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Home , Double concerto, Double Concerto (Brahms), Double Concerto (Rorem), Robert Hausmann

Saturday, April 16, 2016 • 8:00 p.m.

Symphony Cliff Colnot, conductor Arianne Urban, Sonia Mantell,

DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, April 16, 2016 • 8:00 p.m. DePaul Concert Hall Symphony Orchestra Cliff Colnot, conductor Arianne Urban, violin Sonia Mantell, cello

Program

Double in A Minor, Op. 102 Allegro (1833-1897) Andante Vivace non troppo

Arianne Urban, violin Sonia Mantell, cello

Selections from Romeo & Juliet Suites Nos. 1 & 2 Sergei Prokofiev I. The Montagues and Capulets (1891-1953) II. The Young Juliet III. Friar Laurence IV. Death of Tybalt V. Romeo at Juliet’s Grave

presenting sponsor DePaul Symphony Orchestra • April 16, 2016

Program Notes Johannes Brahms (1833-1897) in A Minor, Op. 102 Duration: 32 minutes The origins of Brahms Double Concerto are as unusual as the combination of a violin and a cello as solo instruments. Brahms had a very close friend, mentor, and advocate in the violinist . Joachim was the intended performer (and valuable musical consultant) for Brahms’ , and while living in different cities, Joachim and Brahms continued to maintain close intellectual, artistic, and personal connections. Unfortunately, in 1884 Joachim separated from his wife, accusing her of infidelity. Brahms wrote to Amalie Schneeweiss, Joachim’s wife, a serious and successful singer, comforting her, and reassuring her that he (Brahms) had no doubts that the accusation was unfounded. Joachim was furious at what he saw as a betrayal of their friendship—especially after Amalie used the letter in her divorce proceedings.

Brahms wanted reconciliation. A natural peace offering would be another composition for the violin that he could dedicate to Joachim. It is not unimaginable that the somewhat socially awkward composer was uneasy about such a direct approach that could result in rejection, especially since Joachim had rebuffed previous attempts at reconciliation. Enter the cellist – a very accomplished musician, who not only was a frequent collaborator of Brahms’, but also a member of the Joachim Quartet in . He was the dedicatee of Brahms’ Second Cello Sonata, and premiered it. He asked the composer to write a for him. Brahms conceived the idea of a double concerto, written with Hausmann and Joachim as intended performers. After he finished the composition, working in the summer in the bucolic lakeside town of Thun in Switzerland, he wrote to his good friend , the widow of the composer , and also a close friend of Joachim’s, sounding her out to see whether Joachim would be amenable to such a project. He calls the Double Concerto an “amusing idea” and writes:

If it is at all successful it might give us some fun. You can well imagine the sort of pranks one can play in such a case… I ought to have handed the idea to someone who knows the violin better than I do…. It is a very different matter writing for instruments whose nature and sound one only has a chance acquaintance with, or only hears in one’s mind from writing for an instrument that one knows as thoroughly as I know the piano. For the latter case I know exactly what I write and DePaul Symphony Orchestra • April 16, 2016 program notes why I write it as I do. But we will wait and see. Joachim and Hausman want to try it….

One can read between the lines the appeal for Clara to be the ambassador of reconciliation—while Brahms does want the professional advice of Joachim, he is also seeking the renewal of relations, even if only professional ones. He also wrote to Joachim, emphasizing how important it was to him that Joachim like the piece. As it turns out, the strategy worked. Clara Schumann wrote back soon:

Surely this wonderful combination has never been tried before? I discussed it a good deal with Joachim who paid me a visit the other day and we are tremendously pleased about the work.

Within the music there are some musical hints, indicating to Joachim that Brahms was thinking of him during the composition: one is the motif A – E – F in the first movement, played first by the violin. This, somewhat obliquely, refers to its permutation, F – A – E, which stands for Joachim’s personal motto “Frei Aber Einsam” (free but alone). The motto was well known—in 1853 Robert Schumann, Brahms, and Dietrich, a Schumann pupil, wrote an “F-A-E Sonata,” where each composer wrote a movement, all movements based on the motto, and presented the work as a gift to Joachim. Another subtle hint is the rhythm of the second theme of the first movement: it is the same as that of a concerto by Viotti that was a favorite of Joachim’s. There is even some speculation that the “Hungarian” gipsy character of the third movement of the Concerto may be an allusion to the concerts the young Brahms and Joachim gave in Hungarian tours.

