Holiday acappella-Chi acappella

1Holiday a cappella

Holidays a cappellaSaturday, December 3, 2011, 8:00 pm

Nichols Concert Hall1490 Chicago Ave., Evanston

Sunday, December 4, 2011, 4:00 pmPilgrim Congregational Church

460 Lake Street, Oak Park

Friday, December 9, 2011, 8:00 pmFourth Presbyterian Church

Michigan Avenue at Delaware, Chicago

Sunday, December 11, 2011, 4:00 pmWentz Concert Hall

171 E. Chicago Ave., Naperville

Chicago a cappellaKathryn Kamp, SopranoAlexia Kruger, Soprano

Elizabeth Grizzell, Mezzo-sopranoSarah Ponder, Mezzo-soprano

Klaus Georg, TenorGarrett Johannsen, Tenor

Matt Greenberg, BassJoe Labozetta, BassBrian Streem, Bass

Founder and Artistic DirectorJonathan Miller

Music DirectorPatrick Sinozich

Chicago a cappella is partially supported by the Klaff Family Foundation; The Gaylord and Dorothy Donnelley Foundation; the MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation; the Arts Work Fund for Organizational Development; Dr. Scholl

Foundation; a CityArts Program 2 grant from the City of Chicago Dept. of Cultural Affairs and Special Events; the Oak Park Area Arts Council, in partnership with the Villages of Oak

Park, Forest Park and River Forest; and the Illinois Arts Council, a state agency. The Naperville Sun is a media sponsor of Chicago a cappella’s series at Wentz Hall in Naperville. 90.9fm

WDCB is a media sponsor of Holidays a cappella.

2 Chicago a cappella

ABOUT CHICAGO A CAPPELLA

Chicago a cappella is a vocal ensemble dedicated to performing fun and innovative concert programs at the highest possible musical standards. Through its Chicago-area performances, touring engagements and recordings, the group enlightens and entertains audiences with repertoire from the ninth to the twenty-first century with a special focus on music written in the present generation. Now recognized as one of the area’s most accomplished ensembles, Chicago a cappella is known for its performances of early music, vocal jazz, and spirituals.

Founded in 1993 by Jonathan Miller, Chicago a cappella has released eight CDs, including its newest release, Days of Awe and Rejoicing: Radiant Gems of Jewish Music, joining previous releases on the Chicago a cappella, Cedille, and Centaur labels. The group has introduced more than sixty works to Chicago audiences, including newly commissioned works by Chen Yi, Tania León, Ezequiel Viñao, Stacy Garrop, and Rollo Dilworth. In 2007, Jonathan Miller

appointed Patrick Sinozich as the group’s first Music Director. In 2008, Miller was honored with the prestigious Louis Botto Award from Chorus America in recognition of this innovative action and entrepreneurial zeal in developing a professional choral ensemble.

Chicago a cappella has presented over 150 concerts in the Chicago area in addition to guest appearances in 11 states and in Mexico. John von Rhein of the Chicago Tribune recently hailed Chicago a cappella’s “fine-tuned ensemble and secure blend” and American Organist praised the group’s “breathtaking ensemble and control [and] stylistic elegance... Chicago a cappella is a jewel in the crown of Chicago’s musical life.” The ensemble has been featured on national radio broadcasts and performed live concerts on Chicago’s WFMT Radio. Chicago a cappella has completed educational residencies in the Chicago Public Schools and is launching its first Youth Choral Festival in March.

Find us on Facebook for photos, audio clips and more: www.facebook.com/chicagoacappella

Read blogs and join the conversation at www.chicagoclassicalmusic.org

2936 N. Southport Ave., 2nd Floor, Chicago, IL 60657Phone: (773) 281-7820 | Fax: (773) 435-6453

www.chicagoacappella.org | [email protected]

Founder and Artistic Director ................................................................................. Jonathan MillerExecutive Director ..............................................................................................Matthew GreenbergMusic Director ..............................................................................................................Patrick SinozichBox Office & Concert Manager ....................................................................................... Deb HobanEducation Outreach Coordinator ............................................................................Susan SchoberMarketing & Operations Coordinator ...............................................................Shaina FarwellInterns....................................................................................................Katie Meyers, Myles Teague

Board of DirectorsMichelle EppleyWilliam K. FlowersHelen C. Gagel

(President)Joyce Grenis

(Secretary)Howard Hush

Murray KopelowLeslie LauderdaleRobert B. Linn

(Treasurer)Linda Mast

(Vice-President)David Perlman

Stephen ShawMaria T. Suarez

Committee MembersCarole Baumgart William Thomas Huyck Yvonne Owens Lisa Scott

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CHICAGO A CAPPELLA CDS

Available in the lobby: $16 each (includes sales tax)

Days of Awe and Rejoicing: Radiant Gems of Jewish MusicOur brand new release is a treasury of unique and poignant Jew-ish music, from hallowed chants and High Holiday prayers to lu-minous, heartfelt works by today’s composers. Highlights include works by Pulitzer Prize-winner Shulamit Ran, Robert Applebaum, Max Janowski and Louis Lewandowski, as well as Stacy Garrop’s joyous “Hava Nagila,” commissioned by Chicago a cappella.

Shall I Compare Thee?Contemporary settings of Shakespeare’s

timeless words

Holidays a cappella LiveLive performances of Christmas spirituals, Chanukah songs and holiday music from

around the world

Mathurin Forestier: MassesWorld-premiere recording of breathtaking

Renaissance church music

EclectricNew works, familiar favorites, pop & jazz.

“An overflowing cornucopia of choral delights” (ChicagoTribune)

Go Down, MosesA stunning collection of spirituals

Palestrina: Music for the Christmas Season

Brilliant Renaissance polyphony by the Italian master Palestrina

Christmas a capellaA celebration of the holiday season with Christmas songs from around the world


LOCATION INFOR M ATION

Smoking is prohibited in all venues. Food and beverage are not permitted in the audience seating area. No photography or recording of any kind is permitted.

Nichols Concert HallMusic Institute of Chicago 1490 Chicago Avenue, EvanstonRestrooms and drinking fountain: On lower level; take stairs or elevator from lobby.

Pilgrim Congregational Church460 Lake Street, Oak ParkRestrooms: Off the lobby, in the southeast corner of the building. Accessible restroom in south hallway near the chapel. Additional restrooms on the lower level.

Fourth Presbyterian ChurchMichigan Avenue at Delaware, ChicagoRestrooms and drinking fountain: Through the south transept doors (to your left) and then to the right. Wentz Concert Hall171 E. Chicago Ave., NapervilleRestrooms and drinking fountain: in the main lobby.

RESTAUR ANT SUGGESTIONS

Evanston

Lulu’s Dim Sum & Then Sum804 Davis St. (two blocks from Nichols Hall)Hours: 11:30 am – 10:00 pm15% off (excludes Munch a Brunch and

8 after 8)

Prairie Moon1502 Sherman Ave.Evanston (one block west of Nichols Hall)Fri. & Sat. 4-11pm15% off

Oak Park

Café Winberie151 N. Oak Park Ave.Hours: Sun. 1-9pm10% off

Cucina Paradiso814 North Blvd.Hours: Sunday 5-9:30 pm½ off wine bottles with purchase

of 2 entreesReservations needed

Chicago

Jaks Tap Bar & Grill901 W. Jackson Blvd.Hours: Fridays until 2 am15% off all pizzas

Lloyd’s Chicago1 S. Wacker Dr.Dinner 5:00-8:30pm10% off food

Naperville

Catch 3535 S. Washington St.Hours: Fri. & Sat. 5-10 pmSun. 4:30-8:30pm10% off food

Quigley’s Irish Pub43 East. Jefferson Ave.Hours: Sat. until 2 amSun. until 1 am20% off food

Tango Argentinean Grill5 W. Jackson Ave.Hours: Sat. until 1 amSun. dinner 2:30 pm-10pm$10 off purchase of $25 or more

Show your ticket stub or program book to receive discounts at these area restaurants.

