Navidad en México Saturday, December 1, 2012, 8:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston
Friday, December 7, 2012, 8:00 pm Fourth Presbyterian Church Michigan Ave. at Delaware, Chicago
Sunday, December 2, 2012, 4:00 pm Pilgrim Congregational Church 460 Lake St., Oak Park
Sunday, December 9, 2012, 4:00 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville
Chicago a cappella Kathryn Kamp, Soprano Alexia Kruger, Soprano Elizabeth Grizzell, Mezzo-soprano Susan Schober, Mezzo-soprano Klaus Georg, Tenor Garrett Johannsen, Tenor Matt Greenberg, Bass Joe Labozetta, Bass Benjamin Rivera, Bass Founder and Artistic Director Jonathan Miller Guest Music Director Jorge Córdoba Valencia This program is supported in part by the John D. and Catherine T. MacArthur Foundation’s International Connections Fund. Chicago a cappella is partially supported by the Klaff Family Foundation; the MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation; The Gaylord and Dorothy Donnelley Foundation; The Arts Work Fund for Organizational Development; Dr. Scholl Foundation; a CityArts Program 2 grant from the City of Chicago Dept. of Cultural Affairs and Special Events; the Oak Park Area Arts Council, in partnership with the Villages of Oak Park, Forest Park and River Forest; and the Illinois Arts Council, a state agency. Season sponsors: Hyde Park Bank, The Homestead Hotel, and Merit School of Music. The Consulate General of México and the Latin American Music Festival are sponsors of Navidad en México.
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A B O U T C H I C AG O A C APPE LL A An ensemble of professional singers founded in 1993 by Jonathan Miller, Chicago a cappella presents an annual Chicago-area subscription series, creates studio recordings as well as live and broadcast-media musical content, and gives performances on tour and in special engagements. Long recognized for vocal virtuosity and innovative programming, the ensemble enjoys a reputation as a leader in the choral field. With more than 325 concerts to its credit, Chicago a cappella has produced more than 200 performances on its Chicago-based series. On tour, the group has appeared in 13 American states and in Mexico. The ensemble has been heard frequently on WFMT radio and through broadcasts distributed by American Public Media, including the highlyregarded Performance Today. The ensemble has produced eight CD recordings of music ranging from Renaissance masses to contemporary works.
From its inception, Chicago a cappella has been a champion of living composers. Since 1993 the group has presented more than 100 works in their world, national, or local premiere. Chicago a cappella has commissioned new music from composers such as Joseph Jennings, Chen Yi, Stacy Garrop, Rollo Dilworth, Tania Le贸n, and Ezequiel Vi帽ao. As part of its work to give back to the community, Chicago a cappella has expanded its educational outreach programming. Current programs include an annual Youth Choral Festival, where small ensembles spend a day working directly with our singers and directors, and a High School Internship Program, a unique multifaceted immersion for selected students in the world of both performance and arts administration.
2936 N. Southport Ave., 2nd Floor, Chicago, IL 60657 Phone: (773) 281-7820 | Fax: (773) 435-6453 www.chicagoacappella.org | firstname.lastname@example.org Founder and Artistic Director..................................................................................................Jonathan Miller Executive Director.............................................................................................................. Matthew Greenberg Box Office & Concert Manager........................................................................................................ Deb Hoban Marketing & Operations Coordinator................................................................................Shaina Farwell Education Outreach Coordinator.............................................................................................Susan Schober Interns....................................................................................................................Amy Dorner, Cameron Lacy Board of Directors Claudia Divis Michelle Eppley (Secretary) William K. Flowers Helen C. Gagel Joyce Grenis (President) Howard Hush
Chicago a cappella
Murray Kopelow (Vice-President) Leslie Lauderdale Robert B. Linn David Perlman Stephen Shaw (Treasurer) Maria T. Suarez
Committee Members Carole Baumgart William Thomas Huyck Yvonne Owens Lisa Scott John Sterling
C H I C AG O A C APPE LL A C D S Available in the lobby: $16 each (includes sales tax)
Days of Awe and Rejoicing: Radiant Gems of Jewish Music
Christmas a cappella A celebration of the holiday season with Christmas songs from around the world
Shall I Compare Thee? Contemporary settings of Shakespeare’s timeless words
Eclectric New works, familiar favorites, pop & jazz. “An overflowing cornucopia of choral delights” (ChicagoTribune)
Holidays a cappella Live Live performances of Christmas spirituals, Chanukah songs and holiday music from around the world
Go Down, Moses A stunning collection of spirituals
Mathurin Forestier: Masses World-premiere recording of breathtaking Renaissance church music
Palestrina: Music for the Christmas Season Brilliant Renaissance polyphony by the Italian master Palestrina Navidad en México
L O C AT I O N I N F O R M AT I O N Smoking is prohibited in all venues. Food and beverage are not permitted in the audience seating area. No photography or recording of any kind is permitted. Nichols Concert Hall Music Institute of Chicago 1490 Chicago Avenue, Evanston Restrooms and drinking fountain: On lower level; take stairs or elevator from lobby.
Fourth Presbyterian Church Michigan Avenue at Delaware, Chicago Restrooms and drinking fountain: Through the south transept doors (to your left) and then to the right.
Pilgrim Congregational Church 460 Lake Street, Oak Park Restrooms: Off the lobby, in the southeast corner of the building. Accessible restroom in south hallway near the chapel. Additional restrooms on the lower level.
Wentz Concert Hall 171 E. Chicago Ave., Naperville Restrooms and drinking fountain: in the main lobby.
R E S TAU R A N T S U G G E S T I O N S Show your ticket stub or program book to receive discounts at these area restaurants.
Lulu’s Dim Sum & Then Sum 804 Davis St. (two blocks from Nichols Hall) Hours: 11:30 am – 10:00 pm 15% off (excludes Munch a Brunch and 8 after 8)
Cedar’s Mediterranean Kitchen 1206 E. 53rd St., Hyde Park Hours: Saturday 11:30am - 11:00 pm Sunday 11:30 am - 10:00 pm 15% off
Prairie Moon 1502 Sherman Ave. Evanston (one block west of Nichols Hall) Fri. & Sat. 4-11pm 15% off
Piccolo Mondo 1642 E. 56th St. #1, Hyde Park Hours: Saturday 11:30 am - 9:30 pm Sunday 11:30 am - 8:30 pm 10% off
Winberie’s 151 N. Oak Park Ave. Hours: Sun. 1-9pm 10% off
Catch 35 35 S. Washington St. Hours: Fri. & Sat. 5-10 pm Sun. 4:30-8:30pm 10% off food (not valid with other offers)
Cucina Paradiso 814 North Blvd. Hours: Sunday 5-9:30 pm ½ off wine bottles with purchase of 2 entrees Reservations needed
Quigley’s Irish Pub 43 East. Jefferson Ave. Hours: Sat. until 2 am Sun. until 1 am 20% off food
Maya Del Sol 144 South Oak Park Ave. Hours: Sat. 4-11pm Sun. dinner 4-9pm 10% off
Tango Argentinean Grill 5 W. Jackson Ave. Hours: Sat. until 1 am Sun. dinner 2:30 pm-10pm $10 off purchase of $25 or more
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PROGR A M Sancta Maria e!.....................................................................................................................................Hernando Franco (1532-1585) Tleycantimo choquiliya................................................................................................................... Gaspar Fernández (1566-1629) ****** Arrullo del Niño.........................................................................................................................Trad., arr. Rámon Noble (1920-1999) Nochpochtzine.......................................................................................................................José Galván (Castañeda) ****** Duermete Niño....................................................................................................................Domingo Lobato Bañales (1920-2012) Por el Valle de Rosas................................................................................................................ Miguel Bernal Jiménez (1910-1956) ****** Eso rigo e repente............................................................................................................................. Gaspar Fernández Las Bienaventuranzas (The Beatitudes).........................................................................Jorge Córdoba Valencia World premiere, commissioned by Chicago a cappella (b. 1953) ****** Cabalgata de los Tres Reyes....................................................................... Jiménez, arr. Jorge Córdoba Valencia Exsultate justi in Domino................................................................................................... Juan Gutiérrez de Padilla (1595-1664) INTERMISSION Posada Mexicana......................................................................................................................Trad., arr. Rámon Noble Villancicos Procesión Para pedir y dar posada Entrada La Fiesta ****** Cinco Villancicos.............................................................................................................................................Rocío Sanz ¿Adonde váis, zagales? (1933-1993) Aquella Flor del campo Villancico de los pastorcillos Villancico de los negritos Villancico de las zagalas poems: Sor Juana Inéz de la Cruz ****** Arrullo................................................................................................................................................................Blas Galindo (1910-1993) Convidando esta la noche.................................................................................................Juan García de Zespedes (1619-1678) Latecomers will be seated at the discretion of the ushers. Unauthorized photography or sound recording of any kind are strictly prohibited. Thank you for your cooperation Navidad en México