The “pranks” worked. Clara Schumann’s diary has the entry, “This concerto is a work of reconciliation— Joachim and Brahms have spoken to each other again for the first time in years.” In fact, Joachim and Hausmann played at the first performance, on October 18, 1887, in Köln ().

Surprisingly, this masterpiece, the last of Brahms’ orchestral works, did not get early critical acclaim. Clara Schumann thought that it was “not brilliant for the instruments”, and Brahms’ good friend, the physician and amateur musician Billroth in a letter to their common friend, the music critic Hanslick judged the concerto “…tedious and wearisome, a really senile production. … I do not know of a less important work of our good friend, and yet this particular one is dear to his heart….”Listening to the work, one must conclude that Brahms’ taste was far superior to either Billroth’s or Clara Schumann’s. DePaul Symphony Orchestra • April 16, 2016 program notes Brahms makes skillful use of the extended sonic palette of having two string instrument soloists, writing lush romantic melodic lines that make them sing. Clara Schumann’s observation is correct: the concerto is not a virtuoso showpiece – difficult passages for the soloists do not arise from a desire to display technical prowess, but from the inner logic of the composition. For example, the two main themes of the first movement are introduced by the soloist cello and by the soloist violin, respectively, in cadenza-like virtuoso passages. However, these passages are not mere displays of virtuosity, but are the musical preparation for the presentation of the main themes of the first movement. In the second movement, the lyric main theme is presented by the two soloists playing in unison an octave apart—almost as if they were a single instrument of many strings and many sonorities. Of course, this kind of playing, akin to , requires two soloists who share the same interpretative ideals, and adapt to each other’s personalities—something that may be harder than throwing off bravura passages. The last movement does have many virtuoso solos, but again, this is driven by the character of the music: an exuberant medley of Hungarian-Gipsy dance inspired romp.

Serge Prokofiev (1891-1953) Selections from Romeo & Juliet Suites Nos. 1 & 2 Duration: 24 minutes Prokofiev was one of the most distinguished Russian (Soviet) composers of the 20th century. In spite of immense gifts, and a willingness to embrace enthusiastically the Soviet regime, he had great difficulties with Stalin’s oppressive dictatorship. In the midst of a successful career as a composer, pianist, and conductor in the West (as early as December 1918 he conducted his Scythian Suite, and played his First with the Chicago Symphony), he was enticed to return to the Soviet Union in 1936. Part of the appeal – besides a promise for unrestricted travel to the West (a promise broken after a few years) – was the great range of opportunities to have his music played, as well as commissions, a coveted apartment in downtown Moscow, a dacha, and honors. As a result of his newfound influence, one of the projects he was involved in was a ballet to be presented by the Bolshoi Theatre, perhaps the most prestigious venue in the country. The ballet was Romeo and Juliet.

Prokofiev composed most of the music in the summer of 1935, in rustic Polenovo, the country estate of the Bolshoi Theatre. Unfortunately, the communist orthodoxy, and the beginning of the great purges made the DePaul Symphony Orchestra • April 16, 2016 program notes planned 1936 premiere of the ballet impossible: first, the unsuitable happy ending had to be redone to follow the original story, then, more ominously, several of Prokofiev’s collaborators disappeared into the Gulag. The ballet became associated with these “enemies of the Soviet state” and became untouchable. Prokofiev proceeded to extract scenes from the ballet, to be able present them as orchestral suites. The majority of the movements performed this evening are technically part of Suite No. 2, which premiered on April 15, 1937 and is the one most commonly performed. The ballet itself was performed first in Brno (Czech Republic) in 1938, although it was not until 1940 that a revised version was granted permission to be performed in the USSR.