5Holiday a cappella

PROGR A M

Resonet in laudibus medieval German carol, arr. Chester Alwes

Hymne à Saint Martin Vaclovas Augustinas

People, Look East trad. French carol, arr. Howard Helvey

* * * * *

In natali Domini medieval carol, 14th c.

Lo, How a Rose E’er Blooming trad. German, arr. Wayland Rogers

Rise Up, Shepherd, and Follow spiritual, arr. Roland Carter

* * * * *

Jesus från Nasaret trad. Swedish, arr. Gunnar Eriksson

Un flambeau, Jeannette, Isabella trad. Provençal, arr. Stephen Hatfield

* * * * *

Longfellow’s Carol Jonathan Miller

Haneirot Halalu Robert Applebaum

* * * * *

O nata lux Morten Lauridsen

Go Tell it on the Mountain spiritual, arr. Brewer

INTERMISSION

From the Nutcracker Suite: P.I. Tchaikovsky, arr. Jeff FunkDance of the Sugar-Plum FairyWaltz of the Flowers

Joy to the World G. F. Handel, arr. Philip Lawson

* * * * *

We Three Kings J. H. Hopkins, arr. Darmon Meader

Carol of the Bells Mykola Leontovych, arr. Rich Manners

* * * * *

Miracle Matisyahu, arr. Patrick Sinozich

Jingle Bells Hallelujah Chorus arr. Jonathan Miller

Latecomers will be seated at the discretion of the ushers. Unauthorized photography or sound recording of any kind are strictly prohibited. Thank you for your cooperation.


INTRODUCTION

Welcome to the 2011 presentation of Holidays a cappella. How blessed we are to be able to share these concerts with you!

There are few better times to hear a choir than the month of December. It is rather amazing to me that we have done December concerts under the name “Holidays a cappella” for fifteen years now.

* * * * * * *

I like to connect music to other experiences: in this case, I am thinking of food. Like many of you, I enjoy cooking, and like all of you, I enjoy eating. Sometimes I think of enjoying a musical program as being analogous to enjoying a meal. I firmly believe that a truly great concert needs to serve you, the person in the audience, by being as thoughtfully well-balanced and varied as a splendid meal. The need is particularly acute at the holidays, when we are bombarded with overly orchestrated ditties day and night. Creating a good balance applies as much to the way the repertoire is chosen as it does to the way it is performed by our singers. Since my job as artistic director primarily in-volves choosing the repertoire, that is what I’m thinking about at the moment; Patrick Sinozich, our brilliant music director, primarily tends to the singer/performance aspects of the experience.

While I was putting our current season together, more than one person on Chicago a cappella’s creative team suggested, with twinkles in their respective eyes, that “maybe for a change” we could have a holiday show in which the first half was mostly serious and the second half was just plain fun. We have a long history of holiday concerts featuring much intense, demanding repertoire throughout the program, with a few lighter pieces included for balance and vocal relief. Using our food metaphor, one might say that our typical holiday concerts have been like seven-course musical meals, rounded out with the appropriate palate cleansers.

In response to these urgings by my colleagues, I have happily consented. Using our food analogy, the idea this year is that we present you with a show featuring tasty musical vegetables and meaty courses in the first half. We are pleased to bring you some extraor-

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7Holiday a cappella

dinary pieces on this program, including one of the prettiest pieces I have ever heard—the simply astounding Hymn to St. Martin from Lithuania—along with Wayland Rogers’s harmonically riveting Lo, How a Rose, and Morten Lauridsen’s O Nata Lux, one of the slow movements from his amazing cycle Lux Aeterna. It wouldn’t be Christmas without spiritu-als, either, and so to our old standby Go Tell it on the Mountain we add a newcomer this year, Roland Carter’s terrific Rise Up, Shepherd, and Follow. There is also an exotic, Oriental-flavored, layered piece from Sweden, which comes to us via my dear colleague Gunnar Eriksson, along with a few Renaissance pieces ranging from fanfare-like to contemplative, as well as a slow and haunting prayer in honor of the Chanukah lights.

After intermission, we present a long dessert course or some combination of lighter fare, maybe fruit and cheese and salad, with minstrels serenading the final courses (well, in this case, as you’ll see, it’s more like jugglers). The second half begins with two movements from the Nutcracker in new a cappella settings, followed by three terrific, upbeat carols needing little introduction. We then move into the high-energy closing section, including Miracle by the Chassidic hip-hop artist Matisyahu (arranged by our estimable music director, Patrick Sinozich) and a little holiday sleight-of-hand by yours truly.

* * * * * * *Of course, it takes phenomenally versatile and skilled musicians to make a Chicago a cap-pella concert what it is. “Holidays 2011” is an opportunity for us to showcase a wide variety of musical talent. We are pleased to introduce you to three new singers, all of whom are making their Chicago a cappella debut with this set of concerts. Sarah Ponder (mezzo), Gar-rett Johannsen (tenor), and Joseph Labozetta (bass) are all superb musicians, drawn from the city’s finest soloist-ensemble singers. They all excelled in our rigorous audition process, and each of them brings passion for excellence and a bright personality to our stages. We know that you’ll enjoy hearing and seeing them, along with the entire ensemble.

* * * * * * *

One of the wonderful gifts of the holiday season is that it brings universal themes back over and over, reliably, every year. If we can get quiet enough to hear it, there is indeed in the air at this time a renewed sense of hope, the yearning for peace and justice, the opportunity to make the world better this year. Even when we fall short of the ideal, it is still good to be reminded of the promise of redemption, right here on this earth, right in this lifetime, right now.

When I was on the music staff at Unity Temple in Oak Park in the period from 1997-2006, I had a great privilege. I was permitted not only to provide an entire musical service on the Sunday before Christmas, but also to give the sermon, the readings, and the opening and closing prayers. Browsing through the new Unitarian hymnal one year, looking for a bene-diction, I came across these famous words from the African-American theologian Howard Thurman, words which are now etched permanently on my heart:

When the song of the angels is stilled, When the star in the sky is gone, When the kings and the princes are home, When the shepherds are back with their flocks, The work of Christmas begins: To find the lost, To heal the broken, To feed the hungry, To release the prisoner, To rebuild the nations, To bring peace among brothers, To make music in the heart.

—-“The Work of Christmas,” by Howard Thurman, from The Mood of Christmas (Friends United Press, 1985). Reprinted with permission.

May it be so, today and always, until the world is completely healed. —Jonathan Miller Founder and Artistic Director

INTRODUCTION (c o n t.)


NOTES ON THE MUSIC

medieval German Carol, arr. Chester Alwes: Resonet in laudibus

A beloved university professor, author, scholar, editor, and director of the Baroque Artists of Champaign-Urbana (BACH), Chester Alwes is enjoying an active retirement from academia after serving with distinction on the faculty at the University of Illinois-Urbana for 27 years.

A joyously rocking tune in a major mode gives the material for Alwes to create a splendid new setting of this medieval carol. Clever shifts of meter keep the momentum driving forward. The opening and closing sections are like brass fanfares, between which the original tune makes itself known.

Vaclovas Augustinas: Hymne à Saint Martin

This piece was composed on the occasion of the 1600th anniversary of the death of St. Martin of Tours, the first leader of Western monasticism. His feast day, November 11, traditionally marks the start of the 40-day medieval fasting season, which is the precursor to the present-day season of Advent. The composer is a leading choral musician in his native Lithuania, whose choirs have won competitions throughout Europe. One of the loveliest compositions to come to these shores in recent years, this piece is a treasure of sensitive melodic writing with a delightful harmonic palette. The piece has been recorded beautifully on the recent 3-CD set by the Erik Westberg Vocal Ensemble from the far north of Sweden.