F R O M T H E A R T I S T I C D I R E C TO R ¡Bienvenidos a Navidad en México! (Welcome to Navidad en México!) You are about to embark on a musical journey through the history of Mexican Christmas music. You will hear songs from the 1500s to the present day. You will hear Spanish, Latin, Nahuatl (the traditional Aztec language), and a Creole sort of Spanish with a strong influence from Africa. You will hear emotions of joy and excitement in anticipation of El Niño Jesus, bravery to make the trek to Bethlehem, sweetness of lullabies to rock the infant to sleep, boisterousness to accompany the breaking of the piñata, and even sentiments of lament. You’ll also experience the world premiere of Jorge Córdoba’s beautiful and atmospheric setting, created just for us, of Las Bienaventuranzas, the Spanish version of the Beatitudes from Jesus’s Sermon on the Mount. ****** This is a very unusual program, of a sort that is hardly ever done anywhere, not even in Mexico. Jorge Córdoba, our Guest Music Director, informs me that Mexican choirs are so busy singing European Christmas music that they tend to neglect their country’s own, especially songs in languages other than Spanish and music from the early years of the choral tradition. Jorge’s assistance in the programming of this concert has been invaluable. With his help, we can present to you not only a wider span of music than would have been possible with our usual research resources—since some of the music is unavailable and/or out of print, except in Mexico—but also a program that gives honor and dignity to the many influences that have formed the Mexico of today. According to Jorge, there is a certain apologetic embarrassment among many “Indio” Mexicans, who feel that their native heritage makes them somehow less Mexican than people of pure-bred Spanish blood. Cultural stereotypes are not much help here; Baby Jesus is typically depicted in Mexico as having white skin and blue eyes, an image that does not mesh with the average Mexican’s appearance. People who speak languages other than Spanish are hesitant to teach these special tongues to their children, because they don’t want their children to feel less Mexican. These trends hearken to the assimilationist pressures felt by so many minorities in the USA, in decades both past and present. It is our duty to honor those traditions that are hesitant to honor themselves—someone has to celebrate this rich musical heritage! ****** The seeds of this program were sown in the spring of 2008, when Chicago a cappella presented a program called Voces latinas, including some terrific recent music from Mexico. Among all of the Mexican works on the program, the one that many of us (singers and directors) found most compelling was the cycle of Siete Haiku by Jorge Córdoba. I had learned of Jorge’s work through the Gregg Smith Singers’ recording of the Haiku cycle, and I was hooked. How to get to work with Jorge Córdoba became a bit of a quest. My colleague Philip Brunelle, whose Minneapolis-based ensemble VocalEssence is known for innovative partnerships, had already brought Jorge up to the Twin Cities for several residencies and commissions over the course of a few years. I currently serve with Philip on the board of Chorus America, and between committee meetings one weekend, I 6
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learned that Jorge is something of a national treasure in Mexico—easy to work with, generous of heart, and a great musician. By the fall of 2011, Chicago a cappella’s staff and board knew that we wanted to do a Navidad en México program. I was hoping that Jorge was the composer who would write a new piece for us. He was very amenable to this, and we began the usual conversation about it. I also knew that we would be hiring Guest Music Directors for three programs this season, including Navidad. But imagine my surprise when, in our search for Guest Music Directors for the current season, whose CV and cover letter should appear in my inbox but Jorge’s! The project suddenly got more exciting for me. Not only did we have the prospect of a great new piece by one of Mexico’s choral stars, but the star himself wanted to come to Chicago to prepare the singers. It was a combination too good to pass up. Working with Jorge has been a true pleasure. I know that the singers and I will always remember the opportunity to learn first-hand, from a master, the nuances of Mexico’s rich traditions and the glories of the Spanish language that occur when set by great composers and when sung with fidelity to tradition. We are so happy that you are here to celebrate, with us, the work of Jorge and our ensemble in Navidad in México. ¡Feliz Navidad! —Jonathan Miller Founder and Artistic Director
“Merit School of Music is one of my favorite places on Earth. I’ve seen its work through visiting there, but also through many of their graduates. What it does is to not let talent escape, because it has the broadest net. At its most lofty level, to its most basic response to the needs of a community, it is such an incredible organization.” —Yo-Yo Ma MERIT NATIONAL ADVISORY BOARD MEMBER
Visit www.meritmusic.org to find out how you can make a difference in the lives of Merit students. Joy Faith Knapp Music Center 38 South Peoria Street Chicago, IL 60607
www.meritmusic.org Navidad en México
F R O M T H E M U S I C D I R E C TO R “CHRISTMAS IN MEXICO” Speaking of Christmas in almost any part of the world is inspiring and generates a spirit of hope. Speaking of ‘Christmas in Mexico’ is particularly interesting due to the confluence of the three roots that have shaped our current reality: a) The indigenous peoples (Aztecs, Mayans, Zapotec, to name a few) b) The presence of the Spanish conquerors c)
The involuntary, but decisive, infiltration of African slaves who ran away from the ships that arrived on our shores.
It can be said that there is evidence of these three roots in various manifestations of our culture, such as the food and clothing of the different regions of our 31 states. We have some states adjoining the U.S. border, others that border Guatemala, some with a border overlooking the Pacific Ocean or the Gulf of Mexico, Baja California surrounded by the Sea of Cortez and the Pacific, and other states in the so-called Bajio area and the central part of the Mexican Republic. In several of these areas, you can find a range of delicious dishes in which one, two or all three influences are present. In clothing, one can see in the outfits of Veracruz men and women, a strong and direct influence of the outfits of flamenco dancers, traditional costumes, as well as the influence of other things such as the weather and the availability of the material of which the garments are made. Various writings mention that one of the strongest advances made by the Mexican people was the spiritual gain made through evangelization, through exchange of subtle and necessary polytheistic belief to the monotheism brought by the Catholic religion. Of course, the music could not be free of all of these influences, and in fact, the comings and goings of European music and musicians during the viceroyalty is something that was planted very deeply into several areas in Mexico. The quality and quantity of musical compositions found in the archives of the cathedrals of Puebla, Oaxaca and the very cathedral of Mexico City give obvious testimony to the musical activity during the sixteenth, seventeenth and part of the eighteenth centuries. Music practiced in Europe soon came to the viceroyalty or Virreinato (hence the name Virreinal, or colonial, music). It was of great importance that the clerics in Mexico were astonished at the ease and speed with which natives of this part of the world learned the rules of European musical theory. Great Spanish and Portuguese musicians and composers came, and occupied the post of Kapellmeister at the Cathedrals in the country. Hernando Franco, Gaspar Fernández, Juan Garcia de Zéspedes, and Antonio de Salazar, among others, left us an enviable musical heritage. The fusion of European ways of speaking and various local dialects is what generated some of the works that you will hear in today’s concert, in which the composers decided to use the Nahuatl language, thus inviting practitioners to be more connected with Catholicism. Another of the influences mentioned above only recently has been seen as the third root; in music, it is called Guineos. Some of these carols are in not just another “new language,” but rather are derived from the actual speech of slaves, their new language: Spanish combined with some words and inflections of their roots, and always with reference to the rhythms arising in those parts.
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This is why, in part of today’s program, we are showing that music can be called “rescued” with this fusion of languages and rhythms. There are various Christmas celebrations in Mexico, and over time the transformation of celebrations gave us local songs that were very unique to each of the 31 states. The course of this Mexican musical history was interrupted in a hard way and regardless of anything else because of a bloody fact: The Mexican Revolution. This dramatic shift meant that music called “sacred” also suffered the ravages of the Revolution, towards a mostly secular Nationalist spirit. Hence sacred music in Mexico has received an unfair isolation, resulting in the concealment of such musical works. But composers such as Miguel Bernal Jiménez and Domingo Lobato, just to name a few, left a legacy that allowed us to discover and know our sacred music. The adaptation of Blas Galindo’s “Arrullo” is an example of something that might be a new approach to the subject of sacred Nationalism. Rocío Sanz’s music gives us some archaic and contemporary carols with famous poems by the wise Sor Juana Inés de la Cruz. José Galván gives us a taste of the twentieth century with his prayer to the Virgin. You could say that “Navidad en México” is a stylistic and idiomatic musical show of the different ways the holiday is celebrated—this being one of the most important holidays in Mexico. Listening to music sung in old Spanish and in the current mode, in Latin, in Spanish derived from black slaves, and in the indigenous languages, really is a fascinating musical ride through time. We could not neglect another example of a tradition that continues to be upheld in our modern Mexico: “Las Posadas.” The holiday is religious and is expected to be as such by all participants, but the sacred and the secular come together at times. The processional singing is eminently sacred in that it follows varying paths to each of nine inns prior to Jesus’ birth. It begins on December 16, with the presence of pregnant Mary and Joseph on their grueling journey, repeated nine times on nine consecutive days and is finally successful on the ninth try. Once they are accepted, this is the time to bring the sun to the world! This event is celebrated with sweets, punch and the inevitable piñata. The piñata represents the Star (The Devil) with seven points (symbolizing the seven deadly sins), which must be overcome. By hitting and breaking the piñata, we receive the gifts (purity of mind) symbolized by the goodies and fruit that are in the cheerful and colorful piñata. With all this music not being arranged chronologically in our program, and because of the nature of each of the pieces, I chose to compose “The Beatitudes” as the commission to be premiered by Chicago a cappella. Why did I choose these beautiful words of the New Testament? First, because I thought it would be important to include in the concert not only the allegorical birth of Jesus, but also some of his spiritual legacy; and second, because I believe that in these words, wisdom is totally locked, and I know them to be the core of Jesus’s thinking. The treatment of these verses is completely at odds with what else is heard in the concert. It is a highly dramatic piece with a series of twentyfirst century atmospheres that allow the listener to hear, from many angles, truths that for me are eternal and unchanging. All you will hear makes this “Navidad en Mexico” a “short walk” over more than four centuries in only a little time. I invite you to fasten your seatbelts and accompany Chicago a cappella on this exciting musical journey! —Jorge Córdoba Navidad en México
NOTES ON THE MUSIC Hernando Franco (1532-1585): Sancta Maria e! This is a prayer in Nahuatl, the ancient language of the Aztecs. It has been attributed to Hernando Franco, who was born in Spain, trained as a choirboy and composer at a cathedral in Segovia, and came to the New World sometime in the mid-1500s. Surviving records show him working in Guatemala in 1571, and later he came to take the vacant maestro de capilla spot at Mexico City’s cathedral. While the composer’s name in the manuscript source is also “Hernando Franco,” it is more likely that a native composer took Franco’s name when converting to Christianity, a common practice of the time. The grand, though slightly clunky block chords, and occasional unusual dissonances in the music support this hypothesis; while these are wonderful musical devices and show great local character, composer of the Spanish Franco’s training would have shunned such elements in the music. Sancta Maria e yn ilhuicac cihuapille tina tzin dios yn tito tenpantlato cantzin. Ma hueltehuatzin topan ximotlatolti yn titlatlaconhuanimen.
