North Central College-Book 7

1North Central College

Welcome to another wonderful performance in the arts at North Central College. We are truly excited that you are joining us! If this is your first visit, please do not make it your last. If you are one of our ever-growing number of returning clients, thank you for all you do for us. Your loyalty is a great present to all of us in the arts at North Central.

There could be no better time to celebrate the arts in this vibrant community. North Central College’s 150th birthday celebration continues with some of the finest artists performing right here in downtown Naperville. When you combine spectacular facilities with free parking and over 100 restaurants, you get world class entertainment. But don’t keep us a secret! Let all of your friends know about this gem you’ve found right in your back yard.

Speaking of friends, there is a way that you can help us to continue to bring you some of the finest artists to Naperville. Our Friends of the Arts program is an important group of supporters who understand that ticket sales only cover a por-tion of the expenses incurred to bring terrific artists to North Central College. To give you an example, in our recent sold-out performances of Frankie Valli and the Four Seasons, in addition to the artist’s fees, we provided all the theatrical magic plus the pampering that our artists deserve. It’s what we do with the greatest production team anyone in the fine arts can hope to work with. In order to keep our prices as low as they are, we need the generous support of you, our loyal pa-trons. Your tax deductible gift will bring so much to so many. Please call the box office for further information on Friends of the Arts and the great benefits you will receive by joining the club!

Now, on with the show! Thanks for listening. . . .er . . . reading. We get the privilege of bringing the finest artists in the business to North Central College, Naperville, and the greater DuPage county area. Thank you for being here. We do appreciate your business. We also love to listen, so if there is something you feel we should do differently, if there is someone you want us to bring next season, or if you just want to chat, we are here for you. And now sit back, relax, and enjoy a great performance in the arts in the greatest venues around.

Brian LynchFine Arts Director North Central College

North Central College thanks its Fine and Performing Arts 2010-2011 season event sponsors. The following companies have made generous contributions in support of the fine and performing arts.

sponsors

These programs are also partially supported by a grant from the Illinois Arts Council, a state agency.

Sponsors Footlight Insert 2010-2011.indd 1 11/10/2010 10:16:29 AM


NORTH CENTRAL COLLEGE

Presents

Jason Vieaux

Friday, February 18, 20118:00 p.m.

Presented atWentz Concert Hall

171 E. Chicago Avenue, Naperville, Illinoiswww.northcentralcollege.edu/show

2010 – 2011 Fine Arts Performances Sponsors

4 North Central College

B IOGR APHY

Jason Vieaux, Guitarist

“…among the elite of today’s classical guitarists.”— Gramophone

One of the “youngest stars of the guitar world” (The New York Times, 2010), Jason Vieaux is a musician regularly noted for his engaging and virtuosic live performances, imaginative programming, and uncommon communicative gifts. Recent concert highlights include recitals for Lincoln Center and 92nd St. Y in New York, Dumbarton Oaks Series in Washington, D.C., a return to the Music@Menlo festival, a debut with Charlotte Symphony, and recitals for Spivey Hall and Indiana University. Vieaux’s upcoming concerto performances include works of Rodrigo, Villa-Lobos, Piazzolla and Roberto Sierra for the Chautauqua Music Festival, the symphonies of Mexico City, Ft. Worth, Grand Rapids, Illinois, Williamsburg, Reading, and Dubuque, as well as Boston’s A Far Cry Chamber Orchestra. His current chamber music collaborations with the Escher Quartet, flutist Gary Schocker, and bandoneon/accordion virtuoso Julien Labro continue to display Vieaux’s extensive range of musical interests. As one of the “leading guitarists of his generation” (Absolute Sound, 2009), Jason Vieaux has established a lasting connection with his audiences, as evidenced by numerous return invitations in 2010-2011 to series in Toronto, Cleveland, Michigan and North Carolina. In October, Mr. Vieaux will receive a 2010 Salon De Virtuosi Career Grant and perform with mezzo-soprano Sasha Cooke at the Kennedy Center. Mr. Vieaux is a frequent guest with orchestras across the United States. He has performed as concerto soloist with, among many others, the Cleveland Orchestra, Ft. Worth Symphony, San Diego Symphony, the Florida Orchestra, the Chamber Orchestra of Philadelphia, Orchestra

2001, IRIS Chamber Orchestra, and the Auckland Philharmonia in New Zealand, while working with such renowned conductors as Miguel Harth-Bedoya, David Robertson, Michael Stern, Jahja Ling, Stefan Sanderling and Alasdair Neale. Vieaux’s triumphant programs and collaborations for Music@Menlo, Strings Music Festival, Grand Teton, Jupiter Chamber Players, and others, have forged his reputation as a first-rate chamber musician. As a passionate advocate of new music, Vieaux has premièred new pieces by Jerod Impichchaachaaha’ Tate, José Luis Merlin, Eric Sessler, Arthur Hernandez, Gary Schocker, Fazil Say, and frequently plays works by Mario Davidovsky, Roberto Sierra, and John Corigliano.

Jason Vieaux has ten recordings to his credit and many more to come under his multi-record deal with Azica Records. “Bach; Works for Lute, Vol.1” was released in the spring of 2009, and, after hitting #13 on Billboard’s Classical Chart after its first week, received rave reviews by Gramophone Magazine and The Absolute Sound. His previous CD, “Images of Metheny,” features music by renowned American jazz guitarist/composer Pat Metheny. Metheny, after listening to this landmark recording, declared: “I am flattered to be included in Jason’s musical world.” “Sevilla: The Music of Isaac Albeniz,” was rated one of the Top Ten Classical CDs of the year by both The Philadelphia Inquirer and Cleveland’s Plain Dealer. Mr. Vieaux recorded his first CD when he was just 19, and two years later released the highly successful “Laureate Series Guitar Recital” on the Naxos label. Vieaux’s recordings and live performances are on the radio and Internet; he is often heard on such top-rated programs as NPR’s “All Things Considered,” “Morning Edition,” and American Public Media’s “Performance Today.” Mr. Vieaux’s expressive and communicative gifts have been the subject of many newspaper and magazine articles around the US and abroad. Acoustic Guitar Magazine


named Jason Vieaux in its January 2008 cover article, “The New Virtuosos” as “one of three young musicians pushing the instrument beyond the traditional.” England’s MUSO and Gramophone Magazine have published feature articles on Mr. Vieaux.

Jason Vieaux began guitar studies at age eight with Jeremy Sparks in Buffalo, New York, and continued study at The Cleveland Institute of Music with John Holmquist. He is the youngest First Prize winner in the history of the prestigious Guitar Foundation of America International Competition, a Naumburg International Guitar Competition prizewinner, and, in recognition of his prodigious talent and extraordinary professional career, The Cleveland Institute of Music honored Mr. Vieaux with their Alumni Achievement Award in 1998. In 1995, Mr. Vieaux was an Artistic Ambassador of the United States to Southeast Asia,

and concertized in Cambodia, Thailand, Laos, India, Nepal, Bangladesh, and Myanmar (Burma). He has also toured Europe, Mexico, Canada, the Far East, Australia and New Zealand. Aside from his duties as a performer, Mr. Vieaux is highly dedicated to the art of teaching. He currently resides in Cleveland, Ohio, where he is head of the Cleveland Institute of Music Guitar Department, the youngest department head to serve at the prestigious conservatory. Mr. Vieaux is also the co-founder of The Curtis Institute’s Guitar Department, along with David Starobin. This is the first new department at Curtis Institute in 20 years, and the program will begin in the fall of 2011. Jason Vieaux is also affiliated with Philadelphia-based Astral Artists, under whose auspices he gives annual outreach concerts. Jason’s website is www.jasonvieaux.com; join the Newsletter at www.jasonvieaux.com

B IOGR APHY (c o n t.)


PROGR A M

Jason VieauxGuitar

Sevilla (from Suite Española, Op.47) Isaac Albéniz (1860-1909) (arr. Vieaux)

Lute Suite No. 3 in A Minor, BWV 995 Johann Sebastian Bach Prelude (1685-1750) Allemande Courante Sarabande Gavotte I and II Gigue

Julia Florida: Barcarola Agustin BarriosVals, Opus 8, No. 4 (1885-1944)

INTERMISSION

Quatre pièces brèves Frank Martin Prelude (1890-1974) Air Plainte Comme Une Gigue

El Decameron Negro Leo Brouwer El Arpa del Guerrero (The Warrior’s Harp) (b. 1939) La Huida de los Amantes por el Valle de los Ecos (The Flight of the Lovers Through the Valley of Echoes) Ballada de la Doncella Enamorada (Ballad of the Young Girl in Love)

The Bat Pat Metheny (1954-) (arr. Vieaux)

Jason Vieaux uses Galli Genius strings and plays a guitar made by Gernot Wagner, Frankfurt

He is represented by Jonathan Wentworth Associates, Ltd., Mt. Vernon, NYwww.jwentworth.com


PROGR A M NOTES

Sevilla (from Suite Española, Op.47) Isaac Albéniz (1860-1909) (arr. Vieaux)

Isaac Albéniz was a virtuoso pianist and, along with Enrique Granados and Manuel de Falla, is considered to be one of the three greatest Spanish composers of all time. Among the best of Albéniz’ works are Spanish character pieces for solo piano, often named after parts of Spain. “Sevilla” is one such work.

“Sevilla” was first performed by the composer on January 24, 1886. It is one of the four works originally included in his “Suite Española, Op 47” and presented to the queen of Spain on March 21, 1887. Other movements were later added to the suite either by Albéniz himself or by his publisher.

The sevillanas is a popular Spanish dance in 3/4 meter. It is derived from the Seguidilla and may actually be Castilian in origin, though its strong association with Seville has given it its name. Seville (or Sevilla) is the most famous city of the southern region of Spain called Andalusia. Perhaps Albéniz had Seville’s popular Holy Week festival in mind when he wrote this celebratory piece. This is one of his most orchestral compositions for the piano, with independent inner voices creating a full and busy texture, much like the movement of revelers in a festival. — Erik Mann

Lute Suite No. 3 in A Minor, BWV 995 J. S. Bach Prelude (1685 – 1750) Allemande Courante Sarabande Gavotte I and II Gigue In Germany in the first half of the 18th century, the lute experienced its last great surge of popularity, and Bach had an obvious affinity for this delicate instrument. In fact, Bach was visited on at least two occasions by Sylvius Leopold Weiss, the greatest lutenist of his time and the most prolific composer for the lute in history. On one of these occasions, Weiss was accompanied by his student, Johann Krop-fgans, and Bach’s son, Wilhelm Friedemann Bach. During another visit, Weiss and Bach engaged in a friendly competition improvising fugues - Weiss on the lute, and Bach presumably on the keyboard. Bach also arranged one of Weiss’s lute sonatas for violin and harpsichord.

Although Bach did own a lute, it seems unlikely that he played it, based on the music that he left, which is not idiomatic to the instrument. Bach also owned two lautenwerke (lute-harpsichords) - keyboard instruments in which the strings were plucked like a harpsichord, but with gut rather than metal strings. One of Bach’s students remarked that its sound “could almost deceive even professional lutenists.” It is likely that Bach actually composed his “lute works” - four suites; the “Prelude,” “Fugue,” and “Allegro,” “BWV 998,” and the “Prelude BWV 999,” on this instrument.

Bach gives two titles to “BWV 995” in the manuscript: “Pièces pour la Luth” and “Suite pour la Luth.” The designation “pour la Luth” has lead some to believe that it was indeed written for the lute rather than the lautenwerke. However, the work is in G minor and frequently uses a low G that was not available to the 11-course* and 13-course lutes in common use at the time. Some speculate that he had a specially designed 14-course lute in mind, which would have the low G.


PROGR A M NOTES (c o n t.)

“Suite BWV 995” is actually an arrangement of an earlier work- the “Suite No. 5 BWV 1011” for solo cello. The six unaccompanied “Cello Suites” were groundbreak-ing works of a scale which had never before been approached for the instrument. Bach’s writing for the cello features thin textures, often a single melody line, but within that is implied counterpoint that hints at a second line. In arranging it for the lute, Bach often added notes to make the instrument sound fuller, and at times was even able to add a new, independent line. The second section of the prelude, a fugue marked “presto,” is a good example of his ability to realize more fully all of the individual voices. A notable exception, however, is the enigmatic “Sarabande,” in which very few notes have been added for the lute, and in which the sparse texture remains. — Erik Mann

*A course is a pair of strings tuned to an octave or unison that are very close to each other and sounded simultaneously.

Julia Florida: Barcarola Agustin BarriosVals, Opus 8, No. 4 (1885-1944)

Agustín Barrios led a varied and colorful life. He was successful as a touring guitar virtuoso in Latin America, performing in virtually every country in the region. His success did not extend to other parts of the globe however: his trip to Europe in the 1930’s was met with some acclaim but was cut short by the Spanish Civil War, and his dream of touring the United States never came to fruition.

For many years, Barrios billed himself as Nitsuga Mangoré, sometimes with the fanciful slogan “The Paganini of the guitar from the jungles of Paraguay.” “Nitsuga” is Agustín spelled backward and “Mangoré” was the name of a legendary chief from the Guaraní tribe indigenous to Barrios’ native Paraguay. Barrios claimed to be descended from this chief, and appeared in concert dressed in native Guaraní garb. Later in life he returned to traditional concert attire and eventually settled on the name Agustín Barrios Mangoré.

The music of Barrios can generally be divided into two styles: Latin American folk and popular music, and romantic salon pieces. Both “Julia Florida” and “Vals Op. 8, No. 4” represent the latter style. Although his works never truly ventured much into the com-positional style of the 20th century, they exhibit a mastery of the harmonic language of the 19th century, extending from Chopin to Tárrega, and they are quite moving.

Barrios composed “Julia Florida” in 1938 for Julia Martinez, a student of his and the niece of his good friend, Francisco Salazar, of Costa Rica. “Florida” means blossom-ing, and may refer to both Julia’s maturation into a young lady and her growth musically. Indeed, this piece goes well beyond simple melody and accompani-ment, featuring voices that swell in and out of prominence, at times featuring as many as four voices at once.

“Julia Florida” is a barcarole, a type of song sung by Venetian gondoliers. The meter, typical for a barcarole, is 6/8 and the feel suggests the gentle propulsion of the gondola through the canal. “Vals Op. 8 No. 4” appeared in Barrios’ programs at least by 1923. He recorded it and it was one of the few works that he published. It often appeared in his concert programs as “Vals Brillante,” referring to the sweep-ing, virtuosic scale and arpeggio passages. Though “Op. 8” reputedly originally consisted of five waltzes, only the third and fourth survive today. Both are charm-ing salon pieces in the style of Chopin. — Erik Mann



Quatre pièces brèves Frank Martin Prelude (1890-1974) Air Plainte Comme Une Gigue

Frank Martin’s “Quatre pièces brèves” of 1933 is important in the guitar repertoire because it is one of the earliest works of the 20th century composed in a clearly modern style. Martin sent the work to Andrés Segovia, whose lack of response disheartened him. Clearly Segovia’s tastes were too conservative for this work, and it was left to Julian Bream to popularize the work several decades later. Either because of Martin’s negative experience with Segovia or because his many com-missions later in life took up too much of his time, Bream’s request for another solo guitar work by Martin went unfulfilled.

At the time of this composition, Martin had just begun immersing himself in the compositions and theories of Arnold Schoenberg, guided by the principle of 12-tone composition - a system in which all 12 possible pitches are used more or less equally. Schoenberg called this “the emancipation of dissonance” because the hierarchy of pitches could be neutralized along with the idea of consonance and dissonance. Martin never used the system dogmatically however, preferring to keep some sense of tonal center most of the time. He did this through repetition of tonally important pitches and by occasionally implying a standard tonal chord progression. In this way, Martin wrote music that was relevant and fresh, but also tied to tradition.

The first and last movements of “Quatre pièces brèves” establish all 12 pitches of the chromatic scale within the first few bars. In both cases however, the note B is heard first, and returns several times in notes of longer duration than any of the other notes in the passage. The effect is of feeling the sand shift beneath one’s feet, yet being rooted to the ground. The repeated and prolonged Bs return at other points in these movements, and both end with a IV-V-I bass progression, one of the most basic components of tonal music. “Prélude” and “Comme une Gigue” thus become quasi-tonal bookends in B (though really neither major nor minor) which frame the central movements.

“Air” is the most tonal movement, in the key of C# major. It features many stan-dard chords, sometimes used both in standard progressions and sometimes in less predictable ways, reminiscent of the modal impressionism of Claude Debussy. An atmosphere of other-worldly melancholy is created.

“Plainte” begins with repeated chords keeping a quarter note pulse. A melody line then enters over the chords beginning with a repeated note, but both its pitch and rhythm clash with the harmony. The melody then expands, creating a free, improvisatory feel. Though repeated notes and chords are found throughout the movement, it doesn’t have the sense of tonal center that the other movements have, in part because of its bitonality (two keys sounding simultaneously).

There are interesting similarities between “Quatre pièces brèves” and Bach’s “Suite, BWV 995,” heard earlier in this program. First, Martin used movement names com-monly used in the Baroque era. Preludes, airs, and gigues were all frequently com-posed in the Baroque, and Martin’s “Air” also has the feel of a Baroque sarabande. Next, the title “Quatre pièces brèves” is in fact quite similar to one of the titles on Bach’s manuscript for “BWV 995:” “Pièces pour la Luth.” Lastly, just as Bach tran-scribed his work from cello to lute (or lautenwerk), so Martin arranged his “Quatre pièces brèves” for piano. Martin’s transcription was re-titled “Guitare.” — Erik Mann



El Decameron Negro Leo Brouwer El Arpa del Guerrero (The Warrior’s Harp) (b. 1939) La Huida de los Amantes por el Valle de los Ecos (The Flight of the Lovers Through the Valley of Echoes) Ballada de la Doncella Enamorada (Ballad of the loving maiden)

Leo Brouwer began composing in 1955, and his early compositions leaned toward neo-classical forms and a strong influence of popular Cuban music. In 1961, however, he attended the Warsaw Autumn contemporary music festival and very quickly began composing in the style of the Polish avant garde school. Throughout the 1970’s, Brouwer’s music moved gradually away from the avant garde and toward a style which he termed the “New Simplicity” or “National Hyper-Romanticism.” He had found a way to merge such diverse elements as: quartal harmonies, clusters, and aleatoric sections borrowed from the avant garde; dance rhythms and jazz harmonies from his native Cuba; the repetition and manipulation of simple cells borrowed from minimalism; non-functional and neo-tonal harmonies; colorful timbral effects; and the use of multiple tonal centers. Brouwer still composes in this style today, and the most important work to herald his latest phase is 1981’s “El Decamerón Negro.”

“El Decamerón Negro” is based on a collection of African folktales by the same name, compiled by the German anthropologist Leon Frobenius. Brouwer’s first movement, “El Arpa del Guerrero” (The Warrior’s Harp), depicts a great warrior who yearns to trade his life of fighting for music, leading to exile from his clan. When his former home is attacked, he leads his people to victory, but is then sent into exile again with his lover. Both the power of the soldier and the beauty of the harp are present in this movement.

In the second movement, “La Huida de los Amantes por el Valle de los Ecos” (Flight of the Lovers Through the Valley of Echoes) the fleeing lovers’ galloping horses are heard twice, interspersed with shorter, nostalgic sections. In the first galloping section, a steady stream of notes expand from a four-note cell to six notes, then eight, ten, and twenty, before gradually diminishing to only two notes. In the second galloping section, a different figuration is used with loud, marcato measures alternating with quiet, legato measures.

The final movement, “Ballada de la Doncella Enamorada” (Ballad of the Young Girl in Love), is a rondo. A beautiful love song alternates with more rhythmically driving parts. — Erik Mann

The Bat Pat Metheny (1954-) (arr. Vieaux)

“The Bat” is from an album Metheny recorded in 1981 with drummer Jack DeJoh-nette, bassist Charlie Haden and tenor sax players Michael Brecker and Dewey Redman. The famous Pat Metheny Group recorded the composition a year later on the “Offramp” album, with a completely different instrumental and sonic arrangement. Given the metric freedom of both versions, the former in a more traditional jazz group context and the latter in a more contemporary atmospheric mode, my arrangement is a combination of the two sounds and textures. The guitaristic effect of the tremolo (e.g., Tárrega’s “Recuerdos de la Alhambra”), best recreated the sonic effect of the latter version, while the “solo” I wrote over the chord changes hearkens back to the original version. —Jason Vieaux



Family SeriesPresents

Ferdinand the Bull

Saturday, February 19, 201110:00 a.m. and 1:00 p.m.

Presented atPfeiffer Hall

310 E. Benton Avenue, Naperville, Illinoiswww.northcentralcollege.edu/show



PROGR A M

Holden & Arts Associates, Inc. and ChildsplayTheatre for Everyone Presents:

Ferdinand the BullPlay and Lyrics by Karen Zacarias

Music by Dabra Wicks La PumaAdapted from the story by Munro Leaf

Meet Ferdinand, an unusual bull who prefers picking flowers to joining the bull-fighters in the ring, and Danilo, a young nobleman whose father, Duque Dodo, has big dreams for him. Watch what happens when Danilo, the reluctant matador, meets Ferdinand in the bullring. You’ll cheer for them as they refuse to go along with the crowd and strike a blow for individuality and celebrating our differences. This production integrates Spanish, flamenco dancing and original music to create a memorable theatrical experience perfect for young audiences and their families.

This musical adaptation, based on Munro Leaf’s beloved storybook, is written by award winning playwright Karen Zacarias (author of Chasing George Washington: A White House Adventure, Einstein Is a Dummy, The Magical Piñata, and Cinderella Eats Rice And Beans: A Salsa Musical). Music by Deborah Wicks La Puma. Produced by Childsplay of Tempe, Arizona.


By Karen Zacarias Music by Deborah Wicks La Puma Based on the book by Munro Leaf

Directed by Andrés Alcalá Music Direction ........................................................................................................Jonathon Ivie Scenic Design.................................................................................................................Jeff Lemire Costume Design ...................................................................................D. Daniel Hollingshead Lighting Design ................................................................................................................... Bill Rios Sound Design ........................................................................................Christopher Neumeyer Stage Manager ...................................................................................................... Alfredo Macias

The CastFerdinand .................................................................................................................. Andrés Alcalá Cochina ........................................................................................................................ Laura Berger Duque Dodo ................................................................................................................Jesse Berger Doquito Danilo ............................................................................................................... Colin Ross

PROGR A M (c o n t.)

WHO’S WHO IN FERDINAND THE BULL

Andrés Alcalá (Ferdinand) joined the artistic staff at Childsplay in October 2007 as an Associate Artist through a grant from Theatre Communications Group. He comes to Childsplay from Portland, Oregon, where he has an extensive resumé of roles and shows that he has directed. Last season for Childsplay, he played Duck and Huntsman in Peter and the Wolf. Last season he played Engywook and others in The Neverending Story, Captain Salty and others in Busytown, the Skin Horse in The Velveteen Rabbit and directed Ferdinand the Bull and the Arizona premiere of Getting Near to Baby. The previous season he was seen on stage as Mr. Lorry in A Tale of Two Cities. He created the animation and video projection for The Neverending Story, Goodnight Moon and Miss Nelson is Missing. Other acting credits in the Phoenix area include a one-man show, Men on the Verge of A His-Panic Breakdown, Bordertown at Actors Theatre of Phoenix, the title role in Richard III and Iago in Othello for Southwest Shakespeare, Metamorphoses at Nearly Naked Theatre and Almost, Maine for Phoenix Theatre.

Jesse Berger (Duque Dodo) is extremely happy to be making his second appearance for Childsplay,

having portrayed the role of Pantalone in the school tour of Androcles and the Lion last season. This tour should prove to be especially fun, however, as he has the opportunity to perform and travel with his wife, Laura. Jesse has been performing in theatre for most of his life, alongside his other work as a guitar maker and repairman. Favorite credits include The Engineer in Miss Saigon, The Emcee in Cabaret, Benny Southstreet in Guys & Dolls, and Sparky in multiple productions of Forever Plaid and Plaid Tidings.

