Wednesday, April 26, 2017 • 8:00 p.m.

Wind Ensemble Cliff Colnot, conductor Stephen Balderston, cello

DePaul Concert Hall 800 West Belden Avenue • Chicago Wednesday, April 26, 2017 • 8:00 p.m. DePaul Concert Hall Wind Ensemble Cliff Colnot, conductor Stephen Balderston, cello

Program Edgard Varèse (1883-1965) Octandre (1923) Assez Lent Très vif et nerveux Grave – Animé et Jubilatoire

Franz Joseph Haydn (1732-1809); arr. Cliff Colnot Cello Concerto in C Major, VIIb/1 (ca. 1761–5; arr. 2017) (World Premiere) Moderato Adagio Finale: Allegro Molto

Stephen Balderston, cello Wind Ensemble • April 26, 2017 Program Notes Edgard Varèse (1883-1965) Octandre (1923) Duration: 8 minutes Throughout his career, Edgard Varèse displayed a keen interest in the potential impact of new ideas and technologies on music. Composed in 1923, Varèse’s Octandre was premiered in 1924 on a concert organized by the International Composers’ Guild in New York. Octandre is one of a handful of influential pieces composed by Varèse during the 1920’s and 1930’s. This concise piece provides a crystalline example of many of his innovative aesthetic and technical concerns during this time. The distinctive instrumentation and timbral palette of this piece reflects Varèse’s unique concept of sound, focused on an extremely direct approach to tone production that is particularly well suited to the bright, dry timbres of the winds and brass. Varèse further defines the distinctive colors of the piece through a variety of techniques such as percussive flutter-tonguing, use of brassy (cuivré) tone color in the horn, mutes in all of the brass, and use of extreme high and low registers in all of the instruments.

Structured in three brief movements, this piece clearly illustrates Varèse’s innovative approach to form. The overall scheme of the movements is a slow/fast/slow-fast pattern that eschews the traditional fast-slow-fast scheme typical of classically oriented three-movement works. The boundaries among the three movements are also obscured by the high degree to which they share closely related materials.

At the outset of the first movement, a line played by the solo oboe illustrates an economy of means that is characteristic of Varèse’s style. This opening line initiates a principle idea that is used throughout the work, based largely upon a four-note pitch cell. The repetitive, yet subtly varied presentation of this cell is typical of the relatively static approach to material that Varèse uses throughout the work. Movement I is structured in Wind Ensemble • April 26, 2017 Program Notes three major sections. Beginning with the distinctive oboe solo, Varèse rapidly fills out the entire chromatic pitch-space of the piece and introduces all of the instruments in the ensemble. A brief transition played by the bassoon descends into a lower register and initiates a second section that forms the torso of the movement. This section is based largely upon a second important motive, repetitive blocks of sound that are juxtaposed and subjected to rhythmic variations. These blocks are typical of Varèse’s concept of ‘sound mass,’ musical ideas consisting of multiple similar elements that are characterized by a particular gesture, dynamic, color, etc. The movement closes with a return of the solo oboe, this time playing in a higher register.

As in the first movement, the very brief second movement opens with another solo, this time the piccolo playing in its distinctive lower register. Presented together with punctual gestures in the rest of the ensemble, this solo provides a backbone for the first part of this section. Following a brief grand pause, the movement once again focuses on block-like ‘sound-masses,’ characterized by wide leaps and repeated notes. The leaps, in particular, provide a strong link between this material and the linear idea presented in the opening oboe solo at the beginning of the piece. Rather than relying on a more traditional notion of a linear unfolding of form, Varèse uses non-linear juxtapositions of these ‘sound-masses’ as a fundamental approach to building form.

