friedrich Schiller. The rhythms of the texts are a unique combination of elevated classical style and the vernacular of his native, southwestern German Swabian tongue. Hyperion, the novel that inspired Brahms to take this plunge into the world of destiny, was written in two installments at the very end of the eighteenth century, just before the ending of a tragic love affair that claimed Hölderlin’s last moments of lucidity. The novel’s theme appears often in Hölderlin’s writings and revolves around juxtaposing the unvarying Greek gods with the constant turnover of ever-suffering mortals. At this point late in the novel, the main character sings his Song of Fate, or Schicksalslied, lamenting that the gods above live freely while the mortals below live a life of suffering.

The piece begins with an ethereal melody in the violins, regal and god-like as it soars over the accompanying orchestra like the clouds that float above the mortal world on earth. The lengthy introduction presents only a tinge of

darkness in the timpani, almost as if a distant rumble of thunder. The alto section then enters the texture with the text “Ihr wandelt droben im Licht” (Ye move up yonder in light). The first two verses continue in this hallowed, floating world until the wind section introduces a dissonant chord and the strings whirl into a tempest, the text of the chorus switching to the “suffering, sorrowing mortals.” In this dark world of mortals is where Hölderlin’s version of the story ends; however, Brahms chose to have the music of the gods return, this time with that already distant rumbling of drums significantly reduced.

Brahms struggled with the ending of Schicksalslied, writing in many letters that he thought Hölderlin didn’t get to the most important part; however, Brahms never said exactly what he thought was missing. The interpretation is left up to the audience: was Brahms the optimist ending with the world at peace and the gods in their rightful place in heaven, or was he the pessimist ending with a spotlight on the detached apathy of the gods as they live untroubled above a world of mortal suffering?

German symbolist painter Max Klinger made tangible both Brahms’ and

Hölderlin’s worlds into etchings of Schickslalslied in his collection of “Brahms Fantasies.” In the first engraving, an old man is using what’s left of his lyre to play a song to a seashore full of bodies that were destroyed by a shipwreck and are now “walking above in the light.” Upon seeing this, Brahms immediately recognized the unification of his music, Hölderlin’s text and Klinger’s artwork and wrote to Klinger:

I see the music. I see the beautiful words– and now your glorious drawings carry me yet further. Looking at them, it is as though the music were sounding on into the Infinite and were saying everything I might have said, more clearly than music can say it, yet just as replete with mystery and presentiment. Sometimes I come close to envying you for being able to be so lucid with your pencil, sometimes I am happy that I don’t have to be. Finally it seems to me that all art is one and speaks one language.

Notes by Lauren Jacob (MM ’18) with Dr. Anna Kathryn Grau

P R O G R A M N O T E S

Béla Bartók 1881-1945Concerto for Orchestra, Sz. 116 1944, revised 1945Introduzione. Andante non troppo - Allegro vivaceGiuoco delle coppie. Allegro scherzandoElegia. Andante non troppoIntermezzo interrotto. AllegrettoFinale. Presto

Duration 40 minutes

Béla Bartók, (March 25, 1881, Nagyszentmiklós, Austria-Hungary [now Sânnicolau Mare, Romania] - September 26, 1945, New York, NY) one of the most important composers in the 20th century, was a virtuoso pianist, chair of piano at the Liszt Conservatory in Budapest, as well as a pioneer ethnomusicologist, who collected, transcribed and edited large collections of Eastern European folk music. He found the political situation in Hungary in the late thirties becoming intolerable. Bartók, a deeply nationalistic humanist, viewed Hungary’s increasing involvement with Nazi Germany immoral and catastrophic. He believed in “the brotherhood of peoples, brotherhood in spite of all wars and conflicts.” He went on to say, “I try—to the best of my ability—to serve this idea in my music.” The political environment became unbearable for a man with his principles. In 1940 he retired from the Conservatory and the Hungarian Academy of Sciences and immigrated to the United States.

He encountered grave difficulties in his new country: While he had a very successful concert tour with violinist Joseph Szigeti and clarinetist Benny Goodman, his concert career did not blossom—perhaps because he insisted

on playing a demanding repertoire, and had a somewhat aloof stage presence. He had difficulty earning a living. His many friends and admirers obtained a research position for him at Columbia University, systematizing a collection of folk melodies, but this was a term project, and renewal was uncertain. Also, his health deteriorated—in 1943, while at Harvard to deliver a series of lectures, he collapsed. He was diagnosed with leukemia, leaving him both physically and mentally exhausted.

