PAUL FREEMAN, MUSIC DIRECTOR THOMAS DE WALLE, GENERAL MANAGER

THE DELIGHTS OF ‘DIVERSITY’

BY JOSEPH MCLELLAN | SPECIAL TO THE WASHINGTON POST | THURSDAY, APRIL 26, 2001

“We are in for a treat,” promised Virginia Williams, filling In his note on his brassy, bluesy, energetic An in for her absent son, the mayor, Tuesday evening in the American Port of Call, Adolphus Hailstork ignores the chicagosinfonietta.org Kennedy Center Concert Hall. ”This, she added, “is a music’s descriptive qualities and says it is about “the different kind of music.” interval of a major seventh and the cascading, synco- The program, performed by the Chicago Sinfonietta pated theme that grew out of it.” Perhaps, but in per- with conductor Paul Freeman and a variety of guest formance it called to mind a bustling scene with motor 312 236 5429

f artists, was titled “Symphonic Diversity.” With one rhythms, traffic jams, horns blowing, trains roaring by spectacular exception, the Concerto for Steel Pan and and other sounds of a busy city. Orchestra of Jan Bach, the concert featured com- The program built to a climax with Alberto posers of African-American or Hispanic ancestry. And, Ginastera’s exotic, high-energy dances from the ballet true to Williams’s promise, it was one of the most “Estancia,” music that rises to a concluding frenzy 312 236 3681

p unusual programs in the Washington Performing Arts comparable to Stravinsky’s “The Rite of Spring.” Society’s season. For contrast, the program included two of the less bois- As exemplified in this program, symphonic diversity terous classics of African American symphonic music: usually involves a lot of percussion, muscular rhythms George Walker’s gently elegiac Lyric for Strings and William and an array of sounds never imagined by Beethoven Grant Still’s “Afro-American” Symphony. During the Still or even Rimsky-Korsakov. In one piece, Encuentro: work, narrator Danny Glover read three poems by Langston Suite de Danzas Yucatecas by Victor Pichardo, the Hughes. The result was emotionally powerful, but at a cost; orchestration included conch shell, wooden box, tor- the spoken words overshadowed the music to the point of toise shells, donkey jawbone and other folk instru- serious imbalance, except for moments when the music ments, played by drowned out the speaker’s voice. “THIS,” SHE ADDED, “IS A the five-member DIFFERENT KIND OF MUSIC.” Sones de Mexico REPRINTED BY CHICAGO SINFONIETTA Ensemble. ©2001 THE WASHINGTON POST COMPANY The Bach concerto offered a technically brilliant and sometimes witty solo by Liam Teague on the metallic percussion instrument heard in Caribbean steel bands. What it does best is shimmer,an effect that was sometimes submerged in the orchestral sound. It had the audience laughing loudly during a comic dialogue (or debate) with 88 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 1 a flexatone in the orchestra’s percussion section, and it concluded with a dazzling display of speed.

MUSIC EXCELLENCE DIVERSITY PAUL FREEMAN, MUSIC DIRECTOR THOMAS DE WALLE, GENERAL MANAGER

LIVING THE DREAM: EXCELLENCE THROUGH DIVERSITY AT THE CHICAGO SINFONIETTA

BY CHESTER LANE | MAY · JUNE 1997 chicagosinfonietta.org Presenting a rich variety of symphonic music to a days was almost like being at war. The relationships diverse community is increasingly the goal of American you developed were very strong and long-lasting. symphony orchestras. Few of them, however, have put People felt a kinship to each other. And when some- that idea into practice as successfully as the Chicago body died, especially in circumstances like those, it 312 236 5429

f Sinfonietta, an ensemble of 40 to 50 musicians that was tough.” plays in Orchestra Hall and in the west suburb of River Like Rougeau, Dr. Martin Luther King, Jr. was a Forest. Its board, its playing roster, and its audience black man who appreciated the contributions that are all permeated with ethnic variety. And the story of Jewish Americans had made to the civil rights move- how the Sinfonietta’s Martin Luther King concerts took ment. King had, in fact, paid tribute to his “Jewish 312 236 3681

p on an extra dimension this year begins with the brethren” in a speech soon after three civil rights work- ecumenical ideas of Paul Freeman and Weldon ers were slain. So when the Chicago Sinfonietta was Rougeau, the orchestra’s African-American music looking for a way to bring the city’s black and Jewish director and president. communities closer together – an idea proposed by one Long before he earned a Harvard law degree and of its board members, Seymour H. Persky – the orches- became an attorney, Rougeau was a dedicated civil tra’s Martin Luther King concerts in January seemed rights activist. His activism had gotten him expelled like the “ideal slot,” according to Freeman. “We would from the public university he was attending in his salute Dr. King and have as part of the program a native Louisiana. memorial to the three civil rights workers,” he says. ITS BOARD, ITS PLAYING And through CORE,a “At first I couldn’t find the catalyst, because I didn’t ROSTER, AND ITS AUDIENCE national civil rights know what music to perform. Fortunately, one of the ARE ALL PERMEATED WITH group, he had met cantors in Chicago, Albert Mizrahi, sent me the Yizkor ETHNIC VARIETY. Michael Schwermer, Requiem by Thomas Beveridge. Tom is minister of a young Jewish man music at a church in northern Virginia, and his requiem from New York whose idealism had brought him to the combines the Jewish and Christian liturgies.” Freeman Deep South to work on voter registration drives. In selected about half of the work, inviting Mizrahi and 1964, soon after Rougeau came to Chicago to resume the choir from Anshe Emet Synagogue to perform with his schooling at Loyola University, he learned that the Sinfonietta at Orchestra Hall on Martin Luther King Schwermer, along with another Jewish worker named Day, January 20, 1997. On the second half of that 88 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 1 Andrew Goodman and an African American, James concert the orchestra combined with the 200-voice Chaney, had paid the ultimate price for their activism: Apostolic Church of God Sanctuary Choir, performing they had been murdered in Philadelphia, Mississippi. gospel selections arranged by Alvin Parris. The previ- “The shock was a personal one for me,” says ous day at Rosary College, the orchestra’s other venue Rougeau. “Being in the civil rights movement in those in River Forest, Morton Gould’s orchestral Revival:

MUSIC EXCELLENCE DIVERSITY 2 ·

Fantasy on Six Spirituals and Aldolphus Hailstork’s Epitaph (In Memoriam: Dr. Martin Luther King, Jr.) were performed in place of the rafter-raising gospel songs.