The third movement provides a summation of the two principle materials used in the first and second movements. Beginning once again with solo lines, this time played by the bassoon and bass, this linear strand plays a greater role in this movement than in the first and second. As it continues, it is layered with ‘sound-mass’ blocks, creating a synthesis of the two principle ideas used in the first two movements. Connections between the movements are further underscored by the return of the solos in the oboe and piccolo, each presenting variants of the Wind Ensemble • April 26, 2017 Program Notes material they played earlier in the piece, this time combined with other instruments, such as the E-flat clarinet and bassoon, among others. The movement culminates with an extended presentation of the opening melodic material in the upper register of the trumpet combined with repetitive ‘sound-masses’ played by all of the other instruments. The relative stasis and clarity of this moment gives way to a brilliant final presentation of ornamented leaping material in the piccolo, E-flat clarinet and brass instruments that combines elements of both of the original motivic ideas, and brings the piece to a climactic close.

Notes by Christopher Wendell Jones.

Franz Joseph Haydn (1732-1809); arr. Cliff Colnot Cello Concerto No. 1 in C Major, Hob. VIIb/1, (ca. 1761–5) Duration: 25 minutes Franz Joseph Haydn composed the Cello Concerto No. 1 in C Major Hob. VIIb/1 sometime during his first four years of work for the Esterházy family. This wealthy royal family maintained an orchestra, and Haydn was expected to conduct and compose new works for the musicians. Haydn listed the concerto in a catalogue of his works that he created during his lifetime, but the music was lost for two hundred years. An archivist found it in the collection of the Czech National Library in Prague in 1961. Since its discovery, it’s become an important part of Classical era repertory for solo cello. The form of this concerto more closely resembles Baroque concerti than later Classical era concerti such as those by Mozart.

Haydn originally composed this concerto for Joseph Franz Weigl, the principal cellist of the Esterházy orchestra. Haydn and Weigl were likely good friends. Haydn was godfather to Weigl’s son, Joseph, who went on to become a composer in his own right. Haydn’s virtuosic writing for cello in both his early symphonies and this concerto suggests that he respected Weigl’s abilities as a performer. In this concerto, Haydn writes passages in the cello’s Wind Ensemble • April 26, 2017 Program Notes high range that abruptly jump to the instrument’s lower ranges. In the slower movements, he composed singing melodies that contrast with more florid sections of rapid notes. The faster third movement has highly technical passages that make virtuosic demands on the cellist. Two cadenzas that come at the end of the first and second movements offered an opportunity for the solo cellist to improvise an ornamental passage that demonstrates the range of their virtuosity.

Haydn composed the accompaniment for a small orchestra of strings with a pair of oboes and a pair of horns. Cliff Colnot has arranged the orchestral parts for a woodwind ensemble. Transcribing and arranging orchestral works for wind band has a long tradition in European art music. During Haydn’s lifetime, conductors arranged popular orchestral and operatic works for harmoniemusik – small wind bands – that were typically employed by wealthy households to provide entertainment. Maestro Colnot reimagines the orchestral accompaniment using instrumentation that was not available to Haydn. He uses, for example, contemporary instruments like alto flute and bass clarinets to achieve subtle tone colors. His orchestration retains the pair of oboes, but English horn and bassoon fill in for the two horns. Flute and clarinets replace violins, and the alto flute plays lines that Haydn composed for violas. The bass clarinets play the cello and bass parts.

Notes by Katherine Brucher. Wind Ensemble • April 26, 2017

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

One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West-Eastern Divan Workshops for young musicians from Israel, Egypt, Syria, and other Middle Eastern countries. Colnot has also worked extensively with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble (ICE), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble eighth blackbird. Colnot has been principal conductor of the Chicago Symphony Orchestra’s contemporary MusicNOW ensemble since its inception. Colnot was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years and was principal conductor of the University of Chicago’s Contempo Ensemble for over fifteen years. Currently, Colnot conducts the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Composers Orchestra, the Saint Paul Chamber Orchestra, the Utah Symphony, and the Chicago Philharmonic.