Holy Mary, Queen of Heaven, Mother of God, Thou art our mediator. Intercede [“speak Thou well”] For us who are sinners. —trans. Charles E. Dibble
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Gaspar Fernández: Tleycantimo choquiliya Here is another piece in Nahuatl, mixed with Spanish. Like Franco, Gaspar Fernández was born in the Old World—Portugal. Like Franco, he came first as a working musician to Guatemala in 1599 and then in 1606 to Mexico, where he worked in Puebla (east of Mexico City), one of the five most important colonial Mexican cities. Though classically trained and completely adept at writing high-quality Renaissance-style church music with Latin texts, he also wrote and collected villancicos—literally, “songs of the villages”— in vernacular styles, not only in Spanish and Portuguese but also in Amerindian and even a faux-African dialect that appears later in this program. He even wrote a piece all in Nahuatl, as well as this catchy tune, Tleycantimo choquiliya. Despite the jaunty 6/8 meter and the F-major key, all is not sweetness and light here. The text partly expresses the tension between the belief in a single God, as dictated by the Christian conquerors, and the more pantheistic native religion, which described many aspects of divine beings. Tleycantimo choquiliya Mis prasedes, mi apisión. Aleloya.
We sing to you, little flower, My pleasures, my passion. Alleluia.
Dejal to el llando crecida, miral to el mulo y el buey. Ximoyollali, mi rey. Tlein mitztolinia, mi vida?
Leave thou the growing cry, Behold the mule and the ox. Take comfort, my king. What bothers you, my beloved?
No sé por qué deneis pena, tan lindo cara de rosa. Nocpiholotzin, niño hermosa, nochalchiuh, naxoquena.
I know not what pains you, Such beautiful rosy face, Noble Lord, handsome child, My gem, my white-plumed bird.
Jesós de mi goraçón, no lloreis, mi pantasía.
Jesus of my heart, Do not cry, my fantasy. —trans. Choral Public Domain Library
****** Trad., arr. Rámon Noble (1920-1999): Arrullo del Niño This is a tune sung by countless mothers to their children. Jorge Córdoba told the singers in rehearsal that the rhythm of the tune was originally an even pulse, but it has been adapted here to feel more like a heartbeat, as a baby would hear when held close to its mother’s breast. The setting is by Rámon Noble, the towering and tireless promoter of choral music in Mexico, who worked closely with the Chorus of the Ballet Folklorico de México and the Mexico Boys’ Choir School of Music. A larrorro niño a larrorrorro duérmete mi niño duérmete mi amor
Rockabye, baby, rockabye go to sleep my child go to sleep my love —trans. Mary Kate Colbert, Instituto Cervantes Navidad en México
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José Galván: Nochpochtzine Long before the Pilgrims set sail, the text for this hymn was written down. The text comes from the manuscript source known as Nicán Mohopua, versicle 63, written down by the Indian scribe Antonio Valeriano between 1540 and 1545. It has been set to original a cappella music by José Galván Castañeda. An active singer, composer, arranger, and conductor, the Mexico City-based musician is probably best known as the founder and director of Voz en Punto, an eclectic a cappella sextet that has toured the world in its mission to spread the joys and traditions of Mexican choral music. Galván’s treatment of the text is an unusual combination of sweet lyricism (at the start) and angular, unusual harmonies (later on) to set up the final joyous “Amen.” Notecuiyoe, Cihuapille Nochpochtzine, macamo nictequipacho in mixtin in moyollotzin. Cahuel nocenyollocacopa nonyaz, noconneltilitiuh in miiyotzin in motlatoltzin Caniman amo nicnocacahualtia manoce nictecococamatti in ohtli. Amen.
Nochpochttiné (my little girl) My Lady, my Queen, my little girl, It hurts me to see pain in your face, your heart I would happily bear the task of breathing, of speaking, for you there is no way I will let you to do it alone nor will it be any burden. —trans. Mary Kate Colbert, Instituto Cervantes
****** Domingo Lobato Bañales (1920-2012): Duermete Niño This sweet lullaby was written by Domingo Lobato, who was born in Morelia, Michoacán in 1920 and died just last month, on November 5, 2012. One of the greats in Mexican church music, he was a pillar of the musical community in Guadalajara, where he was appointed chair in composition in 1946 at the School of Sacred Music, and he was honored during his lifetime by the states of Jalisco and Michoacán. He founded the School of Music at the University of Guadalajara and directed it from 1956 to 1973. He was known as a dedicated, tenacious teacher, determined to pass on high-quality teaching to his students. He wrote music in many styles and forms, includes a great deal of piano music, choral music, a cantata, and the ballet Insóchitlincuícatl. The poem here has a charming image of the baby Jesus as “sweet honeycomb,” sort of like calling a baby “cupcake” or “sweetie pie.” The flowing, tuneful melody borrows some of its gentle character from the Gregorian chant that Lobato studied intensively as a young man.
Duérmete Nino Rey celestial hermoso Niño Flor en botón. Te adoramos naces en pajas ven a nacer en nosotros también.
Go to sleep Baby, Heavenly King, beautiful child, flower bud. We adore you, you are born in straw, come be born in us as well.
[Solo] Toma mi alma mi vida entera eres panàl de dulce miel.
[Solo] Take my soul, my whole life, you are the comb of sweet honey.
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[Pueblo] Duérmete Nino Rey celestial hermoso Niño Flor en botón. Te adoramos naces en pajas eres panal de dulce miel.
[Chorus] Go to sleep Baby, Heavenly King, beautiful child, flower bud. We adore you, you are born in straw, you are the comb of sweet honey. —trans. Mary Kate Colbert, Instituto Cervantes.
Miguel Bernal Jiménez (1910-1956): Por el Valle de Rosas A composer, musicologist, and performer, M. B. Jiménez is considered the most important mid-20th-century Mexican composer of sacred music. He started his musical career at seven years as a choirboy in Morelia’s cathedral, going at age 18 to Rome to study at the Pontifical Institute of Sacred Music. Returning to Morelia in 1933, he headed the School of Sacred Music there for twenty years. His styles are rather conservative while including traditional Mexican elements—which he knew well, having discovered the first archive of colonial (18th-century) Mexican music. This song, one of his earliest compositions (1941), is a well-known Christmas lullaby, contrasting great sweetness with careful use of chromatic dissonances. Por el valle de rosas de tus mejillas corren dos arroyitos de lagrimitas Déjame, deja Déjame, deja que ellas la sed apaguen que me atormenta.
In the valley of roses of your cheeks run two rivulets of little tears Leave me, leave Leave me, leave for they extinguish the thirst that torments me.
Duérmete Jesús mío duerme en mis brazos y no llores, no llores por mis pecados. Duérmete, duerme y aun que llorar me sientes no te despiertes
Go to sleep, my Jesus sleep in my arms and do not cry, do not cry for my sins. Go to sleep, sleep and although you feel me crying do not wake up —trans. Mary Kate Colbert, Instituto Cervantes.
****** Gaspar Fernández: Eso rigo e repente There is a long tradition of Africans in Mexico, including the area in Guerrero and Oaxaca, where several groups of Africans have made their home since the 1500s. Fernández captures the playful spirit of a group of African Mexicans who are preparing to visit the baby Jesus. There are several mentions of musical instruments and of charming gifts for the baby. Astute readers will notice the “dissing” of Africans from elsewhere—among other less-than-politically-correct sentiments—but it all seems to be in a sporting spirit, for the music if full of powerful joy and enthusiasm. You may be singing “sumbacasu cucumbe” in the shower tomorrow, for this is one catchy chorus! Navidad en México
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Eso rigo e repente. Juro aqui se ni yo siquito. Que aunque nace poco branquito turu somo noso parente. No tenemo branco grande. Tenle primo, tenle calje! Husihe husiha paraçia. Toca negriyo tamboritiyo. Canta parente!
That sudden hardship and repentance: Certainly here I’m not favored. But although the child was born a little white one, we all amount to brothers. We have no fear of the big white one. Come on, cousin, put on your shoes, get dressed! Play, black children, Play the little drum. Sing, brothers and sisters!
Chorus: Sarabanda tenge que tenge, sum bacasu cucumbe. Ese noche branco seremo. O Jesu que risa tenemo! O que risa Santo Tomé!
Chorus: Dance, make noise, have fun. Sumbacasu cucumbe. Tonight we’ll all be white! Oh Jesus, what laughter we have! Oh what laughter, Saint Thomas!
Verse: Vamo negro de Guinea a lo pesebrito sola, no vamo negro de Angola que sa turu negla fea. Queremo que niño vea negro pulizo y galano, que como sa noso hermano tenemo ya fantasia.
Verse: Let’s go, Guinean blacks, to the little manger by ourselves. Don’t let the Angolan blacks go because they’re all ugly blacks. We want the child to see only polished and handsome blacks, such as our brothers, who have fine clothes.
Toca viyano y follia baylaremo alegremente!
Play a Spanish song and gaily dance!
Garantiya legranate yegamo a lo sequitiyo, Manteya rebosico comfit curubacate. Y le curia te faxue la guante camisa Capisayta de frisa canutiyo de Tabaco.
Necklaces of precious stones we bring to the little one, a mantilla and little shawl, candy and dried fruit. And we bring a small sash, gloves, shirt, a little hooded cape made of wool, and a little cane pipe for tobacco.
Toca preso pero beyaco guitarra alegremente! Toca parente:
Play fast but skillfully on the merry guitar. Play, everybody!
Chorus —English translation by Christopher Moroney. Used by permission of World Library Publications, wlpmusic.com.