MAY | JUNE 1997 MAY Both concerts filled out the “freedom” theme with Copland’s Lincoln Portrait, narrated by actor Paul Winfield,

and Beethoven’s Leonora Overture No. 3 (composed for PAUL FREEMAN DIRECTING THE CHICAGO SINFONIETTA AT ORCHESTRA HALL

SYMPHONY the opera Fidelio, an impassioned statement about political imprisonment and deliverance). And both con- Since last fall, Freeman also directed the Czech certs ended with an emotionally charged audience joining National Symphony Orchestra, and he speaks with the orchestra and chorus in “We Shall Overcome.” pride about the “cross-pollination” of musical cultures Unlike many orchestras, the Sinfonietta performs a that this is helping to bring about. This season he Martin Luther King program only every two years, the involved both of his orchestras in a two-CD recording LIVING THE DREAM idea being to avoid any predictable routine. This year’s project devoted to works of Sowerby. Freeman brought far-from-routine MLK concerts exemplify an approach in two Czech soloists for the Sinfonietta’s Carmina to programming that has been the hallmark of Burana performances in March, and the chorus used in Freeman’s leadership. An African-American conductor that concert, the Northern Illinois University Concert who put together a pioneering series on black com- Choir, will reprise its efforts with the Czech orchestra poser for Columbia Records in the 1970’s, he has in Prague next season. nonetheless brought to the orchestra’s programs African-Americans, Hispanics, and Asians make up a highly eclectic mix of 43 percent of the Sinfonietta’s board of directors, 24 THE DREAM WAS TO FILL home-grown artistry and percent of its playing roster, 50 percent of its soloists, AN ARTISTIC NICHE IN THE European classics from and 35 to 40 percent of its audience. A commitment to COMMUNITY, WHICH WAS several centuries. diversity has attracted the financial backing of the TO PERFORM REPERTOIRE The February con- Chicago Tribune and Marshall Field’s, a major depart- FOR MID-SIZED ORCHESTRA. certs, for example, fea- ment store chain. And the Sinfonietta recently tured the world pre- received a two-year, $120,000 grant from the Joyce miere of Chicago composer Kimo Williams’ Two Foundation for its audience-broadening efforts. This is Gether. Commissioned as a Sinfonietta auction “pre- good news for an organization that has performed sig- mium” in honor of a couple’s 38th wedding anniver- nal service to the City of Chicago but is only now, after sary, it shared the program with works by jazz great a decade of operation, seeing the end of the deficit Thelonius Monk, 17th-century Italian Girolamo tunnel. “In the first three years,” says Freeman, “we Frescobaldi, and two Europeans from our own century, accumulated a deficit that we have paid down over the Maurice Ravel and Rodion Shchedrin. And Freeman past six and a half. Now that we’re in our tenth year, has espoused such under-performed American com- we hope to burn the mortgage.” posers as Leo Sowerby (1895-1968), whose Symphony “When I started the orchestra ten years ago,” No. 2 appeared on the March concerts along with Freeman continues, “I didn’t know that it would blos- Aldolphus Hailstork’s Celebration and Carl Orff’s som as well as it has. But I say now to our board that Carmina Burana. we are living the dream. The dream was that one day

MUSIC EXCELLENCE DIVERSITY LIVING THE DREAM SYMPHONY MAY | JUNE 1997 · 3 MUSIC DIRECTORPAUL FREEMAN. AND THEAPOSTOLICCHURCHOFGODSANCTUARY CHOIR, CANTOR ALBERTOMIZRAHI, THE SINFONIETTA ONMARTINLUTHERKINGDAY WITHNARRATOR PAUL WINFIELD, for now touredEuropefourtimesandbeeninvited back mid-sized orchestra.We alsowanted totour. We’ve for whichwas repertoire toperform in thecommunity, niche in thesuburbs.Thedreamwas tofillanartistic audiences have increasedbothinOrchestraHalland we expression tant dreamwas oursocialmission:We coinedthe made seven recordings.Butperhapsthemostimpor- in theorchestra.” withasimilarmix Asians ofgreatstatureonourboard, and Hispanics, inhaving AfricanAmericans, fortunate ’d 1998-99