Laura Berger (Cochina) is thrilled to be back with Childsplay, having previously appeared in The Big Friendly Giant. She is especially grateful for the opportunity to appear alongside her husband, Jesse! She is a native of Phoenix, Ariz. and has been performing since childhood. She holds a BS in Psychology from Arizona State University. Her favorite credits include Into The Woods (Cinderella), The Music Man (Marian), Anything Goes (Reno Sweeny), Joseph…Amazing Technicolor Dream Coat (The Narrator), and The Taffetas (Kaye/Peggy).

Colin Ross (Doquito Danilo) is currently pursuing a career as an actor. He spent this summer teaching at the Summer Camp program at Childsplay


WHO’S WHO IN FERDINAND THE BULL (c o n t.)

and thoroughly enjoyed it. Colin has always enjoyed working with children and has appeared as the Teen Angel in Grease, Gepetto in Gepetto & Son and Seussical the Musical at the Valley Youth Theatre in Phoenix. After touring last year through California and Arizona, Colin is excited to be able to be a part the national tour of Ferdinand the Bull reprising his role as Danilo. He would like to thank Childsplay for the opportunity to travel and see the country.

Jeff Lemire (Scenic Design) is in his ninth season as Technical Director for Childsplay and is proud to see another one of his designs head off across the country. Jeff’s other set designs for Childsplay include Eric and Elliot, A Thousand Cranes, A Little Bit of Water and last season’s Peter and the Wolf national tour.

Jonathan Ivie (Music Director) is a dog lover, a ping-pong master, and is getting better at video games. He went to college for classical piano at Indiana University (B.M. Piano Performance ’99) and has music-directed for many local theatres including Phoenix Theatre, Actors Theatre of Phoenix, Nearly Naked Theatre, and more. He won a Zoni award for The 1940s Radio Hour and has been seen working for Childsplay onstage as part of the Seussical band in previous years. Outside the theatre world, look for him rocking and rolling with local favorite band The Instant Classics.

D. Daniel Hollingshead (Costume Design) has designed costumes for Eric and Elliot, New Kid and Power Play along with remount designs of: Apollo to the Moon, And They Came for Me, and The Velveteen Rabbit for Childsplay. Other designs include As You Like It and Beehive for Perry Mansfield, as well as many dance works for companies such as Center Dance Ensemble, Site Specific Dance Works, The Dance Connection, Perry Mansfield, ASU and ASU West Dance Departments. Mr. Hollingshead has

also designed hair and makeup for many local theatre and dance companies and has worked as cutter draper, wardrobe supervisor, deck crew and wardrobe for both local and touring companies. Mr. Hollingshead is currently head of Childsplay’s costume construction and wardrobe department. In addition to his behind the scenes skills in theatre, Mr. Hollingshead has performed as a professional dancer with many dance companies in both Arizona and Colorado as well as many works at ASU where he received a BFA in Performance and Choreography. Currently Mr. Hollingshead is performing with Center Dance Ensemble as a soloist and principal member of the company.

Bill Rios (Lighting Design) is beginning his third season as Master Electrician at Childsplay. His previous work includes lighting design for Tomato Plant Girl at Childsplay and assistant lighting design for the Adams Theatre at Utah Shakespearean Festival’s summer season. He is ecstatic to be designing two shows with Childsplay in their 2010-2011 season: the national tour of Ferdinand the Bull and the upcoming production of The Imaginators.

Christopher Neumeyer (Sound Design) is currently in his fourth season as the Sound Supervisor for Childsplay, where he also works as a Sound Designer and Composer. Amongst his favorite shows are: Honus and Me, Busytown, Goodnight Moon, The BFG at Childsplay; Secret Order with Actors Theater, PHX; and All My Sons, Fences, Cabaret at Theaterworks, Palo Alto, CA. Additionally, he has toured nationally with The New Musical Adventures of the 3 Redneck Tenors as their Sound Supervisor/FOH mixer, as well as produced sound effects and voiceover content for multimedia projects, corporate DVD’s, and feature films.

Alfredo Macias (Stage Manager) is an ASU graduate with a Bachelor of Arts in Theatre thrilled to be returning to


WHO’S WHO IN FERDINAND THE BULL (c o n t.)

Childsplay for this national tour. Most recently, he wrapped up his fourth full season at Stray Cat Theatre in Tempe, Ariz. with 12th Night of the Living Dead. Some of his favorites at Stray Cat include Speech & Debate, columbinus, Trainspotting, 4.48 Psychosis, Fatal Attraction: A Greek Tragedy, Dog sees goD: Confessions of a Teenage Blockhead, and Pulp. Other credits with Childsplay include Androcles and the Lion, the Arizona tour of Rock, Paper, Scissors, Ferdinand the Bull (the original production), and Miss Nelson is Missing. Stage managing credits include Bash with Class6 Theatre as well as the world premiere of Voices of Valor by James Garcia for both ASU/Gammage and the University of Texas Austin. In Arizona, he has stage-managed the co-produced Arizona Theatre Company production of Fully Committed at the Mesa Arts Center, the ’07 & ’08 summer seasons for Shakespeare Sedona, and also assistant stage-managed La Boheme for the Phoenix Metropolitan

Opera. Much love to my family and partner Brad who continue to support and encourage my work. Thanks for supporting the arts and enjoy the show. “Cha-Cha-Cha!”

Jeremiah Pfleiger (Sound Coordinator) is happy to be back with Childsplay for his second national tour with the company, resuming his roll from last year’s tour of Peter and the Wolf. An Arizona native, he has been working on live productions as a freelancer for more than six years. Working primarily as an audio/mix engineer, he has had the pleasure of working concerts and industrial shows, however, he enjoys working dance and theatre companies the most. Aside from Childsplay, the companies/groups he has enjoyed working for include: Blue Rodeo, Meadowlark, Spring of Life, Copperstar Repertory, and Liz Lerman Dance Exchange. When he is not on tour, Jeremiah can generally be found working at the Chandler Center for the Arts.


WHO’S WHO AT CHILDSPL AY

David Saar is Childsplay’s Founder and Artistic Director. He has directed and taught for Childsplay since the company was formed in 1977. Among the many productions he has directed for Childsplay, favorites include Still Life with Iris, A Year With Frog and Toad, Pero or the Mystery of the Night, Afternoon of the Elves, Cyrano and, always, the show he is currently working on! David also directed The Origins of Happiness in Latin for Arizona Theatre Company, Charlotte’s Web, The Yellow Boat and Tomas and the Library Lady for the Seattle Children’s Theatre, and The BFG for the Chicago Theatre for Young Audiences. David served on the roster of the Arizona Commission on the Arts Artist-in-Education program for nine years, was an adjunct faculty member for the Department of Theatre at ASU, and worked for the Mesa Unified School District as a Drama Curriculum Specialist. He is a former board member of the U.S. chapter of the international children’s theatre association (ASSITEJ) and is a member of the American Association for Theatre and Education. In 1989, he received the Governor’s Arts Award for his contributions to the arts in Arizona, in 1991, he was the recipient of the national Winifred Ward Dare to Dream Fellowship, and

in 1993, he received the Phoenix Futures Forum Dream Weavers Vision award. In 2002, he received the first Notable Achievement Award from the Herberger College of Fine Arts at ASU. In 2007, he was awarded the prestigious Thomas DeGaetani Award from the United States Institute for Theatre Technology (USITT). In 2009, he was recognized for outstanding contributions to theatre in Arizona by the National Society of Arts and Letters, and in August 2010, he received the prestigious Medallion Award from the Children’s Theatre Foundation of America to honor Childsplay’s artistic excellence and national influence during its 33-year history.

Steve Martin is in his tenth season as Managing Director at Childsplay. He is a native of Toledo, Ohio, and a 1983 graduate of the University of Toledo. He is currently on the boards of the Papago Salado Association and is President of Arizona Citizens for the Arts. Prior to joining Childsplay, he was Assistant Managing Director of the Alliance Theatre Company in Atlanta, Georgia, and the Managing Director of Virginia Stage Company in Norfolk, Virginia. He has also served as a grants panelist for the Virginia Commission on the Arts, Arizona Commission on the Arts and the Phoenix Office of Arts and Culture.

Childsplay Company and Staff One of the underlying core values of Childsplay is the notion of ensemble. There is a resident group of theatre artists (our Associate Artists) who, in collaboration with the Artistic Director, are responsible for planning and creating the artistic products that illustrate Childsplay’s mission. But these artists do not create in isolation. Everyone who works at Childsplay – other artists, technicians, educators, administrators and trustees – is a part of this resident ensemble. This mindset guides the way our work is created, the way it is marketed and the way it is delivered.



Presents

Chicago Chamber Musicians

Friday, March 4, 20118:00 p.m.


171 E. Chicago Ave., Naperville, Illinoiswww.northcentralcollege.edu/show



THE CCM BR ASS

THE CCM BR ASS B IOGR APHIES

Barbara Butler, trumpetBarbara Butler, Professor of Trumpet at Northwestern University, was previously Professor of Trumpet at the Eastman School of Music. Former Co-Principal Trumpet with the Vancouver Symphony Orchestra, Principal Trumpet of the Grant Park Symphony Orchestra and Acting Associate/Assistant Principal Trumpet with the Houston and St. Louis Symphony Orchestras, Ms. Butler was also a member of the Eastman Brass and Eastman Virtuosi. Currently Soloist and Co-Principal Trumpet with Music of the Baroque, The Chicago Chamber Musicians and the Grand Teton Music Festival Orchestra, Ms. Butler continues to perform as soloist and guest artist with orchestras and music festivals in Spain, Italy, Finland, Japan, Switzerland and throughout the United States and Canada. Also in demand for her teaching skills, Ms. Butler has offered master classes and recitals around the world. Her students are members of the finest orchestras and college/university faculties. Ms. Butler has been featured on national and international radio broadcasts with Eastman Brass, Grand Teton Music Festival, The Chicago Chamber Musicians and Music of the Baroque, among others, and has released two recordings: With Clarion Voice (Music of the Baroque, on

D’Note) and Music for Two Trumpets and Organ (Gasparo). Ms. Butler has also performed as guest artist with the Chicago Symphony Brass Ensemble, the International Women’s Brass Conference, the Minnesota Symphony’s Rug Concert and New York’s Mostly Mozart series. In 2006 Ms. Butler was featured in a solo recital and master class at the International Trumpet Guild in New Jersey, and she and Charles Geyer were recently featured in a two trumpet and organ recital in Venice, Italy. In December 2003 she and Mr. Geyer released their latest recording, Carmen Fantasia for Two Trumpets and Orchestra, on the Warner Classics label.

Charles Geyer, trumpetWhile attending Northwestern University, Mr. Geyer performed as Principal Trumpet with the Chicago Lyric Opera Orchestra and joined the Chicago Symphony Orchestra following his senior year. During his twelve years with the CSO, he was Principal Trumpet for the Grant Park Symphony Summer Orchestra. The Houston Symphony engaged him as Principal Trumpet in 1978; he performed there for three seasons.

Mr. Geyer was Professor of Trumpet at the Eastman School of Music and a member of the Eastman Brass

Since its founding in 1994, CCM BRASS has established itself as one of the foremost interpreters of the brass quintet repertoire. Comprised of five of North America’s leading brass players, they present spectacular performances of cornerstones of the literature. CCM BRASS has undertaken the broadest exploration of the repertoire from pre-baroque music to music of our time, including the premiere performance of Requiem Diptych commissioned from leading Australian composer Richard Mills. CCM BRASS is the resident brass quintet of the Grammy-nominated Chicago Chamber Musicians (CCM), an organization that supports a resident ensemble of 15 world-class artists who collaborate closely to present a broad spectrum of the chamber music repertoire. Named by the Chicago Tribune as one of the indispensables of classical music in Chicago, CCM has received two prestigious ASCAP-Chamber Music America Awards for Adventurous Programming, has commissioned 15 works from today’s leading composers, and was named 2007 Chamber Ensemble of the Year by the Illinois Council of Orchestras.


THE CCM BR ASS B IOGR APHIES (c o n t.)

beginning in 1980. In September of 1998, he became Professor of Trumpet at Northwestern University. Currently, he performs as an ensemble artist of the Chicago Chamber Musicians, soloist with Chicago’s Music of the Baroque and as Co-Principal Trumpet in the summer with the Grand Teton Music Festival Orchestra in Jackson, Wyoming. Mr. Geyer has recorded with the Eastman Brass, Music of the Baroque, The Chicago Chamber Musicians, the Chicago Symphony and Houston Symphony Orchestras, and the Contemporary Chamber Players of Chicago. His solo recordings include Music for Two Trumpets and Organ with Barbara Butler and Barbara Harbach, and With Clarion Voice, also featuring Ms. Butler and Music of the Baroque.

In December 2003, he and Ms. Butler released their latest recording, Carmen Fantasia for Two Trumpets and Orchestra, on the Warner Classics label. Recently, Mr. Geyer and Ms. Butler were featured soloists at the International Trumpet Guild in Denver and in a two trumpet and organ recital in Venice, Italy.

Gail Williams, hornGail Williams is an internationally recognized hornist and brass pedagogue. She has presented concerts, master classes, recitals, and lectures throughout North America, as well as in Europe and Asia. After 20 years with the Chicago Symphony Orchestra, Ms. Williams is in demand as a soloist, chamber musician and recording artist. She is currently Principal Horn of the Grand Teton Music Festival Orchestra and has recently performed on a number of prestigious chamber music series. She is a founding member of The Chicago Chamber Musicians as well as the Summit Brass, an ensemble with whom she has made eight recordings.

In addition to her recordings with Summit Brass, Ms. Williams can be heard on her three solo recordings, two of which are available on Summit Records, including the recently-released Mozart recording with CCM. The solo recordings feature compositions by Ludwig van Beethoven, John McCabe, Jan Koetsier, Dana Wilson, and also works for horn and percussion by Alec Wilder and Charles Taylor. Ms. Williams has commissioned many works for horn by composers Dana Wilson, Anthony Plog, Douglas Hill and Augusta Read Thomas.

Ms. Williams is the Professor of Horn at Northwestern University, where she has been on the faculty since 1989. In May 2004, Ms. Williams was recognized with Northwestern University’s Charles Deering McCormick Professorship of Teaching Excellence award. Her other awards include Ithaca College’s Young Distinguished Alumni Award and an honorary Doctorate of Music, also from Ithaca College. In 2004, she traveled to Japan to perform as Principal Horn with the Saito Kenin Orchestra under the baton of Seiji Ozawa, and in 2005, 2007 and 2008 she performed as Principal Horn with the World Orchestra for Peace with Maestro Valery Gergiev.

Michael Mulcahy, tromboneInternationally recognized Chicago Symphony trombonist Michael Mulcahy has appeared as a soloist and teacher in the United States, Canada, United Kingdom, Ireland, Germany, Holland, Italy, Sweden, Denmark, Russia, Japan, China, Argentina, New Zealand and Australia. He has appeared as a soloist with the Chicago Symphony Orchestra and Pierre Boulez in music of Elliott Carter and most recently with Daniel Barenboim in Leopold Mozart’s Concerto for Alto Trombone, which was also widely broadcast on public television. Other solo appearances include the Bavarian Radio Symphony Orchestra, the


THE CCM BR ASS B IOGR APHIES (c o n t.)

Hilversum Radio Symphony Orchestra, Auckland Philharmonia, the Academy of Melbourne, and on tour with the Melbourne Symphony Orchestra. He appears regularly as soloist for Bach Week in Evanston.

Mr. Mulcahy is the winner of several international competitions, among them the Australian Broadcasting Corporation Instrumental Competition, the ARD International Music Competition in Munich, the Viotti International Competition in Italy and the International Instrumental Competition in Markneukirchen in former East Germany. He is very active as a member of The Chicago Chamber Musicians. His work includes collaborations with Daniel Barenboim, Pierre Boulez, Christoph Eschenbach, Joseph Silverstein, Yo-Yo Ma and appearances at Chamber Music Northwest and the Grand Teton Music Festival. He has worked with the world’s most prominent composers including Elliot Carter, Luciano Berio, Iannis Xenakis, Olivier Messian, Krzysztof Penderecki, and as a member of Karl-Heinz Stockhausen’s Performance Ensemble.

Matthew Gaunt, tuba Tubist Matthew Gaunt currently performs and records as a member of Burning River Brass and Proteus 7. An active chamber musician, he has also performed with Rhythm & Brass,

Center City Brass Quintet, Empire Brass, and is a former member of Boston Brass, Paramount Brass, and Epic Brass Quintets. As an orchestral musician Mr. Gaunt has performed with the Chicago Symphony Orchestra, Boston Symphony Orchestra, Milwaukee Symphony Orchestra, Cincinnati Pops, Boston Pops Esplanade Orchestra, Boston Lyric Opera, Boston Ballet, Boston Philharmonic Orchestra, Portland Symphony, Vermont Symphony, Springfield Symphony, Rhode Island Philharmonic, and the Sarasota Opera. Mr. Gaunt has also held principal positions with the Albany Symphony Orchestra, Berkshire Symphony Orchestra, and Indian Hill Symphony Orchestra. As a soloist, he has performed with groups such as the Boston University Tanglewood Institute Wind Ensemble, Harvard University Wind Ensemble, Springfield Symphony Orchestra, Massachusetts Wind Orchestra as well as solo recitals. Formerly Visiting Assistant Professor of Tuba and Euphonium at the University of Massachusetts at Amherst, Mr. Gaunt also has served on the faculties of the Boston University Tanglewood Institute, South Shore Conservatory, and Greater Boston Youth Symphony Orchestras. He received the Bachelor of Music in Tuba Performance from Boston University and has studied with J. Samuel Pilafian, Gary Ofenloch, and Chester Schmitz.

ABOUT CCM BR ASS

The Chicago Chamber MusiciansFounded in 1986, the Grammy-nominated Chicago Chamber Musicians (CCM) enjoys an outstanding reputation for artistic excellence and strong commitment to community service. “One of the indispensables of classical music in Chicago” (Chicago Tribune), CCM was named 2007 Chamber Ensemble of the Year by the Illinois Council of Orchestras. CCM’s ensemble of 15 world-class artists, including resident groups CCM BRASS and the Chicago String Quartet, has toured extensively, most recently to The Barns at Wolf Trap. CCM has commissioned 15 works from today’s leading composers including John Harbison, William Russo, and Peter Lieberson whose The Coming of Light premieres in September 2009 at the centenary of the Unity Temple designed


REPERTOIRE

JOHANN SEBASTIAN BACH (1685 – 1750)Contrapunctus IX from The Art of Fugue transcribed by Ralph Sauer

Johann Sebastian Bach was key to the development of music during the Baroque period. His outstanding understanding of harmony and his expert organization of different parts (or voices) led to the creation of many brilliant compositions which continue to be influential today. One of these masterpieces is The Art of the Fugue, Bach’s last work and one that he likely started composing in the early 1740s, was originally written for solo keyboard. In a fugue, one or more musical ideas (or themes) are stated and then developed in subsequent sections. This progression is achieved by changing features of the theme or by increasing the theme’s complexity between sections while still imitating other thematic aspects. While The Art of the Fugue was left unfinished, the remainder of the collection consists of nineteen sections exhibiting an exquisite variety of ideas based on the D Minor theme presented at the outset of the first section. Contrapunctus IX, the section being performed today, is

a dance-like fugue which opens with a new, flighty subject, but reminds the listener of the original theme by incorporating it with the new material thereafter. In this arrangement for brass quintet, we can hear the balance in Bach’s craftsmanship in creating distinctive voices yet maintaining a continuous flow between them.

DMITRI SHOSTAKOVICH (1906-1975)Quartet No. 8 in C Minor, Op. 110Arranged for brass by Verne Reynolds (b. 1926)

Shostakovich – whose 100th birthday was celebrated in 2006 – is remembered especially for his symphonies and string quartets – 15 of each – the former representing essentially his public personality, the latter frequently expressing his inner emotions and conflicts. The “Eighth String Quartet” of 1960 is deliberately and consciously autobiographical in its use of quotations from several symphonies, the opera “Lady Macbeth of Mtsensk,” the “First Cello Concerto,” and the “Piano Trio No. 2.” The composer also uses a four-note motive based on letters from his name: D,

ABOUT CCM BR ASS (c o n t.)

by Frank Lloyd Wright. CCM has recorded on Naxos, Cedille, Albany and Summit who released CCM’s 2006 Grammy-finalist Chamber Works for Winds and Strings by Mozart.

CCM reaches more than 500,000 annually through its 75 live performances and radio broadcasts in Chicago and more than five million through its nationally syndicated radio series on the WFMT Radio Network. In addition to its 12-concert subscription series in Evanston and Chicago, award-winning contemporary music series Composer Perspectives, the Sounds and Spaces series with Chicago Architecture Foundation and American Institute of Architects and annual Family Concerts at Chicago Shakespeare Theater, CCM offers a wide range of community initiatives including: music residencies in Chicago public schools, the Chamber Music Professional Development Program mentoring young professional chamber ensembles, performances in senior homes and community centers, and the FREE First Monday concerts at the Chicago Cultural Center. CCM has received two ASCAP/Chamber Music America Awards for Adventurous Programming and the ABBY Award for Arts Management Excellence from the Arts & Business Council of Chicago.

Soup or Salad (choose one)

Crab Bisque • Soup of the Day • Field Green • Caesar Salad

Entree* (choose one)

Dijon Crusted Lake Superior Whitefish, Lemon Buerre Blanc SauceGrilled Atlantic Salmon, Lemon Dill Sauce

Blackened Atlantic Salmon, Sweet Chile SauceTwin Three Ounce Filet Mignon Medallions, Veal Demi Glace

Crab Encrusted Tilapia, Tomato ButterBlackened Shrimp & Scallops, Cajun Garlic SauceSake Braised Short Rib, Wasabi Mashed Potatoes

DessertANY selection from our dessert menu

* Menu subject to change due to seasonal availability.


REPERTOIRE (c o n t.)

E-flat, C, and B, which in the European system of notation are called D, S, C, and H, initials of Dmitri Shostakovich. If the notes D-E-flat-C-B are played consecutively, one hears two half-steps – D up to E-flat, C down to B – separated by one minor third, E-flat down to C. In traditional harmonic theory, these intervals are considered imperfect and unstable. The presence of similar intervals lends a sense of menace to the Dies Irae (Day of Wrath) motive from the era of Gregorian chant. D-E-flat-C-B represent letters of Shostakovich’s name as they would be rendered in German nomenclature: D, S (E-flat), C, H (B natural). It is an autobiographical motive that he used in a number of compositions, though never more prominently than in the “Eighth Quartet.” The official key of the work is C minor; C could be considered the central note of the motive, but there are few passages, until the end that could be heard in C minor as Beethoven conceived of that key. The dissonant harmonies obscure any real sense of a traditional tonal center.

The “Eighth Quartet” is one of several of Shostakovich’s works that depart from the norm in terms of the number of its movements – five, not four – and in terms of the expected contrasts of tempo among those movements. Instead of a fast-paced opening, the one here is slow; it is followed by two “Scherzi” and two additional slow movements. All are linked, without clearly-articulated pauses between them.

The first Largo opens with a statement of D-S-C-H, laid out by all four instruments in fugal fashion. The succeeding ideas include a descending chromatic scale and fragments that quote Shostakovich’s “Symphony No. 1” – his first major success, written when he was a 19-year-old conservatory senior – and “Symphony No. 5,” one of his most well-received works, introduced ironically after the storm of Stalinist condemnation that greeted his

opera “Lady Macbeth of Mtsensk.” The movement’s material is recapitulated in reverse order before the sudden, dramatic start of the Allegro Molto, the first of the work’s two scherzos, neither of which has much emotional relationship to the original Italian meaning of that word, which is “joke.” Throughout his instrumental work, Shostakovich imbued scherzos with elements of sarcasm and grotesquery that cast a dark shadow on any idea of light-hearted musical humor.