Colnot is also a master arranger. His orchestration of Shulamit Ran’s Three Fantasy Pieces for Cello and Piano was recorded by the English Chamber Orchestra. For the chamber orchestra of the Jerusalem International Chamber Music Festival, Colnot has arranged the Adagio from Mahler’s Symphony No. 10, Schoenberg’s Pelleas and Melisande (both published by Universal) and Manuel De Falla’s Three Cornered Hat. For ICE, Colnot arranged Olivier Messiaen’s Chants de Terre et de Ciel for chamber orchestra and mezzo-soprano, also published by Universal. For members of the Yellow Barn Music Festival, Colnot arranged Shulamit Ran’s Soliloquy for Violin, Cello, and Piano, to be published by Theodore Presser. Colnot re-orchestrated the Bottesini Concerto No. 2 in B Minor for Double Bass, correcting many errors in existing editions and providing a more viable performance version. He has also been commissioned to write works for the Chicago Wind Ensemble • April 26, 2017 biographies Symphony Orchestra Percussion Scholarship Group. His orchestration of Duke Ellington’s New World Coming was premiered by the Chicago Symphony Orchestra with Daniel Barenboim as piano soloist in 2000, and Colnot also arranged, conducted, and co-produced the CD Tribute to Ellington featuring Barenboim at the piano. He has also written for rock-and-roll, pop, and jazz artists Richard Marx, Phil Ramone, Hugh Jackman, Leann Rimes, SheDaisy, Patricia Barber, Emerson Drive, and Brian Culbertson.

Colnot graduated with honors from Florida State University and in 1995 received the Ernst von Dohnányi Certificate of Excellence. He has also received the prestigious Alumni Merit Award from Northwestern University, where he earned his doctorate. In 2001 the Chicago Tribune named Cliff Colnot a “Chicagoan of the Year” in music, and in 2005 he received the William Hall Sherwood Award for Outstanding Contributions to the Arts. Most recently, Colnot has been awarded the 2016 Alice M. Ditson Conductor’s Award in recognition for his excellent commitment to the performance of works by American Composers. He has studied with master jazz teacher David Bloom, has taught jazz arranging at DePaul University, film scoring at Columbia College, and advanced orchestration at the University of Chicago. As a bassoonist, he was a member of the Lyric Opera Orchestra of Chicago, Music of the Baroque, and the Contemporary Chamber Players.

Cellist Stephen Balderston is known internationally as a soloist, orchestral and chamber musician and coach of the highest caliber. Professor of cello at DePaul University School of Music, Mr. Balderston continues a demanding performance schedule in a variety of venues, and presents master classes around the United States. In recent years, he has performed solo works and chamber music with Daniel Barenboim, Pierre Boulez, Christoph Eschenbach, Lynn Harrell, Yo-Yo Ma, Menahem Pressler, Gil Shaham, Joseph Silverstein and Pinchas Zukerman.

Mr. Balderston was the cello coach for Daniel Barenboim’s West- Eastern Divan workshops in 1999 and 2000 in Weimar, Germany; the 2001 workshop in Chicago; and the 2004 workshop in Seville, Spain. In 2002 he accompanied a group of colleagues to China for Shanghai’s Wind Ensemble • April 26, 2017 biographies International Music Festival. Since then, Mr. Balderston has been a participant, coach and soloist at a number of prestigious summer venues, including the Grand Teton Music Festival, Marrowstone Music Festival, the International Festival – Institute at Round Top, the Park City International Chamber Music Festival, the ARIA International Festival, and the Northwestern University High School Institute. He has appeared as a featured artist at the Ravinia Festival, the American String Project, Bargemusic, OK Mozart International Festival, Santa Barbara Chamber Music Festival as well as the Affinis Music Festival in Japan. In August of 2004, Balderston was featured as lecturer, soloist and coach at the International String Music Festival in Taipei, Taiwan. He has served as a chamber music coach for the Chicago Youth Symphony Orchestras. Mr. Balderston is a member of the American Chamber Players and the Evanston Chamber Ensemble.