aeabgadec,andaswe’ve gonealong have abigaudience, ‘Excellence ThroughDiversity’ ewne orcr,andwe’ve now . We wanted torecord, and we’re ©1997 SYMPHONY OF EDITOR SENIOR A IS LANE CHESTER REPRINTED BYCHICAGO SINFONIETTA vrbd l together.” it. shake all to Everybody have you product homogenous a get To sugar.’ or orvanilla, and say ‘Ican’t tasteanything exceptmilk, andyoudon’t want todrinkit Lots ofthingsgointoit, andwithoutthefunds. did itwithoutbeingtold, ment makes themdoitthey won’t make themove. He could bestaringtheminthefaceandunlessgovern- butthattalent about encouragingminoritytalent, andthey’re notallintheback! musicians], andsee[minority come totheSinfoniettaconcerts kids don’t thinkthat kindofthingisforthem.Butthey sional] orchestrashave sofew minoritiesthatthese minority childreninAll-City,” shesays. Many [profes- Y oftheAll-City formembers and leadingworkshops providing privateinstruction for Chicago-areastudents, asmentors through whichorchestramusiciansserve Sinfonietta’s playing inafull-timesymphony.” Baker headsupthe of “the bestthingIcouldhave ever comeacrossshort theSinfoniettais Chicago-area orchestrasaswell, American whoplays principalviolawithseveral other uhOceta “There’s highpercentageof avery outh Orchestra, “I’ve always felttheSinfoniettawas like amilkshake. “Paul Freeman class.Alotofpeopletalk isworld F rpicpevoitRneBkr anAfrican or principleviolistReneeBaker, Y outh andtheProfessional MU I XELNEDIVERSITY EXCELLENCE SIC SYMPHONY Program, 188 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 p 312 236 3681 f 312 236 5429 chicagosinfonietta.org the Sinfoniettatoreduceits Thishasenabled last seasonwitha$33,000surplus. ending operated intheblackfor pastsixyears, has heexplains, as heiswiththebaton.The group, organization) isasquickatrattling offrosystatistics Basically Bach. notablyTheCityMusickand several mid-sizedgroups, thathas seen thedemiseof classical musicmarket highlycompetitive inatight, forten years – prosper F orchestra. symphony large a of purvue the within fall doesn’t that spanningthe17thto20thcenturies, repertory, allows himtheflexibilitytoprogramanunusuallyvaried and Freeman pointsout, member ChicagoSymphony, thananorchestralike themighty105- more portable the musicthat’s beingperformed. dependingon many as55players andasfew as45, as whichnumbers and musicdirectoroftheensemble, founder is notnecessarilybetter,” says Paul Freeman, UDY SEPTEMBER8, SUNDAY, [Dominican University] inRiverForest.[Dominican University] beginningnextmonthat Or series, concert a bitasitpreparesforits10thanniversary the mid-sizedorchestracanaffordtoblowitsownhorn allthewhilekeeping itsfiscalhouseinorder, abroad, themselves. speakfor outreach. Andtheresultsofthoseefforts honestcommunity its missionstatementwithgood, believes inbackingup The ChicagoSinfoniettaclearly FOR CHICAGO SINFONIETTA SUCCESS EQUAL IMAGINATION AND DIVERSITY ETHNIC BY JOHNVON RHEIN Y emnsgophsmngdt uvv andindeed, – reeman’s grouphasmanagedtosurvive OUTHFUL OUTLOOK “Maestro” Freeman (asheisknownwithinthe butitdoesn’t explainhow That’s allwell andgood, Being relativelycompactmakes theSinfonietta “ Having builtarespectablereputationathomeand sa raiain we have thatbigger determined As anorganization, | TRIBUNE MUSICCRITIC 1996 P U REA,MSCDRCO TOA EWLE GENERALMANAGER WALLE, THOMASDE MUSICDIRECTOR AUL FREEMAN, accumulated deficitto chestra Halland | NOW ENTERINGITS10THSEASON P about $ ial ies nttto,atalllevels.” institution, nically diverse have taken holdinChicagoisthatwe aresuchaneth- we are withoutPaul Freeman’s vision.Theotherreason we wouldnotbewherewe ofall, “First to twofactors. significant thatmorethanhalf theplayers arewomen. four AsiansandthreeHispanic musicians.Itisalso threeor (again dependingonthespecific repertory), this translatesintosixto nine AfricanAmericans percent oftheorchestraismadeupnon-whiteplayers; aroster.area canboastsoethnicallydiverse cians couldgainvaluableorchestralexperience. HispanicandAsianmusi- place wheretalentedblack, andalsoa aswellyouthful inpersonnel asinoutlook, Sinfonietta asakindofRainbowCoalitionorchestra, Subscription ticket salesincreased since last yearatthistime. far, are running are running far, so the previous year. Thisyear’s subscriptionsales, U REA,FOUNDERANDMUSICDIRECTOROFTHECHICAGO SINFONIETTA, AUL FREEMAN, No othersmallorchestraintheChicagometropolitan And hehasmadegoodonthatvision. beginningFreeman saw fromthevery the Indeed, ila rfi,theSinfonietta’s generalmanager William Griffin, 1994 25,000 , attributes theorchestra’s successprimarily 15 , on a budget of $ of on abudget to 20 MU percent higherthanthey were I XELNEDIVERSITY EXCELLENCE SIC 40 1.4 percent over About 28 million. 2 ·

Similar percentages apply to the group’s racially tour – nine concerts in Switzerland and three in mixed board of directors as well as to the associate Germany – and undertook its first major U.S. tour, con- board and its various support groups. sisting of eight concerts in California. This month will

SPETEMBER 1996 Freeman is always on the lookout for deserving bring the release of the Sinfonietta’s sixth recording, young soloists who would otherwise find it hard to the Rudolph Ganz Piano Concerto as performed by the secure a professional orchestral booking in the area. late Chicago pianist Ramon Salvatore, on the Cedille Among the soloists the Sinfonietta will present this label. Next spring Freeman and friends will be back in season are a 19-year-old African-American pianist, Carl the studio to tape another Chicago composer’s work,

CHICAGO TRIBUNE CHICAGO Gales, and violinist Livia Sohn, a Korean-American Symphony No. 2 by Leo Sowerby; the Sinfonietta con- teenager. cert March 31 will mark its first local performance in “From the feedback I get from black audience mem- nearly 70 years. bers, I know their positive reaction to our concerts And the group’s go-getter spirit has not escaped the relates directly to seeing their own on stage, hearing attention of Chicago foundations, its largest support black soloists perform and hearing music by black source. Last year local foundations gave the Sinfonietta OUTHFUL OUTLOOK Y composers, which we intersperse with more standard $222,475 (including $25,000 from the Chicago Tribune fare,” the music director says. Foundation) – about $60,000 more than the Sinfonietta Still, Freeman stresses that the Sinfonietta is not an had budgeted. By comparison, non-foundation corporate affirmative-action orches- support – around $73,000 last year – is lagging, but this NO OTHER SMALL ORCHESTRA IN tra. Quality, not quotas, is a problem shared by many of the city’s smaller is its operative credo: groups. THE CHICAGO METROPOLITAN Regardless of a player’s Perhaps what is needed is for the Sinfonietta to ethnic background, he or entice a few corporate honchos into one its concerts AREA CAN BOAST SO ETHNICALLY she must be able to downtown or at [Dominican University], where the group meet a certain level of continues as the resident professional orchestra. Maybe DIVERSE A ROSTER. performance ability – and then these captains of local industry would realize what sets many do not. the group apart – the eagerness of the young musicians “Although we hold auditions for minority musicians and the frisky, diverse programming that puts symphon- from time to time, we do not displace other players ic music within reach of a true community of listeners. just to give a position to a minority player. An orches- All it takes, Freeman says, is a bit of musical imag- tra could not thrive that way,” Freeman explains. “What ination, talented young players and a willingness to we do, rather, is keep a list of possible substitute play- demolish the invisible barriers that separate performer ers. When there’s an opening in the orchestra, if a and listener, highbrow and lowbrow music. Last year qualified minority musician is on the list, we try to give he put a 16-piece steel drum ensemble on stage for the that person preference.” premiere of a new Concerto for Steel Pan by Chicago Unlike other professional mid-sized orchestras in composer Jan Bach. The result was one of the most the area, the Sinfonietta has taken full advantage of the exhilarating evenings stuffy old Orchestra Hall has exposure provided by touring and recording. heard in ages. Here was the Sinfonietta doing what it Last season the group made its fourth European does best.