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Jorge Córdoba Valencia (b. 1953): Las Bienaventuranzas (The Beatitudes) World premiere, commissioned by Chicago a cappella Jorge Córdoba wrote the following about this new piece: Escribí esta pieza tomando en cuenta las palabras de Jesús en el Sermón del Monte del Nuevo Testamento del Santo Evangelio según San Mateo; y que para mí son el reflejo de una convicción personal y también como lo escencial de las enseñanzas de aquel mítico personaje. La sencillez de estas verdades y la constante comprobación de las mismas, fue el impulso que recibí para plasmar un tratamiento musical de estructura abierta, lleno de sorpresas sonoras con la idea de reforzar y abrir otros horizontes sonoros, convergiendo y dirigiéndose éstos, hacia un punto común, que como dice la frase: No existe un solo camino, existe un solo final: Dios. ----------------I wrote this piece considering the words of Jesus in the Sermon on the Mount in the New Testament of the Holy Gospel according to St. Matthew, and that to me is a reflection of a personal conviction as well as the essentials of the teachings of that legendary character. The simplicity of these truths and constant verification thereof, was the impetus for me to shape a musical treatment of open structure, a sound full of surprises with the idea of strengthening and opening sonic horizons, converging and moving them to a common point, as the saying goes: There is only one way, there is only one end: God. The atmospheric mood created by the repeated melodic fragments evokes a soundworld somewhat reminiscent of the composer’s Siete Haiku. We are honored to present this composition in its world premiere. Bienaventurados los pobres de espíritu, porque de ellos es el reino de los cielos. Bienaventurados los que lloran, porque ellos recibirán consolación. Bienaventurados los mansos, porque ellos recibirán la tierra por heredad. Bienaventurados los que tienen hambre y sed de justicia, porque ellos serán saciados. Bienaventurados los misericordiosos, porque ellos alcanzarán misericordia. Bienaventurados los de limpio corazón porque ellos verán a Dios.
Blessed are the poor in spirit, for theirs is the kingdom of heaven. Blessed are those who mourn, for they will be comforted. Blessed are the meek, for they will inherit the earth. Blessed are those who hunger and thirst for righteousness, for they will be filled. Blessed are the merciful, for they will be shown mercy. Blessed are the pure in heart, for they will see God. —Matthew 5:3-12 – The Beatitudes
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Jiménez, arr. Jorge Córdoba: Cabalgata de los Tres Reyes Originally for voice and piano, this vigorous piece has been arranged for us by Jorge Córdoba. The pounding, driving rhythm in the lower voices sets up the mood, which is one of “epic” intensity: as in an epic or heroic story, one must press on despite fatigue, hardship, and disappointment to reach the goal. In this case the goal is the manger in Bethlehem, and the heroes are the three wise men. “Los Tres Reyes” (Jan. 6th or Epiphany) is actually more important in Mexican culture than December 25th; children across Mexico feel about the Three Kings the way kids in the USA do about Santa Claus, for in Mexico all good children are rewarded with gifts from the Three Kings, just as Jesus was given gifts. Lo mejor será subir, Lo mejor será subir Por mil años el azur, azur Por mil años el azur. Mira la estrella lucir véla muy alta brillar. ¡Oigan! ¡Miren! ¡Paren! ¡Arriben! ¡Atraquen!
It is best to go up, It is best to go up For a thousand years the azure sky, For a thousand years the azure Look at the star shine, see the very bright twinkle Listen! Look! Stop! They are arriving! They are tying up their horses! —trans. Mary Kate Colbert, Instituto Cervantes
Juan Gutiérrez de Padilla (1595-1664): Exsultate justi in Domino Gutiérrez was born in Málaga, Spain, and came to Puebla Cathedral in 1620. At the time, Puebla was a more important religious center than Mexico City. He worked tirelessly, leaving more than 700 compositions. This joyous setting of Psalm 33 is a double-choir version in a bright key, reminiscent of the two-choir works of the Gabrielis in Venice. Exsultate, justi, in Domino; rectos decet collaudatio. Confitemini Domino in cithara; in psalterio decem chordarum psallite illi. Cantate ei canticum novum; bene psallite ei in vociferatione. Quia rectum est verbum Domini, et omnia opera ejus in fide. Diligit misericordiam et judicium; misericordia Domini plena est terra. Verbo Domini cæli firmati sunt, et spiritu oris ejus omnis virtus eorum. Congregans sicut in utre aquas maris; ponens in thesauris abyssos. Timeat Dominum omnis terra; ab eo autem commoveantur omnes inhabitantes orbem. Quoniam ipse dixit, et facta sunt; ipse mandavit et creata sunt. Dominus dissipat consilia gentium; 16
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Rejoice in the Lord, you just ones; praise is becoming to the upright. Give praise to the Lord on the harp; on the psaltery of ten strings, sing psalms to him. Sing to him a new song; sing psalms well to him with loud voice. For the word of the Lord is right, and all his works in faith. He loves mercy and judgment; the earth is filled with the mercy of the Lord. The heavens are fixed by the word of the Lord, and all of their power by the spirit of his mouth. Gathering up the sea’s waters as in a vessel; placing the depths in storehouses. Let all the earth fear the Lord; and let all the inhabitants of the sphere be moved (in awe) by him. For he said it, and they were made; he commanded it, and they were created. The Lord scatters the counsel of the
reprobat autem cogitationes populorum, et reprobat consilia principum. Consilium autem Domini in æternum manet; cogitationes cordis ejus in generatione et generationem. Beata gens cujus est Dominus Deus ejus; populus quem elegit in hæreditatem sibi. De cælo respexit Dominus; vidit omnes filios hominum. De præparato habitaculo suo respexit super omnes qui habitant terram : qui finxit sigillatim corda eoru ; qui intelligit omnia opera eorum. Non salvatur rex per multam virtutem, et gigas non salvabitur in multitudine virtutis suæ. Fallax equus ad salutem; in abundantia autem virtutis suæ non salvabitur.
nations; he also reproves the schemes of peoples and the counsel of princes. And the counsel of the Lord remains forever; the thoughts of his heart from generation to generation. Blessed is the nation whose God is the Lord; the people whom he elected for his inheritance. From the heaven the Lord has looked; he saw all the children of men. He has looked from his prepared dwellingplace, above all who inhabit the earth: He who fixed the hearts of them all, who comprehends all their works. Not by many armies is king saved, nor will the giant be saved by his many strengths. A horse is false for safety; and in the abundance of its strength it will not be saved.
Ecce oculi Domini super metuentes eum, et in eis qui sperant super misericordia ejus : ut eruat a morte animas eorum, et alat eos in fame.
Behold, the eyes of the Lord are upon those that fear him, and on those who hope in his mercy; That he might deliver their souls from death, and feed them in famine.
If it’s happening, It’s here.
ART I MUSIC I THEATER I DANCE I SPORTS I MORE
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Anima nostra sustinet Dominum, quoniam adjutor et protector noster est. Quia in eo lætabitur cor nostrum, et in nomine sancto ejus speravimus. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te.
Our souls wait on the Lord, for he is our aid and protector. For our heart will rejoice in him, and we will hope in his name, Let your mercy, Lord, be upon us, as we have hoped in you. —trans. Jonathan Miller
Suggestions for Intermission • Fill out your audience survey and return it to an usher or to the lobby to entered in tonight’s prize drawing for a free CD of your choice! • Bring your survey to our ticket table in the lobby and get a special 2-for-1 deal to our next program in February, Sprit/Breath/Voice! Trad., arr. Rámon Noble: Posada Mexicana This is the traditional music to which Mexicans typically re-enact the scene at the posada, or inn, where Joseph and Mary are trying to find a place to stay. Rámon Noble, one of Mexico’s iconic musical figures, has created a choral setting of the typical melodies that are sung during the festivities. The final movement is sung while whacking at a piñata!
I. Señor ten piedad de nosotros Cristo escúchanos ruega por nosotros Cristo ten piedad de nosotros Cristo óyenos ruega por nosotros Señor ten pieded de nosotros Cristo escúchanos ruega por nosotros Dios hijo Redentor del mundo ruega por nosotros Dios Espiritu Santo ruega por nosotros Santa Trinidad en un solo Dios ruega por nosotros Santa María ruega por nosotros
I. Lord have mercy on us Christ listen to us pray for us Christ have mercy on us Christ hear us pray for us Lord have mercy on us Christ hear us pray for us Son of God, Redeemer of the world pray for us God the Holy Spirit pray for us Holy Trinity in one God prays for us Holy Mary pray for us
II. En nombre del cielo os pido posada, pues no puede andar mi espoda amada
II. In the name of heaven I beg for shelter for she cannot walk my beloved wife
Aquí no es mesón sigan adelante, pues no debo abrir no sea algún tunante
This is not an inn move along, for I won’t open not for some rogue
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Venimos rendidos desde Nazareth, yo soy carpintero, de nombre José No me importa el nombre, déjenme dormir, pues que yo les digo que no hemos de abrir
We arrive exhausted from Nazareth, I am a carpenter, named Joseph I do not care about the name, let me sleep, because I am telling you we do not have to open
Posada te pide, amado casero, por solo una noche la reina del cielo
I ask you for shelter, lord of the house for only one night for the Queen of Heaven
Pues si es una reina quien lo solicita como es que de noche auda tan solita
Well if it is a queen who requests it how is it that at night you walk so alone
Mi eposa es María, es Reina del cielo y madre va a ser del Divino Verbo
My wife is Mary, she is the Queen of Heaven and she’s going to be the mother of the Divine Word
Eres tu José, tu esposa es María, entren peregrinos, no los conocía
Are you Joseph, Your wife is Mary, Come in Pilgrims, I did not recognize you
III. Entren Santos peregrinos, Peregrinos reciban este rincón No de esta pobre morada, Mi morada si no de mi corazón
III. Enter holy pilgrims, Pilgrims, take this corner Not only of this poor dwelling, but of my heart
IV. Andale Juana no te dilates con la canasta de los cacahuntes. Castaña cruda castaña a sadas denle de palos al de la piñata.
IV. Quickly Juana hurry with the peanut basket Raw chestnut, roasted chestnut, give a whack to the piñata.
Dale dale dale no pierdas el tino que si no le dás de un palo te empino. Mide la distancia que hay en el camino que si no le dás de un palo te empino.
Hit it, hit it, hit it don´t miss the target if you don´t give it a whack I’ll set you up straight. Measure the distance that lies ahead if you don´t give it a whack I’ll set you up straight.
