Skokie Valley-Pops Benefit

Francesco Milioto, Music Director and Conductor

Celebrating 50 Years Sunday, May 20, 2012 3:00 P.M. North Shore Center for the Performing Arts in Skokie

Pops Benefit Concert American Salute (1943)...........................................................Morton Gould

(1913 - 1996) Hollywood Suite (1937)..................................................................Ferde GrofĂŠ

(1892 - 1972) Selected Favorites................................................................. Leroy Anderson

Fiddle Faddle (1947) (1908 - 1975) Blue Tango (1951) Syncopated Clock (1945) Jazz Pizzicato (1938) The Typewriter (1950) -INTERMISSIONStreet Music: A Blues Concerto, Op. 65 (1976).................... William Russo

(1928 - 2003) Corky Siegel, Harmonica and Piano This concert is partially supported by a grant from the Illinois Arts Council, a state agency. Skokie Valley Symphony Orchestra gratefully acknowledges the Village of Skokie, Niles Township, AdvantEdge Healthcare Solutions, the Bruning Foundation, the Daniel F. and Ada L. Rice Foundation, Kathryn Canny, Dr. Lee and Bonnie Malmed, and Mrs. Jason Sharps.

Pops Benefit Concert 1

PROGR A M NOTES Morton Gould – American Salute Morton Gould was born in 1913 in New York into a non-musical family. A musical prodigy, he began playing the piano by ear and composing at age four. By age six his first work, Just Six, a waltz for piano, was published. He received a scholarship and attended the Institute of Musical Art (later Juilliard School) at age eight, with additional studies at New York University. In his childhood and teens he performed on radio and in vaudeville and concert halls, supporting his whole family: mother, father, aunt, grandmother, and three brothers. During piano recitals in the New York area, he would improvise on themes and phrases contributed by the audience, something he continued to do at recitals and lectures throughout his life.

Gould was hired as a staff arranger and pianist by Radio City Music Hall when it opened in 1932 and began working for NBC the following year. In 1943, he was appointed director of the “Chrysler Hour”’ (CBS), which reached an audience of millions due to his combination of classical and popular programming. It was during this period that he wrote American Salute.

During the 1940s he wrote music not only for the concert hall (including pieces commissioned

by Stokowski, Toscanini, and Fritz Reiner) and radio, but also for ballet, stage, and film. Gould and his orchestra even starred with Jane Powell in the film Delightfully Dangerous (1945). In this same period, he began writing for concert band, after being impressed by the musicality of the University of Michigan band under Frank Revelli. Gould also hosted and composed for television shows, including the mini-series Holocaust (1978), starring Meryl Streep. Throughout his life, Gould enjoyed incorporating musical elements of all genres into his pieces, which include the Tap Dance Concerto, written for his close friend Danny Daniels, and The Jogger and the Dinosaur, featuring a rapper/narrator. An avid lover of fire trucks and firemen, one of his last pieces, Hosedown, was written about a fire truck as an entertainment for his grandson.

In addition to his radio and TV work, Gould was a popular conductor, leading many orchestras (in this country and in Australia, Canada, Europe, Israel, Japan and Mexico) in concert and in over 100 recordings. In 1966 he won a Grammy Award for his recording of Ives’s First Symphony with the Chicago Symphony Orchestra, creating a new appreciation of Ives’ work.

Gould joined the board of ASCAP (1959) and served as its president (1986-94). His credits as an arts administrator include tenure on the board of the American Symphony Orchestra League (and recipient of their 1983 Gold Baton Award) and work with the National Endowment for the Arts. In 1994 he received a Kennedy Center Honor for his contributions to American culture and the following year his final orchestral work, Stringmusic, written for the farewell of Rostropovich from the National Symphony orchestra, won the Pulitzer Prize.

Morton Gould died in 1996 in Orlando, Florida. In 2005, Gould was posthumously awarded a Grammy Lifetime Achievement Award.

American Salute is a theme-and-variation style piece based on the Civil War song When Johnny Comes Marching Home. Gould wrote, “I have attempted a very simple and direct translation in orchestral idiom of this vital tune. There is nothing much that can be said about the structure or the treatment because I think it is what you might call self-auditory.”

American Salute is Gould’s most-performed work. The United States Military Academy Concert Band featured this piece on a concert Gould attended on the last evening of his life.