Prokofiev’s score uses orchestral colors to render vivid impressions of the tragic story. It is not hard to let our imagination complete the pictures evoked by the music. The introductory movement illustrates the arrogant feuding families by strings and horns presenting forceful challenges to each other. Subsequently a sweet melody passed around the woodwinds portrays young Juliet, in love and feeling invincible despite the odds. A somber yet sweet melody depicts Friar Laurence, waiting to marry the lovers in his cell. Romeo then avenges his friend Mercutio’s death by murdering his killer, Tybalt, represented by fast and furious strings and fifteen and woodwind punctuations. The final movement depicts the tragic end of the romance: it was also performed at Prokofiev’s funeral.

Notes by Cathy Elias. DePaul Symphony Orchestra • April 16, 2016

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 , 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 Gamefor 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 and was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years. Colnot also conducts Contempo at the University of Chicago, and 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 ’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 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 DePaul Symphony Orchestra • April 16, 2016 biographies 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 of Columbia University 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 Sonia Mantell is an avid orchestral and chamber music player. She began cello lessons at the age of seven with her mother Emily Lewis Mantell. Additional teachers include Mark Lekas and Hans Jorgen Jensen. Sonia received her bachelor’s of music in cello performance at the New England Conservatory studying with Natasha Brofsky, and is currently attending DePaul University School of Music for her master’s of music, studying with Chicago Symphony Orchestra cellist Brant Taylor. She has attended several music festivals including Meadowmount, the Aspen Music Festival, National Orchestra Institute, Music Academy of the West and the Tanglewood Music Festival. In 2014, Sonia was appointed co- principal cellist with the Civic Orchestra of Chicago and has maintained the position through the 2015-2016 season. She was the recipient of the 2015 Tanglewood Samuel Mayes Memorial Cello Award and was invited to return to the festival in 2016. Within the last year, Sonia performed with the Chicago Symphony Orchestra as part of the MusicNOW concert series and a subscription concert. Sonia is grateful for the opportunity to perform with her dear friend and roommate Arianne and the DePaul Symphony Orchestra. DePaul Symphony Orchestra • April 16, 2016 biographies Born and raised in Miami, Florida, violinist Arianne Urban received her bachelor’s of music at the University of Miami Frost School of Music, where she was First Violinist of the Stamps , an elite group of string students who receive full scholarship from the Stamps Family Charitable Foundation. With the Stamps String Quartet, she has performed in the Juilliard String Quartet Seminar, Lyricafest, the Charles Castleman Quartet Program, and the Orfeo Music Festival in Vipiteno, Italy. Urban has attended various summer music festivals including the Aspen Music Festival and the Boston University Tanglewood Institute, and has performed with the New World Symphony, Miami Symphony, Trans-Siberian Orchestra, Naples Philharmonic, and Chicagoland Pops Orchestra. Urban is currently finishing her master’s degree at DePaul University in Chicago, IL under the tutelage of Janet Sung. She is a member of the Civic Orchestra of Chicago, and is also a private violin instructor. Urban is an active performer in Chicago, and serves as a regular Guest Concertmaster for the Sinfonia da Camera at the University of Illinois. She is thrilled to have the occasion to perform with her close friend and roommate, Sonia Mantell, and is grateful for the support of faculty and fellow students. DePaul Symphony Orchestra • April 16, 2016 Personnel Violin I Cello Contrabassoon Kiyoe Matsuura, Tobin