The Allegro Molto combines D-S-C-H, the “Fifth Symphony” motive heard earlier, and a theme derived from Shostakovich’s “Piano Trio No. 2,” a melody derived in turn from Jewish folk music. It would seem that Shostakovich is speaking here very much from his heart: linking his own name with a memory of his triumphant symphony but also with his lifelong inspiration from Jewish music and poetry, and his outrage against both fascist and Soviet violence against Jews. The provocative combination of ideas is developed over a very brief time span in abbreviated sonata form. The second scherzo, Allegretto, combines two waltz melodies: first a high-register one based on D-S-C-H, haunting and foreboding, not the kind of cheerful lilt we expect from waltz rhythm. The second waltz is more openly expressive, a touch of passion before a sudden shift of mood and of meter: from triple to duple. The theme here is taken from Shostakovich’s “Cello Concerto No. 1.” This same motive leads now into the fourth-movement Largo, where two succeeding themes are especially poignant and significant. One, for trumpet, quotes a Russian folksong whose title is variously translated as “Tormented by Grievous Bondage” and “Exhausted by the Hardships of Prison.” The other, presented in a lower register, is drawn from Lady Macbeth of Mtsensk. In this movement we hear a knocking motive – 3 short bursts, once repeated – signifying the knocking on doors that produced terror in those inside.


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REPERTOIRE (c o n t.)

Leading into the final Largo is yet another statement of D-S-C-H. This last movement is a fugue, linking it to the opening Largo, but, if possible, even more somber, its statements more intricately intertwined. A motive in opposition to the main theme, called a countersubject in fugal terminology, is cast in the major mode, but the work ends in the C minor of its official key. The work fades away into an anguished silence. — Written by Andrea Lamoreaux

AARON COPLAND (1900-1990)Four Old American SongsTranscribed for Brass Quintet by Gary Schutza

After studying composition abroad, Aaron Copland became determined to write music that sounded distinctly “American in character.” In addition to his pursuits in writing about music and conducting, Copland was famed for composing slow and soaring pieces reminiscent of the vast American landscape as well as more chipper works recalling American folk tunes. Copland’s charming “American Songs” is a prime example of the latter category. Originally published in two sets, the songs were written for baritone and piano and then arranged by the composer for voice and orchestra. Today’s transcription was arranged for brass by Gary Schutza. “Simple Gifts,” “The Dodger,”

and “I Bought Me a Cat” were part of the first set (composed in 1950) and “At the River” was part of the second set (composed in 1952). “Simple Gifts” also appears in Copland’s “Appalachian Spring,” and “I Bought Me a Cat” was originally intended for the never-staged musical, “This Tragic Ground.”

VERNE REYNOLDS (b. 1926)Suite for Brass

Verne Reynolds completed his “Suite for Brass” in 1963. This five-movement work for brass quintet displays a great deal of creativity and endurance, while still maintaining a relatively conservative style. The piece was premiered by the Eastman Brass Quintet, an ensemble of which Reynolds was a founding member. Reynolds, a premier horn player, held positions in several famed ensembles, including the Cincinnati Symphony Orchestra, the American Woodwind Quintet, and the Rochester Philharmonic Orchestra. He has also served as a faculty member for the University of Wisconsin-Madison, Indiana University, and the Eastman School of Music. Since his retirement from Eastman in 1995, Reynolds has spent much of his time composing and arranging music and has become a leading force in the production of new and inspiring music for brass and other ensembles.


PROGR A M

Contrapunctus IX from The Art of Fugue Johann Sebastian Bach (1685-1750) transcribed for brass by Ralph Sauer

Quartet No. 8 in C Minor, Op. 110 Dmitri Shostakovich Largo (1906-1975) Allegro molto transcribed for brass by Verne Reynolds Allegretto Largo Largo

INTERMISSION

Four Old American Songs Aaron Copland Simple Gifts (1900 – 1990) The Dodger arranged for brass by Gary Schutza At the River I Bought Me A Cat Verne Reynolds (b. 1926)

Suite for Brass Verne Reynolds Toccata (b. 1926) Chorale Scherzo Arioso March

CCM BrassBarbara Butler, trumpetCharles Geyer, trumpet

Gail Williams, hornMichael Mulcahy, trombone

Matthew Gaunt, tuba

North Central College thanks its Fine and Performing Arts 2010-2011 season event partners. The following establishments have made generous contributions in support of the fine and performing arts.

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Classical SeriesPresents

Vienna Boys Choir

Sunday, March 6, 20116:00 p.m.


171 E. Chicago Ave., Naperville, Illinoiswww.northcentralcollege.edu/show



VIENNA BOYS CHOIR

BiographyBoys have been singing at the court of the Holy Roman Emperor since the early 15th century. In 1498, more than half a millennium ago, Emperor Maximilian I moved his court and his court musicians to Vienna. He gave instructions that there were to be six singing boys among his musicians. Historians have settled on 1498 as the foundation date of the Vienna Hofmusikkapelle and - in consequence - the Vienna Boys Choir. Until 1918, the choir sang exclusively for the imperial court, at mass, at private concerts and functions, and on state occasions.

Musicians like Heinrich Isaac, Paul Hofhaimer, Heinrich Ignaz Franz Biber, Johann Joseph Fux, Wolfgang Amadeus Mozart, Antonio Caldara, Antonio Salieri and Anton Bruckner worked with the choir. Composers Jacobus Gallus and Franz Schubert, and the conductors Hans Richter, Felix Mottl and Clemens Krauss were themselves choristers. Brothers Joseph and Michael Haydn were members of the choir of St. Stephen’s Cathedral, and frequently sang with the imperial boys’ choir.

In 1918, after the breakdown of the Habsburg Empire, the Austrian government took over the court opera, its orchestra and the adult singers, but not the boys’ choir. The Vienna Boys Choir owes its survival to the initiative of Josef Schnitt, who became Dean of the Imperial Chapel in 1921. Schnitt established the boys’ choir as a private institution: the former court choir boys became the Wiener Sängerknaben (Vienna Boys Choir), the imperial uniform was replaced by the sailor suit, then the height of boys’ fashion. Funding was not enough to pay for the boys’ upkeep, and in 1926 the choir started to give concerts outside of the chapel, performing motets, secular works, and - at the boys’ request – children’s operas. The impact was amazing: Within a year, the choir performed in Berlin (where Erich Kleiber conducted them), Prague and Zurich. Athens and Riga (1928) followed, then Spain, France, Denmark, Norway and Sweden (1929), the United States (1932), Australia (1934) and South America (1936).

PresentToday there are around 100 choristers between the ages of ten and fourteen, divided into four touring choirs. The four choirs give around 300 concerts and performances each year in front of almost half a million people. Each group spends nine to eleven weeks of the school year on tour. They visit virtually all European countries, and they are frequent guests in Asia, Australia and the Americas.

Together with members of the Vienna Philharmonic Orchestra and the Vienna State Opera Chorus, the Vienna Boys Choir maintains the tradition of the imperial musicians: as Hofmusikkapelle they provide the music for the Sunday Mass in Vienna’s Imperial Chapel, as they have done since 1498. Gerald Wirth took over as the choir’s artistic director in 2001.

RepertoireThe choir’s repertoire includes everything from medieval to contemporary and experimental music. Motets and lieder for boys’ choir form the core of the touring repertoire, as do the choir’s own arrangements of quintessentially Viennese music, waltzes and polkas by Strauss, Lanner, and Lehar.

Both the choir and the Hofmusikkapelle have a long tradition of commissioning new works. Austrian composers Heinz Kratochwil, hk Gruber (himself a former chorister), Ernst Krenek and Balduin Sulzer have written works for the choir.


The Vienna Boys Choir performs major choral and symphonic works, sometimes as part of the Hofmusikkapelle, sometimes with other orchestras and men’s choirs. They are regularly asked to supply soloists for large choral and orchestral works, such as Bernstein’s Chichester Psalms and Mahler’s Das klagende Lied. In recent years, they have performed with the Vienna Philharmonic Orchestra, the Vienna Symphony Orchestra, the Staatskapelle Berlin, the Oslo Philharmonic and the Pittsburgh Symphony Orchestra. Recent guest conductors include Pierre Boulez, Nikolaus Harnoncourt, Mariss Jansons, Zubin Mehta, Riccardo Muti (honorary member of the Hofmusikkapelle), Kent Nagano, Seiji Ozawa and Simone Young.

Choristers also take part in opera performances at the Vienna State Opera, the Vienna Volksoper, and the Salzburg Festival.

Children’s OperasChildren’s operas are an important part of the repertoire: The boys all love to act. The choir started performing operas in the 1920s, beginning with classics such as Mozart’s Bastien und Bastienne, Weber’s Abu Hassan or Haydn’s Der Apotheker. Benjamin Britten wrote the vaudeville The Golden Vanity for the choir, and conducted its premiere at the Aldeburgh Festival in 1967 in the presence of HM The Queen Elizabeth II.

In the last decade, the choir has successfully produced a number of new operas. Gerald Wirth’s The Journey of the Little Prince and The Tablet of Destinies, an opera based on the Babylonian myth of Anzu, and Raoul Gehringer’s Moby-Dick, based on the novel by Herman Melville, were all shown at Vienna’s Musikverein. Another work has been commissioned for 2010.

World Music and Cross-Over ProjectsSince the 1920s, the choir has collected music from around the world. One of the choir’s goals is to introduce the boys to as many different styles of music as possible. The choir has commissioned a number of world music projects. As Gerald Wirth explains, “We do not claim to play ‘authentic’ world music; we create something from the original sources that is our own. We want to be faithful to the source in the sense that we treat it with respect.” Silk Road is the choir’s third world music project. The colourful journey along the old trade route was staged by Rebecca Scheiner, a stage director at the Vienna State Opera, and features songs from Uzbekistan and China, a qawwali from Pakistan, a ghazal from Iran and field hollers from Tajikistan, all sung in the original languages. Pirates tells the story of 18th century pirates, using music from Yemen, Madagascar, the Caribbean and Latin America.

The choristers, who also sing popular music, have contributed to a number of soundtracks for major motion pictures in the USA, Japan and Europe.

Film: Silk Road – Songs Along the Road and TimeThe choir’s Silk Road opera inspired acclaimed director Curt Faudon to make a film about the globetrotting choristers. For over a year, Faudon followed the boys’ life in Vienna and on the road, filming the boys at work and at play, on and off stage, meeting and working with artists from Central Asia, China and India. The resulting 90-minute film is a clever blend of fly-on-the wall documentary, road movie, costume drama and music, with stunning footage from all across the world and through time; it is available on DVD and Blu-Ray disc. The unusual, off-beat soundtrack features a cross-section through the choir’s repertoire, with many first

VIENNA BOYS CHOIR (c o n t.)



recordings. It has the boys singing in Latin, Arabic, Chinese, Farsi, French, Marathi, Maori, Savo Finnish, Tajik, Uyghur, Urdu, Uzbek and German.

The Choir SchoolThe choir maintains its own school. Almost 250 children study and rehearse in the Augartenpalais, a baroque palace and former imperial hunting lodge in Vienna. Beginning with kindergarten, boys and girls are provided with a complete musical and general education through the elementary grades. At age ten, the most talented boys are selected to join the choir and enter the choir’s grammar school. All boys are assigned to one of the touring choirs. Academic lessons are taught in small groups. The school has a band, and offers extracurricular activities ranging from sports (baseball, basketball, fencing, judo, soccer, skating, swimming, volleyball) to attending (pop) concerts, operas, plays, musicals and movies. The choristers are also encouraged to create their own projects; a number of them write, act and direct short sketches or films. All choir boys live in the choir’s own well-appointed boarding school; two to three boys share a room.

Many of the school’s alumni go on to become professional musicians, conductors, singers or instrumentalists, in Vienna and abroad. Almost all continue to sing. There are two male voice ensembles made up entirely of former choristers, the Chorus Viennensis and the Imperial Chapel’s Schola Cantorum. All students retain a lifelong commitment to the Arts.

Development and FundingThe Vienna Boys Choir is a private, non-for-profit organisation, which finances itself largely through concerts, recordings and royalties. A contract between the Republic of Austria and the choir provides further means; and the Ministry of Education and the State’s Art Department help with certain projects, such as the production of new children’s operas. Further development and special projects depend on additional funds.

The POK Pühringer Privatstiftung, based in Vienna’s Palais Coburg is the Vienna Boys Choir general sponsor. With their help, the choir’s trustees are currently planning to build an on-campus concert hall to facilitate in particular their own opera productions. The new building will incorporate a baroque gatehouse and the old park wall - a unique architectural ensemble.

2004 saw the foundation of the Freunde der Wiener Sängerknaben. To find out more about them, visit their website at www.freunde-wsk.com. To make a tax-deductible donation in the USA to the American Friends of the Wiener Sängerknaben, please contact Opus 3 Artists, New York, NY.

Gerald WirthGerald Wirth, the choir’s artistic director, received his first musical training as a member of the choir and at the Bruckner Konservatorium in Linz, Austria, where he studied voice, oboe and piano. He has conducted choirs and orchestras in many countries, and played and sung himself in a number of ensembles.His first love is the voice; as is evident from his compositions: he has written two children’s operas, a Mass, motets and countless arrangements for choirs. He finds much of his inspiration in myths and philosophical texts. Many of his works have been performed internationally.



In 2001, Gerald Wirth became the artistic director of the Vienna Boys Choir. While he is keenly aware of the choir’s rich tradition, Wirth also explores new ways to create and make music. He has instigated a number of projects involving world music, a cappella pop and film music. Wirth firmly believes that music has a positive influence on every aspect of a personality.

Kerem SezenKerem Sezen took over as choirmaster of the Vienna Boys’ Choir in 2003. He has led “his” boys on tours of Europe, Asia, Australia, New Zealand, and the USA. He prepares the boys for the Sunday masses in the Imperial Chapel and for the Chapel’s annual concert at Vienna’s Musikverein. Through these annual concerts, he has worked with conductors such as Riccardo Muti, Helmut Rilling, and Peter Schreier. He regularly conducts the boys’ choir and the Vienna Chamber Orchestra in the choir’s Friday afternoon concerts.

Sezen seeks a sound that is both natural and homogenous for the choir, but he also places a particular emphasis on the boys’ individual voices. Sezen has even begun a tradition of solo recitals at the choir school. To keep their vocal cords in good shape, he developed a series of vocal gymnastic techniques for them. He provides vocal training for a number of other Viennese choirs as well. As he says, “Each boy needs to find his own voice.”

In recent years, he has also worked on the choir’s CDs and Curt Faudon’s two films on the choir, “Silk Road” and “Bridging the Gap.”

Kerem Sezen was born in Istanbul in 1978. He took flute and piano lessons as a child, and went on to study flute, piano, choral conducting and voice at the Music University of Vienna.

Sezen appears primarily as a singer, performing both as a soloist and as a choir member. He was a member of the Vienna State Opera Chorus, the prestigious Arnold Schönberg Choir and has appeared at the Salzburg Festival. As a choir member, he had the opportunity to perform with the Vienna Philharmonic Orchestra and the Berlin Philharmonic under the baton of Claudio Abbado, Daniel Barenboim, Nikolaus Harnoncourt, and Sir Simon Rattle. As a bass soloist, Sezen sings oratorios, operas, and musicals.

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PROGR A M NOTES

Vienna Boys ChoirUSA spring 2011 Program

Conductor: Kerem Sezen

PROGRAM NOTES:by Tina Breckwoldt

Carl Orff (1895–1982)O Fortuna / Fortuna Imperatrix Mundi (Fortune, Empress of the world)from: Carmina buranaThe carmina burana is a collection of medieval songs in Latin, Middle High Ger-man and Frankish. The collection contains sacred songs (possibly for pageants), moral songs, satirical songs and songs about love and drinking. It was compiled around 1230, likely for the abbot of the monastery at Seckau in Austria. The manuscript was discovered in the 1800s in the monastery at Benediktbeuren in Bavaria; it was edited in 1847 by Johann Andreas Schmeller (1785 – 1852) under its new title “Carmina burana” (Songs from Benediktbeuren).

Orff composed his ‘Carmina’ in 1936. He selected 24 songs to paint a medieval vision of fortune’s wheel, and man’s life turning with it from love to death, happiness to misery. The work opens (and closes) with a choral address to Fortuna, the fickle Goddess of Luck and Fate, on whose whims man’s lot depends. To Orff, the Carmina burana signified his “first real work”; he wrote to his publisher to destroy everything else.

Translation:O Fortune,Changeable as the Moon,

You are forever waxingOr waning.Detestable life,Now it thwarts,And then it takes carePlayfully of the mind’s desire,Poverty,PowerMelts it like ice.

Fate - oppressiveand inane,whirling wheel:you are wicked.Health is vain andAlways fades,darkAnd veiledyou plague me, too.Now, through your games,I carry a bare backas a result of your malice.

Text:O Fortunavelut lunastatu variabilis,semper crescisaut decrescis;vita detestabilisnunc obduratet tunc curatludo mentis aciem,egestatempotestatemdissolvit ut glaciem.

Sors immaniset inanis,rota tu volubilis,status malusvana salussemper dissolubilis,obumbrataet velatamichi quoque niteris;nunc per ludumdorsum nudumfero tui sceleris.



Sors salutiset virtutismichi nunc contrariaest affectuset defectussemper in angaria.Hac in horasine moracorde pulsum tangite;quod per sortemsternit fortemmecum omnes plangite!

Fate, with regard to healthand virtuehas now turned against me.It is inflatedand deflated,always under pressure.And now, this hour, without hesitation,pluck the quivering strings.That through (the vagaries of ) fatethe virtuous man fallsyou may all bemoan with me.



Gabriel Fauré (1845–1924) Ave verum corpus (Hail, true body), Op. 65, No. 1 (1894)Motet for two equal voices and organFauré was sent to Paris as a nine-year-old to study music with Camille Saint-Saëns at the Niedermeyer School of religious music. He won the school’s composition prize at 19 for “Cantique de Jean Racine” and later worked as an organist at a num-ber of Paris churches, including the Madeleine. In 1897, he became a professor at the Paris conservatory; his students included Maurice Ravel and Georges Enescu.

Fauré’s “Ave verum” is written in a style that recalls his popular Requiem, simple and emotional. The text, attributed to Pope Innocent VI, is a prayer for the Feast of Corpus Christi which was introduced by Pope Urban IV in 1264. There are a num-ber of slight variants which occurred over time. During the Middle Ages it would have been sung at the elevation of the Host during its consecration.

In just five lines, it covers the Incarnation, the Passion, the Eucharist and the Last Judgement. Medieval writers were interested in acrostics, and it is no ac-cident that the first letter of the first line, the second letter of the second line, and so on, spell out A-E-I-O-U.

Text:Ave verum corpus natum de Maria

Virgine,vere passum immolatum in cruce pro

homine:cuius latum perforatum fluxit aqua et

sanguine:esto nobis praegustatum mortis in

examine.O Iesu dulcis! O Iesu pie! O Iesu fili

Mariae.

Translation:Hail, true body, born of the Virgin Mary,

who has truly suffered, defiled on the cross for mankind,

from whose pierced side water flowed and blood.

Be us a foretaste (of heaven) in the agony of death.

O sweet Jesus! O pious Jesus! O Jesus, son of Mary.

Johann Sebastian Bach (1685–1750)Wer Gott bekennt aus wahrem Herzensgrund (Who acknowledges God wholeheartedly),from cantata BWV. 45 ’Es ist dir gesagt, Mensch, was gut ist’BWV. 45, written for 11 August 1726, opens with a verse from Micah, one of the twelve ‘minor’ prophets in the Bible, on how to live one’s life: You have been told what is right and what Yahweh wants of you. Only this, to do what is right, to love and to walk humbly with your God. (Micah 6:8). Micah lived in the troubled 8th century BC. His prophesies are concrete, and he mostly predicts horrible punishments for nasty people. But Micah is not hopeless; he foretells the birth of a pacific king who will look after Yahweh’s flock (5:1-5).

The second part of the cantata opens with a corresponding quote from Jesus (Matth. 7:22f.). Jesus makes it clear he has no time for pretend disciples who lie about their beliefs on Judgement Day: There will be many who will say to me on that day, “Lord, Lord, did we not prophesy in your name, drive out demons in your name, work miracles in your name?” Then I shall tell them: I have never known you, away from me, you evil ones! The following aria, with a text by an unidentified Baroque poet, serves as a footnote; it is a paraphrase of Jesus’s words in Matth. 10:32: a person who acknowledges Jesus before men will be acknowledged by



Jesus before God. The unknown poet throws in a few words of his own, for good measure: if it is mere lip service, the person will burn. Bach has the voice laying down the law, while the accompanying jaunty tune might stand for the true believer, who can go about his life with confidence, untouched, secure in the knowledge of God.

Text:Wer Gott bekenntAus wahrem Herzensgrund, Den will er auch bekennen. Denn der muss ewig brennen,Der einzig mit dem MundIhn Herren nennt.

Translation:Whoever acknowledges God from the true depths of his heart, God will also acknowledge. For he must burn forever, who only with his mouth calls Him Lord.

Giovanni Pierluigi da Palestrina (~1514 or 1525–1594)Adoramus te, Christe (We worship you, Christ). Second book of motets (1581)Motet for four equal voicesPalestrina, who took his name from his birthplace, started his musical career as a cho-rister at Santa Maria Maggiore in Rome. He most likely studied in Rome, then returned to his native Palestrina. Records show that he worked there as organist and choirmas-ter in 1544. In 1551, Pope Julius III summoned Palestrina to Rome as choirmaster of Capella Giulia, from which the Sistine Chapel recruited its singers. Palestrina also sang in the choir of the Sistine Chapel. However, in 1555, the new Pope Paul IV dismissed Palestrina and two others from the choir because they were married.

Palestrina then succeeded Orlando di Lasso as choirmaster of St John Lateran. In 1560, he resigned in protest because the choirboys were not fed enough, and in 1561, he was appointed choirmaster of Santa Maria Maggiore, where he himself had been a chorister. In 1567, papal reforms declared some of his masses ‘unliturgical’, because he had used secular songs or words foreign to the ordinary. Disenchanted with the church, Palestrina resigned from this post. He went to work for the Cardinal Ippolito d’Este, who had a few musicians in his household. In 1571, he accepted the post of director of the Cappella Giulia. This was a difficult time for Palestrina: he lost both his sons and his wife to the plague. He considered becoming a priest, but in the end managed to find another solution; he remarried. His new wife was the rich widow of a fur merchant. Palestrina, who clearly had good business sense, made a fortune which enabled him to publish several collections of his music.

Palestrina’s music resembles the architecture of the time; it is characterised by soaring lines, a skilful blend of voices, and a rich sound. Contemporaries saw Palestrina as the embodiment of spirituality and modesty; his compositions were admired as perfect. His enormous output includes 105 masses, 68 offertories, 35 magnificats, 11 litanies, and around 300 motets.

Palestrina wrote his setting of Adoramus te, Christe, a text used during Holy Week, in the 1570s, under the impression of the plague. It is an intimate devotional work.

Text: Adoramus te, Christe, et benedicimus tibi,quia per sanctam crucem tuamredemisti mundum.Qui passus es pro nobis,Domine, miserere nobis.

Translation:We worhsip you, Christ and we bless you because through your holy cross You have redeemed the world You who have died for us, Lord, have mercy upon us.



Anton Bruckner (1824–1896)Virga Jesse (The Rod of Jesse), WAB 52 (1885)Anton Bruckner, after whom one of the Vienna Boys’ touring choirs is named, was born in upper Austria. The son of a schoolteacher and organist, he became a chorister at the Augustinian monastery of St. Florian. He attended teacher-train-ing school in Linz. Beginning in 1845, he taught at St. Florian’s, and three years later he became the monastery’s organist. In 1855, he went to Vienna to study at the conservatory with Austria’s most famous music theorist, Simon Sechter, who taught the imperial choristers. In 1868, Bruckner joined the court musicians at Vienna’s Imperial Chapel, and ten years later he was made court organist. He was released from his duties in 1892 due to poor health. Bruckner’s great masses were first performed at the Imperial Chapel by the court’s choristers, and they continue to be part of the Vienna Boys’ Choir repertoire.

Bruckner was a deeply religious man and spent a great deal of time studying Renaissance polyphony, as well as the works of J.S. Bach. He was famous for his skilful improvisations on the organ, and his compositions combine the character-istics of early music with Romantic harmonic shifts.

Virga Jesse is one of Bruckner’s most famous pieces, and one of his last works for choir. The text is a medieval Marian poem by an anonymous author which is used for feasts of the Virgin Mary. It starts with a paraphrase of the prophesy in Isaiah 11:1, “A shoot will spring from the stock of Jesse”, announcing the advent of a Messianic king who will restore peace or rather, Eden (cf. Is. 11:6ff. “The wolf will live with the lamb”). This king is the descendant of King David--as Jesse is David’s father. The text then switches to Mary, playing on the words “virga” (shoot) and “virgo” (virgin). The music feels medieval rather than Romantic and Bruckner works from sombre to glad and almost jaunty. The piece begins in a minor key, with the different voices echoing the phrase, “Virga Jesse”. Bruckner does some-thing similar with “pacem Deus reddidit”, building to a magnificent climax. The final alleluias, in a major key, sound jubilant.