Resonet in laudibus,Sion cum fidelibus,apparuit quem genuit Maria,Sunt impleta quae praedixit Gabriel.

Eia! Eia!Virgo Deum genuit,quod divina voluit clementia.

Hodie apparuit in Israel,ex Maria Virgine est natus Rex.

Let [her] resound in praises,Zion with the faithful:He [Jesus] has appeared born from Mary,Those things which Gabriel predicted were fulfilled.

Eia! Eia!A virgin bore God,Because [He] wished divine mercy.

Today He appeared in Israel;The King is born from the Virgin Mary.

—trans. Laura Miller and Jonathan Miller © MCMXCV Roger Dean Publishing Company. *

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NOTES ON THE MUSIC (c o n t.)

O virum ineffabilem,nec labore victum,nec morte timendum,qui nec mori timuit,nec vivere recusavit. Oculis et manibusin caelum semper intentus,in victum ab oratione spiritum non relaxabat, alleluia.

Martinus Abrahae sinulaetus excipitur:Martinus, hic pauper et modicus, caelum dives ingreditur,hymnis caelestibus honoratus.

Oh, man unsulliedAnd invincible by work,Fearless of death,Who hasn’t dread of death,Not declined of life.

Eyes and armsAlways turned to the heavens, Not overcoming by the spirit of prayer, And not wearied, Alleluia.

Martin beaming withJoy of Abraham,Martin, he’s poor and modest,Stepping rich to the heavens,Honored with hymns of heaven.

—© 1999 Laurendale Associates (Now Morningstar Music Publishers). *

trad. French carol, arr. Howard Helvey: People, Look East

Eleanor Farjeon (1881-1965) was an English poet and author, who is best known today for her hymn Morning Has Broken, sung by congregations around the English-speaking world and famously recorded by Cat Stevens in the mid-1970s. Her second-most-famous poem is this one, People, Look East, a delightful distillation of the spirit of Advent. The poem is typi-cally associated with the French tune “Besançon,” as it is here; the skillful yet simple arrange-ment is by Howard Helvey from Cincinnati. He wrote the setting for the church choir he directs there. The music alternates verses between men’s and women’s voices and the entire ensemble, with clear counterpoint and harmony to enhance the message of the poem.

People, look East. The time is nearOf the crowning of the year.Make your house fair as you are able,Trim the hearth, and set the table.People, look East, and sing today:Love, the Guest, is on the way

Furrows be glad. Though earth is bare,One more seed is planted there:Give up your strength the seed to nourish,That in the course the flow’r may flourish.People, look East, and sing today:Love, the Rose, is on the way.

Birds, though ye long have ceased to build,Guard the nest that must be filled.Even the hour when wings are frozen,He for fledging time has chosen.People, look East, and sing today:Love, the Bird, is on the way.

Stars, keep the watch. When night is dim,One more light the bowl shall brim,Shining beyond the frosty weather,Bright as sun and moon together.People, look East, and sing today:


Love the Star, is on the way.Angels, announce with shouts of mirthChrist who brings new life to earth.Set every peak and valley hummingWith the word the Lord is coming.People, look East, and sing today:Love, the Lord, is on the way.

—Eleanor Farjeon reprinted with permission

For the record: Howard Helvey’s O Lux Beatissima appears on Chicago a cappella’s CD Christmas a cappella.

* * * * * * *

medieval carol (14th c.): In natali Domini

Jonathan Miller writes: “When I was in my early 20s, a girlfriend played for me a German recording of In natali Domini, sung by a choir directed by Konrad Ruhland. I had never heard music of such stirring simplicity, and the performance was heartfelt and spoke deeply to me.” This is a version of the same carol, set for three voice parts in simple hymn style that one might find in the work of late-medieval or early Renaissance composers such as Guillaume Dufay. The many first-inversion chords (“6/3 chords” for you harmony geeks) give the piece an open sonority and clarity that keep everything flowing along.


In natali DominiGaudent omnes angeliet cantant cum iubiloGloria uni Deo.

Refrain:Virgo virum peperitvirgo deum genuit,virgo simper in tacta.

Nuncia vit angelusgaudium pastoribusChristi nativitatemmagnam iocunditatem.

Natus est Emmanuelquem praedixit Gabriel,testis est Ezechiel,a patre processit El.

Magi deum adorant,aurum thus et mirram dantRegiregum domino,thus sacerdoti magno.

On the Birthday of the Lord Angels joy in glad accord, And they sing in sweetest tone Glory be to God alone.

Refrain:God is born of maiden fair, Mary doth the Saviour bear; Mary ever pure.

These good news an Angel told To the shepherds by their fold, Told them of the Saviour’s Birth, Told them of the joy for earth.

Born is now Emmanuel, He, announced by Gabriel, He, Whom Prophets old attest, Cometh from His Father’s Breast.

See the wise their gifts unfold,Incense, myrrh, and royal gold;Kneeling to the eternal King,Glory to our God! they sing.

—trans. Choral Public Domain Library

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trad. German, arr. Wayland Rogers: Lo, How a Rose E’er Blooming

The German carol Es ist ein Ros’ entsprungen is a well-known and beloved traditional holiday offering, with a gently rising and falling melody that matches the tender poetry. The tune goes mostly in stepwise motion and is in a range that is easy to sing, render-ing the whole package as much like a lullaby as a Christmas carol. The most famous harmonization of the tune is that of Michael Praetorius from the early 1600s. We are pleased to present a recent re-harmonizing of the piece by Chicago’s own Wayland Rogers, a veteran of the local choral scene and a skilled baritone, conductor, composer, and arranger. The tight chords have a remarkable way of preserving the character of the original, while making just enough changes to keep the musical language ever-fresh and exciting, even at a slow tempo—no mean feat.

Lo, how a rose e’er bloomingFrom tender stem hath sprung!Of Jesse’s lineage comingAs men of old have sung.It came a flow’ret bright,Amid the cold of winter,When half-spent was the night.

Isaiah ‘twas foretold itRose I have in mind,With Mary we behold it,The virgin mother kind.To show God’s love arightShe bore to us a saviorWhen half-spent was the night.

This flow’r whose fragrance tenderWith sweetness fills the air.Dispels with glorious splendorThe darkness ev’rywhere.True Man, yet very God,From sin and death he saves us,And lightens ev’ryload,

—trans. from German by Dr. Theodore Bakerreprinted -with permission

For the record: Wayland Rogers’ What Sweeter Music appears on Chicago a cappella’s CD Christmas a cappella: Songs from Around the World.

spiritual, arr. Roland Carter: Rise Up, Shepherd, and Follow

Roland Carter is Holmberg Professor of American Music at the University of Tennes-see at Chattanooga. A former president of the National Association of Negro Musi-cians, he is the arranger of the most commonly-heard version of “Lift Every Voice and Sing.” Prof. Carter has been honored to participate musically in every possible setting, from working in the smallest church to conducting at presidential inaugurations in Washington. An outstanding musician, he has conducted opera as well as choral music nationwide and has been involved in radio and television broadcasts in his role as a preservationist of African-American music.

This setting of “Rise Up, Shepherd” follows mostly traditional voicings and harmonies. The piece is effective in its straightforward simplicity. The final chorus takes off in an energetic as-cent, speeding up as it sets up a call-and-response dialogue between men and women before rising to the highest soprano heights for a strong finish.