V. Vamos pastores vamos a Belén A ver a ese niño que ha nacido en Belén Vamos todos a ver a ese niño que ha
V. Let’s go, shepherds, let us go to Bethlehem To see this child born in Bethlehem Let’s go, everyone, to see the child born in Navidad en México
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nacido en Belén. Ese precioso niño yo me muero por él su padre le acaricia Su madre mira en el y los dos extasiados contemplan aquel ser, Sus ojitos me encantan su boquita también su padre le acaricia Su madre mira en el y los dos extasiados contemplan aquel ser.
Bethlehem. I would die for this precious child says his father caressing him His mother gazes at him and the two ecstatic parents contemplate this being, His eyes are captivating and his mouth is too, coos his father His mother gazes at him the two ecstatic parents marvel at this being. —trans. Mary Kate Colbert, Instituto Cervantes
****** Rocío Sanz (1933-1993): Cinco Villancicos poems: Sor Juan Inéz de la Cruz Born in Costa Rica but spending most of her career in Mexico, Rocío Sanz wrote chamber and orchestral music as well as music for theatre and ballet. This cycle was championed by the Gregg Smith Singers, who recorded it 1995. The villancicos (Christmas songs from villages) employ unusual dialects, including an African variant of Spanish in the fourth movement. The composer shows unusual skill in setting these five poems by Sor Juana Inés de la Cruz (1651-1695), who was a child genius; by age eight, Juana had read everything in her grandfather’s library. She took the nun’s veil at age 16 and soon was serving as accountant and librarian in her convent. However, her real contribution to the world is in her poetry and prose, which is extensive, imaginative, and wide-ranging.
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“¿Adonde váis, zagales?” ¿Adonde váis, zagales? A Belén, a ver maravillas que son par aver. Decidnos, zagales, ¿cómo lo sabéis? En los aires lo cantan los Angeles, los Angeles Con voces sonoras, atended, oíd, oíd:
Where are you going, shepherds? “Where are you going, shepherds?” To Bethlehem, to see marvels to be seen. Tell us, shepherds, how do you know this? The Angels sing it in the air, the angels With resounding voices, pay attention now, listen, listen:
Hoy veréis en un portal la Palabra enmudecida, la Grandeza en pequeñez, la Inmensidad en mantillas
Today you will see in a crèche The Word made silent, Magnitude in the very small, Immensity in swaddling clothes.
De una Estrella nace el Sol, El Marse estrecha a una orilla y una Flor en otra Flor, infante Fruto se anima. Decidnos, zagales, ¿cómo lo sabéis? En los aires lo cantan los Angeles, los Angeles con voces sonoras, oíd: en Belén, en Belén.
The Sun is born from a Star, The Sea reaches the shore And from a Flower, another Flower The infant Fruit comes to life. Tell us shepherds, how do you know this? The Angels sing it in the air, the Angels With resounding voices, listen: To Bethlehem, to Bethlehem.
“Aquella flor del campo” Aquella Flor del campo de azules esplendores nace de una Azucena como un Niño de flores.
That Wildflower That Wildflower Of splendid blue Is born of the Lily Like a flower Child.
Una fecunda Virgen en su arrullo lo acoge por Joya de su pecho y Flor de sus albores.
A fertile Virgin Sings a lullaby; She takes Him as a Jewel to her breast Like a Flower of the dawn.
¡Ay, que el hielo le ofende porque su albor retoque con brinquiños de perlas cuando las llore, enternecido Infante y Dios de los amores!
Oh! The ice offends Him, For the dawn brings the finishing touches To his tears like running pearls as He cries, The tender Infant and God of all love!
“Villancico de los pastorcillos” Unos pastorcillos que al portal llegaron, dijeron al Niño muy enamorados: ¿De dónde venís hermoso Muchacho, que otro como Vos acá no ha llegado?
Christmas Carol of the Little Shepherds Some little shepherds arrived at the crèche, They said to the child very lovingly: Where do you come from, beautiful Child, that no one like you has ever come here before?
Unos pastorcillos que al portal llegaron, dijeron al Niño muy enamorados: Como un corderito nacéis en el campo: A fe que algún día sereís señalado
Some little shepherds arrived at the crèche, They said to the Child very lovingly: As a little lamb you are born in the field: For surely one day you will be famous. Navidad en México
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Unos pastorcillos que al portal llegaron, dijeron al Niño muy enamorados: Niño, no lloreís, dormid por un rato que ese Corazón está desvelado
Some little shepherds arrived at the crèche, They said to the Child very lovingly: Child, don’t cry, sleep for a while; Your heart is restless.
“Villancico de los negritos” ¿Ah, Siñol Andlea? ¿Ah, Siñol Tomé? ¿Tenemo guitarra? Guitarra tenemo. ¿Sabemo tocaya? Tocaya sabemo. ¿Qué me contá? Ve. pué vamo turu a Belén.
Ah, Señor Andrea! Ah, Señor Tomé! Ah, Sir Andrew! Ah, Señor Thomas! Do we have a guitar? We have a guitar. Do we know how to play it? We know how to play it. What do you say? Come along. Well, we are all going to Bethlehem.
y al Niño que sa yoranda cantemo la sala banda. Paléceme ben. y a mí tambén.
And to the Baby that is crying We’ll sing to him the “salabanda”. Sounds good to me And also to me.
“Villancico de las zagalas” Por la espesura de un monte, a lo espacioso del valle, tropas de hermosas zagalas al romper el alba salen.
The Shepherdesses Carol From the wooded hills, To the spacious valley, Groups of beautiful shepherdesses Come out to break the dawn.
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Corren y vuelan festivas en busca de un Sol Infante, y en pasto riles cantiñas trataron de celebrarle:
They run and fly in a festive way In search of the Infant Sun, Through the pastoral countryside They try to celebrate Him:
A lasnue vas que les dió un mancebo como un Angel, corren y vuelan festivas en busca de un Sol Infante.
Of the news that they were given By a young man like an Angel, They run and fly in a festive way In search of the Infant Sun.
¡Mírenlo, mírenlo, que hermoso nace! ¡Tóquenle, tóquenle, cántenle, cántenle, cántenle!
Look at Him, look at Him, how beautifully he is born! Touch Him, touch Him, Sing to Him, sing to Him, sing to Him!
¡Mírenlo hermoso, Flor de los Valles, hágan le amores, cántenle, cántenle, cántenle! ¡Mírenlo, Nieve que Fuego arde tiemplénle el llanto, cántenle, cántenle, cántenle!
See how beautiful He is, Flower of the Valleys! Adore Him, Sing to Him, sing to Him, sing to Him! Look at Him, Snow that burns with Fire; Soothe His cries, Sing to Him, sing to Him, sing to Him!
¡Mírenlo en brazos de Virgen Madre, bríndenle halagos, cántenle, cántenle, cántenle!
See Him in the arms of His Virgin Mother, Sing His praises, Sing to Him, sing to Him, sing to Him!
—Poetry: Sor Juana Inés de la Cruz.
—Translation: Katie Villaseñor. Used by permission from VocalEssence.
****** Blas Galindo (1910-1993): Arrullo This lovely lullaby is by Blas Galindo, who was born in San Gabriel in Jalisco state, of Huichol Indian descent. He began his study of music unusually late in his life, teaching himself organ at 19. He studied clarinet, counterpoint and composition at the Mexico City National Conservatory. He formed the “Grupo de los Cuatro” (Group of The Four) with Ayala Pérez, Salvador Contreras and José Moncayo, with the express purpose of using Mexican instruments and melodies to make Mexican music. In 1941Galindo began studies with Aaron Copland at the Berkshire Music Center on a Rockefeller Grant. In those same years he taught harmony, counterpoint and composition at the National Conservatory of Mexico, before becoming its director, a position he held from 1947 until 1961. This song shows careful use of traditional Mexican elements, such as parallel thirds in the women’s voices at the words “Todos los angelos” and again at “y en su claridad Te cobjara” in the men’s.
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Duérmete mi niña Que la luna ya no tarda Y te va a traer un lucero azul Un cascabel, un cascabel Que en tus manos brille y que música cintile Y para tus sueños todos los anhelos de este mundo de quimeras Del que jamás queremos retornar Duérmete mi niña Que la luna ya no tarda Y en su claridad te cobijara Duérmete ya lindo botón Duérmete mi niña Que velándote en tu cuna Quedara mi amor
Go to sleep my baby The moon won´t be long now And it will bring you a bright blue star A bell, a bell That shines in your hands and that music makes twinkle And for your dreams all desires of this world of chimeras From which we never want to return Go to sleep my baby The moon won´t be long now And in its clarity it shelters you Go to sleep now, cute button Go to sleep my baby Watching over you in your crib Will be my love —trans. Mary Kate Colbert, Instituto Cervantes
Juan García de Zespedes (1619-1678): Convidando esta la noche Born in Mexico, García was an accomplished musician. He studied in Puebla with Juan Gutiérrez de Padilla, whose music closes the first half this program, and succeeded Gutiérrez in 1670 as maestro de capilla of Puebla Cathedral. This is probably García’s best-known piece, a joyous song that has contrasting slow and fast sections. The slow sections are more serious, with lyrics that evoke a traditional image of the newborn infant. The fast sections are marked “Duo guaracha,” indicating a zippy style of music that might typically have instruments playing along (the guaracha is a musical style now closely associated with Cuba). The overall effect is sort of like a hymn alternating with a jam session. Convidando está la noche aquí de músicas varias Al recién nacido infante canten tiernas alabanzas ¡Ay, que me abraso, ay! divino dueño, ay! en la hermosura, ay! de tus ojuelos, ¡ay! ¡Ay, cómo llueven, ay! ciento luceros, ay! rayos de gloria, ay! rayos de fuego, ¡ay! ¡Ay, que la gloria, ay! del portaliño, ay! ya viste rayos, ay! si arroja hielos, ¡ay! ¡Ay, que su madre, ay! como en su espero, ay! mira en su lucencia, ay! sus crecimientos, ¡ay! Alegres cuando festivas unas hermosas zagales Con novedad entonaron 24
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Inviting is the night with many musicians here To the newborn infant they sing tender praise Oh, I am embraced, oh! divine Father, oh! in the beauty, oh! of your eyes, oh! Oh, how they rain down, oh! a hundred constellations, Oh! rays of glory, oh! rays of fire, oh! Oh, the glory, oh! of the manger, Oh! you already saw rays, oh! if they throw ice, oh! Oh, may his mother, oh! like in her mirror, oh! see in his lucency, oh! their growth, oh! Happy when celebrating some lovely young shepherdesses Sang authentically
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juguetes por la guaracha.¡En la guaracha, ay! le festinemos, ay! mientras el niño, ay! se rinde al sueño, ¡ay! ¡Toquen y bailen, ay! porque tenemos, ay! fuego en la nieve, ay! nieve en el fuego, ¡ay! ¡Pero el chicote, ay! a un mismo tiempo, ay! llora y se ríe, ay! qué dos extremos, ¡ay! ¡Paz a los hombres, ay! dan de los cielos, ay! a Dios las gracias, ay! porque callemos, ¡ay! —Reprinted with permission by Sony/ATV
verses for the guaracha. In the guaracha song, oh! we celebrate Him, oh! while the child, oh! yields to sleep, oh! They play and they dance, oh! because we have, oh! fire in the snow, oh! snow in the fire, oh! But the strong boy oh! all at once, oh! cries and laughs, oh! what two extremes, oh! Peace to mankind oh! is given from heaven, oh! thanks to God, oh! because we shut up, oh! —trans. Mary Kate Colbert, Instituto Cervantes
T H A N K YO U Chris Baer Ann Meier Baker, Chorus America Elbio Barilari, Latino Music Festival Philip Brunelle, VocalEssence Mary Kate Colbert, Instituto Cervantes Fourth Presbyterian Church: John Sherer Enid Frandzel Joyce Grenis & Mike Koen Bill Hoban Beatriz Margáin, Consulate General of Mexico Kimberly Meisten, VocalEssence Merit School of Music: Tom Bracy, Brian Gordon Music Institute of Chicago: Fiona Queen, Jared Scott North Central College: Ken Hannah Pedro Ortiz David Perlman Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler Eden Sabala, Rockefeller Chapel Scott Silberstein, HMS Media Maria Suarez Carlos Totolero, National Museum of Mexican Art Jon Washburn, Vancouver Chamber Choir Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff. For information visit www.saintschicago.org or call 773-529-5510.