MUSIC EXCELLENCE DIVERSITY YOUTHFUL OUTLOOK CHICAGO TRIBUNE SPETEMBER 1996 · 3 classical musicaudiencesforthefuture. building things, other among means, which – view clear in tokeep theensemble’s missionever too, And careful, ambitionaheadoffinancialstability.not toputartistic thisyear.he was namedmusicdirectorearlier Czech the orchestra, “other” Freeman’s with appearances joint are penciledinfor [Dominican University]. agendaatOrchestraHall and series toitsconcert time theorchestrawillhave addedathirdsubscription endowment fundinplaceby theyear a five-yeargrowthplan.Griffinsays hehopetohave an u h epei hreo h ifnet r careful are Sinfonietta the of charge in people the But okn ha,orchestraofficialshave puttogether Looking ahead, ainlSmhn rhsr fPau,ofwhich National Symphony OrchestraofPrague, 1998 and More domesticandforeigntours 1999, perhaps even several 2000 ,by which replied. Imagineyourtypical w his favorite pieceontheconcert ©1997 THECHICAGO TRIBUNE REPRINTED BYCHICAGO SINFONIETTA concerts,” Freeman says. “Iasked one with youngpeoplewhenthey comebackstageafterour her tothequick!” huffily. very feltIhadinsulted Sheclearly she replied, not,’ ‘Ofcourse asleep atany pointduringtheconcert. “One ofmy mostgratifyingexperiencesistalking “I asked anotheryoungsterwhethershehadfallen MU I XELNEDIVERSITY EXCELLENCE SIC adult listenersaying that! as. ‘Shostakovich,’ he 8 -year-old what 188 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 p 312 236 3681 f 312 236 5429 chicagosinfonietta.org ENSA,NVME 2 2000 NOVEMBER 22, WEDNESDAY, exemplars oftheAfricandiaspora. exemplars arenowregardedas divergent intheircareerpaths, though who, albeitcomposers – inoneprogram posers w it Still, initsrosterandrepertoire. insists ondiversity anorganization that fortheSinfonietta, trademark oftheirpopularhits. sax inarrangements honored TinPan Alley tunesmithsby playing thealto Parker andjazzmanCharlie influenced modernists Hale Smithfollowed theexamplesofEuropean- and Beethoven justasmuchGeorgeWalker and paidheedtotheclassicalstyleofMozart symphonies, e bent thatdidn’t break new groundbutelaboratedor been far-fetchedtolumptogethermusicofalyrical music andculture. legacy hashadthemoreprofoundimpactonAmerican isthatBird’s ofcourse, tenures inacademia.Theirony, the establishmentrouteandendedupwithlong while hisnear-contemporariesWalker andSmithwent African-American musiciansfromthe writtenby andassociatedwiththreeprominent works sion ofMendelssohn’s Symphony alongside Fourth policy hadgoneamok.Howelsetoexplaintheinclu- conductor Paul Freeman’s “somethingforeveryone” atSymphony Centerlooked asif Sinfonietta concert Monday night’s programfortheChicago glance, first At BY TEDSHEN SINFONIETTA CONCOCTS ANUNUSUALMIX e mrvdo xsigfrs edlsh,inhis Mendelssohn, ven improved onexistingforms. as unusualeven forittofeaturethreeblackcom- Pa Juxtaposing jazzandclassicalmusichasbecomea Y t aclosescrutiny reveals thatitmightnothave et, rk er played andclubsdiedyoung, inbars | SPECIAL TOTHETRIBUNE P U REA,MSCDRCO TOA EWLE GENERALMANAGER WALLE, THOMASDE MUSICDIRECTOR AUL FREEMAN, | 20 th Century? CHICAGO SINFONIETTA CONDUCTORPAUL FREEMAN Pa offiveselectionsfromthe“Charlie performances and ‘ managed toreclaimParker’s bopessence. they led by Woods “BodyandSoul”alone, performed Sinfonietta paintedthemwithgusto.Whenthequartet even thoughthe soundedawfully like Muzak, – Carroll some by by JoeLipmanandothers Jimmy the originalgraceandfeeloffreedom. veteran saxistPhilWoods thatuncannilyresembled oe,Barber’s model, thenswell toeuphony. Like its section by section, a “by-the-numbers” simplicity;thestringsenterstately, carefully and brought forth thepoignancy.carefully andbroughtforth F ness temperedby regretandendsincalmacceptance. emngie i lyr hog h aiu shadings various the through players his guided reeman rk Just howmuchcouldbesensedintheSinfonietta’s W – The glossypizzicato-ladenorchestralbackdrops er WithStrings”recordingsmadebetween alker’s 52 r oeacrtl,inthebuoyant playing of moreaccurately, . Or, 1945 Adagio forStrings L yric forStrings MU I XELNEDIVERSITY EXCELLENCE SIC , it exudesasweet- suffers from suffers 1947 SINFONIETTA CONCOCTS AN UNUSUAL MIX CHICAGO TRIBUNE NOVEMBER 2000 · 2 Dizzy Gillespie. ence asajazzpianistcollaboratingwiththelikes of wild streakandraw toSmith’s power alsohark experi- HindemithandLukasFoss. Butits to mindStravinsky, sive whacks.Itspercussion-heavy soundscapebrings from primordialbrasswails tostringbuzzespercus- moving more differentinmood.It’s raucousandecstatic, couldn’t have been pioned by Freeman over theyears, Smith’s Ritual andIncantation ,a 1974 work cham- work ©2000 THECHICAGO TRIBUNE REPRINTED BYCHICAGO SINFONIETTA whooped uptheboozydelirium. Gliere’s vibrant finale.Itwas backinfullforcefortheencore, outtobetepidexceptforthe whichturned symphony, could have enhancedtheirreadingofMendelssohn’s outoftheorchestra.Thesamezeal ful performance F emnwre pasetgtigaruig skill- upasweatreeman worked gettingarousing, usa alrsDance Sailor’s Russian MU I XELNEDIVERSITY EXCELLENCE SIC . h adbecomingly band The 188 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 p 312 236 3681 f 312 236 5429 chicagosinfonietta.org ENSA,JNAY2,1997 JANUARY 22, WEDNESDAY, hs yfauigagse hi fmr than more of choir gospel a featuring By this. none moreambitiousnorstylisticallywide-rangingthan King’smarked holiday withaspecialtributeconcert, has – underthedirectionofPaul Freeman – Sinfonietta however was preciselytheidea. convention, typically areheardinOrchestraHall.Defyingthemusical ofmusicmakingthat accustomed tothesecularforms foranyone particularly transcended expectations, redemption thatdefinedthefinalminutesofconcert South SideChurch. thought thiswas Sunday inamagnificent morning onemightalmosthave house roaringitsapproval, singing tothehighheavens sold-out andanearly Choir theApostolicChurchofGodSanctuary its form, stirring. most the among ranks surely Hall Orchestra shook butthemusicaltributethat uncounted ways onMonday, Ame BY HOWARD REICH ORCHESTRA IN RAFTERS THE HALL INATRIBUTETOMARTINLUTHERKINGJR. RAISE TO CHOIR GOD OF SINFONIETTA TEAMSUPWITHAPOSTOLICCHURCH DEFYING CONVENTION one chorus soundlike three. one chorus making worthy withcall-and-responsepatterns arrangement of thisgroup, an was last, at Here, Free.” I’m Glad So sonic power andrhythmic driveinitsfinaloffering, Ve “WhenAllofGod’s Children”and“Soon, two selections, tossing symphonicconvention tothewinds. Freeman was and abuoyant gospelrhythm section, and backingitwithbothanorchestralaccompaniment ry F themoodofjubilationandsense Certainly With theChicagoSinfoniettaplaying atthetopof If themassivechoirsoundedabittentativeinitsfirst rteps eea er,theChicago or thepastseveral years,