Mr. Balderston was assistant principal cello with the Chicago Symphony Orchestra for 10 years, and a member of the Saint Louis Symphony Orchestra for 10 years. He performed as soloist with both orchestras and was an artist-in-residence at Washington University in St. Louis, Missouri. Mr. Balderston began his studies on the cello with Gabor Rejto in his native southern California, and earned both Bachelor and Master of Music degrees from The Juilliard School, where he studied with Lynn Harrell. Wind Ensemble • April 26, 2017

Personnel Varèse (1883-1965) Haydn (1732-1809) Octandre Cello Concerto in C Major, Hob. VIIb/1, (ca. 1761–5) Flute & Piccolo Emily Graham Flute Rachael Dobosz Oboe Mika Allison Alto Flute Tyler Martin Clarinet Julia Larson Oboe Mika Allison Bassoon Carl Colvin Nicholas Ritter English Horn Horn Jacob Shapiro Brad Granville Clarinet Trumpet Julia Larson Adam Shohet Alessandro Tenorio-Bucci

Trombone Bass Clarinet Caleb Shemwell Louis Kim Julia Janda Double Bass Teddy Gabrielides Bassoon Nicholas Ritter

Librarian Jill DeGroot Listings in the honor roll reflect contributions and pledge payments made between July 1, 2015 and June 30, 2016 to DePaul University’s School of Music. Gifts of $1,000 and above annually qualify for membership in the President’s Club, DePaul University’s honor society of donors. $50,000 + $5,000-$9,999 Bertha Lebus Charitable Trust Fr. McCabe Circle Fr. O’Connell Circle Irene McDunn Edward & Lois Brennan Family Fdn. Rochelle Abramson, MED ‘89 & William McIntosh John Brennan (Trustee) & Elliott Abramson James Shaddle Jean Brennan * Craig J. Anderson, MUS ‘96 & Dr. Craig A. Sirles Kimberly Brennan & Kathryn K. Anderson, LAS ‘92 + Lawrence Sullivan, BUS ‘57 & Donald Brennan Russ Bach, MUS ‘58; MM ‘60 & Geraldine Sullivan Lois Brennan (dec.) * + Mary Ellen Brumbach (dec.) Elizabeth Ware, MA ‘98 Philip H. Corboy Foundation Susanne Baker # & David Baker Dr. Arnold Weber The Crown Family Melissa Behr Cathy Williams Mary Dempsey, JD ‘82 (Trustee) William Buchman # James Zartman & Fidelity Charitable Gift Fund * Stephen Bundra, MD & Katherine Zartman Sasha Gerritson, MUS ‘99 (Trustee) Judy Bundra # & Eugene Jarvis * Samantha Cohen & Joel Cohen $1,000-$2,499 Geoffrey Hirt, PhD & Linda Hirt * # Daniel Corrigan, MUS ‘59 Vincentian Circle Elizabeth Morse Genius Dr. Patricia Ewers, DHL ‘98 & Frances Anderson Charitable Trust John Ewers (dec.) Anonymous * James Schaefer, BUS ‘59 & Henry Frank, JD ‘57 & Rhoda Frank Bank of America Foundation, Inc. Mary Schaefer * Geico Robert Berry John Graven, BUS ‘49; MBA ‘50 Jacqueline Bishop & $25,000-$49,999 (dec.) & Anastasia Graven, MA ‘64 Bernard Bishop Fr. Levan Circle David Harpest, MUS ‘00 Valerie Chang & Ian Jacobs Beatrice G. Crain Sidney C. Kleinman Elizabeth F. Cheney Foundation Crain-Maling Foundation Kenneth A. Lattman The Gertrude Wachtler Cohen Dr. Michael S. Maling Foundation, Inc. Memorial Foundation PNC Financial Services Carlotta Lucchesi & Patricia Danielsen & Group, Inc. * + Ronald Lucchesi Dr. Bartley Danielsen George Ruff, BUS ‘74 (Trustee) & Colleen Mayes & Edward Mayes Allan Drebin Tanya Ruff * Anne Michuda, MM ‘75 & Victor Faraci, MUS ‘54 & Sage Foundation + Leo Michuda (dec.) Barbara Faraci Brenda Michuda, MBA ‘92 & Beverly Felisian, MUS ‘57 & $10,000-$24,999 Mark Michuda Robert Felisian, MUS ‘59 Fr. Corcoran Circle Kristin Michuda & Josef Michuda Graham Fuguitt, MM ‘82 & Antunovich Associates, Inc. Marie Michuda, MUS ‘89 Margaret Fuguitt Leslie Antunovich & Cathleen Osborn & William Osborn Barbara Giambalvo Joseph Antunovich Roger Plummer (Life Trustee) & Scott Golinkin, JD ‘84 Aon Foundation Joanne Plummer Janice Honigberg & John Hedges Cherylee Bridges PNC Foundation + IBM International Foundation Bulley & Andrews, LLC Isabel Polsky & Charles Polsky Arthur James, MA ‘75 Rosemarie Buntrock & Rev. John T. Richardson, C.M. Marilyn Kelly & Dr. John Markese Dean Buntrock (Life Trustee) Mary Marshall & Cesare Ugianskis Donald Casey Jr. # & Rosetta W. Harris Charitable Florence Miller Christine Casey Lead Trust Mark Mroz James M. Denny (Life Trustee) & Rev. Charles Shelby, C.M., MS ‘72 * Raymond Niwa, MUS ‘43; MM ‘49 Catherine Denny * Ernest Wish, BUS ‘57; LLD ‘91 Celeste O’Donnell, MED ‘94 & Gina Gaudio, LAS ‘99 & (Life Trustee) & Mimi Wish * Lee O’Donnell Robert D’Addario, MUS ‘11 Beatrice Orzac William Hay, MBA ‘66; DHL ‘06 $2,500-$4,999 Anthony Peluso, MUS ‘73 & (Trustee) & Mary Pat Gannon Hay, Fr. O’Malley Circle Julie Peluso DHL ‘06 * Guy Arvia, MBA ‘73 & Janice Arvia Joseph Ponsetto, EDU ‘78; JD ‘82 & David Herro & Jay Franke Baird Jeanne Lenti Ponsetto, EDU ‘78 James Jenness, BUS ‘69; Linda Buonanno & Charles Price MBA ‘71; DHL ‘06 (Trustee) & Vincent Buonanno Rev. John E. Rybolt, C.M., MA ‘67 Sharon Jenness * CME Group, Inc. * (Life Trustee) PricewaterhouseCoopers, LLP Raymond Daly, MS ‘65 Rosemary Sanchez J. Christopher Reyes & Mary C. Finger, PhD & Schewe Photography Anne N. Reyes David Paris, PhD Rebecca Schewe & Jeff Schewe J. Christopher Reyes & Stephanie Flynn & John F. Flynn Vivian Schurfranz Anne N. Reyes Foundation Jerome Girsch (Life Trustee) & Janice Shipley, EDU ‘70; MS ‘79 & Kristi Savacool (Trustee) & Linda Girsch Dr. Frederic Shipley II Jeffrey Savacool Sally Hagan Caroline Shoenberger, JD ‘77 John G. Searle Family Trust Edgar Jannotta Paul Skowronski, BUS ‘86; MBA ‘92 Steven Weiss Mary Kohlmeier & John Kohlmeier & Sue Skowronski Wind Ensemble • April 26, 2017 Donors Elizabeth Soete # & Dr. Kevin Stevens, MST ‘86 & Maria Batten & Roger Batten Raymond Narducy Marietta Stevens Dr. Shirley Beaver Rami Solomonow # United Way of Metropolitan Chicago Sandra Benedict Amy Soudan Hilary Zankel & Jay Gottfried Sarah Benham, BUS ‘04 & Jeremiah The Stelnicki Family Benham, MUS ‘00; MM ‘02 Chester Wilczak, BUS ‘58; MBA ‘62 $250-$499 Theodore Berg, MUS ‘49 John Zielinski, MUS ‘79 & Monica Abramson-Lyons, THE ‘87 Jill Beuter, MUS ‘59 Laura Zielinski & Daniel Lyons, MUS ‘83; MM ‘91 R. Keith Bins Sandra Boafoa Anim, MS ‘13 Elka Block $500-$999 Jason Arends Sania Bonnard & Pierric Bonnard Adlai Stevenson High School Stephen Balderston # Giovanna Breu American Endowment Foundation Steven Behnke Julia Bright George Ayling Kay Bryce William Brodsky Martha Garcia Barragan & Victoria Buchanan William & Joan Brodsky David Oskandy Floyd Cooley Foundation, Inc. Cynthia Bennett, MUS ‘85; MM ‘90 Susan deCordova & Family Elizabeth Byrne Asher # William Bennett (Trustee) & Bernard & Sally Dobroski Fara Cage, BUS ‘08 Susan Bennett Carole Doris, JD ‘76 & Audrey Carie, MA ‘11 Lauretta Berg, MUS ‘60 Dr. Peter Doris Linda Cerabona, MUS ‘78; MA ‘93 Christina Berry, CMN ‘01; MED ‘09 Dorothy Duensing Carol Chaffee, MUS ‘68 & & Dr. Thomas Berry, MBA ‘78 Dr. Cathy Elias # & Janos Simon Gary Chaffee, MM ‘68 Dale Breidenthal Richard Ellis Sarah Chambers & Eugene Ozasky Russell Bruzek, GSD ‘64 Eric Esparza # Elsa Charlston # Rosemary Corrigan, CSH ‘69 Felicia Filbin, LAS ‘81 Hua Chen Dolores Curns Paul Greenawalt, BUS ‘65; MBA ‘68 Elaine Clancy, MM ‘92 Cheryl Cutinho & Sunil Cutinho Allison Hahr & Jon Spanbauer Christine Corrigan Joan Darneille Elizabeth Hansen & Michael Hansen Sharon Cortelyou Marcia Deck & Warren Deck Kathy Im & Young Im John Culbert & Patty Delony Wendy Irvine # Katherine Culbert, MED ‘04 DePaul Vincentian Residence Susan Kelley, MUS ‘64 Jessica Cummings, MUS ‘03 Susanna and Helmut Epp Jacqueline Kelly-McHale # Sally Czapar & George Czapar Linda Ferrell & O.C. Ferrell Kim Kirn Darnton & Hersh Fine Violins Mary Goldberg Bob & Linda Kozoman Susan Day Chester Gougis (Trustee) & Margaret Kuhlow, LAS ‘92 Samantha De Koven Shelley Ochab + Vladimir Leyetchkiss Cynthia Deitrick Mary Hunt Susan Lyons Dr. Donald DeRoche # & Thomas Karaba Helen Marlborough & Harry Roper Julie DeRoche # Lydia Kelley & Steve Kelley Adam Marshall, MUS ‘01 & Detroit Glee Club Elizabeth Keyser Tiffany Marshall, CMN ‘01 Bradley Dineen, MED ‘99 Dagmara Kokonas & Dana Marzonie Alexander Domanskis Nicholas Kokonas Randy Miller Nina Drew Dr. Jacqueline Krump Thomas Miller, MM ‘96 # F. Ellen Duff Frank Kuhlmann, MED ‘99 & Kathleen Murtaugh, BUS ‘86; Earths Flame, Inc. Erica Kuhlmann MST ‘93 P. Zachary Egan Donald Law Deane Myers, MM ‘88 & Marsha Etzkorn & Shawn Etzkorn The John D. & Catherine T. Layni Myers, THE ‘86; CMN ‘89 James Fahey, MUS ‘83 MacArthur Foundation * + Beverly Pendowski, BUS ‘90 & Joyce Fecske, LAS ‘69; MA ‘71 & Norman Malone, MUS ‘68; MM ‘73 James Pendowski, MUS ‘93 Stephen Fecske Karen Mannos & George Mannos Rev. William Piletic, C.M. Kathryn Flum, MM ‘10 # Herbert Marros, BUS ‘81 Penny Russel Fiona Fong Joan Meister & Schwab Fund for Charitable Giving Crispin Fornoff Dr. Richard Meister + Paul Seibold Ayriole Frost Richard Mesirow Susan Soler Helene Gabelnick & Mesirow Charitable Foundation Sun Belle, Inc. Stephen Gabelnick Erin Minné Regina Syrkina Lucy Gaven & Richard Gaven Annmarie Neumeier Stephanie Woodson Margaret Gentilcore Bradley & Jennifer Norris + Yann Woolley Matthew Geraldi, MUS ‘56 & Mary O’Brien & Peter O’Brien Kenlyn Geraldi Kathryn Palmer & John Palmer $100-$249 Sheila Gideon & Vern Gideon Peoples Gas Laura Adkins, MUS ‘12 Paul Glick Nancy Petrillo, BUS ‘79 Betty Ahlmann & Bruce Ahlmann Sr. David Grabacki, MBA ‘12 & Rosemary Schnell Aileen S. Andrew Foundation Janet Grabacki Kristine Schriesheim Corbin Andrick, MUS ‘11; MM ‘14 Carolyn Carriere Grenchik Select A Fee Real Estate System Joseph