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Chicago a cappella Youth Programs Chicago a cappella’s Educational Outreach programs aim to serve singers and students of all ages and levels of experience, promoting and improving the lifelong performance, understanding, and appreciation of a cappella vocal music.
Current programs include: • The Youth Choral Festival, a day of workshops, singing, and performing for area high school ensembles. The students work with Chicago a cappella’s artists, and the festival culminates in a concert featuring all the groups and Chicago a cappella. The second annual Youth Choral Festival will be held on Saturday, March 9, 2013, at First Unitarian Church in Chicago’s Hyde Park neighborhood, with the concert finale at Rockefeller Chapel. • High School Internship Program, a unique and innovative program giving talented high school students access to professional musicians, directors and arts administrators in a broad range of settings. In 2012-13 eight talented and motivated students are serving as Chicago a cappella High School Interns, gaining skills gaining skills to further their musical ambitions, including how to rehearse collaboratively, how to sing at a high level in a small a cappella ensemble, and how such activities are supported behind the scene by a nonprofit organization.
How you can be involved: • Help us identify corporate and business partners to support these projects. • Spread the word to schools and community organizations who may be interested in working with us. • Use the envelope in this program to make your own gift today! Your contribution will not only support our education programming. It will also nourish innovative new concerts and world-class CD recordings, and help establish an ever-stronger financial base for our future. For more information about our education programs, contact Susan Schober at email@example.com. For sponsorship opportunities, contact Matt Greenberg at firstname.lastname@example.org or 773-281-7820.
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C H I C AG O A C A P P E L L A A R T I S T R O S T E R 2 012 -13 Jonathan Miller....................................................................................................................... Artistic Director Jorge Córdoba Valencia..................................................................Music Director, Navidad en México William Chin........................................................................................ Music Director, Spirit/Breath/Voice John William Trotter....................................... Music Director, The A Cappella American Songbook Klaus Georg.................................................................................................. tenor (Genius; Navidad; Spirit) Matt Greenberg......................................................................................bass (Navidad; Spirit; Songbook) Elizabeth Grizzell........................................................................................................ mezzo (entire season) Garrett Johannsen...............................................................................tenor (Navidad; Spirit; Songbook) Kathryn Kamp.................................................................................. soprano (Navidad; Spirit; Songbook) Alexia Kruger...........................................................................................soprano (Genius; Navidad; Spirit) Joe Labozetta....................................................................................... bass (Genius; Navidad; Songbook) Cary Lovett............................................................................................................................ tenor (Songbook) Trevor Mitchell............................................................................................................................ tenor (Genius) Cari Plachy............................................................................................soprano (Genius; Spirit; Songbook) Emily Price..................................................................................................................................... mezzo (Spirit) Benjamin Rivera............................................................................................ bass (Genius; Navidad; Spirit) Susan Schober.................................................................................mezzo (Genius; Navidad; Songbook) Brian Streem............................................................................................... bass (Genius; Spirit; Songbook)
BIOGR APHIES Jonathan Miller, Founder and Artistic Director Since founding Chicago a cappella in 1993, Jonathan Miller has guided the ensemble through more than 130 concerts, seven commercial CD releases, and thirty choral-music demo CDs. His international accolades include the 2008 Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America. His skills at presenting a wide spectrum of music are a combined product of his singer’s ear, scholar’s training, and composer’s temperament. He was fortunate to be exposed at an early age to a wide range of music by a remarkable group of mentors, including Christopher Moore, Lena McLin, Max Janowski, Joseph Brewer, Howard Mayer Brown, Richard Proulx, John Nygro, and Anne Heider. He was a founding member of His Majestie’s Clerkes (now Bella Voce) and for ten years was bass soloist with the Harwood Early Music Ensemble. Eager to learn research tools for repertoire, Jonathan pursued musicology, earning his doctorate at UNC-Chapel Hill while remaining an active performer. Since returning to the Chicago area, Jonathan has expanded his
role as a conductor and composer. He has led the volunteer choir at Unity Temple and Heritage Chorale in Oak Park and has served several other choirs as clinician and coach. He has written more than fifty choral works in a variety of genres and languages; his music has been sung at venues including St. Patrick’s Cathedral in New York City and the Pentagon. He conducted his piece The Lincoln Memorial at the Lincoln Memorial on the 200th anniversary weekend of Lincoln’s birth. Since 1998, Jonathan has taken a growing leadership role in Chicago-area Jewish music, leading the high-holiday choir and occasional Kabbalat Shabbat services at Congregation Rodfei Zedek in Hyde Park; he now serves there as high-holiday cantor. He is principal guest conductor of Kol Zimrah, the Jewish Community Chorus of Metro Chicago, and holds as a great honor his role as publisher of the late Max Janowski’s catalogue. Jonathan enjoys the blessings of family and neighbors in the woods of Downers Grove, where he loves helping to maintain two shared vegetable gardens.
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Jorge Córdoba Valencia, Music Director Composer and conductor Jorge Córdoba did most of his musical studies at Mexico City’s National Conservatory, with later work in Composition and Direction in Spain, Brazil, the Dominican Republic, the U.S., and Hungary. He has received various awards, including the Bartók Recognition Award and the Kodaly Medal (both issued by the Hungarian government) and First Place honors in the 4th and 5th annual National Choral Composition Contests (in 2003 and 2005, respectively), as well as First Place in the 7th annual National Composition Contests for Children’s Choruses, held in 2006. He has participated in the World Music Days celebrated in Romania (1999), Ljubljana, Slovenia (2003), Croatia (2005), and Hong Kong (2007). In 2002, his work The Divine Image was commissioned for, and performed at, the 6th World Symposium of Choral Music, held in Minneapolis. Córdoba conducted the string orchestra of the Kuronoma Academy of Mexico City in some of his own pieces. During a tour of Japan in 2005. In 2006, he obtained a residency in the Visby International Composers’ Center in Gottland, Sweden, and in October of this same year he attended the 21st Annual Festival of Havana, Cuba, as a conductor, composer, and lecturer. In 2007 he was a participant in Mexico City’s International Forum for New Music. His music was performed by the Vancouver Chamber Choir (conducted by Jon Washburn) during this ensemble’s “Music of the Americas” Canadian tour. Córdoba was also a composer and lecturer in the América Cantat Festival, celebrated in Havana, Cuba. He was one of the featured composers within New York City’s North/South Consonance Cinco de Mayo Celebration, with Houston’s Schola Cantorum, conducted by Doborah King. In Panama, he offered workshops and lectures in the International Caribbean and Central-American Choral Festival. He also was invited to participate with his cantata La esperanza es nuestra (Hope is Ours) in the 28
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inaugural concert of the Universal Cultural Forum of 2007, held in Monterrey, Mexico. Since 2001, Jorge Córdoba has coordinated and directed the radio program entitled Horizontes de Nuestra Música (Horizons of Our Music), transmitted in Mexico by the Opus 94 Radio Station (94.5-FM). Klaus Georg, tenor In his second year with Chicago a cappella, Klaus Georg is an active tenor, conductor, and teacher in the Chicago area. He is currently Adjunct Professor of Voice at Carthage College while pursuing doctoral studies at Northwestern University. Klaus has performed leading tenor roles in Mozart’s Zauberflöte, Poulenc’s Dialogues des Carmelites, Loesser’s The Most Happy Fella, and Hoiby’s Summer and Smoke, as well as the tenor solos in Mozart’s Requiem, Händel’s Messiah, Haydn’s Creation, and Brahms’s Zigeunerlieder. Recently, he appeared as the tenor soloist in Mozart’s Requiem at the Music Institute of Chicago and as Chibiabos in Coleridge-Taylor’s Hiawatha’s Wedding Feast in Park Ridge. An accomplished choral singer, Klaus sings with the CSO Chorus and Music of the Baroque, and has appeared as a soloist with both groups. He also sings with the Grant Park Music Festival and is chorus director at Beth Emet the Free Synagogue. Matt Greenberg, bass Matt Greenberg has appeared frequently on Chicago’s concert and theater stages, singing everything from Bach to Broadway. His solo appearances include Bach’s St. Matthew Passion, Mozart’s Requiem, and an evening of Rodgers and Hammerstein. Matt is a longtime member of the Grant Park Chorus and sang for over 20 years with the Chicago Symphony Chorus, where he made over a dozen solo or small ensemble appearances. A founding member of Chicago a cappella, he has also performed with Music of the Baroque, William Ferris