ri Soon,” withremarkable forth theensembleburst ca c lbae h ieo atnLte ig Jr. in LutherKing, elebrated thelifeofMartin | TRIBUNE ARTSCRITIC P U REA,MSCDRCO TOA EWLE GENERALMANAGER WALLE, THOMASDE MUSICDIRECTOR AUL FREEMAN, | 200 voices “I’m TO REV. MARTINLUTHERKINGONMONDAY NIGHTINORCHESTRAHALL. P Po cast and carefullynuancedphrasings, ovation. standing a him won justly – heard has listener this oneofthemost lyrical – decidedly idiosyncraticversion and Winfield’s Winfield toreadthefamousnarration, Lincoln’s ideasinbothwordandmusical phrase. Copland fashionedapieceaddressingthenobilityof fromLincoln’sUsing excerpts speechesandletters, program, this yet into neatly fit have would manner populist honored King’s legacyinsignificantlydifferentways. that heofferedtwomajorworks fare alone.Instead, content towinover hisaudiencewithheaven-storming it rarelyreceives. humandimension Winfield gave the textasoft-spoken, ofthepiece, relishthedramaandoratory narrators AUL FREEMANLEADSTHECHICAGO SINFONIETTA INITSANNUALTRIBUTE r h otyo ifedsraig withitssofttones ofWinfield’sThe poetry reading, Much ofthemusicthatAaronCoplandwroteinhis was not ashrewd programbuilder, But Freeman, To trait A LincolnPortrait

i rdt conductorFreeman choseactorPaul his credit, in arelativelynew light.For whilemany MU w as particularly appropriate. as particularly I XELNEDIVERSITY EXCELLENCE SIC A Lincoln 2 ·

The most challenging work of the evening was Cantor Alberto Mizrahi, the Anshe Emet Synagogue Thomas Beveridge’s Yizkor Requiem,a piece for cantor, Choir and the Sinfonietta performed excerpts of the small chorus, and orchestra that draws heavily on piece with fervor and sensitivity. JANUARY 1997 JANUARY Hebraic text and musical tradition. By including such a Yet by including on this program such a broad range work in an evening honoring King, Freeman and the of repertoire, Freeman was reaching out to all of his Sinfonietta clearly were saluting the Jewish contribu- listeners, surely King would have been pleased. tion to the civil rights movement in America. The program will be broadcast on WFMT-FM 98.7

CHICAGO TRIBUNE CHICAGO Foranyone who didn’t pick up on this point, however, February 2. the evening’s program booklet noted that the perform- ance of the piece was “dedicated to James Chaney, REPRINTED BY CHICAGO SINFONIETTA Andrew Goodman and Michael Schwerner,” the ©1997 THE CHICAGO TRIBUNE “African-American Christian and two European-American Jews” who died during the civil rights battles in Mississippi in the early 1960’s. DEFYING CONVENTION

MUSIC EXCELLENCE DIVERSITY PAUL FREEMAN, MUSIC DIRECTOR THOMAS DE WALLE, GENERAL MANAGER

SINFONIETTA PLAYS ITS MISSION PROUD

BY WYNN DELACOMA | SUN-TIMES MUSCIC CRITIC | TUESDAY, NOVEMBER 19, 1996

Ask any consultant what an arts organization needs The Sinfonietta also exists to give its players, many to survive in these difficult times, and the answer will of them just starting orchestral careers, a chance to chicagosinfonietta.org be simple: a clear mission. explore the standard repertory and expose audiences Few Chicago music groups have as clear a sense of unfamiliar with classical music to the major com- its own mission as the Chicago Sinfonietta. Monday posers and works. The evening closed with a rousing night, at its second program of the season at reading of Dvorak’s Seventh Symphony. This list may 312 236 5429

f Orchestra Hall, the message of that vision was sent impress funding organizations, but the true test of a loud and clear, as is typical of this ensemble founded music group’s vision is how its performances sound. ten years ago by conductor Paul Freeman. Monday’s program, a repeat of one done Nov. 10 at One reason Chicago Sinfonietta exists is to give [Dominican University], was a reminder of the young soloists a chance to be heard. The evening’s Sinfonietta’s strengths. 312 236 3681

p violin soloist was 19-year-old Livia Sohn, whose Klein brought his trademark clear, powerful tone to resumé includes some impressive concert appear- Mozart’s C Major Oboe Concerto. The orchestra sounded ances and a Yehudi Menuhin Competition prize. heavy behind him, but his bright, agile playing was seamless and smooth, whether in Mozart’s elegant FEW CHICAGO MUSIC GROUPS HAVE AS ornaments or longer, singing melody lines. A sense of playfulness suffused the finale. CLEAR A SENSE OF THEIR OWN MISSION In Bruch’s G Minor Violin Concerto, Sohn played with ardor and confidence, matched by the orchestra’s AS THE CHICAGO SINFONIETTA. crisp attacks and ability to create musical drama. Freeman, who also is music director of the Czech Chicago Sinfonietta also aims to bring the best National Symphony Orchestra, excels in 19th century possible performances to audiences at less-than- Eastern European music, and the Dvorak Seventh stratospheric prices. The evening’s other soloist was Symphony was exuberant, full of vivid color and Alex Klein, who joined the Chicago Symphony unforced excitement. Orchestra as principal oboist last season. Ray Still, his predecessor at the CSO,was among the world’s finest REPRINTED BY CHICAGO SINFONIETTA oboists, and Klein is proving to be worthy replacement. ©1996 CHICAGO SUN-TIMES 88 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 1