There’s a star in the East on Christmas morn. Rise up, shepherd and follow. It will lead to the place where the Saviour’s born. Rise up, shepherd and follow! Leave your sheep and leave your lamb. Rise up, shepherd and follow! Take good heed to the angel’s word. Rise up, shepherd and follow! Leave your flock and leave your herd. Rise up, shepherd and follow! Follow! Follow! Rise up, shepherd and follow! Follow the star of Bethlehem. Rise up, shepherd and follow!

—reprinted with permission

* * * * * * *

trad. Swedish, text by Anders Frostenson, arr. Gunnar Eriksson: Jesus från NasaretThe ever-inventive Gunnar Eriksson from Sweden is at it again, this time with a layered setting of several tunes. The “main” tune here is the traditional Swedish hymn, “Jesus from Nazareth.” Eriksson writes that his setting is an “attempt to relocate our ‘Swedish Jesus’ to an oriental landscape.” The poetry from the sturdy Swedish hymns can be seen as both Christmas and Easter texts.

Jesus of Nazareth is risen as in times gone by; he resolves powerlessness and shame and brings its power and peace: the kingdom of heaven is at hand. Poor, he gives his wealth, heals the slain wounds. May he who was tied up and tired create hours of freedom and joy: the kingdom of heaven is at hand.

Some other voices:

O Lamb of God, which taketh away the sins of the world, have mercy on us, grant us your peace.

Still other voices: (Macedonian folk song)

Na i na ni na….—trans. Jonathan Miller

trad. Provençal, arr. Stephen Hatfield: Un flambeau, Jeanneatte, Isabella

This famous tune began life as a drinking song, written by Marc-Antoine Charpentier to be stage music for a play by Molière. The equally famous lyrics were published as early as 1836 in a collection of Christmas songs from Provence, in the south of France. The ar-rangement is by Stephen Hatfield, a well-known Canadian musician who has set in choral form many folksongs sung in Canada. He explains:

Torches are an important Christmas tradition in [Provence]. And while it’s a wide-spread custom to build a nativity scene . . . they go further, constructing an entire model of a village around the stable, complete with a vivid case of model villagers who were often caricatures of the local people. I like to think of the children in the carol running to see the newly finished Christmas village, but as their imaginations catch fire from the torchlight, they slip back in time to another dark evening filled with magical light.

Hatfield also has slowed down the tempo, “to bring out the lullaby in the song” and to reflect more of the feeling of a Renaissance viol consort than that of a boisterous scamper to the manger.



Un flambeau, Jeanneatte, Isabelle, un flambeau, courons au berceau.C’est Jesus. Bons gens du village, le Christ est né; Marie appelle.Ah,ah. Que la mère est belle. Ah, que l’enfant est beau.

Doucement dans l’etable close. Doucement, venez un moment.Approchez. Que Jesus est charmant. Comme il est blanc, comme il est rose.Do, do, que l’enfant repose. Do, do qu’il rit en dormant.

Bring a torch, Jeanneatte, Isabelle; bring a torch, let’s run to the cradle.It is Jesus. Good folk of the village,the Christ is born; Mary is calling.Ah, ah. How beautiful the mother is. Ah, how fine and handsome the child is. Softly now, in the closed-up stable. Softly now, come here a moment.Come a little closer. How charming Jesus is. How white he is, how pink he is.Hush, hush, how peaceful the child is. Hush, hush, how he smiles in his sleep.

—trans. © 2002 Roger Dean Publishing Company. All rights reserved. *

Jonathan Miller: Longfellow’s Carol In the famous book titled 100 Carols for Choirs, published by the venerable Oxford University Press, there is a piece for unison voices and accompaniment, called simply “Longfellow’s Carol.” The text is by Henry Wadsworth Longfellow, the Boston-based poet, who was also an ardent pacifist and abolitionist during the Civil War. He and his fellow abolitionist-pacifists lamented any loss of life on either side as they fought their own wars of public opinion on behalf of enslaved African-Americans. The poet begins joyously by hearing Christmas bells proclaiming peace on earth; however, his happiness is dashed by the “accursed” cannonballs thundering forth from cannons in the South-ern states where the war is being waged.

The composer writes: “Sometimes composing can go on for weeks or even months, and at other times it happens in a flash. When I was thumbing through the famous Oxford book, looking for carols for this concert, the Longfellow text jumped out at me and demanded of me, as poems sometimes do, a new musical setting. When the book stays open to a page like that, there is no resisting; in this case, before the evening was over, the piece was done. The fourth verse needs to be read with extreme sensitivity, to understand something important: Longfellow is not cursing anyone with black skin in his phrase ‘black accursed mouth,’ but rather the cannons made of black iron, from the mouths of which the terrible cannonballs are fired. It is both sobering and poignant for me to encounter a kindred spirit in a poet from more than 150 years ago: a spirit likewise dejected by humanity’s inability to learn the lessons of war. Longfellow seems to have a way to shake us out of our complacency and awaken our compassion. He did that for me, which is why this music came to be.”

I heard the bells on Christmas Day,Their old familiar carols play,And mild and sweet the words repeat,Of peace on earth, good will to men.

And thought how, as the day had come,The belfries of all ChristendomHad rolled along the unbroken song,Of peace on earth, good will to men.

Till ringing, singing on its way,The world revolved from night to day,A voice, a chime, a chant sublime,Of peace on earth, good will to men.

Then from each black accursed mouthThe cannon thundered in the South,And with the sound the carols drownedOf peace on earth, good will to men.



It was as if an earthquake rentThe hearthstones of a continent,And made forlorn the households bornOf peace on earth, good will to men.

And in despair I bowed my head:“There is no peace on earth,” I said;“For hate is strong, and mocks the songOf peace on earth, good will to men.”

Then pealed the bells more loud and deep:“God is not dead; nor doth he sleep!The wrong shall fail, the right prevail,With peace on earth, good will to men.”

—Henry Wadsworth Longfellow

For the record: Works by Jonathan Miller appear on the Chicago a cappella CDs Eclectric, Days of Awe and Rejoicing, and Holidays a cappella Live (which includes his arrangement of “The Coventry Carol”).

Robert Applebaum: Haneirot Halalu

This melody and choral setting, both by Bob Applebaum, will probably be less familiar than “The Dreidel Song” or “Oy Chanukah,” which is too bad—this whole piece has a lyri-cal, contemplative quality rarely found in Chanukah music. The text is an actual prayer, sung right after the Chanukah candles blessings are chanted and the candles are kindled. Longtime Chicago resident Bob Applebaum, now living in Northern California, wrote this song in 2005, and Chicago a cappella first performed it shortly thereafter.

Applebaum notes that the Hebrew prayer emphasizes—as he does in his own translation—that the candles are not to be used for any ordinary purposes, but only to be looked at. In the composer’s translation, he renders the relevant part of the text as “And we just watch them burn”; his music likewise lingers on these words and prolongs them, so that musi-cally he enhances and stretches the effect of looking at the candles in awe. Applebaum’s harmonies are right on the money here as well; his gently rocking rhythms move slowly through jazz-inflected chord progressions that not only soothe but themselves expand on the wonder of the occasion.

Haneirot halalu, haneirot halalu anachnu madlikin.

Before us the candles of Chanukah; we faithfully kindle the candles of Chanukah. Each night for eight nights we light the holy lights of Chanukah; and we’ll watch them burn, and just watch them burn.

Haneirot halalu, haneirot halalu anachnu madlikin. Haneirot halalu kodesh hem.

Before us the sacred candles of Chanukah, their glow sings the song of Your wonders and miracles, remembering how you redeemed our people in days gone by. And we just watch them burn.



Haneirot halalu, haneirot halalu anachnu madlikin. Al hanisim, v’al haniflaot, v’al hatshuot, v’al hamilchamot.

For G-d who’s the maker of miracles, for G-d who has been our redeemer; the flickering flames honor Your name, remembering how You delivered us, in days gone by.