Sources: The New Grove Dictionary of Music and Musicians, http://www.schirmer.com/default.aspx?TabId=2419&State_2872=2&composer Id_2872=565, http://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.559005&languageid=EN http://www.allmusic.com/artist/morton-gould-q7385/biography http://www.bruceduffie.com/gould2.html Ferde Grofé – Hollywood Suite Ferdinand Rudolf von Grofé was born in New York City in 1892, and moved almost immediately to Los Angeles. His was a very musical family. His father, Emil, was a baritone and actor who specialized in light opera. His mother, Elsa, was a professional cellist and teacher. His maternal grandfather, Bernard Bierlich, was first-stand cellist with the Metropolitan Opera 2 Skokie Valley Symphony

The NBB Group of Wells Fargo Advisors is proud to support Skokie Valley Symphony Orchestra

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P R O G R A M N O T E S ( c o n t .)

Orchestra and later principal cellist with the Los Angeles Symphony, where his uncle Julius was concertmaster.

After his father’s death in 1899, Elsa took him to Leipzig to study piano, viola, and composition. Once back in LA, Ferde left home at fourteen and held a variety of odd jobs, writing popular songs at night and playing piano in a bar for two dollars an hour. He joined his grandfather and uncle in the LA Symphony as a violist, played in the San Francisco Symphony and also in film orchestras, cabarets, theaters, and dance halls in the west and southwest.

In 1920 Grofé accepted a job as pianist and arranger for bandleader Paul Whiteman and moved back east. His distinctive arrangements were ground-breaking. In one biography, Joseph Stevenson states,“His orchestral ideas laid the foundation for what became the big-band sound. More important, he conceived the basic format that makes jazz playing in large ensembles possible: the contrasting of fully written-out orchestra passages with improvised ‘breaks.’“ In 1923 the Whiteman band gave a concert at Aeolian Hall in New York, consisting of a number of jazz-style classically composed pieces, including Grofé’s orchestration of Gershwin’s Rhapsody in Blue, which catapulted Grofé into fame. Whiteman encouraged him to compose more symphonic jazz pieces for his orchestra.

Grofé continued to compose more classical music, including the Mississippi Suite, the Niagara Falls Suite, the Hudson River Suite, and the Grand Canyon Suite. (1931). Shortly thereafter, Grofé split with Whiteman, and he spent the next 10 years working as a conductor and radio arranger. In 1932, at exactly the time Gould was there, Grofé was named chief musical arranger and “composer laureate” for Radio City Music Hall. He joined the American Bandmasters’ Association and wrote many pieces for concert band. During the 1930s, he was commissioned to write a number of ballets, among them the ballet that later became the Hollywood Suite.

Grofé taught orchestration at the Julliard Summer School from 1939-1940. He wrote the theme for the 1939 New York World’s fair, and he and the New World Ensemble (four Novachords and a Hammond organ were a featured fair attraction. From the 1940s, he spent his time guest conducting and writing large-scale pieces, including movie music. He earned an Academy Award nomination for his film score for Minstrel Man (1944). By 1945 he returned to Los Angeles, where he lived for the rest of his life.

The Hollywood Suite is ballet music and tells the story of a talented, but unrecognized standin. The suite is in six movements: 1)”On the Set – Sweepers” starts with the janitor sweeping up the empty sound stage (the sound of brushes on the cymbal). That sounds is soon joined by a theme first played by bassoon and then clarinet. 2) In “The Stand-In,” the girl appears, thematically represented by a waltz-like melody of discovery waiting to happen, played by the strings. 3) Next, the “Carpenters and Electricians” bustle about, represented by “scatty fanfares and skittish xylophone figures.” 4) “The Preview” is “sophisticated gloss,” and sets up the next movement. 5) “Production Number” is just as it’s described-- the big dance number with a big band swing. Listen for the tap dancers in this movement. The finale “Director-StarEnsemble” is “sheer razzmatazz.” with grandeur and glory, which winds down to the carpenters and electricians , the stand-in, and closes with the sweeper cleaning up once again.