MUSIC EXCELLENCE DIVERSITY 188 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 p 312 236 3681 f 312 236 5429 chicagosinfonietta.org soloist. Hebroughtoutthe Ganz himselfgivingthepremiereunderFrederick Stock. USA,FBUR 7 1996 FEBRUARY 27, TUESDAY, another Freeman strength-program building. Monday night’s programatOrchestraHallexhibited made underthebatonofmusicdirectorPaul Freeman. orsociology.in feel-goodpsychology Seriousmusicis Chicago Symphony Orchestraconcerts. bon hommetoooftenabsentfromthestuffycrowdat Americans areastrongpresence.Thereisspiritof Hispanics andAsian- cheerily. African-Americans, Sinfonietta. People ofallagesandwalks oflifemingle by theChicago music shouldattendaconcert Those whobemoanthefutureofaudiencesforclassical DIVERSE CROWD FINDSDELIGHTINSINFONIETTA BY ANDREWPATNER MUSICAL MELTING POT sioned the concerto to mark its tomark sioned theconcerto w thatheand Freemanalbum ofthework willrecord this sion andgusto.Onelooksforward tothepremiere Hollywood Bowl?Salvatoretoreintothemwithpreci- as ifthey were writtenforJoseIturbitoplay atthe So whatifpassagesintheoutermovements sounded American jazzbutwithadecidedlyEuropeanaccent. w found “Dr. Rudi’s” it ownvoice.Like Ganz’s influences, but didsowithanearthat Ravel toShostakovich, here untilhisdeathat the longtimeheadofChicagoMusicalCollegewholived pianistandconductorRudolphGanz, E-flat by legendary eek forCedilleRecords. as oneinspiredby thesoundsandrhythms of Ramon Salvatorewas therevival’s morethanable The highpointwas ararity:the But aSinfoniettaevening isnotmerelyanexercise | CLASSICAL MUSICREVIEW P U REA,MSCDRCO TOA EWLE GENERALMANAGER WALLE, THOMASDE MUSICDIRECTOR AUL FREEMAN, 95 in 25 1972 -minute work’s debtsto 1941 50 . The hanvray with th anniversary, Piano Concerto in Piano Concerto CSO | commis- A LIGHTERATMOSPHERE. FREEMAN BRINGSSERIOUSMUSICTO CHICAGO SINFONIETTA DIRECTORPAUL ©1996 CHICAGO SUN-TIMES REPRINTED BYCHICAGO SINFONIETTA Symphony No. ofMozart’s Aspiritedperformance vincing reading. reduction ofthescoreformidsizeorchestraacon- butFreeman gave Schoenberg’s soprano KariLovass, Songs ofaWayfarer and colors. harmonies its bendingofrhythms, hear hisnine-minuteessay thatechoedStravinsky in was presentto a leadingAfrican-Americancomposer, r or inwheelchairs youngorold, whether blackorwhite, Plunk Leroy Anderson’s delightfulpizzicato gram; joyful encoresofaDvorakSlavonic Danceand rhsr fHl Smith’s Hale of orchestra nigsos–outsmilingintothenight. – unning shoes The highnotesandpianissimosofMahler’s early These were the first performances byThese were performances alocal thefirst ofrdtie)coe t edn h uine– sendingtheaudience (offered twice!)closedit, 35 , “Haffner,” K. we MU re beyond veteranNorwegian 1977 I XELNEDIVERSITY EXCELLENCE SIC Innerflexions WITH GUSTO THE 1941PIANOCONCERTOINE-FLAT SOLOIST RAMONSALVATORE PERFORMED 385 , opened thepro- ln,Plank, Plink, . Smith, 70 , PAUL FREEMAN, MUSIC DIRECTOR THOMAS DE WALLE, GENERAL MANAGER

CHICAGO SINFONIETTA AT SYMPHONY CENTER

BY WYNN DELACOMA | SUN-TIMES MUSCIC CRITIC | THURSDAY, OCTOBER 28, 1997

The advertised theme of Monday night’s Chicago Newman, a legendary public relations man who fre- Sinfonietta concert at Symphony Center was “Music of quently announces changes of cast in Lyric’s vast chicagosinfonietta.org Our Homelands,” one of those vague, catch-all titles Ardis Krainik Theatre without benefit of microphone, often slapped on mundane programs to give them has a clear dramatic voice suited to Cotel’s work. He some zip. was amplified Monday night, but there was nothing Had the evening conducted by Sinfonietta founder exaggerated in his delivery. Hurling forth the words, 312 236 5429

f Paul Freeman simply consisted of Dvorak’s well-worn “Earth, oh earth, do not cover my blood,” attributed to “New World” Symphony and the vapid Irelande- slain poet David Bergelson, he spoke directly from the Symphonic Poem by Irish composer Augusta Holmes, heart, with the raw urgency of a tormented soul. the title would have been mere window dressing. But The orchestral accompaniment was a marvel of the program also included August 12, 1952: The Night understatement. Principal bassist Brenda [Farnsley], 312 236 3681

p of the Murdered Poets, a powerful work composed in pianist Patrick Sinozich and principal horn John 1978 by Morris Moshe Cotel. Fairfield, along with Sinfonietta percussionists, creat- The piece is a setting of seven texts masterfully ed a landscape of winterly solitude. In comparison, the declaimed Monday night by Lyric Opera’s Danny late 19th century romanticism of Holmes’ “Irelande- Newman, set against a spare accompaniment of Symphonic Poem,” sounded trite. Her tone poem piano, double bass, French horn and percussion. portraying Irish life from pastoral gambols to political Inspired by the deaths of 24 Jewish poets in Moscow’s turmoil sounded hackneyed despite the polished infamous Lubyanka Prison during Stalin’s reign of performance. terror, the work raises profound The concert opened with a sprightly performance of THE ORCHESTRAL questions about the very defini- Carl Maria von Weber’s “Euryanthe” Overture. Early ACCOMPANIMENT tion of homeland. By scoring the deadlines prevented me from staying for Dvorak’s WAS A MARVEL OF work for such a tiny band of “New World” Symphony. UNDERSTATEMENT. musicians, Cotel underlined the horrifying loneliness that must REPRINTED BY CHICAGO SINFONIETTA have haunted the doomed Jewish poets in their final ©1997 CHICAGO SUN-TIMES hours. Also implied, of course, is the loneliness of any people, including Jews, who feel themselves in exile and without a homeland. 88 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 1