And the candles burn. And we just watch them burn, we just watch as the candles burn; watch the candles burn.

—English text by Robert Applebaum, © 2005 Transcontinental Music Publications. *

For the record: Works by Robert Applebaum appear on the Chicago a cappella CDs Days of Awe and Rejoicing, Shall I Compare Thee?, and Holidays a cappella Live (which includes his “Oh Chanukah / Y’mei Hachanukah” and “Funky Driedl”)

Morten Lauridsen: O nata lux

One of the truly great large choral works of the past fifteen years is the cycle Lux Aeterna by Los Angeles-based composer Morten Lauridsen, composed for chorus and either orchestra or organ. This song, O nata lux, is an excerpt from that larger work. The cycle was premiered, like so many of his works, by the Los Angeles Master Chorale under the baton of Paul Sala-munovich. While Lux Aeterna as a whole is, in a sense, an adaptation of the Requiem Mass, this movement has particular beauty on its own, and its emphasis on light makes it perfect for the Christmas season.

The text is taken from the Roman Catholic liturgy. Lauridsen’s melodic and harmonic language in O nata lux closely resembles his work in O magnum mysterium and Les chansons des roses. Nevertheless, Lauridsen—much like Arvo Pärt—has a stunning way of keeping every phrase, every voice part, and even every bar of music fresh and new, as if there were really no other possible manner in which the text could have been set at that moment in the piece, apart from what Lauridsen himself did. Such is the mark of a true master, who creates here a sense of breathless, suspended anima-tion in the middle of a place of luminous radiance.

O nata lux de lumine,Jesu redemptor saeculi,Dignare Clemens supplicumLaudes preces que sumere.

Qui carne quondam contegiDignatus es pro perditis.Nos membra confer effici,Tui beati corporis.

O born light of light,Jesus, redeemer of the world,Mercifully deem worthy and acceptThe praises and prayers of your sup-plicants.

Thou who once deigned to be clothed in fleshFor the sake of the lost ones,Grant us to be made membersOf your holy body.

—trans. © 1998 by earthsongs reprinted with permission

For the record: Morten Lauridsen’s Contre Qui, Rose appears on Chicago a cappella’s CD Eclectric and O Magnum Mysterium appears on the CD Holidays a cappella Live.



Suggestions for intermission

• Finish your holiday shopping and give the gift of Chicago a cappella! From tra-ditional Christmas carols to sacred Jewish music, our acclaimed recordings are the perfect gift for friends and family. Gift certificates and CDs are available in the lobby.

• Fill out your audience survey and return it to an usher or to the lobby to be entered in tonight’s prize drawing for a copy of Christmas a cappella!

spiritual, arr. Brewer: Go tell it on the mountain

There are several settings of this tune, but this short and intense version is one of the very best. Eschewing the more languid opening section found in many settings, the late Joseph Brewer—one of the directors of the Chicago Children’s Choir during the 1970s—here keeps the strong pulse going throughout, never letting the joy or momentum stop.

For the record: Joseph Brewer’s Go Tell it On the Mountain appears on Chicago a cappella’s CD Holidays a cappella Live.

I N T E R M I S S I O N

P. I. Tchaikovsky, arr. Jeff Funk: from the Nutcracker Suite Dance of the Sugar-Plum Fairy Waltz of the Flowers

Just over ten years ago, the inventive composer Jeff Funk decided to create an a cappella version of the Nutcracker Suite. With clever syllables (such as “plum” to indicate a piz-zicato in the strings), he pulls off the desired effects beautifully.

G. F. Handel, arr. Philip Lawson: Joy to the World

Yes, the composer of the Messiah also wrote Joy to the World! At least the melody has been attributed to Handel, and the tune receives an unusually skillful treatment here in the hands of former King’s Singer Philip Lawson. The rhythm leaps off the page with a Scotch snap, and the lush six-part harmonies propel the piece forward.

J. H. Hopkins, arr. Darmon Meader: We Three Kings

Darmon Meader is the founder and one of the primary arrangers for New York Voices. Chi-cago a cappella first performed this infectiously appealing setting of We Three Kings a few years ago, and it quickly found a place in our file cabinet of music called “We Have To Do This Again.” The vocal percussion line and the extra syllables (which provide faint echoes of the film score The Lion King) create a truly magical effect.

Mykola Leontovych, arr. Rich Manners: Carol of the Bells

This is not your mother’s or grandmother’s Carol of the Bells! Watch out, for in addition to the swing rhythm that kicks it off, Rich Manners throws in a terrific curveball about halfway through. Prepare for a laugh or two.

Matisyahu, arr. Patrick Sinozich: Miracle

In case you missed him on Letterman or other TV appearances, Matisyahu is that rare combi-nation of observant Chassidic Jew and hip-hop artist. In addition to his media savvy, he has a remarkably ecumenical spirit. He wrote this piece for Chanukah and turned it into a YouTube video, and it was too good for us to pass up. Our Music Director, Patrick Sinozich, has once again turned a pop song with instruments into a superb a cappella arrangement for us to sing to you.



Just livin’ in the miracle,Candles on my vehicle,Eight nights gonna shine invincible,No longer be divisible,Born through the struggle,Keep on movin’ through all this hustle,Head’s up, head’s down through all a’ da bustle,Whoa, Chicago, wanna flex your muscle,Look so down, look so puzzled,Huddle ‘round your fire through all the rubble,

Refrain: Bound to stumble and fallBut my strength comes not from man at all,Bound to stumble and fallBut my strength comes not from man at all.

Do you believe in miracles,And am I hearing you,So am I seeing you?So eight nights and eight lightsAnd these rights keep me rightAnd bless me to the highest heightsWith your miracle.Against all odds drive on ‘til tomorrow,Wipe away your tears and your sorrow,Sunrise in the sky like an arrow,No need to worry no need to cry,

Light up your mind, no longer blind,Him who searches will find,Leave your problems behind,You will shine like a fire in the sky,What’s the reason we’re alive?

Refrain

Eight is the number of infinity,One more than what you know how to be,And this is the light of festivity,When your broken heart yearns to be free.

Refrain—reprinted with permission

arr. Jonathan Miller: Jingle Bells Hallelujah Chorus

Jonathan Miller writes: “The idea for this arrangement came while I was whizzing down the Eisenhower Expressway one day a few months ago. I was thinking about Christmas music, and in a happy and open mood, and wanting to find something a little bit goofy for our holiday closer, and then it floated into my head: ‘Could you actually switch the words to Jingle Bells and the Hallelujah Chorus and make it work?’ I went home and got out a pencil and my sketchbook, where I try to wrestle some of my musical ideas to the ground. First, I wrote down the words to both songs to see if the line breaks were at least in rough correspondence. It worked, fortunately. I threw in a brief modulation and transition to piece the two songs together, and there it was. (My wife and I giggled for hours at the way “Hallelujah” became “in a one-horse…”) Like Hoss Brock’s legendary arrangement of Bohemian Rhapsody, this is a song better simply heard than described. Hang on, and—as we like to say in rehearsal—”see you at the double bar.”

For all texts and translations denoted with an asterisk (*)All rights reserved. Reprinted under OneLicense.net #E-802304

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SPEC IAL THANKS

90.9fm WDCB: Ken ScottChris BaerBo EjebyFirst Bank and Trust, EvanstonFourth Presbyterian Church: John ShererEnid FrandzelBill HobanMerit School of Music: Tom Bracy, Brian GordonLaura MillerMusic Institute of Chicago: Fiona Queen, Jared ScottNorth Central College: Ken HannahPilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler Erik Westberg

Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff. For information visit www.saintschicago.org or call 773-529-5510.