At this difficult juncture, Bartók’s friends, Szigeti and the conductor Fritz Reiner, convinced Serge Koussevitzky, the conductor of the Boston Symphony Orchestra, to offer Bartók a commission for an orchestral work. Bartók was reluctant to accept the commission and the advance payment. He thought that his health was too precarious, and only agreed to undertake the project after being assured by Koussevitzky that the advance would not have to be repaid if he were too sick to complete the composition.

Bartók seemed to thrive after receiving the assignment. His leukemia went into remission, and between August and October 1943, while recuperating at

Sarnac Lake, New York, he composed the Concerto for Orchestra. It is a virtuoso piece that puts great demands on the orchestral players. Since its first presentation, it has been recognized as one of the masterworks of 20th century orchestral literature.

Perhaps it is worth noting that the title of the second movement “Giuoco delle copie” or “Play of the couples” is not accurate. The precise Hungarian translation is “Introduction of the Couples,” and refers to a frequent aspect of peasant dances: At the beginning of a dance, each couple in turn, steps forward, “introduce themselves” and step back, yielding their turn to the next couple.

Bartók himself provided explanatory program notes for the Boston Symphony premiere performance (December 1, 1944) under the direction of Serge Koussevitzky:

The title of this symphony-like orchestral work is explained by its tendency to treat the single instruments or instrument groups in a concertant or soloistic manner. The ‘virtuoso’ treatment appears, for instance in the fugato sections of the development of the first movement (brass instruments), or in the ‘perpetuum mobile’-like passages of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments appear consecutively with brilliant passages.

As for the structure of the work, the first and fifth movements are written in a more or less regular sonata form. The development of the first contains fugato sections for brass; the

exposition in the finale is somewhat extended, and its development consists of a fugue built on the last theme of the exposition.

Less traditional forms are found in the second and third movements. The main part of the second consists of a chain of independent short sections by wind instruments consecutively introduced in five pairs (bassoons, oboes, clarinets, flutes and muted trumpets). Thematically, the five sections have nothing in common. A kind of ‘trio’—a short chorale for brass instruments and side-drum—follows, after which the five sections are recapitulated in a more elaborate instrumentation.

The structure of the third movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motifs. Most of the thematic material of this movement derives from the ‘Introduction’ to the first movement. The form of the fourth movement— ‘Intermezzo interrotto’ (‘Interrupted Intermezzo’)—could be rendered by the letter symbols ‘ABA—interruption—BA.’

The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one. Notes by Dr. Cathy Ann Elias

P R O G R A M N O T E S

Schicksalslied

Music Johannes BrahmsPoetry Friedrich Hölderlin

Ihr wandelt droben im LichtAuf weichem Boden selige Genien!Glänzende GötterlüfteRühren Euch leicht,Wie die Finger der KünstlerinHeilige Saiten.

Schicksallos, wie der SchlafendeSäugling, atmen die Himmlischen;Keusch bewahrt,In bescheidener KnospeBlühet ewigIhnen der Geist,Und die seligen AugenBlicken in stillerEwiger Klarheit

Doch uns ist gegebenAuf keiner Stätte zu ruh’n;Es schwinden, es fallenDie leidenden MenschenBlindlings von einerStunde zur andern,Wie Wasser von KlippeZu Klippe geworfenJahrlang in's Ungewisse hinab.

Ye move up yonder in light,On airy ground, o blessed spirits!Radiant winds etherealO’er you play light,As the fingers inspired that wakeHeavenly lyre-chords.

Free from Fate, like the slumberingSuckling, breathe the immortals.Pure, unsullied,In bud that enfoldsIt blooms for aye, The flower of their spirit.And the eyes of the blessedGaze in tranquil Brightness eternal.

But to us is it given In no abiding place to dwell;We vanish, we stumble,We suffering, sorrowing mortalsBlindly from oneBrief hour to another, Like water from boulderTo boulder flung downward,Year by year to the dark Unknown below.

Translation by Florence T. Jameson

Dr. Eric Esparza is the director of choral activities and vocal area coordinator at the DePaul University School of Music, where he conducts the DePaul Chamber Choir, Concert Choir and teaches courses in choral music. Dr. Esparza is also the artistic director of Windy City Performing Arts and was the founder and artistic director of International Voices Houston. Previously, he served on the music faculty of Sam Houston State University School as conductor of the Concert Choir, and teacher of voice, diction and music theory. Dr. Esparza was also artistic director of the United Nations Association International Choir and director of ministries at St. Mark’s United Methodist Church in Houston, Texas.