The work is dedicated to Ignaz Traumihler, who was choirmaster at the monastery of St. Florian at the time. It was first performed in the Imperial Chapel in Vienna in 1885, during a celebratory service on 8 December (Feast of the Immaculate Concep-tion). The original performers were the imperial choristers -- the Vienna Boys’ Choir.

Text:Virga Jesse floruit, Virgo Deum et

hominem genuit.

Pacem Deus reddidit, in se reconcilians ima summis.

Alleluja.

Translation:The rod of Jesse has flourished, the

Virgin has given birth to God and man.

God has restored peace to us, reconciling in himself the lowest with the highest.

Alleluja.



Arthur Bliss (1891–1975)Prayer of Saint Francis of Assisi, F. 47 (1972)Arthur Bliss was born in London. Music ran in the family; his mother was an accomplished pianist and his brothers all had musical abilities. Arthur’s earliest compositions were written for his family members. Bliss pursued his musical studies at Cambridge and at the Royal College of Music, where he studied with Charles Villiers Stanford and met Ralph Vaughan Williams and Gustav Holst. World War I interrupted these studies and Bliss served on the Western Front where he was wounded in both 1916 and 1918. He continued to compose during the war, and developed a very successful style of his own.

In 1919, he wrote the incidental music for a production of Shakespeare’s “As You Like It” in Stratford upon Avon. In 1921, he became professor of composition at the Royal College of Music. Bliss moved to Santa Barbara, California in 1923 where he continued to compose, lecture, and conduct. His works were performed in the USA and Europe. Music for Strings premiered at the Salzburg Festival in 1935, conducted by Sir Adrian Boult. In the same year Bliss provided the music for Francis Korda’s film, “Things to Come”, based H.G. Wells’s book. His ballet, Checkmate–the story is set on a chess board–premiered at the 1937 Paris Exhibition. It may be interpreted as a struggle of good over evil. The ballet was televised and broadcast in 1938; this was quite a coup.

In 1941, Bliss was appointed Assistant Director of Music at the BBC: that position allowed him to champion contemporary music. Bliss received a knighthood from King George VI in 1950, and in 1953 he was appointed Master of the Queens Musick. In addition to the music he wrote for state functions, Bliss composed several ballets, two operas, and several large-scale choral works. He travelled the world, wrote his autobiography, and campaigned against cuts in orchestras proposed by the BBC.

The Prayer of St Francis of Assisi was written in 1972, three years before the composer’s death.

Text:Lord make me an instrument of your peace,Where there is hatred let me sow love.Where there is injury, pardon.Where there is doubt, faith.Where there is despair, hope.Where there is darkness, light.And where there is sadness, joy.

O divine master grant that I maynot so much seek to be consoled as to console;to be understood as to understand;To be loved as to loveFor it is in giving that we receive-and it’s in pardoning that we are pardoned.And it’s in dying that we are born to eternal life.Amen.



Anton Heiller (1923–1979)Ave Maria (Hail Mary), for boys’ choir a capella (1957)Anton Heiller, Viennese born and bred, had his first musical lessons as a child: he played the piano and received training in harmony and counterpoint. In the 1930s, he had his first organ lessons in St Stephen’s Cathedral.

At 18, he enrolled at the Vienna University of Music, studying organ, piano, harpsichord and theory. A year later, he was drafted. After the war, Heiller became professor for church music, teaching organ and composition. He was only 22.

Anton Heiller was active as a conductor and performer. He toured Europe playing the organ and the harpsichord. A much admired organ virtuoso, Heiller devised and built organs himself. Heiller wrote mainly sacred music, masses, requiems, psalms, motets, cantatas, and oratorios. He combined traditional music with mod-ern elements, such as twelve-tone technique.

The Ave Maria is the most popular, of all the Marian prayers. There are two distinct parts, a Scriptural and an intercessory one directed at Mary. The first part, which may date back to the fourth century, is taken from the Gospel of St. Luke and combines the words of the Angel Gabriel at the Annunciation (Lk 1:28) with Eliza-beth’s greeting of Mary at the Visitation (Luke 1:42).

The second half of the prayer (Holy Mary) can be traced back to the 15th century. The current version, used by Heiller, became standard in the 16th century. It is found in writings of the Servite Order, one of the original five Catholic mendicant orders. Servites attach particular importance to the worship of Mary.

Text:Ave Maria, gratia plena, Dominus

tecum.Benedicta tu in mulieribus, et

benedictus fructus ventris tui, Jesus.Sancta Maria, Mater Dei, ora pro nobis

peccatoribus, nunc et in hora mortis nostrae. Amen.

Translation:Hail Mary, full of Grace, the Lord be

with you. Blessed are you among women, and

blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us

sinners, now and in the hour of our death. Amen.

Giovanni Battista Pergolesi (1710 - 1736)Five pieces from Stabat mater (The mother stood in agony)Pergolesi was born in the town of Iesi – near Naples – in Italy, in an age when Italy was a patchwork of small states. The family’s surname was Draghi, and they originally came from Pergola. Giovanni Battista combined the two place names to “Pergolesi”.

Naples had a thriving musical life at the time, and Pergolesi entered the conservatory as a child. He played the violin, sang and composed. He was much admired for his talent, and worked for a number of patrons. The last two years of his life were spent in the service of the Duke of Maddaloni, who probably commissioned the Stabat mater. Pergolesi was never very healthy, and died of tuberculosis at age 26.

The liturgical poem Stabat mater dates to the 13th century. Theologians assume that it originated in Franciscan theology, as the text is closely related to St.



Francis’s mysticism. The main source for the text is John 19:25. The first part is an intimate and emotional prayer, which expresses the feelings of Mary the moment she sees her son nailed to the cross. The second part is a prayer to Mary. Formally, the Stabat mater is part of the medieval lamentations of Mary. It was clearly meant as an exercise in meditation. The question of authorship remains unresolved; the monk Jacopone da Todi (~1228 - 1306), Pope Innocence III. (~1160 - 1216) and Saint Bonaventura (~1221 - 1274) are all possible candidates.

Pergolesi divides his composition into twelve parts, perhaps to correspond to the twelve apostles, and he omits some verses. His music aims to match the tone of the prayer. It is simple and emotional. One of his preferred means of style is the suspension – the gradual blending of one chord into another.

Text:1. Stabat mater dolorosa, juxta crucem lacrimosa, dum pendebat Filius.

3. O quam tristis et afflicata, fuit illa benedicata,Mater Unigeniti.

5. Quis est homo qui non fleret,Christi Matrem si videret,in tanto supplicio?

Quis non posset contristari,Piam Matrem contemplari,dolentem cum Filio?

Pro peccatis suae gentis,vidit Jesum in tormentis,et flagellis subditum.

8. Fac ut ardeat cor meum,in amando Christum Deum,ut sibi complaceam.

12. Quando corpus morietur,fac ut animae doneturparadisi gloria! Amen.

Translation:The mother stood in agony, weeping, by the crosswhile her son was hanging there

Oh, how sad and distressedwas that blessedMother of the sole begotten.

Who is the man who would not weepto see the Mother of Christin such torment?

Who could not share her pain?At seeing the devout mothersuffering along with her Son?

For the sins of his peopleShe has seen Jesus in tormentAnd subjected to whipping.

Make my heart burnwith love for Christ, my God,so that I may please him.

When the body will die,Grant that the soul will be givenThe joys of paradise. Amen.

INTERMISSION


Wolfram Wagner (b. 1962)Mr. Double Bass (2010) for boys’ choir, double bass, and pianoText: Hahnrei Wolf Käfer (b. 1948)Wolfram Wagner was born in Vienna and studied in his native city, London, and Frankfurt. In 1992, he became a lecturer in composition at the Music University of Vienna. He is a prolific composer, and his works are performed internationally. He has been commissioned to write for the Musikverein and the Konzerthaus in Vienna, the Academy of Saint-Martin-in-the-Fields and the Carinthian Summer Festival.

This cheerful song, written for the Haydnchor of the Vienna Boys’ Choir, describes the life of Mr Double Bass, who does everything twice and on the double. The piece receives its USA premiere during the choir’s spring tour of 2011.

Text:Come on, come on, let us swing,come on, come on, let us sing,come on, come on, with Mister Double Bass. Mister Double Bass has plenty of friends, and if they play a fairy tale ‘once upon a time...’he thinks: why only once?This is a lack. They all like to climb up in the high,but if he would arise,he would have to do it twice.

If one orders a beer,It is for him like a single shoe,he orders a second, not less and not more, he prefers to have two. They all have their faultsand try to minimize,but even a mistake he would have to make twice. If happiness or struggle, if right or wrong,cause he’s Double Bass called, he has all to double,and so he does with his song.

Come on, come on, let us swing,come on, come on, let us sing,come on, come on, there is no single hit,double notes will fit itfor Mister Double Bass. But there is one thing I bet,even he can’t repeat, we regret,that’s the whole wholly life, therefore join us: Come on, come on, let us swing,come on, come on, let us sing,come on, come on, with Mister Double Bass.




Zoltán Kodály (1882–1967)Ének Szent István királyhoz (Hymn to King Saint Stephen) (1938)Bozóky SongbookZoltán Kodály, one of the most respected figures of Hungarian arts, was one of the pioneers of ethnomusicology. From 1905 onwards, he visited remote villages to collect and record local songs. Around this time Kodály met fellow composer Bela Bartok, with whom he maintained a lifelong collaboration and friendship. In his music, Kodály successfully blends elements of Western European classical music with Eastern European folk music, and there is a particular affinity to 16th century polyphony as well. All his vocal works are strongly based on the text.

Kodály, who was very interested in education, composed a great deal of music for children. He also wrote a great deal on music education methods, ultimately resulting in what is known as the ‘Kodály Method’.

Saint Stephen, I (c. 967–1038), the first king of Hungary, is the patron Saint of the country. The date of his canonization is a national holiday.

Text:Ah hol vagy magyarok tündöklo csillaga! Ki voltál valaha országunk istápja! Hol vagy István király? Téged magyar kíván, Gyászos öltözetben teelotted sírván. Rólad emlékezvén csordúlnak könnyei, Búval harmatoznak szomorú mezei. Lankadnak szüntelen vitézlo karjai, Nem szünnek iszonyú sírástól szemei. Virágos kert vala híres Pannónia, Mely kertet öntözé híven Szuz Mária. Kertésze e kertnek István király vala: Behomályosodott örvendetes napja. Előtted könyörgünk, bús magyar fiaid, Hozzád fohászkodunk árva maradékid. Tekints, István király szomorú hazádra, Fordítsd szemeidet régi országodra. Reménységünk vagyon benned s Máriában, Mint magyar hazánknak hív királynéjában. Még éltedben minket ennek ajánlottál, És szent koronáddal együtt feláldoztál.

Translation:Where are you, shining star of Hungary?You, the protector of our land.Where are you, King Stephen?The Hungarians need you,they are weeping before you.In your memory the tears are flowing,the weeping does not cease.Famous Pannonia is a garden of flowers,watered by Holy Mary.The word of God is alive.She had beautiful flowers,and we bow before you,your sad sons, your orphans. Look, King Stephen, and see your mourning country,look on your dear homeland.



Johannes Brahms (1833–1897)Und gehst du über den Kirchhof (And if you cross the church yard) from: ’Jungbrunnen’ (Fountain of Youth) Op. 44 , No. 10Text: Paul Heyse (1830 - 1914)Hamburg-born Johannes Brahms was a reserved, logical and thorough man, whose terse manner is reflected in his works. He knew a great deal of music, and had obviously studied ancient music in some detail, which is reflected in his own use of Renaissance and Baroque polyphony. When writing vocal music, Brahms paid close attention to words; his sacred music is a deeply felt, non-denomina-tional statement of faith. Brahms, who for a time was the artistic director of a women’s choir in Hamburg, wrote many works for high voices: motets, lieder and folk songs. He used traditional folk tunes, sometimes simply arranging them, but also invented his own, such as his famous lullaby.

His Opus 44 comprises twelve lieder on poems by different writers, some anony-mous. Numbers 7-10 are from Paul Heyse’s ‘Jungbrunnen’ (Fountain of Youth). Pub-lished in 1850 when Heyse was just nineteen, ‘Jungbrunnen’ is a book of fairy tales interspersed with poems. The poems are rather intimate; all use either first or sec-ond person narrative. Even at this young age, Heyse (who is perhaps best known for his novellas and who was awarded the Nobel Prize for literature in 1910) shows his interest in human nature, and he dissects himself to explore it. He uses the sound and length of words to depict emotion, and employs words in a double sense.

Text:Und gehst du über den KirchhofDa find’st du ein frisches GrabDa senkten sie mit TränenEin schönes Herz hinab.

Und fragst du woran’s gestorbenKein Grabstein Antwort gibtDoch leise flüstern die WindeEs hatte zu heiss geliebt.

Translation:And if you cross the church yard,You will find a fresh graveInto which they lowered with tearsA beautiful heart.

And if you ask of what it died,No tombstone will answer,But the winds will whisper quietly,It had loved too much.

Engelbert Humperdinck (1854–1921)Abendsegen (Evening prayer), from the opera ’Hänsel und Gretel’ EHWV 93Text: Adelheid Wette (1858–1916) and Hermann Wette (1857–1919)Arr. for three-part choir Friedrich Zipp (1914–1997)Humperdinck’s father felt that his son would not be able to earn a living as a musi-cian. But Humperdinck knew he had talent, and ultimately proved his father wrong. He studied music in Cologne and Munich, and went on to assist Wagner at Bayreuth in 1881 and 1882. Wagner’s influence on Humperdinck is evident in the latter’s most famous stage work, Hänsel und Gretel, written between 1890 and 1893.

The libretto was written by Humperdinck’s sister Adelheid Wette (with contributions by her husband) and is based on the well-known tale of Hänsel and Gretel. This work, published and retold in 1815 by the brothers Grimmm, had a sizeable presence in German popular culture of that time. Wette’s libretto is based on Ludwig Bechstein’s 1845 account of the tale. Bechstein, who himself had been brought up by a step-mother, shied away from the image of an adult sending children into the woods for



sadistic reasons and changed the evil stepmother into a mother who is forced to do this against her will. Still, one would hope there were other solutions.

Richard Strauss conducted the world premiere of “Hänsel und Gretel” in Weimar in 1893.

Abendsegen is a short duet from the Singspiel. Hänsel and Gretel are lost in the woods, they realise that they will have to spend the night. Sandman, a be-nign fairy, has just visited them and calmed them down, and the two children pray before falling asleep.

Text:Abends will ich schlafen geh’n, vierzehn Engel um mich steh’n.zwei zu meinen Häupten,zwei zu meinen Füssen,zwei zu meiner Rechten,zwei zu meiner Linken,zwei die mich decken,zwei, die mich wecken,zwei, die mich weisenzu Himmels Paradeisen!

Translation:At night, as I go to sleep,Fourteen angels surround me.Two by my head,Two by my feet,Two by my right side,Two by my left side.Two who cover me,Two who wake me,Two who show meThe paradise of Heaven.



Franz Schubert (1797–1828)Im Abendrot (At sunset), D. 799 (1825)Text: Karl Gottlieb Lappe (1773–1843); Arr. Jakob ChristFranz Schubert was born in Lichtenthal (now a district of Vienna) in 1797. His father, a teacher, gave him violin and piano lessons. In 1808, Schubert auditioned for the Chapel Imperial and was given one of two vacant places for boy choristers in the Vienna Boys’ Choir. Antonio Salieri, who became his teacher, was very quick to note Schubert’s gifts. Schubert did well at the choir school and wrote his first compositions there. Like many boarding school pupils, he felt the food was lack-ing. A letter to his brother begs for an apple, “because it is hard to subsist on gruel and to wait for hours from one meagre meal to the next.” In fact, the boys were pretty well fed by contemporary standards.

In spite of his enormous talent, Schubert was never able to live off his music; he had to eke out a meagre living from teaching. After working as an assistant at his father’s school, he taught music at the Hungarian estate of Count Esterházy.

Schubert wrote eight symphonies, six masses and chamber music. He is most famous for his lieder, having written more than six hundred songs on poems by Goethe, Heine, Shakespeare and others. Franz Schubert died at the age of 31.

Karl Gottlieb Lappe grew up in Pomerania. After studying theology and philoso-phy, Lappe worked as a teacher. He fell ill, he had to give up his job and stayed at home, devoting his time to writing and (this seems rather progressive) to the education of his own children. He was happy doing this, as his poems reflect. In 1824, an arsonist burned his house and his entire library was destroyed, however, his readers and admirers helped him build a new one.

Lappe wrote love poems and poems about Pomerania, in particular the island of Rügen.

Text:O wie schön ist deine Welt,Vater, wenn sie golden strahlet!Wenn dein Glanz herniederfälltUnd den Staub mit Schimmer malet,Wenn das Rot, das in der Wolke blinkt,In mein stilles Fenster sinkt!

Könnt ich klagen, könnt ich zagen?

Irre sein an dir und mir?Nein, ich will im Busen tragenDeinen Himmel schon allhier.Und dies Herz, eh’ es zusammenbrichtTrinkt noch Glut und schlürft noch

Licht.

Translation:Oh, how beautiful is your world,Father, as it glows in golden light.When your glance falls on itand paints the dust with gold.When the red, flashing in a cloud,Sinks into my quiet window.

How could I be upset, how could I be afraid,

How could I doubt you and myself?No, I will hold in my heartYour heaven on this earth.And this heart, before it breakswill drink in the glow and the light.



Bruno Coulais (b. 1954)From the motion picture ’Les choristes’ (2004): Caresse sur l´ocean (Sea breeze) and Cerf-volant (Kite)Text: Christophe Barratier (b. 1963)Barratier’s hit movie ‘Les choristes’ (The Chorus) was nominated for two Academy Awards in 2005, for eight Césars in France, and for three BAFTAs. Adapted from the 1945 film “A Cage of Nightingales”, it tells the story of a school for difficult boys and the impact singing has on them.

Text:Caresse sur l’océanPorte l’oiseau si légerRevenant des terres enneigéesAir éphémère de l’hiverAu loin ton écho s’éloigneChâteaux en EspagneVire au vent tournoie déploie tes ailes

Dans l’aube grise du levantTrouve un chemin vers l’arc-en-cielSe découvrira le printemps

Caresse sur l’océanPose l’oiseau si légerSur la pierre d’une ile immergéeAir éphémère de l’hiverEnfin ton souffle s’éloigneLoin dans les montagnesVire au vent tournoie déploie tes ailes

Dans l’aube grise du levantTrouve un chemin vers l’arc-en-cielSe découvrira le printempsCalme sur l’océan.

Cerf-volant volant au ventNe t’arrête pas vers la merHaut dans les airs un enfant te voitVoyage insolentTroubles enivrantsAmours innocentesSuivent ta voie en volant

Cerf-volant volant au ventNe t’arrête pas vers la merHaut dans les airs un enfant te voitEt dans la tourmenteTes ailes triomphantesN’oublie pas de revenir vers moi

Translation:Sea breezecarrying the bird so lightreturning from snow-covered landsquick-passing winter airafter a while your echo departscastle in SpainTurn to the wind, whirl, unfold your

wings,in the grey dawn of the eastfind a way towards the rainbowto discover spring

Sea breezesetting the bird so lighton a stone of a submerged islandquick-passing winter airfinally, your breath blows awayfar into the mountains Turn to the wind, whirl, unfold your

wings,in the grey dawn of the eastfind a way towards the rainbowto discover spring calmly on the ocean

Kite flying in the winddon’t stop towards the sea.High up in the air a child sees youCheeky voyageintoxicating troublesinnocent lovesfollow your path, flying

Kite flying in the winddon’t stop towards the sea.Up in the air a child sees youAnd in the stormyour soaring wingsdon’t forget to return to me



Philip Norman (b. 1953)The Earth We Share, from the musical “Footrot Flats” (1983)Lyrics: Alan Keith Grant (1941 – 2000). Vocal descant by Robert Auburn (2005)Philip Norman was born in Christchurch, New Zealand in 1953. He earned a Ph. D. in musicology from the University of Canterbury and has been working as a free-lance composer and writer since 1978. Norman was principal music reviewer for the Christchurch Press for much of the 1980s and served as a committee member, secretary and president of Composers’ Association of New Zealand. From 1991-1995 he was musical director of the Christchurch School of Instrumental Music and in 1992 was composer in residence with the Christchurch Symphony Orches-tra. Norman is co-founder and director of Nota Bene Music Publishing Co.

Philip Norman produces music for organs, orchestras, car horns and choirs. He has written everything from ballads to ballets, and his works have been commissioned and performed by most of the leading music, theatre and bal-let companies in New Zealand. He has composed and arranged well over 200 pieces, including the musicals ‘Footrot Flats’ and ‘Love Off The Shelf ’, both from books by Roger Hall and lyrics by A.K. Grant).

Originally, Footrot Flats was a comic by fellow New Zealander Murray Ball. From 1975 to 1994, it ran in newspapers around the world. The unpublished strips continued to be released in book form until 2000. In addition to the musical, Footrot Flats inspired an animated feature film and a theme park. The cartoon focused on Dog, a sheep dog on Wal Footrot’s farm, Footrot Flats. Dog, a border collie with several alter egos, had deep thoughts about life on the farm and in general, rather like Charles M. Schultz’s Snoopy.

The Vienna Boys’ Choir encountered the piece during a tour of New Zealand, and the boys decided on the spot that they wanted to perform it.

Text:We have mountains, we have fiords, we have rivers, we have streams, We have glaciers that sweep down to the sea.We have native birds whose beauty is beyond your wildest dreams,And some really noble strands of native tree.

We have a place which we must sharewith all the creatures living here,We have an odd sense of our worthWhen we play God on Mother Earth.

They were here before we came here,But they’re disappearing fast;Soon each wild and scenic river will be dammedAnd the birds and the trees will be a memory of our pastAs exhibits in museums they’ll be crammed.

We have to learn the earth’s not ours,We bloom and fade just like the flowers,Like all creatures upon the earth,We share till we are goneFor the earth will still be here when we are gone.



Michael Jackson (1958–2009), Lionel Ritchie (b. 1949)We Are the World (1985)We Are the World was written by Michael Jackson and Lionel Richie, and was produced for the album of the same name. The original recording was made by the supergroup USA for Africa in 1985, which included Ray Charles, Billy Joel, Cyndi Lauper, Diana Ross, Paul Simon, Bruce Springsteen, Tina Turner and, of course – Jackson and Richie. It won three Grammy Awards, one American Music Award, and a People’s Choice Award, and has sold in excess of 20 million copies worldwide.

Text:There comes a time when we hear a certain call When the world must come together as one There are people dying and it’s time to lend a hand to life There greatest gift of all

We can’t go on pretending day by day That someone, somewhere will soon make a change We are all a part of God’s great big family And the truth, you know, Love is all we need [Chorus:]We are the world, we are the children We are the ones who make a brighter day So let’s start giving There’s a choice we’re making We’re saving our own lives it’s true we’ll make a better day Just you and me

Send them your heart so they’ll know that someone cares And their lives will be stronger and free As God has shown us by turning stones to bread So we all must lend a helping hand

[Chorus]

When you’re down and out, there seems no hope at all But if you just believe there’s no way we can fall Let us realize that a change can only come When we stand together as one

[Chorus]



Justus Wilhelm Lyra (1822–1882)Der Mai ist gekommen (May has come, 1842)Text: Emanuel Geibel (1815–1884)“Der Mai ist gekommen” is a spring song which is so popular it has practically passed into folklore. There are so many spoof versions and references to it in ev-eryday culture that hardly anyone remembers the poet’s or the composer’s name.

Emanuel Geibel, the son of a pastor, studied Classics in Bonn and Berlin. In 1841 he was working as a teacher in Athens and had just returned home when his mother died. Shortly afterwards, he received an invitation to study in the private library of Schloss Escheberg. The invitation held the promise of new beginnings, and Geible wrote his poem. It contains classic elements of Ger-man poetry of the time: the wanderer, his wanderlust, nature as a reflection of emotions. The poem was published a year later.