Sources: The New Grove Dictionary of Music and Musicians, http://www.allmusic.com/artist/ferde-grof-q1649411/biography http://www.musicweb-international.com/classrev/2002/Nov02/Grofe_suites.htm Leroy Anderson – Selected Favorites The music of Leroy Anderson is firmly entrenched in American popular culture, even if most Americans are unfamiliar with his name. Anderson was a composer of distinctive and delightful miniatures. His best known work is undoubtedly the jaunty Christmas perennial, Sleigh Ride, but almost equally well known are The Syncopated Clock, The Typewriter, and Blue Tango.

The son of Swedish immigrants, Leroy Anderson was born on June 29, 1908, in Cambridge, Massachusetts and grew up in a musical family. He earned his B.A. (magna cum laude) and M.A. in Music at Harvard, studying with composers Walter Piston and Georges Enesco. In the 30s he was an organist, conductor and arranger in the Boston area. He also played double 4 Skokie Valley Symphony

P R O G R A M N O T E S ( c o n t .) bass, trombone and tuba and became director of the Harvard Band in 1931. Anderson’s band arrangements caught the attention of the Boston Symphony’s manager who asked Leroy to arrange some Harvard songs for a special Pops concert. Arthur Fiedler, music director of the Pops, was impressed with Anderson’s work and encouraged him to write original compositions for the orchestra. The first of those pieces, Jazz Pizzicato, became an immediate hit when it was premiered in 1938.

World War II interrupted Anderson’s work as a composer. In 1942 he entered the U.S. Army as a private and served as a translator and interpreter in Iceland. Later, while living in Washington and working at the Pentagon as Chief of the Scandinavian Desk of Military Intelligence, he wrote The Syncopated Clock. He conducted its premiere at the Boston Pops on “Army Night.” At the end of the war, Captain Anderson resumed life as a civilian and as a fulltime composer.

In 1946 Leroy Anderson became an orchestrator and arranger for Arthur Fiedler and the Boston Pops. Anderson provided them with a stream of original pieces,“concert music with a pop quality,” as Anderson described his work. Fiedler continued to premiere his works, such as Sleigh Ride, Fiddle-Faddle, Serenata, and Trumpeter’s Lullaby. In 1950 Anderson signed with Decca Records. It was in recording studios that Leroy Anderson’s music now received its first performance.

Leroy Anderson’s works continue to be some of the most frequently performed pieces in the repertoire of symphonic pops orchestras all across the country – over 1,200 performances each year. School bands and music students all over the world know, admire and play Leroy Anderson’s music. Although he wrote his music originally for symphonic orchestra, Leroy Anderson’s compositions transcend musical boundaries. According to one critic, “ Sleigh Ride almost certainly holds the distinction of having been recorded by a broader aesthetic range of performers than any other piece in the history of Western music.” John Williams, composer and Conductor Laureate of the Boston Pops, has said, “Leroy Anderson is one of the great American masters of light orchestral music. Though we have performed his works countless times over the years at the Boston Pops, his music remains forever as young and fresh as the very day on which it was composed.”

For more information, visit www.leroyanderson.com Fiddle Faddle First performed Mar. 30, 1947 by Arthur Fiedler conducting an unknown orchestra in a concert radio broadcast from the old Boston Opera House. Fiddle Faddle was first recorded that same year by the Boston Pops.

Anderson first chose the title and then wrote for strings a modern “perpetual motion” piece, such as Paganini’s work, Moto Perpetuo.

Blue Tango Blue Tango, written in 1951, was first performed that same year when Leroy Anderson, conducting a 55-piece orchestra, recorded it for Decca. This instrumental recording, to the surprise of many, became the best-selling pop single of 1952, remaining on the Billboard charts for 38 weeks. Anderson received a gold record from Decca Records in recognition of the fact that Blue Tango was the best selling single of the year. Mills Music published Blue Tango in 1951 and the piece soon became a standard in the repertoire of symphony orchestras and bands around the world as well as being extremely popular with soloists and small ensembles. With its rich orchestration, luxuriant melody, bluesy harmonies, and a silvery rhythmical counterpoint, Blue Tango continues to be an all-time favorite.

The publisher felt that, with the great popularity of this piece, lyrics would only add to the possibilities of use, and even more popularity. Lyrics were added by Mitchell Parish in 1952. Nelson Eddy was among the singers who recorded it. The arrangement for voice with orchestral accompaniment was made by Mr. Anderson. Anderson also made the arrangement for band.

Leroy Anderson said: “I wrote a melody in a tango rhythm and since the arrangement was in a blues character in the old jazz style it seemed appropriate to name the piece Blue Tango.”