Originally from San Antonio, Texas, he holds a Bachelor of Music in vocal performance and a Master of Music in choral conducting from the Shepherd School of Music at Rice University in Houston, Texas, where he studied with Dr. Joyce Farwell and Maestro Thomas Jaber. He also holds a Master of Arts degree in arts administration from Florida State University where he was a university fellow and served as assistant conductor of the Florida State University Opera. Dr. Esparza earned the Doctor of Musical Arts degree in choral conducting from Boston University where he studied with Dr. Ann Howard Jones. He remains active internationally as a singer, conductor and music editor.

Dr. Eric Esparza director of choral studies, vocal coordinator

—

T E X T A N D T R A N S L A T I O N

Cliff Colnot director of orchestral activities

—In the past decade Cliff Colnot has emerged as a distinguished conductor and a musician of uncommon range.

One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West-Eastern Divan Workshops for young musicians from Israel, Egypt, Syria and other Middle Eastern countries. Colnot has also worked extensively

with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble (ICE), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble Eighth Blackbird. Colnot has been principal conductor of the Chicago Symphony Orchestra’s contemporary MusicNOW ensemble since its inception. Colnot was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than 22 years and was principal conductor of the University of Chicago’s Contempo Ensemble for over 15 years. Currently, Colnot conducts the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Composers Orchestra, the Saint Paul Chamber Orchestra, the Utah

Symphony and the Chicago Philharmonic.

Colnot is also a master arranger. His orchestration of Shulamit Ran’s Three Fantasy Pieces for Cello and Piano was recorded by the English Chamber Orchestra. For the chamber

orchestra of the Jerusalem International Chamber Music Festival, Colnot has

arranged the Adagio from Mahler’s Symphony No. 10, Schoenberg’s Pelleas and Melisande (both published by Universal) and Manuel De Falla’s Three Cornered Hat. For ICE, Colnot arranged Olivier Messiaen’s Chants de Terre et de Ciel for chamber orchestra and mezzo-soprano, also published by Universal. For members of the Yellow Barn Music Festival, Colnot arranged Shulamit Ran’s Soliloquy for Violin, Cello, and Piano, to be published by Theodore Presser. Colnot re-orchestrated the Bottesini Concerto No. 2 in B Minor for Double Bass, correcting many errors in existing editions and providing a more viable performance version. He has also been commissioned to write works for the Chicago Symphony Orchestra Percussion Scholarship Group. His orchestration of Duke Ellington’s New World Coming was premiered by the Chicago Symphony Orchestra with Daniel Barenboim as piano soloist in 2000, and Colnot also arranged, conducted and co-produced the CD Tribute to Ellington featuring Barenboim at the piano. He has also written for rock-and-roll, pop and jazz artists Richard

Marx, Phil Ramone, Hugh Jackman, Leann Rimes, SheDaisy, Patricia Barber, Emerson Drive and Brian Culbertson.

Colnot graduated with honors from Florida State University and in 1995

received the Ernst von Dohnányi Certificate of Excellence. He has also received the prestigious Alumni Merit Award from Northwestern University, where

he earned his doctorate. In 2001 the Chicago Tribune named Cliff Colnot a “Chicagoan of the Year” in music, and in 2005 he received the William Hall Sherwood Award for Outstanding Contributions to the Arts. Most recently, Colnot has been awarded the 2016 Alice M. Ditson Conductor’s Award in recognition for his excellent commitment to the performance of works by American

Composers. He has studied with master jazz teacher David Bloom, has taught jazz arranging at DePaul University, film scoring at Columbia College and

advanced orchestration at the University of Chicago. As a bassoonist, he was a member of the Lyric Opera Orchestra of Chicago, Music of the Baroque and the Contemporary Chamber Players.