The same year, three students in Berlin decided to edit a German songbook. One of them was Justus Wilhelm Lyra, who would later become a pastor. He set Geibel’s poem to music and the resulting catchy tune sounds like a folk song. Lyra deliberately did not draw attention to the fact that he was the composer. The song circulated initially among students, but was soon picked up by schools and choirs. Osnabrück, the composer’s home town, has a local tradition: every year, on the evening of 30 April, May is greeted by singing the song near a stone commemorating Lyra.

Text:Der Mai ist gekommen,die Bäume schlagen aus,da bleibe, wer Lust hat,mit Sorgen zu Haus!Wie die Wolken dort wandernam himmlischen Zelt,so steht auch mir der Sinn indie weite, weite Welt.

Herr Vater, Frau Mutter,dass Gott euch behüt!Wer weiß, wo in der Fernemein Glück mir noch blüht.Es gibt so manche Straße,da nimmer ich marschiert,es gibt so manchen Wein,den ich nimmer noch probiert.

Frisch auf drum, frisch auf drumim hellen Sonnenstrahl!Wohl über die Berge,wohl durch das tiefe Tal!Die Quellen erklingen,die Bäume rauschen all;mein Herz ist wie ‘ne Lercheund stimmet ein mit Schall.

Translation:May has come, the trees are sprouting leaves whoever is so inclined may he stay at home, worrying. Like the clouds wander across the heavenly sky I feel compelled to wander into the wide world.

Father, mother, may God protect you. Who knows where in the world my luck awaits. There is many a road I have never taken many a wine I haven’t yet tried.

So onward and forward in bright sunlight. Across the mountains and across the deep valleys. The springs resound, the trees rustle; my heart is like a lark and joins in the song.

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Austrian YodelFolk songs are a tradition in every country; every nation has it. .Everyone who sings them carries the tradition on, spreading it and changing it in the process. The origins of folk songs are notoriously difficult to trace. There is a feeling that they are in some way ‘generated by the people’ and typical of a landscape.

Yodels – which were used as a means of communication at one time – are one of the chief elements of Alpine folk songs; they literally ‘reflect’ the Alpine landscape. The echo generated by the mountains helps in creating more elaborate variations of a yodel. Yodelling, which is an expression of a sentiment done on the spur of a moment, has no text; instead, singers use various similar sounding syllables. There are a few standard yodels popular throughout the Alps, and this is one of them.

Johann Strauss Jr. (1825–1899) and Josef Strauss (1827–1870)Pizzicato Polka, Op. 234 (1869)Johann Strauss was the second Strauss with the first name Johann, but he is undoubtedly the most famous. At least four members of the family were active as composers: his father Johann (1804-1849), Johann himself and his brothers Josef (1827-1870) and Eduard (1835-1916). When Johann was ten years old, his father became Hofball-Musikdirektor (Music Director at the Court Balls). While this was a high honor, father Strauss did not want his sons to become musicians. He felt this was a rather suspect profession and enrolled his son in a trade academy. Aided and abetted by his mother, Johann had music lessons behind his father’s back. At nineteen, he founded his own very successful orchestra. Much of his work is influenced by gypsy music and Jewish Klezmer music. There is an inherent ambiguity in it: Strauss, who made the entire city of Vienna dance, was a nervous, ill-tempered and lonely man who could not dance.

Josef, younger brother of the ‘waltz king’, did not want to be a musician. He was an engineer, and quite happy in his profession, inventing street cleaning machines for the Viennese magistrate. In 1853, Johann suffered a nervous breakdown, and the entire family begged Josef to step in for his brother; they depended on the concerts for their livelihood. Josef, who hated being the centre of attention, gave in. He began to study composition and took up the violin, and conducted the Strauss Kapelle whenever his brother was unable to do so. For someone who hadn’t elected to be a composer, Josef was incredibly prolific, churning out polkas and waltzes. During a concert in Warsaw in 1870, Josef fell unconscious off the conductor’s rostrum and died three weeks later in Vienna.

The polka, a couple dance in 2/4 meter, originated in Bohemia. The name is un-clear, although it may be derived from the Czech pulka (half ) or polska (Polish girl). The dance arrived in Vienna c. 1839; and from there it spread throughout Europe. It reached the USA in 1844. Local musicians created their own variations. The slower French polka and the lively fast polka developed in Vienna.

Johann and Josef Strauss composed the Pizzicato Polka in 1869 for a visit to Russia. The piece was published in the following year and became very popular. Strauss took it on several tours.

As the title suggests, the piece is intended for plucked strings and a glock-enspiel. The limited instrumentation is deliberate, as the polka is a musical joke playing on the instruments’ lesser used possibilities. The Strauss brothers stubbornly stick to the pizzicato mode, and achieve maximum variations by changing rhythm and melodies. In the sung version, the voices imitate the strings on sounds and syllables rather than words.


Translation:Through the meadows there is a feelingthe ice is melting on the brookwarm air tells youthe harsh winter is over.

A spring cheerfully descends from the rocka butterfly takes to the air,Happiness enters the heart.

Listen! Lovely songsounds in the village.The swallows are backa good fate spared themacross countries and mountains and seasThey come from afar.

How I love you, my native village.I have been away for so longnow I am glad to see you againHappy in your vicinity.

Woken from a dark night of wintereverything is shiny with springNo storm rages around the villageThe sun shines on it.

In the grass, a violet lifts its head.

It looks up, bobbing cheerfullya small bug crawls towards the toplaughing at the little flower.

The sun in May creates miracleseverything feels new powerNew life shows everywherein the mountains and valleys.

The swallow is happy to discoverThat the table is set for swallows as well.It will not stay alone anymore,Thinking, food tastes better in

company.

Text:Durch die Fluren zieht ein AhnenBächlein wird vom Eise freiLaue Lüfte kosend mahnenWintersnot, sie ist vorbei.

Quelle froh vom Felsen springt,Falter sich in Lüften schwingt,Lust das Herz durchdringt.

Horch! Horch! Lieblicher SangTönet das Dorf entlangEi, die Schwalben, sie sind zurück,Sie bewahrte ein gutes GeschickÜber Länder und Berge und MeerKommen weit aus der Ferne sie her.

Wie lieb ich dich, mein Heimatort!War lang jetzt in der Fremde fortNun freudig ich dich wieder seh’Beglückt von deiner Nähe.

Erwacht aus düstrer WintersnachtPrangt alles nun in FrühlingsprachtKein Sturm mehr um das Dörfchen tostDie Sonne es umkost.

Im Gras das Veilchen nun das Köpfchen hebt

Aufwärts blickt, fröhlich nicktAm Halm ein Käferlein zur Spitze strebtLacht dem Blümchen zu vergnügt.

Maiensonne Wunder schafftAlles fühlet neue KraftReges Leben überallZeiget sich in Berg und Tal.

Auch die Schwalbe froh entdecktDass für sie der Tisch gedeckt.Bleibt nicht länger mehr alleinDenkt sich, besser schmeckt’s zu zwein.


Josef Strauss (1827 – 1870)Dorfschwalben aus Österreich (Village swallows from Austria). Waltz, Opus 164 (1864)Text: Klemens Dorn (1874 - 1948); Arr. Victor Keldorfer


Two swallows fly over the roof

back and forth, to and froAnd the neighbour’s daughter,

Margarete, looks at them,Thinking, it is hard to build a nest.

Dear Gretchen, look,what a little bird can do.If you gave me your trust,I would build a nest for us also.

If you have any feelings at all for me

dear girl, tell me today.And I will start building a nest For the both of us immediately; I am

ready.

The nest is ready nowMay God protect itfrom strom and from fireand other dangers.And if a greedy robberlusted after itno cat, no martenCan get at it.

With you, dear Gretelein,I want to be together forever.And like the swallows under the roof -May God protect us from dangers.

Today in the village, what a colourful sight:

Flags are flying.What does it mean?

Let me see!

All of a sudden, there is a bride and groom.

I wager our groomleads neighbour’s Grete.


Zwei Schwalben, die fliegen wohl über das Dach

Hin und her, kreuz und querDes Nachbars Margarete schaut lang

ihnen nachUnd denkt: wie sehr ist’s Nestbauen

schwer.

Wie herzig’s Gretchen, schau nur an,was doch ein kleines Vöglein kann,ich wollte, schenkst du mir Vertraunein Nest für uns auch bauen.

Wenn dir nur an mir liegt ein wenig daran

Du holde Maid, so sag es heutDa fang ich sogleich dann zum

Nestbauen anFür uns allbeid’, ich bin dazu bereit.

Das Nest ist jetzt fertigGott möge es bewahrenVor Sturm und vor FeuerUnd anderen GefahrenUnd wenn auch manch RäuberEs gierig verlangtNicht Katze noch MarderZum Nestlein gelangt.

Mit dir, du holdes GreteleinLass’ ewig mich beisammen seinUnd wie die Schwalben unterm DachBeschütze uns Gott vor Ungemach.

Heute im Dorfe, welch buntes Gewimmel,

Fahnen wehen.Sagt, was bedeutet das frohe

Getümmel?Lasst doch sehen.

Plötzlich ein Hochzeitspaar mitten im Schwarme

Ei, ich wette, dass unser BräutigamFührt an dem Arme Nachbars Grete.

North Central College Friends of the Arts members provide vital support to our Fine & Performing Arts program. They also enjoy an insider’s perspective on our outstanding productions, along with opportunities to mingle with artists, attend VIP events and join the college interest groups.

All Friends of the Arts have access to North Central College’s Concierge Services to purchase the best seats in the house for any production, complimentary ticket exchanges and personalized subscription seating. Friends of the Arts are also invited to exclusive events and receive special benefits. And dining is easy when you call a North Central College Dining Partner to make your reservation. Our perferred partners include some of the finest restaurants in Naperville.

Friends of the Arts membership begins with a contribution of $25. Each level of membership comes with an exclusive VIP benefits package.

To learn more about the Friends of the Arts program call Myrle-Marie Bongiovanni, Fine Arts Manager, or call Chad Pedigo, Box Office & Group Sales Manager, at 630-637-7469

FrIENDS OF ThE ArTSsupporting greAt perFormAnces

impresarioBravostanding ovationencoreperformanceovertureAudience

$10000 or more$5000-$9999$1000-$4999$500-$999$250-$499$100-$249$25-$99

Supporting Great Performances Footlight Insert 2010-2011.indd 1 11/10/2010 12:09:17 PM


IMPRESARIO ($10000 or more)Judy G. Stevenson

BRAVO ($5000 - $9999)

STANDING OVATION – ($1000 or more)Albert and Alpha BenedettiJohn HafenrichterPaul and Sue LoscheiderBrian and Mary Jean LynchMr. John M. McCareins and Dr. Alicia G. McCareinsNancy and Bill MitchellPrince Charitable TrustsRick and Pat SpencerJudy WehrliHal and Benna Wilde

ENCORE – ($500 - $999)Kathryne EsselburnHarold and Marcia Pendexter

PERFORMANCE – ($250 - $499)David HohGary and Berneil MrozHubert and Martha PintoDonald SchaeferRonald and Dawn StruxnessRonald and Kay VanBuskirk

OVERTURE – ($100 - $249)Lauren BentelBoyd and Marilyn BriscoeWilliam C. Burke, IIIJames BurnerJames and Joanne ChiapelloJerry and Sandy DavisCraig and Carol DeanSam and Rebecca DempseyWilliam and Laurie DudleyRoger FritzSue and Nancy FritzJohn and Dora GlassDon and Pat HagmeyerToby HayerRoger and Sue HendricksonKathleen and Gerald HusarikCeleste JacklinJoel and Toni JohnsonTami Kidd-BrownSusan and John LeaverBarbara and Roger LiskaRussell and Ann MarineauTrista MattTom McRobertsLinda McShanePaula and John PalterMichelle Porcellino

Cynthia RenneMyra and Barry RiskedalJames and Maureen SaultJoanne and Russell SaultMichael Schroek and Mary PecoraPeter and Charlotte StrykerDr. and Mrs. John UnikKatherine P. Weber

AUDIENCE – (Up to $99)Jennifer B. BethmannJeanna M. BonamerKristina L. BonnHoward and Margaret BreedenLynne B. CaldwellDick and Dottie CarneyEmilie L. ClarkSharon ClarkJanet CoffeyMichael J. DempseyMel and Carolyn FinzerElisabeth A. FisherBill and Beverly FrierRon and Kandi GasperiniElisabeth GrzywaRuth HeidornVictoria E. JozefEl Dora JuhaAbigail Kellermann and Sean DriscollGarth and Susan KennedyHazel and Clyde KleinJean KosiaraRichard and Cherie KraftJohn H. LoscheiderLarry and Helen LyonsShirley MontalboJennifer MatthewsBonnie MizeRobert Murr Sr.Kathleen M. MusselmanMichael A. MusselmanTony NavigatoStephen B. PeeblesJonna R. PetersonDiana M. RedlienNelida RodriguezChristina M. RomanoPeter T. SiplaMichael E. SquireAbigail G. StarkAustin P. StevensonNancy TraceyJana K. TropperGenna M. WaldenBrian WalshMatthew F. WhalenZita WheelerJohn & Macie Zorn

2010 -2011 FR IENDS OF THE ARTS

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SCHEDULEART GALLERY

Will BarnetNovember 12, 2010 through January 13, 2011 Will Barnet: Figurative PrintsBorn in 1911, Will Barnet knew by age 10 he wanted to be an artist. Barnet’s works, while remaining universal, reference his own personal history complete with images of his wife, his daughter and their family pets.

Bob NugentJanuary 21-February 15, 2011 In Its Flow – New Paintings and Drawings of AmazôniaThe work transcribes a memory of objects and impressions captured during repeated sojourns to the Amazon River Basin. These impressions are a memory of the river bound on both sides by a high, dark jungle; foreboding and beautiful. When the jungle takes you in, it takes you in whole.

Guitar CollectionFebruary 18-April 10, 2011 Fender Stratocasters, Gibson Les Pauls and other classic guitars from the collections of local residents Marguerite and Rich Waters and David Kelsch will be displayed. Visitors will get close to vintage instruments that created the sounds of rock ‘n’ roll and rock—music that defined generations.

Randy SimmonsMay 20-June 19, 2011 Randy Simmons’ work can be divided into several themes: children and parenting, domestic violence, political issues and past relationships with former wives and girlfriends. At times, the boundaries of his subjects overlap.

SCH

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Sponsored by:

Bob Nugent

Guitar Collection

Randy Simmons

Schoenherr Footlight Insert 2010-2011.indd 1 12/16/2010 1:23:50 PM


THE WENTZ CONCERT HALL & FINE ARTS CENTER CAMPAIGN DONORS

GRAND BENEFACTORDr. Myron Wentz ‘63 and

Prudence ConleyBartley J. and Maricela ‘99

Madden

MAJOR BENEFACTORThe Kresge FoundationShige Masaki ’54 NagamuraConnie ‘50 and Gustav ‘48

SchoenherrJudy Meiley Stevenson

BENEFACTORBank of AmericaMimi ‘55 and Ian Rolland

MAJOR PATRONDon and Bernadine HacklRoger ’58 and Nadeane HrubyLoebl, Schlossman & Hackl,

ArchitectsLarry ’64 and Gail MeyerPark National BankDavid Andrew WentzSusan and Bob ’67 Wislow

PATRONAndrew Family FoundationComcastLeota Buss Ester ‘51First National Bank of

NapervilleHarris BankJohn and Rita HarvardJ.P.MorganNaperville JayceesMr. and Mrs. Donald R.

Pletcher ’65Sara Lee FoundationMary Wegner ‘46 SchloerbJan and Peggy Schultz and

FamilyJacquelyn Lewis Wentz ‘63Hal and Benna WildeJames ’04 and Kathy Willett

OVATIONGary and Gloria BaumgartnerKevin and Carolyn BrahlerTrudy DickinsonFactory Card & Party OutletJ. Thomas GruenwaldBreck and Nancy ‘79 HansonFrank ‘98 and Carolyn HudetzJoseph and Patricia HudetzSamuel W. and Celia N. HuntDave and Dawn KelschRay and Paula KinneyJohn and Jeanine LehmanRon ’81 and Charmain

LueptowWayne ’54 and Marguerite ’53

LueptowMinuteman Press

James L. Moser FoundationMike and Maureen R. NasetNorthern TrustJeffrey ’76 and Teri OesterlePositively NapervilleSolar CommunicationsUSG CorporationBryan Paul Wentz

CONCERTOAnonymousJim ‘63 and Pat ‘63 BambuleJohn ‘60 and Norma BramsenDr. Gaylen R. Brubaker ‘72 and

Dr. Barbara Wildemuth ‘71Bulley & Andrews, LLCMr. Theodore E. DeschEsser Hayes Insurance GroupHitchcock Design GroupThe Hope GroupBarbara, James and Jeff

KnucklesBrian and Mary Jean LynchNancy, Charlie and Bill

MitchellSelma ‘Sally’ B. MittelstadtHolly I. Myers ‘69Naperville Noon Lions ClubBill ‘74 and Cheryl NaumannEdward and Francine NavakasRichard ‘55 and Arlene ‘56

NorenbergNancy and Ron Nyberg FamilyHal and Marcia PendexterCarrie Johnsen Rough ‘74The Rubin FamilyManny and Pat Pulido

SanchezJoyce, John ‘96 and Jennifer

SarffRobert ‘58 and Nancy Heyer

‘56 SchroederRick and Patricia SpencerAnita Wuertz Strauss ‘54Jean V. ThomasThe Louhon and Carolyn

Tucker FamilyThe Richard and Marguerite

Waters FamilyMarilyn Kubly Workman ‘54Dwight and Ruth Yackley

ARIAAdrian ‘02 and Jacqueline

Milbratz ‘03 AldrichAnderson’s BookshopsMr. and Mrs. Edward L.

Anderson ‘38AnonymousLeon ‘55 and Eleanor ‘56

ArnesonThe Bangkok VillageKevin ’99 and Jennifer

(Medows) ’01 BarrettMrs. M. I. Bartel

Dennis Bauman ’54 and Jean Ranson ’57 Bauman

Jan ‘75 and Larry Baumgartner

Shane BeardEsther Benjamin ‘90 and Tim

WebbThomas F. Bennington, Jr. ‘84Steve and Rachel BergersonTodd Berry and Margaret

LewisErin L. Bishop ‘93Janice Borla and Jack MouseWalter and Sally BorlaDavid Bowers ‘73Ruth Bauserman Brown ’52Nancy ‘79 and Jim

ButerbaughDr. Richard F. Calhoun ‘52The Carriage ClubCasey’s FoodsChannell FamilyDoug and Margey ColbethJohn A. and Susan K. ColucciHoward L. Cosyns ‘49Wayne and Mary Lou

CowlishawBonnie Eisele-DeMerle and

Les DeMerleJerry ‘64 and Karen de St. PaerThe Dempsey FamilyMargaret (Walcott) Double

(1936-37) ‘39Mr. and Mrs. Tom W. Drake ‘58Cleve E. Carney Fund of

The DuPage Community Foundation

Bill ‘68 and Carol EdsonWilliam and Mary EllingsonJan Eisele Erickson and Bruce

EricksonMark ‘95, ‘07 and Nicole ‘97,

‘00 EverixHarris ‘51 and Ruth ‘52 FawellSteven and Wijid FayRev. Donald ‘50 and Norma

‘54 FennerGeorge and Joan Kerr ’58

FleckMardelle Schneller Fleming

‘46Miriam B. Fry ‘39Tom ‘89 and Laura ‘90 GarveyKevin and Susanne GenslerMr. and Mrs. Evan W. Getz ‘57James W. Godo ‘93 and

Deborah King ‘92 GodoKathryn M. GrambschDale ’50 and Virginia ’51

GrantmanNancy Meyer Grayheck ‘75Jayne Hart ‘64Wayne C. ‘49 and June

(Mittelstadt) ‘48 HessRichard ‘75 and Andrea Honer


THE WENTZ CONCERT HALL & FINE ARTS CENTER CAMPAIGN DONORS (cont.)

Vicki Huffman Sladek ‘89Jan Brien Huffman ‘63Mary and Ralph F. Huth ‘51Dr. and Mrs. Donald E.

Johnson ‘57, ‘57Jerald and Charlotte JohnsonRay and Marilyn JonesPaul and Mary Ann JunkroskiJames and Catherine KadukDon and Anne KirchoffnerRichard P. Knoespel ‘63Dr. Kermit and Karen H.

Knudsen ‘55Mr. and Mrs. Hugo KorandaKen, Susan ‘06 Katie ‘06 John

‘06 KorandaBetty J. KozlowskiMyron M. ‘49 and Doris M. ‘52

KottkeEugene E. Krell ‘50Daniel and JoAnn KrischStan and Elizabeth LakenMr. and Mrs. Richard LamzDavid ‘59 and Barbara ‘59

LangMaxine and Tom Lelivelt ‘61James ‘53 and Susanne LenzBayard and Nancy LyonMr. and Mrs. Douglas MackieRichard and Deanna MandelMr. and Mrs. Kevin Martin ‘87Robert ‘50 and Vivian ‘49

MinerMonarch Landing, an Erickson

Retirement CommunityTrevor and Connie MorganCharles and Elizabeth Morin

(Chuck and Beth)Jean and Robert E. MorrisDr. and Mrs. Roger W. Murray

‘57Naperville MagazineNaperville Woman’s ClubNICORKaren Nordquist ‘66North Central College Board

of Trustee AssociatesEd and Lori Nita ’02 NovakJohn L. ‘64 and Marcy NovakCathe (Clarida) Oberfoell ‘93

and Ron OberfoellDr. and Mrs. James P. OstrengaOswald’s PharmacyNancy A. Quigley and Michele

L. MichaelGary W. RadaFrances E. Nickel Raduege ’61

and William E. Raduege, MD ‘61

Russell ‘59 and Barbara Schroeder ‘57 Rehn

Mark and Holly RiordanCharlotte D. Roederer ‘65Roseland DraperiesJames and Kathy Runk

Michelle N. Runk ‘06Nick and Teresa Ryan FamilySteven and Sheila SarovichJacob and Barbara SchillePaul ‘54 and Betsy (Belding)

‘56 SchmittBarbara SchoenherrDr. and Mrs. Donald T.

ShanowerJonathan B. Shanower ‘85Milton ‘50 and Carol ‘51

SiewertJamie and Neil SmithSuzanne Bessette-Smith ‘77

and David K. Smith ‘77George ‘43 and Betty ‘48 St.

AngeloMr. William J. Stang ‘02 and

familyHarold ‘79 and Donna

StembridgeRev. Dr. Paul and Elsie

Marshall Stiffler ‘50, ‘50SUN PublicationsBeverly Richard Svoboda ‘57Margaret and Leong T. Tan,

MD ‘54Joan Uebele ‘61Kenneth Thompson ‘63Marvin Edward Thompson

‘36 and Ruth Louise Powell Thompson

United Construction ProductsUS BankDr. and Mrs. Sam Vierra ‘98Ms. Kim WagnerSusan, Logan and Eric WallaceDr. and Mrs. Donald E. Weber

‘66Mr. and Mrs. William H. WentzDr. Herman B. White, Jr. and

Margaret A. WioraM. Dean Wilson ‘63 and

Norma WilsonRuss ’63 and Judy WilsonBrian, Ramona and Alaina WisArthur ’74 and Patricia

WoloverPatricia C. Zeller ‘50Robert ‘73 and Paula ‘72 ZellerBeth ‘63 and Dick ‘61

ZimmermannCarol Westergard Zook ‘70

ENSEMBLEWilliam ‘50 and Mary ‘52 AbeAdvanced Data TechnologiesPaul ‘59 and Sandra AgnewLinda Eddy Allison ‘65Jason and Amy AltenbernJason AlterWilliam AngeliniAnonymousTerri B. Appelhans ‘91Grace Susan Bachmann ‘67

Rev. Bob and Jeanni BakerDiane and Jon W. ‘69 BalkeMr. and Mrs. Burton

Bauernfeind ’38, ’38 Carol Marie Beach ‘99Tom and Penny BeerntsenAl ‘48 and Alpha BenedettiMr. and Mrs. J. Patrick BentonJohn Benway and Beverly

GreatMonna Becker ’59 BergdallBud and Lois Berger ’48, ’49 Elwood ‘54 and Barbara ‘57

BerkompasDr. K. Darrell Berlin ‘55Ms. Jamie Berndt ‘98 and Mr.