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Syncopated Clock Leroy Anderson had been promoted to Captain in the U.S. Army and assigned to Military Intelligence, Chief of the Scandinavian Desk at the Pentagon. Arthur Fiedler asked him to bring a new piece to be performed by the Boston Pops on Harvard Night, May 28, 1945. While Mr. Anderson was writing Promenade to fulfill this request, he had the idea for, as he once put it, this unmilitaristic piece, The Syncopated Clock. The Pops program read Promenade by Leroy Anderson and in small letters underneath,“The Syncopated Clock, Extra, Leroy Anderson conducting.”

Mr. Anderson once said, “I set about thinking of a new number, preferably humorous, that would make a good encore. Suddenly the title The Syncopated Clock came to mind. It occurred to me that hundreds of composers had written music imitating or suggesting a clock, but that all these clocks were ordinary ones that beat in regular rhythm. No one had described a ‘syncopated’ clock and this idea seemed to present the opportunity to write something different.”

Late Show TV Theme The Syncopated Clock was published by Mills Music in 1946, recorded by Arthur Fiedler and the Boston Pops in June, 1950 and by the composer in September, 1950. Other conductors also recorded it. That same year a staff member at CBS chose from a batch of new releases a recording of The Syncopated Clock by Percy Faith and his orchestra as the theme for their new show, The Late Show.

A 1959 CBS press release read: “‘The Syncopated Clock’ has been ticking on television without stop for more than eight years, making it possibly the longest-run continuous theme in the sight-and-sound medium.”

A 1976 article in the New York Times was titled,“The Late Show Clocks twenty-five Years: When the metronomic beat of Leroy Anderson’s ‘The Syncopated Clock’ is heard this Thursday night, it will signal the twenty-fifth anniversary of The Late Show.” About 1977 the “Clock” disappeared from the show but a tune extremely reminiscent of it was used for the final year or so of the life of the show.

On The Charts The Leroy Anderson recording on Decca of The Syncopated Clock reached number 12 on the Billboard charts in 1951 and remained on the charts for 14 weeks. This was at a time when there was only one chart, including classical and popular.

Jazz Pizzicato Premiered: 1938 Boston Pops with Leroy Anderson First recorded: 1939 Boston Pops Written for string orchestra, this was Anderson’s first composition. He conducted its premiere with the Boston Pops in 1938.

The Typewriter First performed September 8, 1953 when it was recorded by the composer conducting his own orchestra for Decca Records. This original recording is available on Sleigh Ride – The Best of Leroy Anderson MCA-CD 11710.

The solo instrument was a real typewriter played by a percussionist. One or more additional percussionists “played” the carriage return sound and the bell sound made by the typewriter at the end of each line of type.

Television, Radio and Feature Films The Typewriter is used often on radio as an introductory theme for news programs on both radio and television. The 1963 film, “Who’s Minding the Store” features Jerry Lewis pantomiming the “playing” of The Typewriter in mid-air, while in the 80’s, a German TV salad oil ad featured the rapid sprinkling of oil on lettuce to the snappy rhythms of The Typewriter.

Source The Leroy Anderson Family

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William Russo – Street Music “Bill Russo was one of the most important composers and arrangers in jazz history. He contributed some of the most innovative orchestral scores ever written in a jazz idiom to the Stan Kenton Orchestra in the Fifties, and later founded important jazz orchestras in London and Chicago.

He was born William Joseph Russo in Chicago, and attended the same Chicago high school as saxophonist Lee Konitz (later a band mate in the Kenton group). He played trombone in dance and jazz bands, and began writing and arranging while still in his early teens. He formed his own rehearsal band while a student, under the appropriate name of Experiment in Jazz (1947-50).

His work came to the attention of Stan Kenton, who engaged him as a trombonist, composer and arranger in 1950. He remained with the band until 1954, and wrote many famous pieces for Kenton’s “progressive” 40-piece orchestra. Many of them incorporated elements and structural complexities from classical music within a jazz context.

Russo continue to study composition privately, and led his own quintet on a tour of Europe in 1955. He moved to New York in 1958 after the award of a grant from the Koussevitzky Foundation. He taught at the influential Lenox School of Music in Massachusetts (1957-60) and the Manhattan School of Music (1959-61), and led the Russo Orchestra, where he conducted further experiments with combining jazz and classical music in the so-called “Third Stream” style of the period.