“Everywhere [in Beethoven’s Symphony No. 1] were signs of meticulous preparation and keen stylistic acuity.” — Michael Cameron,

Chicago Tribune

“Cliff Colnot conducted the excellent International Contemporary Ensemble in an alluring performance.” — Anthony Tommasini,

New York Times

“To every score, conductor Cliff Colnot brought a dedication, virtuosity, and intensity of feeling new music needs but doesn’t often receive.” — John von Rhein,

Chicago Tribune

PerformanceJulie DeRoche, Chair, Department of Music

Performance, Clarinet David Alt, VoiceMarta Aznavoorian, Chamber MusicStephen Balderston, CelloBrandi Berry, Chamber MusicAlban “Kit” Bridges, Vocal Studies and CoachWilliam Buchman, BassoonKeith Buncke, BassoonNicole Cabell, VoiceWagner Campos, ClarinetOto Carrillo, HornCliff Colnot, Director of Orchestral Activities,

DePaul Symphony Orchestra, DePaul Wind Ensemble

Larry Combs, ClarinetMatthew Comerford, TrumpetFloyd Cooley, TubaWilliam Denton, TrumpetIan Ding, PercussionEric Esparza, Director of Choral Activities, Vocal

Area CoordinatorMark Fisher, TromboneMichael Green, Percussion Area Coordinator,

PercussionAlexander Hanna, BassJohn Henes, Alexander TechniqueDavid Herbert, Percussion

Julian Hersh, Chamber MusicLinda Hirt, Vocal Diction and CoachStefán Höskuldsson, FluteMichael Hovnanian, Orchestral RepertoireNicholas Hutchinson, DictionAlyce Johnson, FluteIlya Kaler, ViolinOlga Dubossarskaya Kaler, ViolinRobert Kassinger, BassNeil Kimel, HornAlex Klein, OboeMichael Kozakis, PercussionWei-Ting Kuo, ViolaTage Larsen, TrumpetI-Hao Lee, ViolinMatthew Lee, TrumpetMichael Lewanski, Concert Orchestra,

Ensemble 20+Christopher Magiera, VoiceMiles Maner, BassoonMark Maxwell, Guitar Area Coordinator, GuitarEric Millstein, PercussionJason Moy, Baroque Ensemble, Chamber

Music, HarpsichordErica Neidlinger, Wind SymphonyPaul Neubauer, ViolaAlbert Payson, PercussionNicholas Phan, VoiceNatalie Pilla, Chamber Music

Avo Randruut, African Music EnsembleJeff Ray, Voice Jeremy Ruthrauff, SaxophoneJenny Shin, FluteHarry Silverstein, Director, DePaul Opera TheatreJames Smelser, HornMark Sparks, FluteCarolyn Stuart, ViolinKyomi Sugimura, PianoJanet Sung, Strings Area Coordinator, ViolinBrant Taylor, CelloScott Tegge, Chamber Music, TubaGeorge Vatchnadze, Keyboard Area

Coordinator, PianoAnna Velzo, OboeCharles Vernon, TromboneJill Williamson, Winds and Brass Area

Coordinator, Chamber Music

Stephen Williamson, ClarinetCynthia Yeh, Percussion

Composition / MusicianshipKurt Westerberg, Director of Musicianship and

CompositionSusanne Baker, Director of Community

Music, Group Piano Coordinator, Musicianship

Natasha Bogojevich, MusicianshipKatherine Brucher, Director of BA in

Music Program, World Music Coordinator, Musicianship

Joe Clark, MusicianshipCathy Ann Elias, MusicianshipGeoff Farina, MusicianshipFredrick Gifford, Musicianship and

CompositionDavid Grant, MusicianshipAnna Grau Schmidt, MusicianshipGregory J. Hutter, MusicianshipJae Hwang-Hoesley, MusicianshipChristopher Jones, Musicianship and

CompositionJeffrey Kowalkowski, MusicianshipChristopher Lemons, MusicianshipSeung-Won Oh, Musicianship and

CompositionBradley Robin, MusicianshipJunichi Steven Sato, MusicianshipMichael Staron, MusicianshipMischa Zupko, Musicanship

Jazz StudiesDana Hall, Director of Jazz Studies, Jazz

Percussion and World Music, Jazz Workshop

Michael Allemana, Jazz GuitarScott Burns, Jazz SaxophoneDennis Carroll, Jazz BassTimothy Coffman, Jazz TromboneTyphanie Coller, Jazz VoiceBob Lark, Jazz Trumpet, Jazz EnsembleThomas Matta, Jazz Arranging and