CHICAGO A CAPPELL A ARTIST ROSTER 2011-12

Jonathan Miller ................................................................................................... Artistic DirectorPatrick Sinozich ......................................................................................................Music DirectorHoss Brock .............................................................................................................. tenor (Women)Klaus George .................................................................tenor (Days of Awe; Holidays, Wade)Matt Greenberg ........................................................ bass (Days of Awe; Holidays; Women)Elizabeth Grizzell ....................................................................................mezzo (entire season)Garrett Johannsen .............................................................................................tenor (Holidays)Kathryn Kamp .....................................................soprano (Days of Awe; Holidays; Women)Alexia Kruger ..................................................................................... soprano (Holidays; Wade)Joe Labozetta ............................................................................................bass (Holidays; Wade)Trevor Mitchell ............................................................... tenor (Days of Awe; Wade; Women)Cari Plachy ..................................................................soprano (Days of Awe; Wade; Women)Sarah Ponder ......................................................................................................mezzo (Holidays)Benjamin Rivera .............................................................. bass (Days of Awe; Wade; Women)Susan Schober .............................................................mezzo (Days of Awe; Wade; Women)Brian Streem ................................................................................................. bass (entire season)

B IOGR APHIES

Jonathan Miller, Founder and Artistic DirectorSince founding Chicago a cappella in 1993, Jonathan Miller has guided the ensemble through

more than 130 concerts, seven com-mercial CD releases, and thirty choral-music demo CDs. His international accolades include the 2008 Louis Botto Award for Innovative Action and Entre-preneurial Zeal from Chorus America. His skills at presenting a wide spectrum of music are a combined product of

his singer’s ear, scholar’s training, and composer’s temperament. He was for-tunate to be exposed at an early age to a wide range of music by a remarkable group of mentors, including Christo-pher Moore, Lena McLin, Max Janowski, Joseph Brewer, Howard Mayer Brown, Richard Proulx, John Nygro, and Anne Heider. He was a founding member of His Majestie’s Clerkes (now Bella Voce) and for ten years was bass soloist with the Harwood Early Music Ensemble. Eager to learn research tools for rep-ertoire, Jonathan pursued musicology, earning his doctorate at UNC-Chapel Hill while remaining an active per-


B IOGR APHIES (c o n t.)

former. Since returning to the Chicago area, Jonathan has expanded his role as a conductor and composer. He has led the volunteer choir at Unity Temple and Heritage Chorale in Oak Park and has served several other choirs as clinician and coach. He has written more than fifty 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. He conducted his piece The Lincoln Memorial at the Lincoln Memo-rial on the 200th anniversary weekend of Lincoln’s birth. Since 1998, Jonathan has taken a growing leadership role in Chicago-area Jewish music, leading the high-holiday choir and occasional Kab-balat Shabbat services at Congregation Rodfei Zedek in Hyde Park; he now serves there as high-holiday cantor. He is principal guest conductor of Kol Zimrah, the Jewish Community Chorus of Metro Chicago, and holds as a great honor his role as publisher of the late Max Janowski’s catalogue. Jonathan en-joys the blessings of family and neigh-bors in the woods of Downers Grove, where he loves helping to maintain two shared vegetable gardens.

Patrick Sinozich, Music DirectorAn acclaimed choral conductor, pianist, vocal coach, and chamber musician, Patrick Sinozich joined Chicago a

cappella’s musical staff in 2007 as Music Director. He is currently in his 15th season as Artistic Director of the Chicago Gay Men’s Chorus, and is As-sistant Director of Music at St. Clement Catholic Church in Lincoln Park. He is on the musical staff of the Chi-cago Symphony and has performed chamber music with members of the Chicago Symphony Orchestra, the Lyric Opera Orchestra, the San Fran-cisco Symphony and the Cincinnati Symphony. He has also produced four CDs for Chicago a cappella and three for the Chicago Gay Men’s Chorus (which feature many of his own ar-

rangements). Patrick’s association with Chicago a cappella goes back to the ensemble’s very first auditions, which he accompanied, and he has provided musical support as the ensemble’s oc-casional rehearsal coach since 2005.

Matt Greenberg, bassBaritone Matt Greenberg has ap-peared frequently on Chicago’s concert and theater stages, singing everything from Bach

to Broadway. His solo appearances in-clude Bach’s St. Matthew Passion, Mozart’s Requiem, and an evening of Rodgers and Hammerstein. Matt is a longtime member of the Grant Park Chorus and sang for over 20 years with the Chicago Sympho-ny Chorus, where he made over a dozen solo or small ensemble appearances. A founding member of Chicago a cappella, he has also performed with Music of the Baroque, William Ferris Chorale, and the Harwood Early Music Ensemble. Matt’s work in musical theater includes the Jeff-award winning Sylvia’s Real Good Advice, Hot Mikado, and appearances at Light Opera Works and Wisdom Bridge. He has also appeared with the pop quintet Table For Five. Combining his performing with a career in arts administration, Matt is Chi-cago a cappella’s Executive Director.

Klaus Georg, tenorIn his first year with Chicago a cappella, Klaus Georg is an active tenor, conduc-tor, and teacher in the Chicago area. He is currently Adjunct

Professor of Voice at Carthage Col-lege while pursuing doctoral studies at Northwestern University. Klaus has performed leading tenor roles in Mozart’s Zauberflöte, Poulenc’s Dialogues des Carmelites, Loesser’s The Most Happy Fella, and Hoiby’s Summer and Smoke, as well as the tenor solos in Mozart’s Requiem, Händel’s Messiah, Haydn’s Creation, and Brahms’s Zigeunerlieder. Recently, he appeared as the tenor soloist in Mozart’s



Requiem at the Music Institute of Chicago and as Chibiabos in Coleridge-Taylor’s Hi-awatha’s Wedding Feast in Park Ridge. An accomplished choral singer, Klaus sings with the CSO Chorus and Music of the Ba-roque, and has appeared as a soloist with both groups. He also sings with the Grant Park Music Festival and is chorus director at Beth Emet the Free Synagogue.

Elizabeth Grizzell, mezzoMezzo-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 re-corded 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 12th season with Chicago a cappella. She is proud to be programming this year’s All About the Women concert, and she previ-ously programmed the ensemble’s 2009 concert, The Birds and the Bees. 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, tenorGarrett Johannsen grew up in Schiller Park, IL. He started singing shortly after learning to play the trumpet at Kennedy

School. Garrett decided to take private voice lessons at East Leyden High School which led him to study voice at Roosevelt University. Beyond Roosevelt, he has

performed with the Chicago Symphony Chorus, Grant Park Chorus, William Ferris Chorale, Bella Voce, and Lyric Opera Cho-rus. Garrett has branched out of the city limits to work with Chorus Angelorum in Indiana, Opera for the Young in Wiscon-sin, and Sarasota Opera in Florida, and to participate in a week-long workshop with the a cappella group Chanticleer in California. He hopes in the near future to continue traveling nationally to share his love of singing opera and Broadway mu-sic. One of his favorite moments to date is an invitation to sing the National An-them for his family’s favorite sports team, the Chicago White Sox…..four times.

Kathryn Kamp, sopranoA mix of opera, operetta, and musical theater productions as well as oratorio, concert, and choral engagements keeps

Kathryn busy when she’s not singing with Chicago a cappella. She has appeared as soloist at the Ravinia Festival, Orchestra Hall at Chicago Symphony Center, Grant Park Music Festival, the Peninsula Music Festival, and Bach Dancing and Dynamite Society, among others. Favorite works include Mozart Requiem; Haydn Creation and Dixit Dominus; Handel (Messiah); Poulenc (Gloria) and Brahms (Requiem); Mozart’s Despina (Cosi fan tutte); many Gilbert and Sullivan ingénues (Patience, Rose Maybud, Yum-Yum and Mabel); and anything by Steven Sondheim (especially Anne Egerman and Mrs. Segstrom of A Little Night Music). She has also directed over 15 opera and operetta productions. Free time is spent in the garden, on a bike, cooking, reading, and hanging out with her husband. She always looks forward to the unique vocal demands and wonderful colleagues of Chicago a cappella.