He lived in London from 1962-5, where he worked for the BBC and formed the London Jazz Orchestra. He returned to Chicago in 1965, and was the director of the Center for New Music at Columbia College for the next decade.

He worked in the film industry in California as a composer in the late Seventies, then returned to Columbia College, where he worked until the early Nineties. As an extension of his work at Columbia College, he founded and led the Chicago Jazz Ensemble, a group dedicated to preserving and extending the jazz legacy, as well as playing many of Russo’s own compositions. He appeared with the band in Chicago less than a week before his death.

He wrote three highly-regarded books on the art of jazz composition and arranging, and also wrote classical music, including operas, symphonies and cantatas, as well as a rock opera.

Russo died in 2003 from pneumonia contracted in the wake of a recurrence of the cancer which he had been treated for in recent years. “ Excerpted from: http://www.jazzhouse.org/gone/lastpost2.php3?edit=1042564422…

“Siegel began his solo career in 1975 and at that time suggested another collaboration which materialized as ‘Street music, A Blues Concerto,’ composed by William Russo. The 1976 premiere in San Francisco also drew standing ovations and numerous curtain calls.

The 1979 release recorded for Deutsche Grammophon, by Siegel, Ozawa and the San Francisco Symphony, won the French Government’s prestigious Grand Prix du Disque.

It is interesting to note, that the solo parts played by Siegel in ‘Street music,’ and by the band, in ‘Three Pieces,’ were mostly improvised.”

Excerpted from: DEUTSCHE GRAMMOPHON LINER NOTES EXCERPT (1980s re-release)

by David Prescott

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F R A N C E S C O M I L I O TO, M U S I C D I R E C TO R A N D C O N D U C TO R The Chicago Tribune names Francesco Milioto “one of the best young conductors working in the Chicago area.” Since his debut in the Chicago area just over a decade ago, he now balances a busy career conducting a wide range of orchestral and operatic repertoire while maintaining a full schedule as a pianist and vocal coach.

He currently holds the positions of Music Director of the Skokie Valley Symphony Orchestra as well as the Chicago Cultural Center Summer Opera, Co-founder/Conductor of the New Millennium Orchestra, Principal Conductor of the Highland Park Strings, and Artistic Director/Conductor of Access Contemporary Music. Mr. Milioto is an assistant conductor/rehearsal pianist/ prompter for the Ravinia Festival where he works closely with Maestro James Conlon.

This season Mr. Milioto will return to Los Angeles Opera as first assistant conductor following a successful debut last season.

During both the 2009 and 2010 Chicago Opera Theater seasons he served as an assistant

conductor/rehearsal pianist, and also chorus master. Mr. Milioto makes regular appearances as a guest conductor with Opera Elgin and Opera on the James in Lynchburg, VA. Now in his fifth season as Music Director of the Skokie Valley Symphony Orchestra, Mr. Milioto will lead programs celebrating the organizations 50th Anniversary. This season features repertoire played by the SVSO in its first year of existence.

The SVSO’s 50th Anniversary season will end with a final benefit concert program featuring toetapping music by Morton Gould, Ferde Grofé and Leroy Anderson as well as legendary Chicago blues man Corky Siegel on harmonica and piano playing “Symphonic Blues,” a piece commissioned by the San Francisco Symphony. Mr. Milioto has enjoyed an enthusiastic response to his unique musicianship and wide range of repertoire. In addition to building on the history of high quality performances, the past seasons have seen a successful return to concert opera, and the creation of free concerts for local school children.

The Skokie Valley Symphony Orchestra is enjoying celebrating its 50th Anniversary Season (2011-2012) with Maestro Milioto.