Composition, Jazz Bass Trombone, Jazz Orchestra

Chad McCullough, Jazz TrumpetBob Palmieri, Jazz GuitarJim Trompeter, Jazz Piano

Sound Recording TechnologyThomas Miller, Director of Sound Recording

TechnologyDaniel Steinman

Performing Arts ManagementAlan Salzenstein, Director of Performing Arts

ManagementShawn MurphyNicolas SincagliaSteve SmithMelissa SnozaEric Soderstrom

Music EducationJacqueline Kelly-McHale, Chair, Department of

Musical Studies, Director of Music Education

Jeremy AttanaseoGregory BimmMeeghan BinderMeret BitticksKeith BjorklundDaniel HealySara K. JonesKelly LangenbergTina LaughlinFrank LestinaCaitlin LucciStevi MarksBen McMunnDeborah PeotNicole RiveraKarl RzasaElisabeth Van Schoonhoven

S C H O O L O F M U S I C F A C U L T Y

Administration and StaffRonald Caltabiano, DeanKurt Westerberg, Associate Dean for Academic AffairsBen Polancich, Director of Business Administration

Mary Arendt, Coordinator of Career Services, Alumni EngagementSusanne Baker, Director, Community Music Division Brian Barasch, Director of Marketing and CommunicationsRoss Beacraft, Director of Admission Stephanie Carper, Director of DevelopmentBrian Gier, Technology ManagerMaria Hernandez, Business ManagerHeidi Hewitt, Concert ManagerGiovanna Jacques, Admissions CoordinatorBen Rusch, Facilities ManagerMichael Sportiello, Technical DirectorAmy Weatherford, Assistant Director of AdvisingSarah Wells Kaufman, Coordinator of Academic ServicesChristina Wyrick, Coordinator of Performance, Instrumental LibraryMara Yurasek, Executive Assistant to the Dean

Advisory BoardRich Daniels, ChairMark Mroz, Vice ChairCraig AndersonSamantha CohenRobert D’AddarioGraham FuguittMary Patricia GannonSasha GerritsonDavid HarpestGeoffrey HirtCary JacobsJohn KohlmeierCarlotta LucchesiAlexander MarkMary MarshallJames ShaddleElizabeth WareCathy Williams

Emeritus Board of AdvisorsRuss BachPatricia O. EwersVictor D. FaraciScott G. GolinkinSidney KleinmanJacqueline KrumpSamuel MagadFlorence M. MillerAnthony D. PelusoNancy J. PetrilloJames J. QuinnEdward M. WardMimi WishWilliam J. Young

Gifts of every amount make an important impact on the next generation of musicians and support the mission of the School of Music.

Make your gift today by visiting alumni.depaul.edu/springconcert

S C H O O L O F M U S I C S T A F F A N D B O A R D

Jianghai Ho (MM ’17)

Also this evening, we gathered to recognize extraordinary contributions to music and the arts with the

2018 Pro Musica Award

We were pleased to present this award to Joseph M. Antunovich, FAIA, and Allan E. Bulley, Jr. for their vision and expertise in bringing the Holtschneider Performance Center to life.

We thank everyone in attendance tonight for their generous contributions to our students and programs in pursuit of musical excellence.

Joseph M. Antunovich, FAIA

Allan E. Bulley, Jr.

2 0 1 8 S P R I N G G A L A C O N C E R T

Spring Gala SponsorsWe gratefully acknowledge the generous support of Antunovich Associates, Bulley & Andrews and Mary Patricia Gannon as our Gala Dinner Sponsors and we extend a special thanks to our corporate sponsors:

Prior to tonight’s concert, more than 400 friends of the School of Music gathered for the 13th Annual Gala Dinner hosted by Dean Ronald Caltabiano and the School of Music Dean’s Advisory Board. The event co-chairs included Samantha and Joel Cohen, Mary Patricia Gannon and Linda and Geoffrey Hirt.

The gala raises funds for the School of Music’s Fund for Music, supporting the most pressing needs of the school including scholarships for its students.

November 1–11, 2018

Featuring reigning virtuoso of the violin Itzhak Perlman, Grammy-winning jazz trumpeter Nicholas Payton, internationally renowned soprano Ana María Martínez, the extraordinary Orpheus Chamber Orchestra, award-winning solo percussionist Evelyn Glennie and more than 30 other concerts and events!

Learn more at music.depaul.edu

save the dateHoltschneider Performance Center Grand Opening Celebration

804 W. Belden Ave.Chicago, IL 60614(773) 325-7260

music.depaul.edu