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 Schlafenge-hen 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 dAlmaviva (Le Nozze di Figaro), Giulietta (Les Contes dHoff-mann), 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, bassHailing from Northern Califor-nia, Joe Labozetta moved to Chicago in 2003 to further his musical studies at

DePaul University’s School of Music. After finishing a degree in Sound Recording Technology, he quickly immersed himself into a full-time career as a professional musician. Joe currently holds the posi-tion of Director of Music at St. Josaphat Church, where he is kept busy with choirs, pipe organs, handbells and composing hymnody. His local choral activities have included Chicago Symphony Chorus, Grant Park Chorus, Bella Voce, and the William Ferris Chorale. Joe is also an award-winning baritone soloist, notably at the International Choral Kathaumixw in Powell River, B.C., Canada. Additionally, as an accomplished keyboardist, guitarist and bassist, Joe performs in venues other than churches and concert halls. In fact, Labozetta sightings have been reported in dive bars, hotel lounges and almost-but-not-yet foreclosed recording studios.

Sarah Ponder, mezzoOriginally from Nebraska, mezzo-so-prano Sarah Ponder found her way to classical singing after early dreams of

pursuing a career in jazz. After a fateful trip to the opera house to see Turandot, she was hooked! Although one may not hear her singing the soprano role of “Liu” as she once hoped, Sarah enjoys a busy career as a soloist, ensemble singer, and dedicated teacher in Chicago. Hailed as “Deeply expressive” (Chicago Sun-Times), some of Sarah’s recent favorite performances include a full recital at the Cultural Center as part of the Musicians Club of Women “Award Winners in Concert” series, the alto soloist in Bach’s B Minor Mass with the North Shore Choral Society, and a thrilling rendition of “Row, Row Your Boat” with Yo-Yo Ma at Children’s Memorial Hospital as part of the Citizen Musician Initiative.

Brian Streem, bassA lover of choral music, Brian Streem has been a member of some of Chicago’s finest choral ensem-bles, including the Chicago Symphony

Chorus, the Grant Park Symphony Cho-rus, Bella Voce, the William Ferris Cho-rale, and the Chicago Jazz Ensemble. His theatrical credits have included Pippin (Pippin), Jesus (Jesus Christ Superstar), Sky Masterson (Guys and Dolls), Jack (Into the Woods), Philip (Lion in Winter) and the star of the one-man show All in the Timing. His recent work with Chicago a cappella was praised by critic Cathryn Wilkinson, who noted that he “pattered out a better maraca ostinato with his mouth than many drummers can with two hands.” Brian is a graduate of the Chicago College of Performing Arts at Roosevelt University, studying music theory with Dr. Rudy Marcozzi.


DONORS

We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between July 1, 2010 and November 7, 2011. 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.

FOUNDATIONSUPPORTERSArts Work Fund for

Organizational Development

Dr. Scholl FoundationThe Gaylord and Dorothy

Donnelley FoundationKlaff Family FoundationThe MacArthur Fund for

Arts and Culture at the Richard H. Driehaus Foundation

GOVERNMENTSUPPORTERSIllinois Arts Council

City of Chicago Dept. of Cultural Affairs and Special Events

Oak Park Area Arts Council

MEDIA SPONSORS90.9fm WDCBChicago Jewish News

(Days of Awe)Naperville Sun (concerts at

Wentz Hall, Naperville)

CORPORATE SUPPORT,MATCHING GIFTS, ANDOTHER SUPPORTAT&T FoundationBank of America

Blue Cross-Blue Shield of Illinois

First Bank and Trust Evanston

Homestead HotelJP Morgan Chase

FoundationKing Insurance AgencyMacy’s FoundationMinibar-WinebarRobert Morris UniversitySt. Scholastica Academy

in memory of Frances Flowers

Whole Foods Markets

VISIONARY ($5,000 or more)AnonymousEstate of Helen AsherHyslop Shannon

Foundation

ARCHANGEL ($2,500 or more)Howard and Jane HushMurray Kopelow and Cathy

Bachman

ANGEL ($1,000 or more)Marguerite Bloch Frank G. & Gertrude Dunlap

FundFive K. Family Fund at The

Chicago Community Trust

Bill and Jeanetta FlowersHelen GagelJoyce Grenis and Michael

KoenJay and Jackie LauderdaleLeslie LauderdaleSusan and Joe LunnAlice and David OsbergDiana RamirezPriscilla and Steve ShawMaria Suarez

BENEFACTOR ($500 or more)AnonymousBonnie BensonMichelle EppleyMarina GilmanMatt Greenberg and Chris

BaerHank and Becky HartmanAnn Hicks and Lawrence

HamiltonTerri HemmertTom and Margaret HuyckDouglas and Christine

KelnerRonna LernerDan and Cari LevinBob and Fleury LinnLinda Mast and Bard

SchatzmanJonathan Miller and Sandra

Siegel MillerMary MillerNora Bergman FundKen NovakBette Sikes and Joan

PedersonAnn StevensFrank Villella and Oscar Ivan

Zambrano

SPONSOR ($250 or more)Don and Joanna GwinnAnne Heider and Steve

WarnerSusan KampBarbara and Martin LetscherJean McLaren and John

NitschkeRobert and Lois MoellerVreni NaessDrs. Donald and Mary Ellen

NewsomDavid and Carole PerlmanDale and Donna PrestCaryl RineKenneth SchugTom and Linda SpringMary Beth StrahotaPeggy SullivanEmily Troxell JaycoxJohn Washburn

PATRON ($100 or more)AnonymousWendy Anker and Edward

ReedSusan BealDavid and Denise BunningTrent and Kara ColemanLaura and Gary CooperThomas DoyleMary EkinsRon & Judy Eshleman

INSTITUTIONAL CONTRIBUTORS

INDIVIDUAL CONTRIBUTORS


WADE IN THE WATER: SPIRITUALSAn inspiring and jubilant new concert celebrating the power of the

Spiritual and including a new commission by Grammy Award-winning arranger Joseph Jennings.

ChicagoFriday, Feb. 3, 8:00 pmGottlieb Hall at Merit

School of Music

NapervilleSunday, Feb. 4, 8:00 pm

Wentz Concert Hall

EvanstonSaturday, Feb. 11, 8:00 pm

Nichols Concert Hall

Oak ParkSunday, Feb. 12, 4:00 pmPilgrim Congregational

Church

ALL ABOUT THE WOMENFrom the holiest of hymns to the most raucous spoofs, this concert is a sassy and sublime homage to the fair sex. Acclaimed Jeff Award-winning actress

Barbara Robertson is our guide for this charming musical journey.

EvanstonSaturday, April 14, 8:00 pm

Nichols Concert Hall

Oak ParkSunday, April 15, 4:00 pm

Pilgrim Congregational Church

ChicagoFriday, April 20, 8:00 pm

Gottlieb Hall at Merit School of Music

NapervilleSaturday, April 21, 8:00 pm

Wentz Concert Hall

UPCOMING CONCERTS

SAVE THE DATE

Come Together:A Benefit Bash Featuring the Music of Lennon and McCartney

Join us at for a magical evening of music and revelry amid the antique wonder-land of Chicago’s Salvage One. Groove to the ensemble’s performances of Len-non and McCartney songs, and enjoy hors d’oeuvres, wine, and dessert as well

as an exciting raffle and silent auction. All proceeds support Chicago a cappella’s educational and artistic programs. Don’t miss this unforgettable event!