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Chorale, and the Harwood Early Music Ensemble. Matt’s work in musical theater includes the Jeff-award winning Sylvia’s Real Good Advice, Hot Mikado, and appearances at Light Opera Works and Wisdom Bridge. He has also appeared with the pop quintet Table For Five. Combining his performing with a career in arts administration, Matt is Chicago a cappella’s Executive Director. Elizabeth Grizzell, mezzo Mezzo-soprano Elizabeth Grizzell has performed with groups both in Chicago and abroad. She has appeared as soloist with the Tunbridge Wells Opera, the Marlow Choral Society, and the Wooburn Singers of England. As a member of the Chicago Symphony Chorus, she has recorded the role of Apprentice with the late Sir Georg Solti and the Chicago Symphony Orchestra in Wagner’s Die Meistersinger. Betsy is also a member of the Grant Park Chorus, and records regularly as a soloist for GIA Publications. She holds a Bachelor of Music degree with a vocal emphasis from DePaul University. This will be Betsy’s 12th season with Chicago a cappella. She is proud to be programming this year’s All About the Women concert, and she previously programmed the ensemble’s 2009 concert, The Birds and the Bees. Of special note is her Betsy’s MusiKids program, a musical education experience designed for children ages 16 months to 9 years old. Her studio in Naperville introduces more than 100 children each year to the fun and beauty of music. Find her on Facebook at “Betsy’s MusiKids”, or at www.grizzell.com. Garrett Johannsen, tenor Garrett Johannsen grew up in Schiller Park, IL. He started singing shortly after learning to play the trumpet at Kennedy School. Garrett decided to take private voice lessons at East Leyden High School which led him to study voice at
Roosevelt University. Beyond Roosevelt, he has performed with the Chicago Symphony Chorus, Grant Park Chorus, William Ferris Chorale, Bella Voce, and Lyric Opera Chorus. Garrett has branched out of the city limits to work with Chorus Angelorum in Indiana, Opera for the Young in Wisconsin, and Sarasota Opera in Florida, and to participate in a week-long workshop with the a cappella group Chanticleer in California. He hopes in the near future to continue traveling nationally to share his love of singing opera and Broadway music. One of his favorite moments to date is an invitation to sing the National Anthem for his family’s favorite sports team, the Chicago White Sox…..four times. Kathryn Kamp, soprano A mix of opera, operetta, and musical theater productions as well as oratorio, concert, and choral engagements keeps Kathryn busy when she’s not singing
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with Chicago a cappella. She has appeared as soloist at the Ravinia Festival, Orchestra Hall at Chicago Symphony Center, Grant Park Music Festival, the Peninsula Music Festival, and Bach Dancing and Dynamite Society, among others. Favorite works include Mozart Requiem; Haydn Creation and Dixit Dominus; Handel (Messiah); Poulenc (Gloria) and Brahms (Requiem); Mozart’s Despina (Cosi fan tutte); many Gilbert and Sullivan ingénues (Patience, Rose Maybud, Yum-Yum and Mabel); and anything by Steven Sondheim (especially Anne Egerman and Mrs. Segstrom of A Little Night Music). She has also directed over 15 opera and operetta productions. Free time is spent in the garden, on a bike, cooking, reading, and hanging out with her husband. She always looks forward to the unique vocal demands and wonderful colleagues of Chicago a cappella. Alexia Kruger, soprano Alexia Kruger enjoys performing a wide variety of music from the stage to the recital hall. A member of the Chicago Symphony Chorus and the Grant Park Chorus, Alexia has also been a soloist with such groups as the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), Chicago Sinfonietta at the Shedd and at Joffrey, Mantra Blue Free Orchestra, the Valparaiso University Symphony Orchestra (R. Strauss Beim Schlafengehen and Im Abendrot), and the University of Illinois Percussion Ensemble (Stravinsky’s Les Noces). She loves art song as well and has given recitals at such venues as the Chicago Cultural Center, Fourth Presbyterian Church, and several locations with VOX 3. Past roles have included Susanna and Contessa dAlmaviva (Le Nozze di Figaro), Giulietta (Les Contes dHoffmann), the title role in Suor Angelica, Lola (Gallantry), and Eve (Children of Eden). She is very excited to sing with Chicago a cappella this season!
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Joe Labozetta, bass Hailing from Northern California, Joe Labozetta moved to Chicago in 2003 to further his musical studies at DePaul University’s School of Music. After finishing a degree in Sound Recording Technology, he quickly immersed himself into a full-time career as a professional musician. Joe currently holds the position of Director of Music at St. Josaphat Church, where he is kept busy with choirs, pipe organs, handbells and composing hymnody. His local choral activities have included Chicago Symphony Chorus, Grant Park Chorus, Bella Voce, and the William Ferris Chorale. Joe is also an award-winning baritone soloist, notably at the International Choral Kathaumixw in Powell River, B.C., Canada. Additionally, as an accomplished keyboardist, guitarist and bassist, Joe performs in venues other than churches and concert halls. In fact, Labozetta sightings have been reported in dive bars, hotel lounges and almost-but-notyet foreclosed recording studios. Benjamin Rivera, bass Bass-baritone Benjamin Rivera appears often as a concert and oratorio soloist. Recent appearances include performances of Bach’s St. John Passion, several Haydn Masses and a local premiere of a song cycle for baritone and instrumental sextet by Stacy Garrop. He is a longtime member of the Chicago Symphony Chorus, where he served in the position of section leader for several seasons. Benjamin also sings with the Grant Park Chorus during the summer. He recently completed his tenth season as conductor of the Chicago-area chamber choir Cantate, with whom he performs a wide range of mainly a cappella music. Benjamin holds the Master of Music degree in Music Theory from Roosevelt University and recently left a teaching position at St. Xavier University to pursue doctoral studies in conducting at Northwestern University.
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Susan Schober, mezzo Susan Schober is a founding member of Chicago a cappella. A native Chicagoan, she sang for nine years with the Chicago Children’s Choir, and has performed a wide variety of solo and choral music with Chicago-area ensembles. Most recently, she was a soloist at the 23rd International Kodály Festival in Kecskemét, Hungary. In addition to solo and choral music, Susan has performed leading roles in several theatrical
productions, including Puccini’s Gianni Schicchi, Britten’s Albert Herring, Herman’s La Cage Aux Folles, and Sullivan’s Utopia Limited. Susan received her bachelor’s degree from Northwestern University and a master’s degree in Music Education from Holy Names University in Oakland, CA. She is an accomplished music educator, specializing in the Kodály Method. She has taught students at every level, from preschool to graduate level teacher training. Susan loves both singing and teaching, but her favorite job is being a new mom to twins Katherine and Andrew.
DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between July 1, 2011 and November, 1, 2012. We regret that we are unable to list the many thoughtful contributors who made gifts under $50. If this list contains an error, please accept our apologies and kindly let us know so that we may correct it.
INSTITUTIONAL CONTRIBUTORS FOUNDATION SUPPORTERS Arts Work Fund for Organizational Development Dr. Scholl Foundation Elizabeth F. Cheney Foundation The Gaylord and Dorothy Donnelley Foundation John D. and Catherine T. MacArthur Foundation’s International Connections Fund Klaff Family Foundation The MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation Richard H. Driehaus Foundation
GOVERNMENT SUPPORTERS Illinois Arts Council City of Chicago Dept. of Cultural Affairs and Special Events Oak Park Area Arts Council MEDIA SPONSORS 98.7 WFMT (Spirit/Breath/ Voice) Chicago Jewish News (Days of Awe; Genius) JUF News (Genius) Naperville Sun (concerts at Wentz Hall, Naperville)
CORPORATE SUPPORT, MATCHING GIFTS, AND OTHER SUPPORT AT&T Foundation AV Chicago Bank of America First Bank and Trust Evanston Homestead Hotel House Red Vinoteca Hyde Park Bank JP Morgan Chase Foundation Macy’s Foundation North Shore Community Bank
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UPCOMING CONCERTS NAVIDAD EN MÉXICO A special repeat performance of this concert in the Little Village neighborhood, celebrating El Día de Reyes (Epiphany) with Chicago’s vibrant Mexican-American community. Saturday, Jan. 5, 8:00 pm St. Agnes of Bohemia Church 2651 S. Central Park Ave.