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Join us for a concert celebrating the retirement of former Chicago Symphony piccoloist

Walfrid Kujala after 50 years as Professor of Flute at Northwestern University

Photo: Jonathan Roob

Guest artists: Mindy Kaufman (New York Philharmonic) Erinn Frechette (Charlotte Symphony) Lindsey Goodman (Pittsburgh New Music Ensemble) Robert Cronin (Atlanta Symphony) Zart Dombourian Eby (Seattle Symphony) Jonathan Keeble (Professor of Flute, University of Illinois)

A world premiere performance commissioned in honor of Wally’s retirement:

TAKING CHARGE , trio for flute/piccolo, piano and percussion by

Joseph Schwantner

Monday, June 4, 2012 7:30 PM

Pick Staiger Concert Hall Northwestern University

CORK Y SIEGEL , HAR MONICA AND PIANO Corky Siegel has earned an international reputation as one of the world’s great blues harmonica masters. He is a composer, blues pianist, singer /songwriter, and recent winner of the Lila Wallace/Reader’s Digest/Meet the Composer’s national award for chamber music composition and the Illinois Arts Council Fellowship Award for Music Composition.

His career began with a fortunate break when he formed the legendary Siegel-Schwall Band that toured the major rock palaces and clubs in the 60’s and 70’s. He was introduced to the blues through his very first steady engagement at Peppers, the internationally renowned blues club, where his job included performances with the blues masters themselves, such as Willie Dixon, Little Walter, Muddy Waters, and Howlin’ Wolf.

Corky Siegel has 18 recordings and over 35 reissues on: Vanguard, RCA, Alligator (the exclusively Blues label) and Gadfly Records, and two album projects for the prestigious classical label Deutsche Grammophon (DG).

The DG release of William Russo’s Three Pieces for Blues Band and Symphony Orchestra featuring Corky’s blues band, Siegel-Schwall (for whom the work was written) with Seiji Ozawa and the San Francisco Symphony, was a block-buster in sales and had “an unprecedented inter-generational impact on the American music scene.“ - Music Critic - David Sckolnik. In fact, one movement of “Three Pieces” became a successful “single” which scored very high on the Billboard Pop and Classical charts.

Mr. Siegel’s solo recorded performance of William Russo’s Street Music with Seiji Ozawa and the San Francisco Symphony

(the 2nd recording for DG) won the French Government’s Grand Prix du Disque, and received the Recording of Special Merit in Stereo Review for the LP and again in 1988 for the re-released compact disc.

Corky Siegel has written and performed works for Arthur Fiedler and the San Francisco Symphony, the Grant Park Symphony and the National Symphony Orchestra. His music has been choreographed by 5 different international ballet companies and has been used for many national TV specials and motion pictures as well - one of which won an Emmy Award for 2002.

Mr. Siegel continues to perform as guest soloist with symphony orchestras world-wide (the New York Philharmonic, Orchestre de la Suisse Romande, the Boston Symphony Orchestra, Orquestra Metropolitana De Lisboa in Portugal, the Orchestre Symphonique de Montreal, the NHK Symphony in Japan, and the Philadelphia Orchestra with Maestro Charles Dutoit). In addition to ongoing tours with Maestro Dutoit, Corky has continued to perform numerous symphonic collaborations through the years with Doc Severinsen.

Corky Siegel’s newest project Chamber Blues, with the West End String Quartet and Frank Donaldson on world percussion, blends classical and blues styles in a chamber music setting. This ground-breaking innovative sound (now on Alligator Records and Gadfly Records) has earned tremendous acclaim throughout the country and continues to open new doors for classical and blues/jazz listeners alike.

ROBERT W. GEHRKE, P.C.

Robert W. Gehrke, CPA, JD phone (847) 680 - 1021 fax (847) 680 - 1022 e-mail taxguyone@aol.com Hilltop Executive Center 1580 South Milwaukee Avenue, Suite 202 • Libertyville, IL 60048 10 Skokie Valley Symphony

S K O K I E VA L L E Y S Y M P H O N Y O R C H E S T R A 1st Violin Mark Agnor, Concertmaster Margarita Solomensky, Assistant Concertmaster Andrea Ferguson, Mittenthal String Chair Anne Hartzen Olena Hirna Iris Seitz Paul Urbanick Wally Pok Hon Yu 2nd Violin Warren Grabner Beth Hafter Alysa Isaacson Stephanie Lane David Ratner Gwen Weiner Viola Michael Rozental, Principal, Dr. Lee Malmed Chair Sean Diller Jeanette Krstolich Lee Malmed Rick Neff Sid Samberg Desi Tanchev Cello Dan Klingler, Principal Marcia Chessick David Eccles Bonnie Malmed Howard Miller Sheryl Nussbaum Mike Taber Tess Van Wagner Bass Conner Hollingsworth, Principal Brett Benteler Beverly Schiltz Flute Karen Frost, Principal Barb Austin Angela Reynolds Piccolo Angela Reynolds