Thursday, May 17, 2012 · Salvage OneTribute Award Honoree: John Vorrasi

Friends of the Year: The Arts & Business Council of Chicago with special recognition to Joan Gunzberg


PATRON (cont.)Anne EvansKris and Julie GagnonHoward and Judy GilbertNorm and Judy GreenbergRobert HarrisF. James & Margery HeiderAnn HewittMunn and Bonnie HeydornJim and Lois HobartTroy HuberJean and Lester HuntCharles KatzenmeyerJohn and Karen KrugerHelen and John LauderdaleStephen and Lisbeth LernerJoan LevinJay LytleTom and Cheryl McRobertsAllen McVeyGlenn and Sandy MeadeEphraim and Ann MillerCathy and Paul NewportJohn and Gail PollesJane Ann PrestDoris RoskinJennifer and Warren SchultzLisa ScottJeni and David Spinney Juan J. SuarezEileen SutterGeri SztukLaura Temple and Andrew

Wood

Dave and Carolyn UtechBarbara VolinGary and Beth WainerShirlene Ward and Kevin

KippTracy and Tony WeismanRobert and Barbara

WichmannLance and Stephanie

WilkeningShawn Ying and Jason

Cohen

FRIEND ($50 or more)AnonymousDavid and Patricia AgnewBob and Rose Marie BaerIoanna and Robert ChaneyDale and Frances DellutriNorma FelbingerDale FitschenMadelon and Roger FrossDon and Diane GilliardElizabeth and Phil GouldJudith Grubner and Craig

JobsonCharles Hoffman and

Tamara SchillerValerie HumowieckiDavid and Darlene

LandsittelIvan and Jasna LappinMarvin and Marlene LevineCarol LoVerde

Diane and Doug MacDonald

Catherine MarquisScott, Kelly & Ian McClearyDaniel Melamed Patrice Michaels and Jim

GinsburgBelverd E. NeedlesCharles & Janice OlsonJim PetersonMargarita PrietoVirginia RussellMichelle and Jonathan SalesDennis and Patricia SmithBernard SzeszolJohn VorrasiWilliam WallaceCheryl WollinJohn and Mary

Zimmermann

IN HONOR OF DOUG ANDCHRISTINE KELNERRichard HolbrookMarina and Andrey

KuznetsovLorelei and Tim McDermottJonathan Miller and Sandra

Siegel Miller

IN HONOR OF RONNA LERNERRona and Ralph Brown

DONORS (c o n t.)

SUSTAINING DONORSBy joining our Sustaining Donor program, the following individuals support the work of Chicago a cappella while reducing our fundraising costs and saving resources. Sustaining donors choose the level and frequency of their automatic payment, and receive the benefits of annual tax deductions without the hassle of writing checks. For more information, see the envelope in this program, visit our website, or call (773) 281-7820.

A huge thank you to our Sustaining Donors:

Susan BealFrank BrockwayNorma FelbingerSanford Greenberg & Betsy

PerdueAnn HewittJean & Lester Hunt

Doug & Christine KelnerVreni NaessDonald & Mary Ellen

NewsomKen NovakAlice & David OsbergDavid & Carole Perlman

Carolyn SackstederWarren & Jennifer SchultzTom & Linda SpringAnn StevensDavid & Carolyn UtechFrank VillellaShirlene Ward & Kevin Kipp


IN -K IND CONTR IBUTIONS (S INCE JANUARY 1, 2011)

98.7 WFMTAbout Face TheaterAdler PlanetariumAirTran AirwaysAmbassador East HotelArlington ParkAvanti Skin CentersBagel Restaurant and DeliBaroque BandBarrel of MonkeysThe Belden StratfordBella VoceThe BlackstoneBlue Man GroupHoss BrockBrookfield ZooChicago BearsChicago BlackhawksChicago Botanic GardensChicago Chamber ChoirChicago Chamber MusiciansChicago DramatistsChicago Gay Men’s ChorusChicago History MuseumChicago Human Rhythm

ProjectChicago Jewish NewsChicago Kids CompanyChicago Opera TheaterChicago Shakespeare

TheaterChicago SinfoniettaChicago Symphony

OrchestraChicago White SoxCircle TheatreCity Lit Theatre CompanyCourt TheatreDance Center of Columbia

CollegeDeSoto House HotelEast Bank ClubEclipse Theatre CompanyEmerald City TheatreEvent CreativeFacets Multimedia, Inc.Norma FelbingerBill FlowersFootlights

Fox Valley RepertoryFrank Lloyd Wright

Preservation TrustFred Astaire Dance StudioFrench Pastry SchoolFulcrum PointGabriel’sGene Siskel Film CenterGethsemane Garden CenterGive Me Some SugahGoodman TheatreGrant Park Music FestivalGymboreeHarris Theater for Music and

DanceHeal Thy Self MassageHedwig DancesMunn HeydornDeb HobanHomestead HotelHouse RedHowl at the Moon ChicagoJ&L CateringJaks Tap Bar and GrillKincades/Twisted LizardKingston MinesNatalie Knight & Collin

TillotsonKohl’s Children’s MuseumL20 RestaurantLatin Street Dance StudioLeslie LauderdaleLe Cordon Bleu College of

Culinary Arts in ChicagoLifeline TheatreLight Opera WorksLloyd’s ChicagoLookingglass Theatre

CompanyLucky Strike LanesLulu’s RestaurantMarriott Theatre

LincolnshireMetropolis Performing Arts

CentreMichael KorsMorton ArboretumMusic Box TheatreMusic of the Baroque

The Neo-FuturistsNaperville SunNext Theatre CompanyNorth Central CollegeNortheastern IL Univ.Northlight TheaterOak Park Festival TheatreOceaniqueOld Town School of Folk

MusicOrion EnsemblePanera BreadJim ParksPioneer PressPress America, Inc.Redhead Piano BarRemy Bumppo Theatre

CompanyRitz-Carlton Hotel ChicagoDavid RobsonSt. Regis Bahia Beach Puerto

RicoSecond CityShedd AquariumShureSteep Theatre CompanyBrian StreemJuan SuarezMaria SuarezSwedish American Museum

CenterThe Theatre School at

DePaul UniversityTimeline Theatre CompanyTrader Joe’sTrinity Academy of Irish

DanceTRUDee Dee WhippleWhole Foods LakeviewWild Mountain, Taylor Falls

RecreationsWinestylesCheryl WollinWrigleyville RooftopsWriters’ TheatreZanies Comedy Nite Club


Chicago a cappella in the schools!

Chicago a cappella’s Educational Outreach Programs are expanding! Our programs include:

• In-school Residencies• High School Choral Festival• High School Internship Program• Master Classes

Our programs serve singers and students of all ages and levels of experience, promoting and improving the life-long performance, understanding and appreciation of a cappella vocal music. The young singers we work with receive one-on-one master class opportunities and expert mentoring.

After a Chicago public high school residency in early 2011, the school’s choral director exclaimed, “This is the best singing this group has ever done.”

How you can be involved:• Help us identify corporate and

business partners to support these projects.

• Spread the word to schools and community organizations who may be interested in working with us.

• Use the envelope in this program to make your own gift today! Your contribution will not only support our education programming. It will also nourish innovative new concerts and world-class CD recordings, and help establish an ever-stronger financial base for our future. Ticket sales cover only a fraction of our expenses, and contributions from friends like you cover over 1/3 of our operating budget.

For more information about our education programs, please contact Susan Schober at [email protected].

For sponsorship opportunities, please contact Matt Greenberg at (773) 281-7820 or email [email protected].


JAZZ • BLUES • NEWSFOR A COMPLIMENTARY PROGRAM SCHEDULE, CALL (630) 942-4200.

and much, much more!

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B90.9 FMP UB L I C R A D I O

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