Antonelli, MUS ‘69 Mark Grenchik Harry Silverstein # & JoBeth Marta Aznavoorian Norehad # Ama-Dapa Gyabin & D’Agostino, Ph.D. Michelle Bene Bain Shamsiden Balogun Judge John Simon, JD ‘67; DHL ‘12 Kelley Baldwin Havas Impact, LLC (Life Trustee) & Millie Simon Neil Ballentine, MBA ‘15 Beth Hebert Wind Ensemble • April 26, 2017 Donors Edwin Hicks Jeanne Montgomery & Linda Tueth Nobuko Hijiya Robert Montgomery Cynthia Valukas, MD, MUS ‘75 Suzanne Olbrisch Hlotke, Diane Myhre, MM ‘90 & Kyomi Sugimura # & BUS ‘74 John Myhre George Vatchnadze # Jacqueline Hoffman, MUS ‘55 Nichole Nabasny & Michael Elaine Vermiglio Lola Horsfall Nabasny Irina Vorobeychik Jane Jackman & Steve Jackman Taoufik Nadji Margaret Walker, MM ‘83 Amy Jacobs, MED ‘00 & Dr. Hassan Nagib Dr. John H. Wallace, MUS ‘83 & Cary Jacobs, MUS ‘87; MM ‘89 New Horizons Band Mrs. Carol L. Wallace Christopher Jones Luz Nicolas & Dr. John Nicolas Cliff Wallis, MUS ‘96 M. Georgene Jones Northern Trust Corporation Andrea Walsh Stephanie Joseph J.F. Nunez-Gornes Carol Weir Janet Karabas Seung-Won Oh # Dr. Kurt Westerberg # & Jen Kentos Marcia Opp & Jon Ekdahl Renee Westerberg Morris Kern (dec.) Friends of Oscar Mayer School Janice Williams Miller Michelle Kiley & Scott Kiley Kathy Paddor-Rotholz & James Williams III Yumy Kim & Jong Kim David Rotholz Dr. Leslie Wilson Carol Kissel Xingguo Pan Thomas Witt Jeffrey Klein Lori Pedelty Ethel Witt-McCall, LUT, SNL ‘15 Ronald Kloss, MUS ‘55 Deborah Peot, MUS ‘95 # & James Zelhart Mark Kohnle Jason Peot, LAS ‘94 Janice Zimelis Dr. Gerald Koocher Shirley Percy Jerry Zitko, MUS ‘83 Susan Kosinski Ewa Petroski & Peter Petroski Robert Krueger II, MBA ‘88 # Pistachios Dr. Joan M. Lakebrink Dr. Robert Placek, MUS ‘55 LaMetrice Lane & Steven Lane Paul Pliester William Lear David Ponsot, BUS ‘95 Edmond Leonard Lynn Powell Howard Levin Glen Prezembel & Michael Lewanski # Beth Prezembel, MUS ‘84; Mary Ellen Lewis MBA ‘91 Camille Licklider, J.D., MUS ‘96 Ann Priest & Dr. Edwin Priest & James Licklider, LAS ‘98; MS Mary Pryce ‘01; MS ‘06 Trish Quintenz Constance Lilly, MUS ‘70 Louis Rapa Katherine Lisec & Mark Ricco W. Michael Lisec Jacqueline Roberts & Little Flower Catholic John Roberts Grade School Rochester Lions Club Dennis Lord Deborah Rosenberg Ying Lu, MS ‘02 & Min Cheng Mary Rundell Carolyn Makk & Salesforce.com Foundation Christopher Makk Alan Salzenstein # Donna Malaga & Joseph Lim Kanokon Sasismit Margaret Malkowski & Andrea Schafer, MUS ‘83 Marek Malkowski Erica Schewe Marie Malm, MA ‘50 Suzanne Schmidt Barbara Mandal, MUS ‘62 Melissa Schwalbach Law Offices of Jeffrey M. Marks Thomas Schwartz Judith Marshall Anna Sharp William Martay, JD ‘69 & Saraswathi Sista, MUS ‘13 Margaret Martay Arlene Sorkin Priscilla Matli & Steve Matli Mark Sparks Roberta McKeever & Jo Sparling Michael McKeever Patricia Stahlberg & Sandy McMillan & Stu McMillan Donald Stahlberg Sean McNeely, MM ‘97 Gordon Stefenhagen, BUS ‘67 Pola Melendez William Stoneburner Regina Mezydlo, MUS ‘76 Donnie Sujack, MUS ‘13 Sara Michaels, MUS ‘03 Mary Syc, JD ‘82 & Dianne Millard Allan Syc, JD ‘72 Nancy Mocek, MA ‘73 Leah Talmers & Peter Talmers