Schindler, principal Michael Allard concertmaster Morgan Little, Arthur Masyuk, assistant principal Cornet assistant concertmaster Benjamin Rogers Alex Szasz Matthew Hannau Aaron Brancato Danielle Simandl Seth Trimble Elina Rubio Meghan Lyda Brian Bean Alina Kobialka Joshua Dema Mark Haworth Anne-Sophie Paquet Margaret Madsen Alex Szasz Irine Røsnes Francisco Malespin Kuan-I He Horn Elizabeth Weitnauer Bass Sarah Burgstahler Carmen Abelson Fernando de la Fuente, Fiona Chisholm Anna Piotrowski principal Stephanie Diebel Alexandra Khaimovich Teddy Gabrielides, Brad Granville Kseniya Khvashchynskaya assistant principal Parker Nelson Kelsey Ferguson Daniel Meyers Joshua Pfeffer Elias Broxham Violin II Evan Hillis Trombone Alexandria Conrad, principal Charles Dieterle Ashlyn Olson, Lucas Steidinger assistant principal Emily DePalma Michelle Wynton Rachel Dobosz Bass Trombone Erica Jacobs-Perkins Christy Kim Sean Yeung Kyle Dickson Ali Parra Graham Emberton Tuba Alison Tatum Piccolo Aden Beery Andrea Ferguson Rachael Dobosz Samantha Spena Timpani Olivia Breidenthal Paul Brumleve Fan Zhang Laura Adkins Konrad Kowal Erik Andrusyak Percussion Claire Watkins Alex Adduci English horn Becca Laurito Viola Ian Egeberg Sarah Pugh Samuel Pedersen, principal Sarah Vosper, Harp assistant principal Emily Dobmeier Michael Maganuco* Hilary Butler Dan Hickey Violet Deal J.J. Milakovich Piano/Celeste Aleksa Kuzma Chaz Sonoda Ilya Vanichkin Kelly Larson Cierra Asmond Bass Clarinet Librarians Jonathan Walters Brandon Sheppard Graham Emberton Kevin Lin Kelly Kondry Seth Pae Tenor Saxophone Samantha Spena Mercedes Quintana Richard Brasseale Cynthia Stacy Catherine Sliva *guest Quinn Delaney Robert Franken DePaul Symphony Orchestra • April 16, 2016 Alumni & Friends Contrabassoon Listings in the honor roll reflect contributions and pledge payments made between July 1, 2014 and June 30, Michael Allard 2015 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. Cornet $50,000 + PNC Financial Services James Shaddle Alex Szasz Fr. McCabe Circle Group, Inc. * Rev. Charles Shelby, C.M., MS ‘72 * Chartwells Dining Services * + J. Christopher & Anne N. 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Denny (Life Trustee) & Samuel Magad, MUS ‘55; Beverly Felisian, MUS ‘57 & Catherine Denny * DHL ‘10 Robert Felisian, MUS ‘59 Librarians Fidelity Charitable Gift Fund * Edward D. Mayes & Barbara Giambalvo Graham Emberton Gina Gaudio, LAS ‘99 & Colleen Ward Mayes Jac Goldstucker Robert D’Addario, MUS ‘11 Brenda Michuda, MBA ‘92 & Scott Golinkin, JD ‘84 Kelly Kondry Chester Gougis (Trustee) & Mark Michuda Dana Green, LLM ‘91 & Samantha Spena Shelley Ochab Kristin Michuda & Josef Michuda Thomas Clancy Cynthia Stacy John Graven, BUS ‘49; MBA ‘50 Leo Michuda (dec.) Sally Hagan (dec.) & Anastasia Graven, MA ‘64 Marie Michuda, MUS ‘89 Janice Honigberg & *guest William Hay, MBA ‘66; DHL ‘06 Northern Trust Corporation John Hedges (Trustee) & Mary Pat Gannon Hay, Cathleen Osborn & William Osborn IBM International Foundation DHL ‘06 * Rev. John Richardson, C.M. John R. Wesley, MD, LLC David Herro & Jay Franke (Life Trustee) Marilyn Kelly & PNC Bank * Nancy Rick-Janis, MBA ‘93 & Dr. John Markese Robert Janis, SNL ‘82; MS ‘86 + DePaul Symphony Orchestra • April 16, 2016 alumni & friends Professor M. Cherif Bassiouni & Christina Berry, CMN ‘01; Donna Branson Elaine Klemen-Bassiouni MED ‘09 & Dr. Thomas Berry, Rosemary Corrigan, CSH ‘69 Dagmara Kokonas & MBA ‘78 Carol Dammrich, CSH ‘76 & Nicholas Kokonas Robert Berry Thomas Dammrich, LAS ‘74; Bob & Linda Kozoman Marvin Brustin, JD ‘61 MBA ‘78; MS ‘85 Frank Kuhlmann, MED ‘99 & Russell Bruzek, GSD ‘64 Michael Filip, MUS ‘80 Erica Kuhlmann Friends of Edward M. Burke Mary Goldberg Lebus Charitable Trust Justice Anne Burke, SNL ‘76; Allison Hahr & Jon Spanbauer Daniel & Julie Love DHL ‘05 & Alderman Edward Amy Jacobs, MED ‘00 & The John D. & Catherine T. Burke Sr.,LAS ‘65; JD ‘68 Cary Jacobs, MUS ‘87; MM ‘89 MacArthur Foundation * + Dolores Curns Jacqueline Kelly-McHale # Joan Meister & Cheryl Cutinho & Vladimir Leyetchkiss Dr. Richard Meister Sunil Cutinho Camille