MUSIC EXCELLENCE DIVERSITY PAUL FREEMAN, MUSIC DIRECTOR THOMAS DE WALLE, GENERAL MANAGER

SINFONIETTA PROVIDES SOUNDINGBOARD FOR BLACK COMPOSERS

BY WYNN DELACOMA | SUN-TIMES MUSCIC CRITIC | TUSEDAY, NOVEMBER 19, 1996 chicagosinfonietta.org

James “Kimo” Williams stood triumphantly onstage at budget,” compared to Orchestra Hall. The Chicago Sinfonietta had just given major orchestras. the Chicago premiere of his classical music composi- The Sinfonietta’s 312 236 5429

f tion, Symphony for the Sons of Nam, and the audience annual budget is about was on its feet. $1.5 million. The Chicago Williams bowed to the main floor before raising his Symphony Orchestra, by arms in victory to the balcony. When the clapping subsided, comparison, has a yearly Williams, a 44-year-old black Vietnam veteran, turned budget of $35 million. PAUL FREEMAN IS OPENING THE DOOR FOR 312 236 3681

p and bowed deeply to Paul Freeman, the Sinfonietta’s Sinfonietta members BLACK CLASSICAL MUSICIANS AND COMPO- conductor and the man who made William’s memorable also get paid only when SURES WITH THE CHICAGO SINFONIETTA, WHICH HE FOUNDED IN 1987 night possible. they perform, unlike CSO “He’s been the greatest catalyst for getting the works members, who receive a of African-American composers heard,” said Williams, regular paycheck. who is an artist-in-residence at Columbia College. Despite its shoestring budget, the Sinfonietta puts Getting the compositions of little-known ethnic com- on six concerts a year at Orchestra Hall. It also per- posers heard and recorded was one of the goals forms at [Dominican University] in River Forest. Freeman set out to achieve when he founded the The Sinfonietta also has made major strides in pro- Sinfonietta in 1987. Freeman also wanted to expose viding career opportunities in classical music. Some the works of great composers to diverse audiences 52 percent of the Sinfonietta’s musicians are women and provide opportunities for ethnic musicians to play and 25 percent are non-white, Freeman said during a classical music. recent interview. The Sinfonietta’s motto is Excellence He seems to have reached all of those goals Through Diversity. despite busy travel schedule that takes him around “At CSO, women are a minority, and the orchestra the world to conduct and record with other orchestras. never has had a permanent black member in its history,” Last week, for example, Freeman was in England con- Freeman said. The CSO isn’t the only major orchestra ducting the London Philharmonic Orchestra. that has a dearth of black musicians. A survey Sinfonietta is Italian for “little symphony.” Unlike released in April by Symphony magazine reported that 88 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 1 traditional symphonic orchestras that have about 100 blacks held a mere 1.4 percent of the 8,700 positions members, the Sinfonietta has only about [55] members. at 116 major orchestras – virtually unchanged from a And in this instance, Sinfonietta also means “tiny survey conducted five years earlier.