Oboe Jennifer Stucki, Principal Kenneth Adams Jana Specht English Horn Jana Specht Clarinet Walter Grabner, Principal Irwin Heller Bass Clarinet Scott Thomas Saxophone Matthew Bordushuk Ryan Burnett Letty Garcia Bassoon Elizabeth Heller, Principal Jen Speer Trumpet Jordan Olive, Principal Paul Gilkerson Alicia Eisenstadt French Horn Valerie Whitney, Principal, Jack Shankman Chair Dafydd Bevil Erika Hollenback Laurel Lovestrom Trombone Adina Salmahnson Tom Park John Alberts Tuba Beth Lodal Timpani Jay Renstrom Percussion Barry Grossman Adam Mormelstein Emily Saltz Harp Phyllis Adams

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C H A I R E N D OW M E N T A N D S P O N S O R S H I P S Kathryn Canny, Chair Endowment—Concertmaster Chair AdvantEdge Health Care Solutions—partial sponsorship of Dec 5th children’s concerts The Leo Krakow Community Endowment Fund—Concert Elizabeth and E. Harris Krawitz Endowment—Concert Harvey E. Mittenthal Scholarship Fund—Mittenthal String Chair Daniel F. and Ada L. Rice Foundation—Young Artist Competition and Concerts Charles and Cyd Sandleman Chair Endowment—Assistant Concertmaster Chair

2 011- 2 012 S V S O D O N AT I O N S Sustaining: $2500+ Kathryn Canny Illinois Arts Council Dr. Lee & Bonnie Malmed Niles Township Daniel F. and Ada L. Rice Foundation Village of Skokie Mr. & Mrs. Blaine Yarrington Benefactor: $1,000 - $2,499 AdvantEdge Healthcare Solutions, Inc. The Bruning Foundation Mrs. Jason Sharps Patron: $500 - $999 Steven Jay Blutza, Ph.D. Jack and Leslie Shankman R. Paul Urbanick, DMA Sponsors: $250 - $499 John Alberts Barbara Brown Dr. & Mrs. Richard Chessick David Eccles Roger Hirsch Ethel Mittenthal Richard Mittenthal Thomas & Barbara Rosenwein Dr. & Mrs. Don Singer Carolyn Smith, in memory of Janet Mazur Scott and Sandra Williams Peter P. Thomas

Donors: $100 - $249 Mark Barats Louis & Loretta Becker Maurice & Ruth Ettleson Bernard & Marilyn Friedman Sandor Jankovich Ruth L. Katz Joseph D. Kramer Milton & Miriam Levin Jerome & Lillian Mann Edward S. & Phyllis E. Merkin Eleanor Parker Ronald & Shirley Pregozen George Rimnac Mr. & Mrs. Henry Rosenbaum Marvin Rudman Jerome & Carolyn Sauvage, in memory of Noreen Giles Harold & Rita Selz Thelma Skaletsky Janet Thau, in honor of Barry Grossman Harlean Vision Izzie (Avram) Weinzweig Charlene Wiss Friends: $25 - $99 Jules & Sharon Abelman Ruth Barrash Anne Boll Dr. & Mrs. Richard Chessick, in memory of Noreen Giles Muriel Cohen Ulrich & Carol Conrad Arkady Diment Arline Dubow

Nancy Franke Mr. & Mrs. Aaron Golub Alysa Isaacson Gilbert & Elaine Kanter, in honor of Bonnie Malmed Terese Klinger Jane Kornblith Alvan Lebovitz Sidney Levine Mr. & Mrs. Elmer Lipstadt Rochelle Magid Sherwin & Trude Marks Earl Meltzer Howard Miller Arthur & Lois Mills Michael Modica Sheldon Mostovoy Joseph Ott Saul Patt Janice Ross Michael Roth Milton Salmansohn Janet Schatz Rita Schreier Larry & Rhoda Schuman Anne Seefer Michael & Serna Shatz Harold C. Silverman Warne & Delores Stauss Florence T. Stein Herb & Roberta Sweetow, in memory of Dr. Robert Komaiko Tess Van Wagner George Vass Sandra Lynn Weiss Sheldon S. Weiss Dorothea Wolf, in honor of Bonnie Malmed Olga Wolz

Supporting the Symphony The concert you hear today was made possible by the generous donors you see listed in our program. To find out how you can contribute, please contact the SVSO office.