Licklider, J.D., Erin Minné Eric Esparza # MUS ‘96 & James Licklider, Mark Mroz Joan Ferrill & Jeffrey Ferrill LAS ‘98; MS ‘01; MS ‘06 Raymond Niwa, MUS ‘43; MM ‘49 Marshall Field Katherine Lisec & Peggy Notebaert & First Bank & Trust W. Michael Lisec Richard Notebaert Graham Fuguitt, MM ‘82 & Norman Malone, MUS ‘68; Beatrice Orzac Margaret Fuguitt MM ‘73 Anthony Peluso, MUS ‘73 & Donna Gritton & Steve Gritton Tiffany Marshall, CMN ‘01 & Julie Peluso Wendy Irvine # Adam Marshall, MUS ‘01 Joseph Ponsetto, EDU ‘78; Robert Krueger II, MBA ‘88 # Katherine McConville, MUS ‘07 JD ‘82 & Jean Lenti Ponsetto, William Lear Katie McMenamin EDU ‘78 Herbert Marros, BUS ‘81 Emily Merritt Earl Richardson Jr., MS ‘05 Mary Marshall & Pat Mikos # Rev. 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Joan Yohanan & Marietta Stevens Dr. Shirley Beaver Robert Yohanan Augusta Read Thomas & Sandra Benedict Kenneth Zak, BUS ‘52; JD ‘54 Bernard Rands Sarah Benham, BUS ‘04 & James Zartman & United Way of Metropolitan Jeremiah Benham, MUS ‘00; Katherine Zartman Chicago MM ‘02 John Zielinski, MUS ‘79 & Phil Varchetta (dec.), BUS ‘49 Linda Benson & Robert Benson Laura Zielinski Edward Ward, MUS ‘63; Kathryn Berghoff, MBA ‘82 & DHL ‘07 & Dale Ward Paul Berghoff $500-$999 Hilary Zankel & Jay Gottfried Jill Beuter, MUS ‘59 Nancy Bason, BUS ‘98 & Elka Block Bill Colman $250-$499 Sania Bonnard & Pierric Bonnard Cynthia Bennett, MUS ‘85; Stephen Balderston # Jay Braatz, EdD MM ‘90 Martha Garcia Barragan & Dr. Katherine Brucher # David Oskandy Margaret Caraher, MUS ‘85 DePaul Symphony Orchestra • April 16, 2016 alumni & friends Peggy Casey-Friedman & Susan Kosinski Cecilia Roth, MUS ‘53 Martin Friedman Robert Kreisman, LLM ‘81 Elaine Roth Chicago Tribune Foundation Anna Kreynina David Rubin Elaine Clancy, MM ‘92 Renata Kuciemba & Rebecca Rudy, MUS ‘12 Prudence Cole Stanislaw Kuciemba Mary Rundell Larry Combs # Kathleen Lahiff, LAS ‘78 Lisa Russ Cor Creative, Inc. LaMetrice Lane & Steven Lane Robin & John Schneider Christine Corrigan Veronica Larry-Smith Nancy Scott-Rudnick & Clifford Daniel Corrigan, MUS ‘59 Sharon Lear Scott-Rudnick Ryan Coward, MUS ‘04 Michelle Lee, CDM ‘02; MS ‘10 Seman , Inc. Darlene Crilly, MUS ‘74; Edmond Leonard Brenda Sikorski MM ‘76 & Richard Crilly Jr., Michael Lewanski # Yuki Solomon & MBA ‘80 Mary Ellen Lewis Jonathan Solomon David Csuk Jr., MS ‘14 Dr. Eva Lichtenberg Gordon Stefenhagen, BUS ‘67 Darnton & Hersh Fine Violins Constance Lilly, MUS ‘70 & Howard Sulkin, DHL ‘90 & Bradley Dineen, MED ‘99 James Lilly, MUS ‘70 Connie Sulkin Bernard Dobroski Dennis Lord Kristofer Swanson, CPA, CFE, Anne Duggan & Ying Lu, MS ‘02 & Min Cheng MS ‘91 & Myrna Swanson Jaime Garcia Anoveros Ilene Lubell Leah Talmers & Peter Talmers Dr. Cathy Elias # & Janos Simon Susan Lyons Dr. Michele Thompson & James Fahey, MUS ‘83 Jesse Macro, MUS ‘60; MA ‘67 Dr. H. Woods Bowman (dec.) Dr. Barry Feldman & Sui Huang Donna Malaga & Joseph Lim Geraldine Timm, SNL ‘92 Felicia Filbin, LAS ‘81 Marie Malm, MA ‘50 Linda Tuke-Larkin Patrice Fletcher Christine May, MUS ‘75 & Dr. Cynthia Valukas, MUS ‘75 Helene Gabelnick & James May, MUS ‘74; MM ‘75 Paul Wagner, MBA ‘82 & Stephen Gabelnick Roberta McKeever & Susie Wagner Elizabeth Garvey, MUS ‘83 Michael McKeever Margaret Walker, MM ‘83 Mark Gatz, CSH ‘97 & Sean McNeely, MM ‘97 Dr. John H. Wallace, MUS ‘83 & Monica Gatz Sara & Leo Acosta Mrs. Carol L. Wallace Lucy Gaven & Richard Gaven Nancy Misch & Mark Misch Cliff Wallis, MUS ‘96 Margaret Gentilcore Christopher Mlynarczyk, Lina Wei & Grant Wei Matthew Geraldi, MUS ‘56 & MUS ‘78 Dana Weinstein & Kenlyn Geraldi Diane Myhre, MM ‘90 & Steven Weinstein Sheila Gideon & Vern Gideon John Myhre William Harris Lee & Co., Inc. 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* $100,000+ lifetime giving to DePaul University + Donor has made a special philanthropic pledge of $25,000 or greater to DePaul University between January 1, 2013 and December 31, 2013 • Denotes President’s Club membership, which reflects total giving to DePaul # School of Music Faculty/Staff, current and retired DePaul Symphony Orchestra • April 16, 2016