MUSIC EXCELLENCE DIVERSITY SINFONIETTA PROVIDES SOUNDINGBOARD FOR BLACK COMPOSERS CHICAGO SUN-TIMES NOVEMBER 1996 · 2 COMPOSERS HEARD W CATALYST FORGETTINGTHE HE’S BEENTHEGREATEST ORKS OFAFRICAN-AMERICAN hvle eSitGogs whodiedin Chevalier deSaint-Georges, whocomposed “Afro-American” Symphony; Ulysses Kay, wrote who Still, Grant William of music the and reissuedin Composers Series”forColumbiaRecords. Composers music whenherecordedthenow-famous“Black ofclassical intheworld anew performance composers School ofMusicinRochester, F inconservatory,” ofblackcomposers works said compositions by fromtheSoutheast. blackcomposers theAtlantaSymphony Orchestraincludedclassical toire, Although Freeman hasbecomeachampionofblack butwriting itaswell. which evolved fromEurope, side ofourtalents.” toshowanother play jazzandblues.Itisimportant option,” Floodsaid. they wouldn’t seeitasacareer play classicalmusic, Center forBlackMusicResearchatColumbiaCollege. directorofthe stereotypes,” saidSamuelA.FloodJr., for blackclassicalmusiciansandknockdownracial emn whoreceivedhisdoctoratefromEastman reeman, F The first discsinthesetwereThe first issuedfrom “It was arevelation…I hadnotbeenexposedtothe That sidenotonlyincludesplaying classicalmusic, “There’s alsoastrongbeliefthat blacks canonly “If Freeman didn’t offeryoungblacks achanceto suchasFreeman“Conductors helpopenthedoors v er ae,Freeman gave African-American later, ive years 1988 nta eis Freeman recorded . Inthatseries, NY South. Initsreper- symposium inthe attending amusical tence in1969while discovered theirexis- heonly composers, . Markings 1799 . 1974 , and - 77 i o n ie onla aFrench teacher. Cornelia, his sonandwife, whereheliveswith BritishColumbia, and Victoria, urban violence. Dreamed Orchestra Arte Fanfare Label. Arte onthePro ofthreeblackcomposers record theworks to ing grantfromtheNationalEndowmentforArts Y many morepeople. what youheardinahalltomany, F and possiblyputitintotheirmusicprograms,” alsohearthemusic more people.Otherconductors ©1996 CHICAGO SUN-TIMES REPRINTED BYCHICAGO SINFONIETTA seldom played by anybody,” hesaid. are ofAfrican-Americancomposers theworks received, orchestras stilllargelyignoreblackcomposers. reeman said. ou have thepotentialofreaching hnFemninttaeig hestays inChicago When Freeman isn’t traveling, They includeRoqueCordero’s B eodn h ok facmoe,youexpose ofacomposer, “By recordingtheworks Recently theSinfoniettareceiveda islistening. however, Someone, Series’ “Despite theacclaim‘BlackComposers butsays symphony Columbia’s Floodagrees, n Williams’ and , Adolphus Hailstork’s F MU naefrLife for anfare I XELNEDIVERSITY EXCELLENCE SIC Epitaph foraManwho Eight Miniaturesfor 10,000 , $28,000 hc concerns which to 20,000 match- 188 WEST RANDOLPH STREET SUITE 1601 CHICAGO, IL 60601 p 312 236 3681 f 312 236 5429 chicagosinfonietta.org careful attentiontothemost minutedetail.” butalsoperform and capturethespiritofmusic, the daily, the Frankfurter theFrankfurter daily, theleadingGerman Trinidadian-influenced steel band.Duringtherecent tour, a and Mozart programs combine in might as new,” that the and familiar the blends expertly has salutedFreeman’s “flairforprogrammingthat philanthropic community. ofChicago’sdo audiencesandthebluechipmembers F any ofourmission orpurpose.” Andweare aliveandthriving. haven’t hadtosacrifice we posed declineintheorchestralmusicbusiness, nocapitalatatimeofsup- withvirtually “Starting V CzechRepublicand with orchestrasinPrague, and more. have doneallofthesethings Paul Freeman, music director, and founder its and orchestra symphony alternative wonderfully variedrepertoire. ofa ply accomplishedahighlevel ofperformance and conductors. composers soloists, an outlettominoritymusicians, success story. you’d have toregardthegroupasamarvelous ofclassicalmusic, brought new audiencestotheworld If theChicagoSinfoniettacouldclaimonlytohave 10-YEAR-OLD SINFONIETTA ISTHRIVING 1996 SUNDAY OCTOBER 13, BY ANDREWPATNER A POSITIVEREFRAIN emni o osig h rtc akhmu,as Thecriticsbackhimup, reeman isnotboasting. coi,BiihClmi,aswell asChicago. BritishColumbia, ictoria, Sun-Times classicalmusiccriticWynneDelacoma While giventopositivethinkingandbigdreams, “We’re thevisionary livingthedream,” says Freeman, Chicago’s its10thanniversary, But asitmarks thefeistyensemblehadsim- Or dittoifin10years ifitwere knownonlyforoffering The sameistrue ifnet’ mscasntol epn exquisitely respond only not “musicians Sinfonietta’s | SUN-TIMES MUSCICSECTION P Allgemeine Zeitung U REA,MSCDRCO TOA EWLE GENERALMANAGER WALLE, THOMASDE MUSICDIRECTOR AUL FREEMAN, , noted that | with W’ELVN H RA..ADW AE’ A OSCIIEAYO U MISSION OUR OF ANY SACRIFICE TO HAD HAVEN’T WE AND DREAM... THE LIVING “WE’RE P OR PURPOSE,” SAYS CHICAGO SINFONIETTA FOUNDERANDMUSICDIRECTOR board ofyoungersupporters. dollar budgetyearandthecreationofanassociates asthegroupitselfanditsticketdiverse buyers. foraudience anddevelopment thatareas supporters TheSinfoniettahasacadreof and volunteersupport. withthedevelopment ofastrongboard been partnered excellencehave alwaysexample. Dreamsofartistic Chicago CommunityTrust. Foundation theLloyd andthe A.Fry Joyce Foundation, tions.” includethe OthermajorSinfoniettafunders in someoftheolderandmoreestablishedinstitu- an excitementinthecrowdthatissometimeslacking F with theJohnD. andCatherineT. MacArthur programofficer organization,” says Francine Carbonargi, AUL FREEMAN. oundation. “You andyoujustfeel gototheirconcerts Last year marked theSinfonietta’sLast yearmarked million- first fromtheSinfonietta’sOther groupsmightlearn timethey’ve“In ashort createdaprettyimpressive MU I XELNEDIVERSITY EXCELLENCE SIC A POSITIVE REFRAIN CHICAGO SUN-TIMES SUNDAY OCTOBER 1996 · 2 SINFONIETTA’S EXAMPLE. LEARN FROM THE OTHER GROUPS MIGHT All-City Youth OrchestraoftheChicagoPublicSchools. program matchesplayers withstudentsinthe affluent youngpeople. withbothinner-cityand themselves minoritiestowork when they encounterclassicalmusicandinstrumen- feel reach oftheexcitementinner-cityyoungsters tions ascentraltoitsmission. theSinfoniettaseesthesefunc- educational programs, tions have and hadtobedraggedintoaneraofdiversity our quality.” notby increasingourscheduleorreducing education, with throughoutreachandinourpartnerships depth, butin “Over thenextdecadewe arelookingtogrow, better,” Freeman says ofhis[55]-memberorchestra. The Sinfonietta’s “Youth andtheProfessional” ofmusicout- Stories areoftentoldintheworld At atimewhenthemajorclassicalmusicorganiza- “I have always saidthatbiggerisnotnecessarily sional musicianswhoare tions thatprovides profes- is oneofthefew organiza- asit can topthosestories, talists. TheSinfonietta ©1996 CHICAGO SUN-TIMES REPRINTED BYCHICAGO SINFONIETTA sometimes can’t believe whatwe’ve done.” even I to foundanentitythatbringsdreamsothers, have fulfilledmy dreamsandtohave personal helped to VA, “But growingupinsegregationRichmond, Chicagoan’s SecondSymphony. ofthelate – andarecording – with performances ofthemusicLeoSowerbyreturn toOrchestraHall pastandpresent. music ofChicagocomposers, the supporting disc containsanotherFreeman dream, onJamesGinsburg’s CedilleRecords.The Concertos”, “Chicago disc, compact seventh its launched Sinfonietta its fifthEuropeantour. Germany for andsouthern invited backtoSwitzerland andin1999thegrouphasbeen California, Southern Nextwinterwillseeatourto ing andrecording. tour- Sinfonietta’s morestandardtasksofperforming, your mind,” Freeman says. justblow HispanicandAsian, blackandwhite, cians, “I have always beenadreamer,” Freeman says. The group’s willseealong-overdue springconcerts the At itsOrchestraHallgalalastMonday, None oftheseactivitiesdiminishesthe “The bondsthatwe seeestablishedbetween musi- MU I XELNEDIVERSITY EXCELLENCE SIC