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Upcoming Events

Thursday, April 27 • 6:00 p.m. Recital Hall Masterclass: Alexander Kerr, violin

Friday, April 28 • 8:00 p.m. Concert Hall DePaul Concert Orchestra and Ensemble 20+

Saturday, April 29 • 8:00 p.m. Concert Hall DePaul Chamber Choir & Concert Choir

Sunday, April 30 • 8:00 p.m. Concert Hall Olga Kaler Studio Recital

Thursday, May 4 • 6:30 p.m. Recital Hall Career Workshop: Making the Band with Lowdown Brass For more information, visit https://makingthebandldb.eventbrite.com

Friday, May 5 • 8:00 p.m. Concert Hall New Music DePaul

Saturday, May 6 • 8:00 p.m. Concert Hall DePaul Wind Symphony

Sunday, May 7 • 3:00 p.m. Concert Hall Janet Sung and Friends

Tuesday, May 9 • 8:00 p.m. Concert Hall Tuba Studio Recital

Wednesday, May 10 • 1:45 p.m. Recital Hall Masterclass: Tony Devroye, violin Wind Ensemble • April 26, 2017

Saturday, May 13 • 8:00 p.m. Concert Hall Hindustani Music Concert

Friday, May 19 • 7:30 p.m. Sunday, May 21 • 2:00 p.m. Concert Hall DePaul Opera Theatre presents Monteverdi’s L’Incoronazione di Poppea

Saturday, May 20 • 3:00 p.m. Concert Hall Percussion Ensemble

Saturday, May 20 • 4:00 p.m. Recital Hall Wind/Mixed Chamber Showcase

Saturday, May 20 • 8:00 p.m. Concert Hall African Drum Ensemble

Sunday, May 21 • 8:00 p.m. Concert Hall Brass Ensemble

Monday, May 22 • 8:00 p.m. Concert Hall Composers Forum

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