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North Shore Center for the Performing Arts 9501 Skokie Blvd., Skokie, IL 60077 ADMINISTRATIVE OFFICE TELEPHONE: (847) 679-9501 ADMINISTRATIVE OFFICE FAX: (847) 679-1879 BOX OFFICE TELEPHONE: (847) 673-6300 BOX OFFICE FAX: (847) 679-3704 www.northshorecenter.org General Manager....................................................................................................... Michael Pauken Box Office Manager......................................................................................................... Ron Weaver Box Office Assistant Manager.................................................................................... Heather Packard Box Office Staff...........................................................Paul Adams, Tricia Bulaclac, Alison Burkhardt, Jessica Hester, Jimmy Kaplan, Kaurryne Lev, Myra Levin, Karen Neumann, Maegan Rose, Cyndi Stevens, Director of Marketing and Sales..........................................................................................David Vish Education and Outreach Manager............................................................................ Gina M. Martino Events Manager............................................................................................................ Betty Boduch Events Supervisor/Concessions Manager........................................................................Anthony Marte House Managers.......................................................... Yuri Lysoivanov, Susan Robinson, Sherrie Witt Marketing & Communications Manager...................................................................... Joseph Alaimo Office Manager........................................................................................................... Carolyn Adams Operations Manager...................................................................................................Ardelle Winston Operations Staff.........................................................................Melvin Berkowitz, Christopher Jones Luis Narvaez, Hector Perez, Gary Sapperstein, Larry Williams Receptionist..................................................................................................................... Jean George Security......................................................................................................................Greg Kwiecinski Technical Director............................................................................................................. Frank Rose Technical Staff........................................................Dustin L. Derry, Jake Reich, Jay Stoutenborough Ushers provided by the Saints, Volunteers for the Performing Arts. For information call (773) 529-5510.

Administrative Office Hours: Monday–Friday 9:00 a.m.–5:00 p.m.

Box Office Hours: Monday–Friday, 10:00 a.m.–5:00 p.m. or until curtain; Saturday, Noon–5 p.m. or until curtain. Sunday: Opens two hours prior to curtain. (summer hours may vary)

The North Shore Center for the Performing Arts in Skokie opened in 1996 and operates as part of the Village of Skokie’s plan to provide cultural, literary, and educational programs, benefiting the citizens of Skokie and the North Shore communities.

The North Shore Center is perfect for performances, social occasions and corporate events.

For information on space availability and catering options, please contact the Events Manager at (847)679-9501 ext. 3005.

The North Shore Center for the Performing Arts in Skokie Foundation was established to support the ongoing programming and capital needs of the North Shore Center for the Performing Arts in Skokie. The mission of the Foundation is to create and sustain the North Shore Center as a preeminent venue for the arts and as a major asset to the communities it serves.

IN CONSIDERATION OF OTHER PATRONS

• Latecomers will be seated at the discretion of management.

• Portable telephones, pagers, cameras, and re­cording devices are not allowed inside the theater. Please check them with the house manager.

• Infrared assisted listening devices are available from the house manager. A valid driver’s license, state identification, or major credit card will be requested.

• Lost and Found: please call (847) 679-9501 ext. 3202 for lost items.

14 Skokie Valley Symphony

Professional Facilities Management, of Providence, R.I, manages the North Shore Center for the Performing Arts in Skokie.

2 011- 2 012 B OA R D O F D I R E C TO R S Kathryn Canny, President Karen L. Frost, Artistic Vice President Roger Hirsch, Administrative Vice President Steven Jay Blutza, Ph.D., Treasurer John Alberts, Secretary Barbara E. Brown David F. Eccles Bonnie Malmed Lee Malmed, M.D. Ethel Mittenthal Jack Shankman Sandra Williams, Ph.D. Honorary Board Members Siobhan Drummond Lucinda Kasperson Thomas Rosenwein Donald Singer, M.D. Francesco Milioto, Conductor and Music Director Phyllis Adams, Office Manager How to Contact Us Address: 9501 Skokie Blvd., Skokie, IL 60077 Phone: 847-679-9501 x3014 E-mail: info@svso.org Website: www.svso.org

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