Eric WojcikiewiczRoger and Carol BeutlerRobert M. Bittle ‘88Dan and Kris BlouinDr. James A. Bloy ‘50Wilmer ‘53 and Allegra BloyBrand and Mary Ann BoboskyJeffrey L. Boggs ‘83Kristine E. Book ‘06Mr. Dennis L. Bosch ’73Rev. Paul ‘64 and Sue (Gates)

‘64 BosshardtAlonzo ‘93 and Kim ‘94

BoulreceDonald G. Krause and Susan

R. Bradshaw ‘85, ‘97Mary Louise Branigan ‘48Marvin J. Brickert ‘54M M Brill ‘97, ‘99Dr. and Mrs. Kenneth Brons

‘51Betty R. Brown ‘48Mr. and Mrs. Gregory BuckThe Bruce A. Burchfield FamilyDonald and Juanita BurneyDr. Donald and Mrs. Marjorie

(Wilhelm) ‘57 BuserDavid A. Bushnell ‘72Callie Byers ‘02 Celichowski Ruth Young ‘48 ByersWalt ‘71 and Nancy Tull ‘72

ByersWilliam and Mary ‘67 CaisleyMr. and Mrs. Paul Callighan ‘74Jo Ann Swank ‘63 and John C.

‘61 CanniffAllan ‘57 and Nancy ‘57

CarlsonBoyce and Janice CarsellaMr. and Mrs. John J. CaseThe Caselli FamilyCatch 35C. Edward Cavert ‘57 and

Wilma Z. Cavert ‘55Cemcon, Ltd.Catherine Cerri ‘01Mary Ann Frahm Champion

‘64The Channell Family



Ruth Larson Chapek ‘57Miriam Chapman ‘73Susan Chia ’98George ChowCordelia ‘64 and Richard

ChristensenHarry ‘63 and Bonnie ClassenIan and Shelly ClugstonJerry Cole and Dorothy ColeCamille Conforti ‘66Continental Audi of NapervilleDavid Correll ‘57Daniel ‘51 and Carolyn ‘54

Corretore Jr.Kathleen Corrigan ‘05Patricia Crumpler-Green ‘81Lindsey Cummins ‘04Stacy R. Cunningham ’01 Mr. and Mrs. Loren DataGloria V. Davis ‘45 and V.

Dennis DavisNancy and John DeaconMr. and Mrs. Michael J. ‘00

DegerDuane K. Dennis ‘49Dr. Satyan L. Devadoss ’93Jesse R. and Annamary

DeWittThe Diamond Gallery of

NapervilleMary Kay DoodyCaitlin Anne Drzewiecki ‘07DuPage Symphony OrchestraCarolyn Adams Duren ‘62Linda Marie Eason ‘96Richard M. EastmanEduardo ‘74 and Laurie

EcheverriaEllman’s Music Center, Inc.Ms. Kathryne S. EsselburnBeverly Z. Esser ‘51Elizabeth A. Fabel ‘91 and

FamilyDavid P. Farley ‘57Dr. Melvin ‘40 and Irene FarleySophie Faust ‘93Rolland Jackson Ferch ‘70Ed and Patti FeyMr. and Mrs. Joseph R. FiedlerRobert and Mary Ellen

FieselerPeter ‘01 and JorjAnn FinkKatherine Diehl ’39 FinkbeinerFirst United BankJoyce Perry Fisher ‘62Dennis, Carolyn and Kirstin

FrantzenPaul ‘41 and Eileen ‘41

FreshleySuzanne Freshley ‘69Shirley Frettinger ‘60June ‘46 and Gordon ‘49 FreyJon and Shirley FuglestadElaine M. Gasser ‘50Michael Gehl ‘88

Mr. John H. GelstonMaureen Gennari ‘83Betsy Germanotta ‘51Jennifer Lauren Glasse ‘06Helen Branigan ’46 GlessnerGerald ‘58 and Marjorie ‘60

GoetheJennifer and Ken GoodSmithEdward ‘45 and Ida GrauMr. and Mrs. Patrick E. GrayMisty and Lewis GruberDavid ‘48 and Gloria HaebichMr. and Mrs. Don R. HagmeyerErika Hall ‘98Bill and Laurie HamenJoseph J. Haney ‘59Lisa Harms Hartzler ‘75 and

Joseph H. HartzlerC. Robert Hawley ‘68Hawthorne Credit UnionRobert Heap and Jane FawellNick and Barbara HeintzDr. John P. Henderson ‘60Uarda (Hafenrichter)

Henderson ‘33Roger and Sue HendricksonCharles and Miria (Lehnus) ‘61

HesterJoseph M. Hickok ‘05Carla Rae Hoeft ‘72Steven H. Hoeft ’73 Mr. and Mrs. Nick DempseyDavid and April ‘88, ‘99 HornerKathy Huffman ‘82The Hurd FamilyMary Kay and Steve HyettIllinois State Music

AssociationCarol Lee ‘64 and Thomas E.

IversonThe Iverson FamilyYolanda ‘01, ‘07 and Yanez

JamnikJanet Matz ‘68 Jazayeri Walter ‘52 and JoAnn JelinekJimmy’s GrillDon ‘63 and Mary Ann JirakMarlene Bassett ‘55 Johns Mrs. Barbara B. Johnson and

familySteven E. ‘71 and Elizabeth S.

‘81 JohnsonJames B. Jones ‘88Herbert P. Jordan ‘52

Mr. and Mrs. Arthur P. Jorgenson

Kathy ‘89 and Glen ‘89 Kallhauge

Ann and John KeatingJack ’73 and Michele Tozer ’73

Kenaga John H. Kennaugh ‘50 and

Jean (Hitchcock) Kennaugh ‘50

Mr. and Mrs. Frank T. Kennedy, Jr. ‘95, ‘96

A. John King ‘42Mr. and Mrs. Harry KlimekDavid G. Knapp ‘67Mr. and Mrs. Alan KoehlerMichael Koleno ‘02The Russell C. Kolkay FamilyRobert C. KollerJane Dispensa Kopecky ‘84Kent D. Koshko ‘67Jack A. and Catherine M.

KotenKraai Architects, LLCMarietta C. KrebaumMr. and Mrs. Dwayne KresenMarilyn Hoover Kuppler ‘52La Sorella di FrancescaJulie Lagodney ‘72Wes ‘63 and Jackie ‘65 LambBob ‘61 and Judy ‘64 LangeBarry and Jan ‘67 LauwersJohn ’83 and Robin (Jankers)

’83 LealDaphne Lee and Chung LeeRobert and Miriam Getz

Lehman ‘54, ‘53David ‘99 and Lydia ‘99

LesniakRev. Allen J. Lewis ‘42Mr. and Mrs. H. Kenwood

Lewis ‘57, ‘55Jeffrey S. Lewis ‘88Jerry and Marguerite Beck

‘54 LewisGerard A. Lindgren ‘52 and

Ann LindgrenMrs. Alfred (Rita) LissonMat Littleton ‘01 and Krista

Engerman ‘02 LittletonCarl ‘85 and Dagmar LofgrenJoan Abbott Long ‘05Mr. and Mrs. Paul LoscheiderLuanne Luebke Dregne ‘60Pauline MacArthur ‘39Rodney ‘69 and Susan ‘68

MackMildred Maechtle ‘54Joseph P. Mallon ‘80Roberta K. ManningJim ‘82 and Susan MarseilleTashona Marshall ’02 Neville MartinJeordano MartinezJoan Davidson Mason ‘56Master’s Business InteriorsCurtis Mayfield ‘70Mary and Ray McMahonMr. and Mrs. Emery MeileyMeson Sabika Tapas Bar &

GrillCarol Flugum Meyer ‘53Mark Meyer ‘81Chang Y. Miao



Robert ‘62 and Judith ‘64 Michael

Donald H. Mielke ‘51Mr. and Mrs. David J. MillerDavid L. Miller ‘75Ron ‘73 and Susan (Ubben)

‘75 MillerMr. and Mrs. Charles Minarik

‘62Mark ‘61 and Joyce ‘64 MinorJohn and Luann MolitorGeorge ‘50 and Doris MooreMr. Michael Moser ’70Gary and Berneil MrozTimothy I. Murphy ‘62Jill MyattNaperville Art LeagueThe Naperville ChorusNaperville ExcavatingThe Naperville Men’s Glee

ClubBill and Herbie Gamertsfelder

‘46 NaumannDaniel A. Nelson ‘94Bruce Nesmith ‘81Bruce NortellMichael J. North, MBA, Ph.D.

’92 Judy and Mark OganJames A. ‘64 and Patricia S. OrtMarion Allds Pace ‘57Arlene ‘68 and Nicholas PageGertrude Wahl Palm ‘47R. Devadoss Pandian and

Priscilla DevadossRobert and Claudia PattersonJohn Pcolinski Jr. ‘83Patrick and Leah PearsonCynthia L. Pearson ‘98Charlotte Grantman Peichl ‘51Pepper Construction GroupJ. David PepperMichael T. Pickett ‘05Bob ‘44 and Carol ‘45 PiperIolyn Mieklke Plagenz ‘60Mr. and Mrs. Harold D.

Pletcher ‘52Betty ’60 and Tim PlumKaren A. Pollock ‘93Lawrence A. Poltrock ‘63Burt and Kathie PrinsJeff J. QuanseyLinda S. Quantock ‘72Charlotte Steiner Queen ‘48Linda R. Rajca ‘73R. LeRoy ’50 and Muriel ‘50

RaysonJanet Reese ‘57Drs. Bruce ‘49 and Carlene

ReinhartSusan E. Repke-Rice ’52Stephen and Susan ‘80

ReppenMary and Bill Reynolds

Mr. and Mrs. Clarence E. ‘48 Rickleff

William ‘58 and Barbara ‘56 Roby

Mark Roe ‘97The Roesner FamilyLarry ‘60 and JoAnn ‘60

RoesslerRotary Club of Naperville/

DowntownTom and Melanie RottmannVirginia O. Rumsfeld ‘50Brian, Sun, Michael and

Carson RuppDan ‘74 and Kathy ‘74 RyanKevin and Christine Ryan

FamilyDavid and Kathleen RydingJohn and Kim RygiewiczMarty and Sheila SauerJeff ‘92 and Sheila ‘92

SchaetzkeRobert ‘64 and Carole ‘65

SchappekJane W. Schelin ‘55Dr. David J. SchmitzLillian Schottenhamel ‘41Holly J. K. ‘02 and Jeffrey A.

‘99, ‘04 SchroetlinDr. Paul H. Schultz ‘71Robert ‘69 and Kaye Freshley

‘69 SchultzMarty (Beed) Schwab ‘53John E. Senn ‘60 and Sharon

Viner Senn ‘62Ann ‘64 and Maynard SherwinJune Henke Shiffler ‘41Kenneth C. ShifflerJack ShindlerDr. John C. Sippy ‘60Mary Smital ‘50Mary ‘78 and Loren ‘81 SmithWendy Hansen Smith ‘93 and

Edward SmithDave ‘48 and Genevieve ‘49

SpieglerDr. and Mrs. Howard Sprecher

‘58Jarvis ‘50 and Mary ‘50 SprengPaul ‘74 and Janice ‘72

SpringbornStandard Bank and Trust Co.G. Ward Stearns ‘56Truman Stehr ‘53Clark and Alice StonebrakerAndrea N. Suhre ‘97Dr. Paul W. Sutton ’58 and Rev.

Dr. Lana T. Sutton ’66 Dr. and Mrs. Jeffrey K. Swallow

‘94Timothy T. Taylor D.D.S. ‘68Harold L. Temple ‘65Barbara I. Thompson ’51Mr. Elton R. Tietz ’51

Timpano Chophouse and Martini Bar

Kyle D. Todd ‘95Erin M. Ufheil ‘05Mary-Claire UseldingMichael ‘88 and Elizabeth

UtterbackLawrence, Lynette ‘01 and

Deanna Van OyenMike ‘88 and Cathy Van

PouckeTim ‘71 and Barb Shiffler ‘71

VanderwallStephen B. and Barbara L.

VeitchJane Begole Waidanz ‘90Clifton J. Ward Jr., MD and

Reneé L. Cruikshank-Ward ‘70

Bethany J. Walter ‘06Susan Sauer Walther ‘71 and

Wayne Walther ‘71Mary Lou Wehrli and Herbert

W. NadelhofferScott ‘91 and Lynda Wehrli

FamilyJohn V. ‘57 and Ruth C. ‘58

WendlingRichard and Christine WensitsMr. and Mrs. David G. WentzDennis K. Wentz, M.D. ‘57Sharyl B. Hammer Wernick ‘69Donald ‘52 and Marlys ‘53

WidderAudrey L. Wilder ‘06Robert J. Wilshe ‘04 and

Wayne R. WilliamsBradley W. Wilson ‘02 and

Rosemarie Conigliaro Wilson ‘01

Shirley A. WilsonMr. and Mrs. Martin J. WioraKeith ‘47 and Tally WitmerLee ‘85 and Elizabeth WoolleyYoung Naperville SingersPaul and Kim ‘92 Zaccone

CHORUSDr. William L. Abbott ’38Mr. John W. AbeMs. Susan M. Abele ’89Mr. and Mrs. Bill AbernethyMs. Lynda AbleMr. and Mrs. Jon E.

AbrahamovichMrs. Dotte Adams ’46Ms. Christina D. Adduci ’08Mr. and Mrs. Phillip T. Albano

’88, ’88Rev. Willard W. Albertus ’51Mr. Ronald AldrichMrs. Mary A. Allen ’43Rev. Stuart K. Allen ’68Mrs. Alice L. Alviani ’80Mr. Alan W. Anderson ’58



Ms. Alice Marie Anderson ’95Mrs. Barbara J. Anderson ’80Mr. Gerry AndersonMs. Janice Anderson ’85Mr. Robert R. Anderson ’58Deb and Stuart AndersonMr. and Mrs. Kenny D.

Andrews ’91, ’93Ms. Rebecca S. Andrjeski ’00Mr. Christopher L. AngelaMs. Kathryn J. Anseth ’06Mr. Andy AnuzisMs. Melissa R. Aquino ’91Mr. Fernando Araya ’71Argonne Choral GroupMr. Le Roi Armstead ’73Mr. Eugene Arnould ’69Ms. Gail Arrigo ’85Mr. and Mrs. Mike AshbyRev. and Mrs. Thomas E.

Babler ’69, ’70Mr. Michael J. Baima ’95Ms. Anita M. Baker ’93Mr. and Mrs. David BakerDr. Helen J. Baker ’48Mr. Ronn BaloeMs. Yvonne BambuleMr. and Mrs. Gary F. Barber

’76, ’77Mr. James W. Barber ’68

Ms. Betty BarcheckiMrs. Patricia K. Barksdale ’65Mr. Richard L. Barndt ’93Dr. Bobby J. BarnesMr. and Mrs. James R. Barnes

’61, ’63Mr. and Mrs. Marvin E. BarnesMs. Pamela Baron-Hallyn ’89Mr. and Mrs. Randall BarringerMs. Ellen C. Bartel ’70Mr. and Mrs. Jerry Bartel ’69,

’69Rev. and Mrs. Lowell C. Bartel

’57, ’57Ms. Jennifer L. Bartgen ’02Mrs. Nickole L. Barto ’95Mr. and Mrs. Bogdan BatinichMrs. Minerva M. Batt ’47Mr. and Mrs. J. E. BattyMs. Deanna L. Bazan ’90Mr. and Mrs. John BeatyMs. Jennifer L. Beck ’03Mr. and Mrs. Timothy L. Beck

’67, ’69Mr. and Mrs. Robert L. Beebe

’43, ’45Mrs. Doris BeetzDebra and Ben Behrens ’97Ms. Judy Ann Belcher ’94Dr. Doris Benbrook ’81

Mr. and Mrs. Robert F. Bendeich

Ms. Bonnie J. Bendig ’93Mr. and Mrs. Ronald E. Bendis

’73, ’74Mr. Frederick W. Bennett ’59Dr. Linnea A. Berg ’72Rev. Daniel J. Berger ’69Ms. Sandra J. Bergeson ’68Mrs. Kay Bergstrom ’69Ms. Margaret J. BergstromMr. Ross P. Berkley ’05Mr. and Mrs. Mark N. BerosekMr. and Mrs. Wayne E.

BessetteMr. and Mrs. Clinton J.

Beuscher ’49Mr. Robert P. Biddle ’88Ms. Nancy Bifulco ’85Mr. James D. Bingle ’52Mr. Tyler J. Birkel ’04Mrs. Donna Bischoff ’35Ms. Jena BixbyMrs. Clara A. Black ’53Mr. Ralph R. Blessman ’51Ms. Sarah J. Blosser ’03Mr. Bob BluhmMr. and Mrs. Harlan BobbMr. and Mrs. John H. BodineMr. and Mrs. Paul Boecker ’61

Stop by the snack bar at

right across the street from Pfeiffer Hall inside the Harold and Eva White

Activities Center.

THE CAGE

Hungry for a late night bite or

The Cage - open until midnight on Saturdays Harold and Eva White Activities Center l 325 E. Benton Ave.

dessert after the show?

The Cage.indd 1 3/24/2010 11:58:34 AM



Dr. Marti S. BogartMr. Richard BoggsMr. Thomas M. BolgerMr. and Mrs. Loren M. Bollman

’77, ’80Ms. Kristina L. Bonn ’03Mrs. Marla A. Bonus ’84Mr. Steven A. Borcich ’75Mr. Ronald G. Borck ’62Matthew Boresi ’97Mr. Michael Jerome Borzych

’94Ms. Rebecca S. BotosMrs. Janet Bouldin ’69Ms. Patricia M. Bovell ’90Ms. Ruth M. Bowden ’49Mr. and Mrs. Jeff Bowers ’77,

’73Ms. Barbara BowlesMr. John N. Bowman ’74Mr. and Mrs. James T. BoydMrs. Joan M. Boyd ’57Mrs. Julie Boynton ’81Mr. John P. Bradford ’06Mr. William C. Bradish ’52Mr. Boychen W. Bradshaw ’92Mrs. Elizabeth M. Brand ’42Mr. Ernest Brandon, Jr. ’62Mr. Robert F. BrandonDr. Paul F. BrandtMr. and Mrs. E. Richard Branz

’57, ’56Mr. Karl A. BratlandMr. Kevin A. BratlandMr. Scott J. Braun ’96Ms. Heather M. Breed ’98Mr. James Breese ’98Mr. and Mrs. Bradley L. BrehmMs. Lucille BreitwieserMs. Andria M. Bremer ’00Ms. Jane A. Brennan ’04Mr. and Mrs. David L. Brewer

’64, ’64Mr. Kenneth R. Brickert ’70Mrs. Catherine R. Briggs ’93Mr. James R. Briggs ’51Mr. and Mrs. Ray F. Brinker

’61, ’62Ms. Judith BrinleyMr. John L. Brittan ’50Ms. Amanda M. BroaddusMr. Joseph J. Broton ’83Dr. Keith A. Brown ’77Mr. and Mrs. Larry Brown ’90Mr. Michael T. Brown, ’97Mr. Michael C. BrownMr. Scott D. Brown ’75Mr. Charles R. Brownell ’61Ms. Kimberly C. Broyles ’06Mrs. Sharron A. Brunk ’66Mrs. Shirley J. Bruns ’44John P. Buckley and Kelli

SkehanMs. Marilyn Bucman

Mr. and Mrs. Charles D. Bueche ’52, ’53

Ms. Naomi M. Buerkle ’01Mr. John BullardMr. and Mrs. Ronald BuonauroMrs. Ruth M. Burbank ’50Mr. Leonard E. Burch ’50Ms. Myra E. BurgessMrs. Nancy J. Burgess ’52Ms. Evie A. Burke ’00Rev. and Mrs. Phillip Burke, Jr.

’58, ’59Mr. Gregory B. Burks ’00Mr. Robert BurlinghamMrs. Catherine E. Burnett ’73Ms. Irene K. Burrell ’83Mrs. Mary B. BurrisMr. Vilas F. BursackMr. and Mrs. Thomas W. BurshMr. Jeff BurtonMr. Allan R. Busse ’66Ms. Kimberly J. ButlerMr. James D. Byrne, Jr. ’93Ms. Shannon M. Byrne ’97Ms. Melissa A. Caco ’90Café Buonaro’sMr. and Mrs. Joseph P.

CalandraDr. Stephen Maynard

CaliendoMr. and Mrs. Steven A.

Caliendo ’77Mr. John L. Campbell ’65Dr. Kenneth D. CampbellMs. Mary CannizzaroMr. Jeffrey A. Cardwell ’83Mr. and Mrs. Thomas A. CareyMr. and Mrs Richard CareyMrs. Janis L. Carlson ’56Dr. Colleen L. Carter ’86Mrs. Donna Caso ’65Mr. and Mrs. Thomas

CavenaghMs. Amy Christine Cerny

Ramsey ’96Mr. Dann Chamberlin ’58Ms. Susan S. Chambers ’76Mr. Peter M. Chari ’04Ms. Heidi Renee Chase ’95Ms. Belinda L. Cheek ’83Chef by RequestMr. Hailei Cheng ’05Mr. Raj Cherian ’06Mrs. Renee J. Cherrie ’77Kirk A. Chestnut ’94Mr. and Mrs. Wendell

ChestnutMs. Marie E. Chezem ’54Mr. and Mrs. Don ChivasMs. Jamie L. Chodoroff ’00Mrs. Elizabeth Christianson

’66Mrs. Lois J. Christman ’47Ms. Mary CiezczakMs. Ann M. Clark ’76

Mrs. Ethel K. Clark ’47Mr. and Mrs. John ClarkMr. Charles B. ClarkeMs. Lisa D. Classon ’06Dr. Shirley F. Clement ’62Dr. Rebecca ClementeMrs. Laurene Clemmer ’68Dr. Thomas J. CliftonMr. Ian A. Clugston ’05Miss Ruth E. Cobb ’50Mr. and Mrs. Angelo

CoglianeseMs. Jennifer A. Coglianese ’99Ms. Glessna CoissonMs. Lynn E. Colby ’78Ms. Prudence ColeMrs. Kathy ColemanMrs. Theresa L. Coleman ’81Ms. Donna ColettoDr. Thomas Colley ’63Mr. David C. Columbus ’92Mrs. Diane S. Compton ’87Mr. Ryan S. Conley ’02Ms. Charlene K. Conner ’70Mrs. Helga H. Connors ’48Dr. Timothy D. ConwayMs. Ashlee N. Cook ’03Mrs. Ellen Cook ’48Mr. and Mrs. Larry CoolbrothMs. Amy M. Cooper ’97Mrs. Jane F. Cordon ’70Dr. Louis CorsinoMr. and Mrs. Lawrence F.