Upcoming Events Sunday, April 17 • 2:00 p.m. St. Vincent de Paul Parish • 1010 W Webster Ave. DePaul Chamber Choir & Concert Choir

Thursday, April 21 • 6:00p.m . Recital Hall Music Career Workshop: “Ask an Expert” with distinguished alumnus Rich Daniels Visit http://askrichdaniels.eventbrite.com for more information. Open to all current and prospective students and alumni.

Saturday, April 23 • 8:00 p.m. Concert Hall DePaul Chamber Choir & Concert Choir

Sunday, April 24 • 8:00 p.m. Concert Hall Olga Kaler’s Violin Studio Recital

Monday, April 25 • 8:00 p.m. Concert Hall DePaul Concert Orchestra

Tuesday, April 26 • 8:00 p.m. Concert Hall DePaul Wind Ensemble

Wednesday, April 27 • 8:00 p.m. Concert Hall Tuba Studio Recital

Saturday, April 30 • 8:00 p.m. Concert Hall DePaul Wind Symphony

Sunday, May 1 • 3:00 p.m. Concert Hall Faculty Recital: Brant Taylor, cello DePaul Symphony Orchestra • April 16, 2016 upcoming events Sunday, May 1 • 8:00 p.m. Concert Hall Faculty Recital: Janet Sung, violin

Thursday, May 12 • 8:00 p.m. Concert Hall Ensemble 20+

Friday, May 13 • 7:30 p.m. Sunday, May 15 • 2:00 p.m. Concert Hall DePaul Opera Theatre Presents Monteverdi’sL’Orfeo

Saturday, May 14 • 8:00 p.m. Concert Hall Faculty Recital: Olga Kaler, violin

Sunday, May 15 • 10:00 a.m. Concert Hall Kleinman Piano Competition

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