SPIRIT/BREATH/VOICE An inspiring concert about generosity, peace, and joy, with music ranging from a Renaissance Mass to Shaker tunes and new works. Chicago Saturday, Feb. 9, 8:00 pm Rockefeller Memorial Chapel
Evanston Friday, Feb. 15, 8:00 pm Nichols Concert Hall
Oak Park Sunday, Feb. 10, 4:00 pm Pilgrim Congregational Church
Naperville Sunday, Feb. 17, 4:00 pm Wentz Concert Hall
THE A CAPPELLA AMERICAN SONGBOOK Charming and witty classics by Gershwin, Porter, Berlin, and others in new a cappella adaptations. Evanston Saturday, April 20, 8:00 pm Nichols Concert Hall
Naperville Friday, April 26, 8:00 pm Wentz Concert Hall
Oak Park Sunday, April 21, 4:00 pm Pilgrim Congregational Church
Chicago Sunday, April 28, 7:30 pm Reva and David Logan Center for the Arts
SH-BOOM: An A Cappella Evening of Doo-Wop Classics Our gala benefit features the great harmonies of doo-wop favorites and celebrates our Tribute Award honoree, the Chicago Children’s Choir. Thursday May 23, 7:00pm Salvage One 1840 W. Hubbard St., Chicago Tickets and information: chicagoacappella.org or (773) 281-7820 32
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INDIVIDUAL CONTRIBUTORS Special thanks to Chicago a cappellaâ€™s Board of Directors for their impressive commitment and a 50% increase in their contributions this year. UNDERWRITER ($10,000 or more) Estate of Helen Asher Special gift in memory of Florine M. Tippett, by her daughter, Joyce Tippett Grenis Hyslop Shannon Foundation ARCHANGEL ($2,500 or more) Joyce Grenis and Michael Koen Murray Kopelow and Cathy Bachman Howard and Jane Hush Kenneth Schug ANGEL ($1,000 or more) Claudia and Timothy Divis Michelle Eppley Bill and Jeanetta Flowers Helen Gagel Ann Hicks and Lawrence Hamilton Jay and Jackie Lauderdale Leslie Lauderdale Bob and Fleury Linn LoPrete Family Foundation Alice and David Osberg David and Carole Perlman Priscilla and Steve Shaw Maria Suarez BENEFACTOR ($500 or more) Bonnie Benson Marguerite Bloch Alex and Rosemary Cudzewicz Marina Gilman Tim Goodsell Joan and Guy Gunzberg Hank and Becky Hartman Terri Hemmert Tom and Margaret Huyck Douglas and Christine Kelner Lindy Lauderdale, in honor of Leslie Lauderdale Ronna Lerner In recognition of educational outreach programs
Linda Mast and Bard Schatzman Mary Miller Nora Bergman Fund Ken Novak Carolyn Sacksteder Lisa Scott Susan and Jason Schober Bette Sikes and Joan Pederson Sallie and Mark Smylie Ann Stevens Frank Villella Joanne Whitmore Duain Wolfe SPONSOR ($250 or more) Anonymous Robert Alpaugh and Rob Waters in honor of Joan Gunzberg Barbara and Harvey Dershin Five K. Family Fund at The Chicago Community Trust Sanford Greenberg and Betsy Perdue Sandra Gold Don and Joanna Gwinn Anne Heider and Steve Warner Charles Katzenmeyer Dan and Cari Levin Jim and Lois Hobart Sandi and Mike Miller Robert and Lois Moeller Vreni Naess Drs. Donald and Mary Ellen Newsom Camilla Nielsen Dale and Donna Prest Marlene Richman Tom and Linda Spring Heather Steans Geri Sztuk Lance and Stephanie Wilkening PATRON ($100 or more) Tom Andrews Wendy Anker and Edward Reed Susan Beal Vivian Beckford
Norm and Mary Jo Bowers Ioanna and Robert Chaney Judy Chernick Ed and Barbara Collins in honor of John Vorrasi Laura and Gary Cooper Rosemary Corrigan Susan Eleuterio Ron & Judy Eshleman Anne Evans Jerry and Sue Falcon Sherry and Richard Frenzel in honor of Joan Gunzberg Howard and Judy Gilbert Marvin and Muriel Glick Edmund Gronkiewicz Judith Grubner and Craig Jobson Margo Lynn Hablutzel Robert Harris Ann Hewitt Munn and Bonnie Heydorn Troy Huber Jean and Lester Hunt Michael and Kathleen Johnston Dr. Perry and Elena Kamel Susan Kamp Rae Kendrick John and Karen Kruger Helen and John Lauderdale Barbara and Martin Letscher Joan Levin Jay Lytle Mary and Steven Magnani Jennifer Marling Kristi McGonagle-French and Paul French Cheryl and Tom McRoberts Glenn and Sandy Meade Andrew Micheli Jonathan Miller and Sandra Siegel Miller Nancy Mulcahu in honor of John Vorrasi Cathy and Paul Newport John and Vicky Pickett Larry and Judy Pitts John and Gail Polles Jane Ann Prest Doris Roskin Navidad en MĂŠxico
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Penelope Sachs in honor of Joan Gunzberg Jennifer and Warren Schultz Laura Smith Julius and Alice Solomon Jeni and David Spinney in honor of Bob and Fleury Linn Eileen Sutter Kris Swanson David and Mari Terman Dave and Carolyn Utech Barbara Volin John Vorrasi In memory of Dr. Joan M. Ferris Gary and Beth Wainer Shirlene Ward and Kevin Kipp Bob and Sue Wieseneck Virginia Witucke FRIEND ($50 or more) Anonymous David and Patricia Agnew Gary Agrest Diane Altkorn Frank Brockway and Mimi Brile
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Rona and Ralph Brown in honor of Ronna Lerner Arlene Bunis Ruth Crippen Deb Cullen Bernhard and Roslyn Ebstein in honor of John Vorrasi Jane and Joel Erkenswick Norma Felbinger Gail Schaefer Fu Valerie and Stephen Garry Evelyn Gaudutis Irene Hansen Carolyn Hayes Andy and Junia Hedberg Kathleen Higgins Charles Hoffman and Tamara Schiller Valerie Humowiecki John and Martha Jurecko Linda Kaplan Lorraine Kaplan Ivan and Jasna Lappin Carol Lounsbury
Elene Cafasso Mahnken in honor of Michelle Eppley Scott and Kelly McCleary Patrice Michaels and Jim Ginsburg Carol Mullins Belverd and Marian Needles Richard and Cindy Pardo The Rembrandt Chamber Players, Inc. Shirley Ronan Dennis and Patricia Smith Barbara Steffensen in honor of Dan McDaniel Gene and Mindy Stein Terrill L. Stumpf Juan J. Suarez Bernard Szeszol Nancy Ellen Tauchman William Wallace John Washburn Robert and Barbara Wichmann Scott Williamson Robert Wolff
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SUSTAINING DONORS By joining our Sustaining Donor program, the following individuals support the work of Chicago a cappella while reducing our fundraising costs and saving resources. Sustaining donors choose the level and frequency of their automatic payment, and receive the benefits of annual tax deductions without the hassle of writing checks. For more information, see the envelope in this program, visit our website, or call (773) 281-7820. A huge thank you to our Sustaining Donors: Susan Beal Frank Brockway Norma Felbinger Patrice Michaels and Jim Ginsburg Sanford Greenberg & Betsy Perdue Ann Hewitt
Jean & Lester Hunt Tom and Margaret Huyck Doug & Christine Kelner Vreni Naess Donald & Mary Ellen Newsom Ken Novak Alice & David Osberg David & Carole Perlman
Carolyn Sacksteder Warren & Jennifer Schultz Tom & Linda Spring Ann Stevens David & Carolyn Utech Frank Villella Shirlene Ward & Kevin Kipp
MEET THE CHALLENGE
Chicago a cappella has an important challenge grant opportunity right now: if we can increase giving from individuals by $25,000 this year, a family foundation has pledged to match it with an additional $25,000. That means new and increased gifts from new donors like you will be doubled! Ticket sales only cover a portion of our costsâ€Ś in fact, more than 1/3 of our operating budget comes from friends like you who value what Chicago a cappella brings to your own life and to the community. Your gift will support newly commissioned works, exciting new musical programs, and educational programming such as our expanding High School Internship Program and Youth Choral Festival. Our Board of Directors is leading the way with a 50% increase in their contributions this year. Please join them to help us meet this challenge, so that Chicago a cappella can increase our impact, widen our reach, and set the stage for a thrilling future. Use the envelope in this program or donate online at chicagoacappella.org. Thank You! Navidad en MĂŠxico
I N - K I N D C O N T R I B U T I O N S ( S I N C E JA N UA R Y 1, 2 012 ) 93.1 WXRT About Face Theatre Adler Planetarium The Ambassador Hotel Arlington Park AV Chicago Avanti Skin Center ofChicago Bella Voce Blue Man Group – Chicago Hoss Brock Cambridge Suites Hotel Toronto Cedille Records Chicago Architecture Foundation Chicago Blackhawks Chicago Botanic Garden Chicago Chamber Musicians Chicago Dramatists Chicago Filmmakers Chicago Gay Men’s Chorus Chicago History Museum Chicago Human Rhythm Project Chicago Opera Theater Chicago Shakespeare Theater Chicago Sinfonietta Chicago Sky Chicago Symphony Orchestra Chicago Zoological Society City Lit Theater Company The Comedy Sportz Theatre Court Theatre DePaul Merle Reskin Theatre Devon Seafood Grill The Dance Center of Columbia College East Bank Club Eclipse Theatre Company Emerald City Theatre
Chicago a cappella
Enerpace, Inc. Executive and Personal Coaching Facets/Facets Children’s Programs Norma Felbinger Fox Valley Repertory The French Pastry School Fulcrum Point New Music Project Gabriel’s Restaurant Gene Siskel Film Center Gethsemane Garden Center Jennifer Girard Goodman Theatre Grant Park Music Festival Gymboree Corporation Harris Theater for Music and Dance Hedwig Dances Terri Hemmert Munn Heydorn Homestead Hotel Hotel Felix House Red Howl at the Moon J&L Catering Jaks Tap Restaurant and Bar Brian Jordan, Chicago White Sox Kingston Mines Leslie Lauderdale Le Cordon Bleu College of Culinary Arts in Chicago The Leigh Gallery Dan Lerner, Crosstown Productions Lifeline Theatre Light Opera Works Lulu’s Restaurant Mamma Mia! Broadway Marriott Lincolnshire Medieval Times Metropolis Performing Arts Center Michael Kors
The Morton Arboretum Museum of Science and Industry Music Box Theatre Music of the Baroque Next Theatre Company Northeastern Illinois University Northlight Theatre Oak Park Festival Theatre Orion Ensemble Porter Airlines Ravinia Festival The Redhead Piano Bar Shedd Aquarium Norbert Shimkus Shiraleah Shure Skylight Music Theatre Southwest Airlines Swedish American Museum Brian Streem Lindsay Streem Maria Suarez Swedish Bakery TimeLine Theatre Company Trader Joes TRU Twisted Lizard Urban Oasis Victory Gardens Theater The William Ferris Chorale Winestyles in downtown Evanston Cheryl Wollin Writers’ Theatre Zanies Comedy Nite Club