CorsoMs. Lacy A. Cortez ’99Rev. Carol CoryMrs. Marlys A. Costain ’90Mrs. Lynn S. Cottrell ’54Ms. Judy Countryman ’71Ms Ann M. Covert ’98Mr. Allan E. Crabb ’55Mr. and Mrs. Richard CraigRev. Solomon G. Cramer ’38Cmdr. Timothy W. Crawford

’82Ms. Emily E. Croft ’05Mr. Timothy J. Croft ’93Rev. and Mrs. Burton L. Crosby

’49, ’51Mrs. Chrisianne D. Cross ’77Ms. Sarah N. Crutchfield ’02Mr. and Mrs. Jeffery H. CurranMr. and Mrs. Michael Curran

’96Mrs. Betty Curtiss ’54Ms. Diane M. Cushman ’82Mr. and Mrs. David

CuthbertsonMr. and Mrs. George M. Cyr

’70, ’70Ms. Katalin Czako ’06Mrs. Hazel D. Daehler ’47Ms. Ashtin N. DallaviaMr. James J. DallaviaMs. Kimberly Dallavia



Ms. Lynette D. DallaviaMr. Timothy A. DallaviaMs. Donna J. Damato ’00Mr. Kenneth L. Damon, Jr. ’68Ms. Terran M. D’Andrea ’90Mr. Michael J. Danko ’90Mr. and Mrs. Gene Darfler

’56, ’52Ms. Peggy S. Davidson ’03Mrs. Gloria V. Davis ’45Mrs. Iola DavisMs. Megan Maura Davis ’96Mr. and Mrs. Michael J. DavisDr. and Mrs. Zev DavisMr. Tony DavisMr. William H. Davis, Jr. ’71Mr. Alan R. DeCamp ’04Mrs. Judith Decker ’58Mr. Jay Delmas ’96Mr. Barry A. Dempsey ’94Mr. Joseph G. Dennis ’98Mr. and Mrs. Robert Der ’73Mr. James A. DeRose ’74Mr. Eric D. DeSimone ’02Ms. Diana D. DeSmit ’03Ms. Kathleen L. DettmanMrs. Norma E. Dettmann ’57Ms. Divya Eve Devadoss ’95Mr. Gilbert J. DeWilde ’41Mr. Patrick Dexheimer ’67Pastor R.Donald Dexheimer,

III ’65Mr. John A. DiCiurcioMr. Wesley E. Diener ’53Mrs. Jill A. Dieringer ’74Mr. and Mrs. Phillip M. DischMr. Patrick M. DockinsMr. and Mrs. James M. DolezalMr. and Mrs. Richard S.

DonnellyDr. and Mrs. Doward G.

Douwsma ’61, ’61Mr. Thomas H. Dover ’96Mr. Wayne K. Doverspike ’65Ms. Karen H. Dowling ’58Mr. and Mrs. Eugene DrendelMr. and Mrs. Daniel S.

Driggett ’58, ’61Mr. Roy D. Dryden ’84Dr. Michael S. DuaneMs. Mari E. Duchaj ’97Dr. and Mrs. Wayne D. Duehn

’61Mr. Seth Aaron Dunham ’96Mr. and Mrs. Larry Dunlap-

BergDr. Carol R. DunnMr. Robert J. Dunphey ’85DuPage County Fair

AssociationMrs. Carol A. Durava ’83Mr. J. Douglas Durham ’74Mr. and Mrs. Phil DuyMrs. Carol A. Dziedzic ’68Ms. Donna O. Dziedzic

Ms. Julie A. EastmanMs. P. Clare EastmanMs. Sandy EberlyMr. and Mrs. James R.

EcclestonMrs. Virginia R. Echo ’48Ms. Bonnie EddyMs. Phyllis Edelen ’71Dr. Edwin H. Eigenbrodt ’55Ms. Rosalie EilerMr. and Mrs. Glen A. EkeyMs. Judith A. El-Amin ’69Mr. and Mrs. James E. ElanderMs. Polly ElifsonMr. and Mrs. Donovan EmeryMr. and Mrs. Gerald

Engelhardt ’70, ’72Mrs. Sharon L. Englund ’70Mr. John R. Engquist ’00Mr. J. Andrew Enright ’05Ms. Kelly M. Epperson ’86Mr. Gary Erb ’94Mr. John D. Erdman ’58Mr. Nicholas P. Erdmann ’00Mr. and Mrs. Gerald R. ErnestDr. Gary ErnstMr. John R. Eskey ’57Mrs. Barbara Esterly ’59Mrs. Bee H. Evans ’67Rev. and Mrs. James Evans

’64, ’64Ms. Kathleen J. Evans ’92Ms. Ann L. Everhart ’87Mr. and Mrs. Robert EverhartMr. and Mrs. M. DeWitt EverixDr. Philip A. EwellRobert A. Faessel, D.D.S.Mr. and Mrs. Tom FalconeMr. and Mrs. James D.

Fanthorpe ’60Rev. and Mrs. Anthony J.

Farina ’56, ’58Mr. Mark A. Farina ’01Mr. Paul T. Faris, Jr. ’69Mr. Patrick Farmer, Jr.Mr. Richard S. FarrarMr. Shawn M. Farson ’88Rev. and Mrs. Laurence E.

Feaver ’51, ’52Dr. and Mrs. Bruce A. FeayMr. and Mrs. John Fedorovich

’50Mr. M. William Feind, Jr. ’68Mrs. Charlotte R. Fenner ’51Mr. and Mrs. Paul K. Ferington

’70, ’71Ms. Susan G. Fiedor ’01Mr. Gary FiedorowiczMs. Jennifer L. Fieldman ’95Mrs. Virginia R. Fietsch ’70Dr. Sheryl L. FinkleMs. Bonnie FischerDr. David H. FisherMs. Elisabeth A. Fisher ’04Mr. and Mrs. Robert J. Fisher

Mr. and Mrs. William E. FitchMr. Adam R. Fitzenreider ’01Mr. Arthur E. Fitzner ’53Rev. George W. Fleming ’62Ms. Mary Jo FletcherDr. Duane F. Follman ’79 and

Dr. Holly Humphrey ’79Deborah and Jim FordMr. and Mrs. William

ForssanderMr. Steve FortMr. and Mrs. Bruce FosterMs. Debbie FrankMs. Krista FrankMr. and Mrs. Wallace FraserMs. Marsie L. Frawley ’75Dr. Andrea FrazierMr. W. S. Fredenhagen ’50Ms. Kelly J. FrederickMr. Paul V. FreedlundMs. Shirley M. FrenchDr. and Mrs. Dwight L.

Freshley ’50, ’50Mr. and Mrs. Donald W. Frey

’63Mr. James J. Frey ’76Mr. and Mrs. J.C. FricksMr. and Mrs. Bill FrierMr. and Mrs. John A. FryMr. and Mrs. David A. Fujiu

’74, ’75Dr. Judith A. Fulton ’77Mr. William V. Funchion ’89Mr. Willard Gabel ’57Mr. and Mrs. Greg GadientMrs. Elizabeth P. Gallagher ’40Rev. and Mrs. Clyde F. Galow

’49, ’54Dr. Mary T. GalvanMr. and Mrs. Francis J. GalvinMr. and Mrs. Chris GannonMs. Linda Q. GaoMr. Robert H. Gardner ’90Mr. Keig E. Garvin ’37Mr. and Mrs. Michael J.

Gaspari ’77 ’79Mr. A. Edward Gay, III ’63Mr. and Mrs. Raymond A.

GaylordMr. Donald J. Gebbie ’65Dr. Gerald R. GemsMr. John Geyer ’68Mr. and Mrs. Marc Giacovelli

’88Mrs. Elizabeth B. Gibson ’43Mr. Warren C. Giere ’51Mrs. Bernina McGee Giese ’50Mr. Jerry B. Giesler ’58Mrs. Mary J. Ginke ’41Mr. John E. Glessner ’76Mr. and Mrs. John D. Glowicki

’76, ’78Ms. Jill Gnesda ’68Ms. Dianne GolatMs. Shirley Gombert



Mrs. Mary L. Gomora ’91Mrs. Delores M. Goodfellow

’59Mr. Donald L. Goodin ’68Mr. and Mrs. Ronald L. Goodin

’68, ’68Mrs. Nancy H. Goodwin ’93Mrs. Mary L. Gorden ’80Mr. and Mrs. Scott D. GormanMrs. Theresa A. Gorman ’89Mrs. Helen Gorsuch ’77Ms. Joan C. GrassmanMr. David L. GrayMrs. Elizabeth A. Gregory ’45Mrs. Carolyn G. Grigereit ’61Mr. and Mrs. Gary L. Groharing

’70, ’70Dr. Nancy A. Grote ’61Ms. Arlene A. Gryzlak ’77Mr. and Mrs. Thomas GuilfoyleMs. Donna Gullstrand ’61Rev. Paul A. Gutknecht ’66Mr. Michael A. Guzaldo ’05Ms. Gudrun HaasMr. Scott Haebich ’78Mr. Walter HagemannRev. Robert J. Hahn ’54Mrs. Ruth L. Hahn ’48Mr. Samuel J. HahnMr. Russell F. Haidle ’55Mrs. Shirley R. HainesMs. Vicki A. Haines ’76Mrs. Christi Hale ’83Mr. and Mrs. Gerald A. Hall ’57Sheila Hall ’93Mr. Wallace Hall, Jr. ’77Mr. Robert J. HallwachsMr. and Mrs. H. Jeffrey HamarMr. Brian J. Hamilton ’93Mrs. Ruth L. HammMiss Mabel A. Hammersmith

’41Mrs. Estela A. Hammond ’98Mr. and Mrs. Gerald HamsmithMr. and Mrs. Joseph M.

Hamstra ’88Mr. and Mrs. Stanley Haney

’63Dr. Brian P. HanlonMr. Kenneth L. HannahMiss Alma E. HanneldMrs. Marilee Hanson ’62Mrs. Vivian Hargrove ’41Rev. and Mrs. Robert J.

Harman ’59, ’59Ms. Sonia HarmonMs. Virginia L. Harmon ’84Mrs. Judith Harnisch ’67Dr. and Mrs. Jon J. HarperMrs. Marjean G. Harper ’50Mr. David C. Harr ’66James P. and Kristin

Harrington ’87, ’87Ms. Karla HarrisMr. Bill Harrison

Mrs. Sandra Harrison ’80Dr. David R. Hartman ’62Mr. and Mrs. Warren J.

HartmanMrs. Iris L. Harvey ’48Mr. and Mrs. Stephen A.

HarveyMr. and Mrs. Larry Hatch ’70Mr. Steven M. Hauge ’71Mr. Paul E. Havelka ’78Mrs. Marcia Hawkins ’51Mr. and Mrs. Thomas HawkinsMr. Kevin M. Healey ’75Mr. Jim HealyMr. Douglas G. Hearn ’89Rev. Donna Bassett Heck ’58Mr. Marlowe A. Heckaman ’38Ms. Debra Hedemann ’87Rev. Dr. Donald H. Heinrich ’47Mrs. Sherryl Heinz ’62Ms. Amber N. Heinze ’98Ms. Rosemary Heiser ’42Ms. Sheila M. Heitke ’86Mr. Jeffrey C. HelbergMr. and Mrs. Kenneth C.

Helberg ’82Mr. Fred Helton ’49Mr. Craig W. Helwig ’87Mr. and Mrs. Dale HendersonMs. Kelly J. HendricksonMs. Anne K. Hengehold ’85Mr. John C. HennessyMrs. Marigail Henning ’42Mrs. Mary E. Henning ’46Ms. Nancy E. Henninger ’65Dr. and Mrs. Thomas S.

Henricks ’69, ’71Mr. Robert HenryDr. and Mrs. Curtis Herink ’72Mrs. Carol A. Herman ’63Ms. Nancy K. HermannMrs. Victoria M. HerrmanMrs. Doris Heumann ’53Dr. Fawn D. Hewitt ’63Mr. Philip Hey ’52Rev. Edward L. Heyer ’53Mr. Andy HighlandMr. and Mrs. Leonard Higley

’58, ’62Mrs. Cheryl A. Hildebrandt ’67Mrs. Shirley A. Hill ’68Mr. Thayer J. Hill, Jr. ’64Mr. and Mrs. Jerry HilsenbeckMr. and Mrs. Rod HiltzDr. Richard C. Hinckley ’69Mr. Jeffrey M. Hinthorn ’99Mr. Nicholas J. Hird ’06Ms. Jane HirschMiss Helen S. Hitt ’51Ms. Mary E. Hitzeman ’62Miss Pei-Lee L. Ho ’56Mrs. Lucile Hodgins ’45Rev. and Mrs. Merlin J. Hoeft

’49, ’44Mr. Michael T. Hofbauer ’85

Dr. and Mrs. John F. Hofert ’57, ’59

Mr. and Mrs. Robert G. Hoffman ’50, ’50

Ms. Shirley Hofmann ’48Mr. John C. HolmbergMr. and Mrs. Fred L. Homa

’75, ’76Mr. Anthony HoppMr. B. T. Horek ’40Ms. Lori HornickMs. Kathryn I. Hornickel ’01Mr. Eric A. Horsch ’91Rev. Robert E. Horton ’52Mrs. Winnafred L. Horton ’39Mr. David J. HortsmanMr. Galen R. Hosler ’57Ms. Lola G. HotchkisRev. and Mrs. Don S. Howard

’45, ’46Mrs. Gail G. Howard ’63Ms. Jillian R. HowardMr. and Mrs. Paul P. HruskociMr. and Mrs. Thomas HubbardMr. Robert G. Hubbird ’03Mr. Michael J. HudsonMs. Cindy Hughes ’79Ms. Kimberly A. Hugo ’98Mrs. Joann H. Huheey ’48Sue and Marve HuizingaMs. Claudia N. Hummel ’68Mr. and Mrs. Richard L.

HummerThe Rev. Dr. Richard

Hundrieser ’71Ms. Mariann A. Hunter ’90Mr. Taivo Hurt ’62Indian HarvestMr. Gary P. IrelandMr. and Mrs. Sheldon

IsenbergRev. Paul W. Iwig ’55Mr. Edouard V. IzacDr. Renard I. JacksonMrs. Barbara Jaggers ’66Mrs. Mabel R. Jahnke ’63Ms. Christine M. Janes ’02Ms. Janet A. Janko ’93Ms. Antonia M. JankowskiDr. Jeffrey A. JankowskiMr. Matthew William

Jannusch ’97Mr. Peter S. Janzen ’50Mr. and Mrs. Michael W. Jawor

’79, ’79Ms. Ana L. JensenMs. Geraldine JensenMs. Mary J. Jensik ’97Jilly’s of NapervilleMr. and Mrs. Chad JohnsonMrs. Constance M. Johnson

’82Mr. David C. Johnson ’67Mrs. Helen F. Johnson ’50Dr. Herman L. Johnson ’59



Mr. and Mrs. David M. Johnson ’96, ’96

Ms. Kim JohnsonMs. Merna L. Johnson ’71Mr. Randy JohnsonMs. Robin A. JohnsonMr. and Mrs. Rosie JohnsonMs. Sarah E. Johnson ’04Mrs. Shirley D. Johnson ’47Mr. Stephan G. Johnson ’61Mr. Stephen K. Johnson ’64Mrs. Barbara A. Johnston ’66Ms. Erin JohnstonMr. and Mrs. Charles D. JonahMrs. Faith A. Jones ’52Ms. Alma Jones and Mr. Greg

JonesDiana and Jim JonesMr. Peter Jonsson ’67Mr. and Mrs. A. Joseph JuddMrs. Barbara Judson ’62Mrs. Lorene G. Juhnke ’41Ms. Margaret M. JuhnkeMrs. Marian L. June ’69Mr. and Mrs. Kevin M. Justie

’80Mr. Torrey A. Kaatz, Jr. ’58Ms. Ellen F. Kadden ’71Mr. Joseph M. KainDr. John W. Kalas ’55Ms. Jodi L. Kalkis ’87Mr. and Mrs. Ivan P. KaneJames J. Kane ’74Mr. Ryan O. Kane ’01Mr. and Mrs. William M.

KarthollMs. Jill M. Kastner ’02Mrs. Elizabeth Kaufman ’57Ms. Kathleen E. Kazmier ’06Mrs. Marietta E. KeatingMr. and Mrs. John A. KeenanDr. Nancy J. KeiserRev. James G. Kellermann ’73Dr. and Mrs. Karl KelleyMr. John KelschMs. Janet L. Kempf ’96Ms. Sharon Kennedy ’85Ms. Dorothy KennerMs. Alicia D. Kernica ’06Mrs. Carrie Duncan Kerr ’76Mrs. Sally B. Kerr ’71Mr. and Mrs. Obrad Kesic

’88, ’88Mrs. Esther Kevern ’43Mr. and Mrs. Ronald H. KiesMrs. Elaine F. Kilday ’64Mrs. Alberta M. Kinate ’67Dr. Maureen KincaidScott Kindelspire ’95Mrs. Mary L. Kinner ’49Ms. Monie G. Kinney ’49Mr. Peter B. Kinsella ’81Mr. and Mrs. Dennis

KleehammerMr. David Klussendorf ’69

Ms. Lynette M. Kmiecik ’88Ms. Doris M. Knapp ’62Ms. Linda B. Knapp ’93Miss Joan M. Knepp ’57Mrs. Tami KnissMr. and Mrs. Stanley L. KochDr. Lee R. Kochenderfer ’54Mr. Dan T. Kocher ’75Mr. and Mrs. Steven H.

KoehlerMr. Marvin K. KoellingMs. Laura M. Koenes ’03Mr. Dale R. Koepnick ’82Ms. Joyce M. Koerfer ’86Mr. and Mrs. William C. KohleyMr. David R. Kokandy ’07Mr. Keith KolarMr. Bradley B. Kolavo ’05Ms. Carla L. Kolavo ’06Mr. Donald E. Koletsos, Jr. ’02Rev. and Mrs. Lynn K. Kollath

’59, ’61Mrs. Patricia C. Koller ’57Ms. Constance A. KomollMrs. Jane E. Kopp’71Ms. Francine A. Kopta ’78Mr. Kevin KoskiDr. David H. Koss ’56Mr. James A. Kosteva ’74Mr. and Mrs. Ken Kotiza ’67Mr. Nick KotwicaMs. Diana M. Kowalski ’01Rev. Harold E. Kraft ’48Mr. Richard M. Kraft ’92Mr. Ryan KrainzMr. Ellis E. Krapf ’52Mrs. Laura G. Krause ’88Mr. and Mrs. Gregory KraynekMr. Allen J. KreitzerMrs. Sandra A. Kreml ’82Ms. Elaine Krnich ’03Dr. Allison D. Krogstad ’92Mr. Timothy J. Kroupa ’06Ms. Marie C. Krueger ’82Ms. Cheryl A. Krug ’03Mr. and Mrs. Lyle F. KrumrieMr. and Mrs. James C.

KrumtingerDr. Matthew B. KrystalMrs. Jean Kuebler ’40Mr. Boguslaw Kukla ’02Ms. Christine KuklaMr. Michael K. Kulbeda ’02Ms. Crystal L. Kurtz ’01Ms. Susan L. la Monaco ’98Gregory Lacy ’89Mr. Donald A. Ladd ’53Mr. Bruce D. Ladtkow ’74Mr. John R. Lagodney ’72Mrs. Elane C. LaGroue ’75Dr. and Mrs. Jeffrey H. Lamont

’74, ’74Mrs. Diane S. Land ’65Mrs. Charlotte Landmeier ’65Ms. Kelly A. Lang ’03

Mr. Michael S. Lang ’93Mr. Rolland E. Lang ’69Mr. and Mrs. Waldo H. Lang

’50, ’50Mrs. Shirley M. Lange ’50Mr. Thomas S. Lange ’86Mr. Robert M. Langlois ’59Mrs. Patricia Laning-Meekma

’92Mr. Paul R. Lankenau ’83Mrs. Mary J. Larsen ’57Mr. and Mrs. Dallas K. LarsonMrs. Edith L. Larson ’69Ms. Wendy LarsonBob and Laura LarueMrs. Nancy E. Lasley ’69Mrs. Ellen Laubenthal ’65Stefanie Lazer ’94Mrs. Rhonda M. Leath ’74Mr. and Mrs. B. Pierre LebeauMr. and Mrs. John G. LeDonne

’80Ms. Melissa A. Lee ’93Mr. and Mrs. Edward D. LeedyMrs. Kerry L. Leet ’88Mrs. Nancy LeetMs. Jeanne LeFevreMr. Paul LehmanMs. Kara E. Lehnhardt ’02Mr. and Mrs. Brett A. Leifheit

’86, ’86Mr. and Mrs. Alan E. LeisRev. and Mrs. Carl R. Lemna

’52, ’55Mr. James A. LentzMr. Brian T. LesiewiczMs. Karen S. LevandowskiMr. John L. Lewis ’79Mr. S. Keith Lewis ’64Rev. Byron H. Light ’53Kay Lincicome ’58Ms. Carol W. Lindell ’57Mr. Eric R. Lindley ’99Ms. Elaine LindquistFranchon LindsayMs. Christine S. LinnellMr. Charles W. Linneman ’90Mr. Michael Linz ’49Ms. Mary Lou Lipscomb ’66Mr. and Mrs. Lyle E. Littlewood

’55, ’58Mr. Charles M. Litweiler ’66Mr. John B. Litweiler ’62Mrs. Annie W. LiuMr. Ted A. Longworth ’68Ms. Rebecca R. Lonneke-

Hodges ’91Mr. and Mrs. David E. Loop

’65, ’65Ms. Elaine LopatkaMr. Gregory W. Lorence ’06Mrs. Carol Lorenz ’83Ms. Susan Lynne Losczyk ’94Mrs. Lori B. Lossie ’88Dr. Thomas M. Love



Mr. Donald J. Lovse ’63Mr. and Mrs. John LuckiMs. Mary Jane LudwigMr. Mason M. Luebbing ’01Mr. Merton D. Lueptow ’54Mrs. Ruth A. Lundgren ’53Mr. and Mrs. Richard J. LuzeMs. Colleen F. Lynch ’03Dr. and Mrs. Edward E. Lyon

’52, ’54Mr. and Mrs. Lawrence D.

LyonsMasala Yangu IncorporatedMorton ArboretumNorman MacGregor ’53Ms. Emily M. MacGruder ’06Mrs. Bernice A. MacKenzie ’86Mrs. Jean L. MacMillan ’58Mr. Thomas E. Mader ’83Mr. John V. MadormoMs. Kathryn M. Maggio ’89Mr. Floyd MalloryMr. Charles H. Maney ’99Mrs. Norma Mann ’53Mr. James Mannion ’02Mr. Bruce N. Manola ’63Ms. Nancy Manypenny ’89Ms. Maureen MargalusMr. Victor MaroniMs. Kimberly A. Marran ’02Ms. Lois A. Marten ’52Dale and Betsy MartinMr. Douglas R. Martin ’63Mr. Eliseo E. MartinezMr. Leonard F. Martinez, Jr.Mr. and Mrs. Douglas A.

Maschman ’68, ’68Mr. and Mrs. Terry Maschman

’69Mrs. Karen L. MasdenMr. Gerald D. Mast ’52Mr. and Mrs. Clarence F.

Mather ’49Ms. Tracy L. Mathias ’02Dr. Curtis J. Mathison ’52Mrs. Jean Matzke ’52Mr. and Mrs. Ray Maynard ’70Ms. Elizabeth M. MazurMs. Natalie A. Mazurek ’04Miss Susan C. McArthur ’82Ms. Carol McCainMrs. Margery A. McCallister

’56Mrs. Laura L. McClellan ’62Mr. George McConaghyMrs. Sylvia D. McCracken ’74Mr. Patrick McCrite ’66Mr. Bryan P. McCusker ’98L.J. McDonald ’55Mrs. Jean McFarren ’67Mr. and Mrs. Brad McGuireMr. and Mrs. Gerald L.

McIntoshMr. J. D. McJunkin ’41Ms. Bridget A. McKernan ’95

Mr. and Mrs. Stan McKinneyMr. and Mrs. Raymond

McKoski ’69, ’69Mr. Eural C. McLaughlin ’65Ms. Meredith E. McLuckieMrs. Renee McLuckieMrs. Marilyn McNamara ’63Dr. and Mrs. Jack L.

McPherson ’69, ’69Mr. Johnston E. McWilliam ’73Mr. William F. Mellien ’68Rev. and Mrs. Duane B. Mevis

’56Mr. Edward B. Meyer, Jr. ’78Mr. Gordon R. Meyer ’62Mr. and Mrs. Stuart K. MeyerMs. Nicole R. MichalczykMrs. Shirley Michel ’50JoAnn and Dave MikelsonMiss Emily M. Millberger ’41Ms. Ann MillerMrs. Brenda K. Miller ’73Ms. Elizabeth A. Miller ’04Mr. and Mrs. Fred R. MillerKy. Colonel Mary K. Miller ’37Mr. Paul A. Miller ’66Ms. Rosanne MillerMs. Kate Brawner Miller ’95Mr. and Mrs. Thomas W. Miller

’63, ’70Mr. Thomas J. Millin ’00Mrs. Dorothy MilnamowMs. Tia D. Milne ’03Mr. Mark MinardMs. Susan R. Mink ’81Ms. Lisa C. Mino ’99Mrs. Wilma MishlerMr. Benjamin J. Mitchell ’04Mr. Bradley J. Mlecko ’03Ms. Linda MockMr. Joseph E. Modaff ’61Ms. Alina A. Moldovan ’04Mrs. Kathleen Mollison ’60Mr. and Mrs. Bud M.

MontgomeryMs. Kathleen R. Montgomery

’99Mr. Fredric L. Moore ’60Mrs. Betty MooreheadMs. Carmen C. Moralez ’02Jan MorencyMr. and Mrs. Richard MorganMr. Joseph A. Morin ’39Mr. Brian C. Morrill ’02Ms. Rebecca Lynn Morrill ’97Mrs. Judith E. Morten ’75Ted and Paulette MoulosDr. Robert C. MoussetisMr. and Mrs Paul MroczkowskiMr. Robert J. Mroz ’97Ms. June Mueggenborg ’55Chris and Dave MuellerDr. and Mrs. Howard E.

Mueller ’58, ’59Dr. and Mrs. Jonathan Mueller

Mr. Chad W. Muir ’03Ms. Mary L. Mullen ’62Rev. and Mrs. Robert A.

Mulligan ’39Ms. Kimberly A. Mulsoff ’04Mr. Carlo J. Mulvenna ’77Col. and Mrs. James R.

Mulvenna ’80, ’82Mr. Emmerson W. Munro, II ’74Mrs. Valerie Munson ’8oMrs. Alvira Murbach ’47Mr. David A. Murphy ’69Mrs. Karen M. MurphyMrs. Karen M. Murphy ’69Mrs. Angela R. Murray ’99Mr. Timothy M. Musa ’92Mr. Mark A. Myers ’01Mr. Brien J. NagleMrs. Peggy J. Nahrwold ’71Mr. Mahesh Narayanan ’97Mr. and Mrs. Jeffrey Naumann

’87Ms. Joanna Navarro ’03Mrs. Dorothy Neder ’52Mr. and Mrs. John D. NeesleyMs. Doris L. Nelson ’87Mrs. Padmalatha Nemani ’87Ms. Connie J. Nesler ’85Mrs. Diane C. Neumann ’70Dr. Robert E. Neumann ’55Mr. and Mrs. Robert W.

Neumann ’71, ’72Ms. Trang D. Nguyen ’88Mrs. Judith Nickelsen ’64Mr. and Mrs. Carl C. Nielsen

’60, 60Mr. and Mrs. Carl C. NielsonMr. Al J. NoftzMr. Jeffrey M. Noga ’05Mr. and Mrs. James R. NolanMr. Matt P. Nolan ’85Mr. and Mrs. Karl W.

Noltemeier ’51, ’52Ms. Amanda M. NousainMr. and Mr. Jerome F. NovakMrs. Mary NovelloMr. Thomas S. Novello ’96Mr. and Mrs. Mitchell L.

Nowicki Rev. and Mrs. Andrew C.

Noxon ’53Mr. Glenn E. Nystrom ’75Mr. Michael E. O’Brien ’05Mr. Richard E. Ochenkowski

’05Mr. and Mrs. Richard

O’Connell ’73, ’75Ms. Karen E. OcwiejaMr. Timothy Patrick Ogan ’94Mr. Timothy P. O’Hara ’92Mrs. Winifred B. Olds ’47Mr. and Mrs. Clayton OlsenMrs. Bettylu Gretchen Olson

’51Mr. Rich Olson



Ms. Karla K. Olvera ’94Mr. Richard J. Oman ’68Ms. Fallon N. Opperman ’05Miss Mary R. Oran ’63Dr. and Mrs. Lee Ortman

’71, ’71Mr. Frank C. Osterland ’42Ms. Leah Ostwald ’01Ms. Jaclyn A. Otto ’04Mr. and Mrs. Donald D. Otton

’51, ’51Ms. Jennifer A. Palmer ’06Mr. Melville S. Palmer ’00Dr. Deborah L. PalmesMs. Paula PalterMs. Krittika Panananon ’06Mr. Allen F. Panek ’61Rev. Janet W. Parachin ’84Mr. and Mrs. Jack E. ParkerMr. and Mrs. Jeffrey ParypinskiMr. Bruce B. Patterson ’75Mr. Bruce D. Patterson ’75Ms. Betty PaulingDr. Pamela R. Payne-Edwards

’66Mr. Christopher M. Payton ’90Rev. Larry J. Peacock ’71Rev. and Mrs. Richard A.

Peacock ’69, ’69Mr. Mike PearlMr. Lance E. Pearson ’65Mr. and Mrs. Patrick C.

PearsonMr. Timothy R. Peceniak ’04Ms. Rachel K. PeckMs. Verilyn R. Pelava ’70Mr. Chrisotpher J. Pelz ’03Ms. Christy L. Pemberton ’92Mr. Michael Pentz ’87Ms. Kathryn Jeanette Perez

’95Mr. Vincent M. Perillo ’02Mr. James J. Perisin ’60Ms. Melinda F. Perry ’06Mr. William E. Petersen ’65Dr. Nancy L. PetersonMr. and Mrs. Ralph H.

Peterson ’59, ’60Ms. Susan Marie Peterson ’94Mr. Gregg Petri ’98Mr. Frank Pettaway ’96 and

Ms. Lisa Pettaway ’94Mr. Eric J. Pfeiffer ’06Mr. Michael PhelanMr. and Mrs. Donald PhillipsMs. Helen PhillipsMr. and Mrs. Michael H.

PhillipsMr. Richard G. Phillips ’62Mr. Nicholas S. Piazza ’08Miss Marilyn A. Pickers ’77Ms. Meghan L. Pierson ’03Mr. and Mrs. Darrell PittardMs. Gerry PittroMr. Michael Polachek

Dr. and Mrs. Raymond P. Polivka ’51

Mr. Richard E. PonxMs. Mary Ann Porlier ’06Mr. Patrick A. Pospisek ’02Mrs. Donna J. Posuch ’83Mrs. Vivian J. Potee ’87Ms. Susan M. Powell ’03Ms. Elizabeth A. PrebleMs. Suzanne E. Prelipp ’63Ms. Silvana Presta ’91Mr. David PriceMs. Nancy Prichard ’73Mr. and Mrs. Gary L. PrinceJim ’93 and Julie Aumann

Probst ’94Mr. Skip ProctorMr. Frank J. Prucha, III ’61Mr. and Mrs. David W. PughMr. Douglass A. Pye ’63Ms. Michelle R. Raduha ’06Raffi’s on 5thMs. Linda R. Rajca ’73Ms. Constance RamsayMs. Mary Jane Ramsey and

familyMs. Ann E. Randall ’87Mrs. Nancy L. Range ’74Mrs. Eleanor Ranney ’55Mrs. Julie RaridonJeff and Michelle RayRev. and Mrs. John F. Rebstock

’44, ’46Mrs. Rebecca A. Reckamp ’70Mrs. Betty Reed ’66Mr. and Mrs. Steven M. Reents

’95, Dr. and Mrs. David R. RehnMrs. Adella ReidtMr. Russell O. Reinhard ’74Mr. David C. Renner ’00Mrs. Kay Rensink ’80Mr. and Mrs. Edward M.

Rhyne, SrMr. and Mrs. Forrest D. Rice, Jr.Mr. Jack L. Rice ’59Ms. Sharon E. Rice ’03Mr. and Mrs. Larry M. RichMiss Gwendolyn Richardson

’89Mr. and Mrs. Wayne J. RichieJennifer L. Richrath ’95Mrs. Joann P. Richter ’65Mrs. Marjorie E. Riker ’48Ms. Mary Rinehart ’64Ms. Leah C. RippeMr. and Mrs. Jon A. RipskyMr. and Mrs. Barry R. Riskedal

’71, ’62Dr. Roger W. Ritzert ’58Mr. and Mrs. Fred RobertsMr. Byron K. Robertson ’89Mr. and Mrs. Joe RobertsonMr. Charles D. Robinson ’72Mr. Norman Robinson ’00

A. Elizabeth Robinson-Chan ’93

Ms. Karla K. Rockwell ’04Mr. Randy C. Roehrig ’79Mr. Frederick Roesti ’69Dr. LeRoy P. Roesti, Jr. ’65Mrs. Jan S. Rogoski ’68Mr. Charles A. Roloff, Jr. ’64Ms. Cindy T. Roman ’99Mrs. Beth D. Romine ’74Mr. John RonchettiMs. Christina I. Rosenmeier ’96Mr. and Mrs. Joseph RosenowMr. and Mrs. Michael Rosolie

’77, ’79Mr. William B. Ross ’67Mr. John B. Rottersman ’82Miss Barbara L. Rowland ’71Ms. Ruth Royal ’61Mr. and Mrs. Kenneth RozekMrs. Jeanne C. Rudolph ’61Mr. William R. Rudolph ’44Ms. Colleen M. Ruff ’90Mr. and Mrs. Jim RussellMr. and Mrs. Daniel W. RyanRev. Eric E. Ryburn ’91Ms. Kathleen G. Salmen ’69Mr. and Mrs. Fred SalomonMrs. Jeannine M. Saltman ’61Ms. Shannon M. Sanders ’98Mr. Stephen J. Sanford ’79Mr. Vincent J. SapienzaMs. Kathryn M. Sarna ’04Ms. Mary Ellen Sarns ’03Ms. Rebecca S. Satterfield ’97Mr. and Mrs. Gary M. SaundersMr. Bruce Sautebin ’70Mr. Carl J. Schaefer ’67Mr. and Mrs. Donald L.

SchaeferMr. Vernon H. Schaefer ’52Mr. Terrence J. SchaulMs. Lynn SchefflerMs. Carol L. Schelling ’67Ms. Irene SchendelMs. Katherine A. Schierenbeck

’90Ms. Tasha M. Schifo ’95Mrs. Arden G. Schilb ’73Mr. Wayne H. Schimpff ’63Ms. Lisa A. Schisel ’98Mr. Karl E. Schmidt ’94Mr. Steven SchmidtMr. and Mrs. William F.

Schmiel ’67, ’69Mr. and Mrs. Karl SchnaseMr. and Mrs. J. Glenn

SchneiderMrs. Marna J. Schneider ’50Ms. Wendy M. Schneider ’06Ms. Nancy A. Schobert ’55Ms. Deborah D. Schodrof ’97Mr. and Mrs. Roy F. SchoeneckMr. and Mrs. Warren

Schoenherr



Mrs. Jane Schoeny ’57Mrs. Joan Schreiber ’47Mr. and Mrs. Charles

SchroederMs. Elizabeth R. Schroeder ’00Mrs. Phyllis H. SchroeterMs. Barbara E. SchubertMr. Thomas A. SchubertMr. and Mrs. Timothy W.

SchuenkeMrs. Janice B. Schultz ’72Ms. Cara M. Schuster ’97Ms. Ardella SchutzMs. Shannon V.

Schwarzwalder ’01Mr. Jonathan R. SchweighardtMs. Betty Jane ScottMrs. Donna V. Scott ’57Ms. Nicki ScottMr. and Mrs. Richard C. ScottMr. Robert A. Sebastian ’53Ms. Kathi L. Seiden-Thomas

’95Mr. David A. Seiser ’74Lyn M. Seiser ’86Mr. Jack D. Seith ’61Mrs. Carol J. Seiwell ’57Mrs. Ruth Ann Sellers ’55Stephen ’76 and Julia ’78

SellersMr. and Mrs. Charles SemkeSequoia General ContractingDr. Kristine ServaisMrs. Betty Service ’53Mrs. Lynne B. Severson ’65Mr. Richard A. Severson ’79Mr. and Mrs. Charles SextonMr. David J. Shafron ’03Ms. Bhavini R. Shah ’98Mr. and Mrs. Thomas G.

ShanowerMs. Mary Ann SharpMs. Deborah J. Shaw ’72Ms. Brenda J. Shay ’02Mrs. Arlene M. SheaMr. Bryant N. SheehyDr. and Mrs. Harry L. SheehyMr. Frank Shigut ’61Mr. Thomas Reuben Shoback

’95Mr. and Mrs. John S.

Shoulberg ’82, ’82Mr. John D. ShultzMr. and Mrs. Stephen C. Shute

’91, ’92Mr. and Mrs. Richard D.

SieversMr. and Mrs. Carl G. Silvernail

’54, ’54Rev. Wilbur L. Silvernail ’55Mrs. Esther M. Silvius ’46Mr. Robert N. Sima ’57Ms. Teresa L. Simchak ’90Mr. Anthony Simmons, Sr.Mr. Brad Simmons

Mr. M. James Simonsen ’51Mrs. Dorothy L. Simpson ’41Ms. Margaret SimpsonNancy and Paul SingelynMs. Avery A. Sipla ’99Mr. Peter T. Sipla ’06Mr. Robert SiracusanoMr. Stephen Sivyer ’65Rev. R. Thomas Slack ’69Mr. and Mrs. F. Lee Slick ’63,

’63Mr. David H. Slinn ’90Mrs. Melissa L. Smallenberger

’97Mr. and Mrs. Arthur J. Smith

’59, ’57Mr. and Mrs. Cody C. SmithDr. Donnavieve N. SmithMrs. Dorothea L. Smith ’57Mr. Eric D. Smith ’06Dr. Garth D. Smith ’49Mr. and Mrs. John J. SmithMs. Mary K. Smith ’59Mrs. Sharon G. Smith ’93Mr. and Mrs. Brian L. Smolinski

’74, ’73Mrs. Myla J. Snider ’54Ms. Holly Rose Snyder ’96Ms. Mary V. Soales ’56Mr. Michael J. Solch ’80Ms. Dana J. Solomon ’03Mr. and Mrs. John J. Sook ’57Mrs. Linda M. Sorenson ’80Mr. Ralph Sorensen and familyMr. Alan J. Soukup ’47Mr. Charles J. Spalten ’50Ms. Whitney J. Spangola ’04Ms. Julie A. Sparks ’89Mr. Bradley W. Spencer ’04Mr. Tyke E. Spencer ’06Ms. Lorraine L. Spong-Scoville

’51Ms. Emily J. SquintoDr. and Mrs. Gerald E. Sroufe

’59, ’58Dr. Caroline St. ClairMs. Bonnie L. St. JohnMrs. Lynn M. St. John ’64Ms. Harriet Stachowiak ’02Ms. Lois C. Stack ’54Mr. and Mrs. Kevin E.

Stahlman ’86, ’86Ms. Melanie L. Stancampiano

’02Rev. Nelson E. Stants ’50Mr. and Mrs. Steve StarzykMs. Amy E. Steenson ’01Mrs. Sandra L. Steer ’61Ms. Joyce Stegmeier ’53Dr. and Mrs. Donald E. Stehr

’50Mr. Glenn E. Stehr ’50Mr. George Steimer ’99Mr. Charles Stella ’02Mr. Harry R. Stelling ’50

Mrs. Mary J. Sterling ’66Mr. and Mrs. Edward G.

Stevens ’50, ’52Mr. and Mrs. Reuben T. Stibbe

’50Ms. Grace StillingMr. and Mrs Gregory StolzeMr. Russell M. Stratton ’87Rev. and Mrs. Donald F.

Strauch ’71Mr. and Mrs. Herman StreddeMs. Gail M. Streeter ’62Ms. Kathleen Strickland ’00Ms. Patricia A. Stroud ’57Ms. Mary Ann Stuart ’97Mr. and Mrs. Larry J. Studer

’62, ’61Mr. Dan SturdenvantDr. Cathy SubberMr. and Mrs. Edwin O. SullivanMr. Michael P. Sullivan ’96Mr. and Mrs. Thomas A. SuloMr. Chad A. Sutton ’93Ms. Stephanie C. Sutton ’02Mr. and Mrs. Richard O.

Swafford ’57, ’58Mrs. Heidi K. Sweet ’93Ms. Monica A. Szaflik ’05Ms. Alefiyah Tawawalla ’97Mr. Benny T. Taylor ’92Mr. Eugentri Taylor ’06Mr. Benjy TaylorMr. and Mrs. Edward A. Tehle

Jr. ’49, ’51Mr. Gordon G. Teichmann ’40Mr. and Mrs. Ernest Templeton

’59Mr. Gerald A. ThalmannMrs. Eunice U. Thanepohn ’49Ms. Tristan M. TheissingMr. Donald P. Thinnes ’56Mrs. Virginia C. Tholen ’66Miss Evelyn M. Thomas ’54Rev. and Mrs. James F. Thomas

’55, ’55Mr. and Mrs. Kelly B. Thomas

’91, ’92Mrs. Barbara J. Thompson ’51Mr. David Thompson ’99Mr. Donald R. Thompson ’41Rev. and Mrs. Frank E.

Thompson ’61, ’64Ms. Margaret M. Thompson

’81Mr. Robert E. Thompson ’38Mr. Roger A. Thompson ’90Mr. and Mrs. Tyrone A.

ThompsonMr. and Mrs. Richard G.

ThurstonMr. Frederic D. Tompkins ’40Rev. La Vern E. Tooley ’41Mr. Donald D. Topp ’61Mr. and Mrs. Clay TotzMr. and Mrs. Anthony Toy



Mr. Christopher A. ToyMr. and Mrs. Sheldon D. Trapp

’57, ’56Mr. Nicholas E. Trauth ’06Dr. Susan TraversoMr. and Mrs. George J.

TrepanierMr. Warren R. Tropf ’47Ray and Lynn TrygstadMrs. Gail F. Tuller ’80Mr. and Mrs. Leroy A. TumaMs. Melissa A. Turner ’95Mr. and Mrs. Frank

Tuttolomondo ’86Mr. and Mrs. Marvin

UmbanhourRev. and Mrs. Don K. Utzman

’54, ’55Ms. Bonnie ValiantMr. Douglas W. Van Dell ’79Dr. Madeleine Van HeckeMr. James E. VanHootegem

’90Mr. Milt VasichMs. Lynette M. Veitengruber

’04Jon Velishek ’94Ms. Crystal D. Verdun-White

’02Ms. Lorraine VerstraeteMr. and Mrs. Thomas S. Vicker

’76, ’77Mr. Howard R. Vieth ’38Mr. and Mrs. Lloyd E. Vincent

’50, ’49Dr. Jonathan E. VisickMs. Alicia VodickaMrs. Berta J. Voorhees ’57Mr. Dale F. Voss ’51Mrs. Shirley J. WahlMrs. Joylyn Wahla ’60Mrs. Jane E. Waidanz ’90Mr. and Mrs. Richard

Wakefield ’60, ’60Walker’s Char HouseMrs. Amy L. Walsh ’89Miss Marilyn K. Walsh ’61Mr. Richard T. WalshMr. and Mrs. William J. WalshMr. Archie T. Walters ’85Ms. Judy C. WaltersMs. Mary Lynn Walters ’62Ms. Susan L. Ward, C.F.P. ’83Mr. and Mrs. William L. ’54

WardenMr. David WareMr. and Mrs. Gideon M. WarneMrs. Diane L. Warren ’91

Mr. and Mrs. Rodney J. Warstler

Ms. Shannon Webb ’94Mr. and Mrs. Richard J. WeberMr. and Mrs. Alfred D. WebsterMs. Michelle T. Weckmann ’93Mr. Robert A. Wegele, Jr. ’84Mrs. Bettye WehrliMr. G. Allan Weick ’53Mrs. Susan Weimer ’68Mr. Brad L. Weiss ’97Mr. Glenn A. Weiss ’94Mr. John W. Welch ’81Mr. Robert W. Welk ’60Mr. and Mrs. Lowell Wellman

’55, ’56Ms. Joan WeltyMiss Marcia Welzel ’68Ms. Julie WentzMrs. Lorraine Werner ’48Dr. Nancy J. Wesensten ’84Mrs. Jean R. Wesley ’54Ms. Carolyn R. West ’97Mrs. Kristin Miner West ’81Mr. Ryan K. West ’00Mrs. Judith K. Westin ’63Ms. Carol J. Weston ’62Mr. and Mrs. Robert G.

Westrom ’51, ’52Mr. Matthew F. Whalen ’05Dr. and Mrs. Andrew WhitakerMr. Russell G. Whitaker III ’00Mr. Donald WhitneyMr. Kenneth S. Whittenhall ’88John D. and Sheila Wier ’67,

’67Mr. and Mrs. Dave WiesbrookMs. Victoria S. WikeJanice and Ed WilesMr. William J. Wilger ’86Ms. Anita R. Wilkins ’42Mrs. Lois A. Will ’49Mr. Craig Williams ’98Mr. and Mrs. Dennis L.

Williams ’68Mrs. Margaret Williams ’70Mrs. Patsy J. Williams ’62Ms. Gayle WilsmannWilliam F. and Maria WilsonMrs. Dorcas R. Windsor ’67Dr. Vicki A. Wine ’74Mr. and Mrs. Mark K. WinkelMr. Thomas A. Winter ’71Mrs. Margaret L. Winters ’60Mr. Timothy J. Wise ’97Mr. and Mrs. Dennis WisnoskyMrs. Marla C. Witbrod ’81Mrs. Vickie J. Witt ’01

Ms. Heather Christine Wnek ’96

Ms. Barbara Wolf ’68Ms. Margaret L. Wolf ’59Mr. Paul R. Wolf ’78Rev. and Mrs. Wilmert Wolf,

Jr. ’56Rev. Everett T. Wonder ’48Ms. Joan Sommers Wood ’57Mrs. Carmen Giese Woodring

’72Mr. and Mrs. Kevin WoodrowMs. Mercie D. Woolfolk ’95Dale and Lorrine Helm

Wordelmen ’56, ’56Rev. and Mrs. Robert C.

Worner ’61Mrs. Karen Worst ’66Mrs. Helen L. Wright ’39Mrs. Ruth Wright ’39Mr. Stephen Wright ’03Mr. John P. Wrycza ’89Mr. Anthony J. Wycklendt ’94Ms. Imis WymanMr. and Mrs. Robert YahnkeMrs. Yu-Fen Yang ’86Ms. Rachel C. Yehl ’06Mr. Wallace C. Yenerich ’44Mr. Steven G. Yeomans ’77Mr. Frank O. Yezek ’52Mr. and Mrs. Norris G. YonkerMr. and Mrs. Ben K. Yoshinaga

’46Jean and Warren YoungMarilyn Yucaitis-

Jarzembowski ’76Mr. and Mrs. Jan E. Zabinski

’74Mrs. Mae M. Zahl ’35Ms. Laura Zahn PohlMr. Burt M. Zak ’85Ms. Laurie A. Zastrow ’86Mr. and Mrs. William C. Zayas

’80Mr. and Mrs. Leo Zedrow ’51Mr. J. Charles Zeller ’69Ms. Kristine E. Zeller ’01Kimberly and Mike ZieglerMiss Opal E. Ziemer ’39Mr. Joshua D. Zilm ’99Dale and Rosemary

Zimmerman ’60, ’60Mrs. Donna M. Zinke ’61Mr. and Mrs. Martin M. ZivinMrs. Deborah A. Zorich ’83Ms. Erin D. Zorns ’00Ms. Paula J. Zoromski ’86Mr. and Mrs. Alexander E.

Zuback

Underwriting a North Central College performance allows you to directly support the artists whose work touches you the most. Fine arts event underwriting opportunities begin at $5,000 and come with many exciting benefits exclusive to underwriters. Individual underwriters receive:•VIP tickets to underwritten fine arts performance•Additional VIP tickets to preferred event at Wentz Concert Hall•Additional tickets to events at other North Central fine arts venues on campus (Meiley-Swallow Hall, Koten Chapel, Pfeiffer Hall, Madden Theater)•Access to special pre- or post-show private reception with artists •Recognition in a special salute ad in the Footlights program•Recognition on event invitation •Special offers to underwriter’s employees/family/friends•Opportunity to host employee/client/family event and reception •Name and/or logo recognition through various North Central College fine arts marketing programs (website, e-mail blasts, on-site recognition, newspaper advertising, etc.)•Listings in the Annual Report, on the College’s website and in event press releases

More exciting opportunities and VIP benefits are available at higher levels. For information on underwriting a North Central College fine arts performance please contact Barbara Knuckles, Managing Director of Development and Corporate Relations, at 630-637-5210 or John Holmberg, Assistant Director of Development & Capital Gifts, at 630-637-5218.

UNDeRWRIte A NORtH CeNtRAL COLLeGeFine Arts PerFormAnce

Herb Alpert and Lani Hall Wentz Concert Hall and Fine Arts Center

September 2009

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