PROGRAM

D E PAUL UNIVERSITY SCHOOL OF MUSIC spring gala

Featuring DePaul Symphony Orchestra and DePaul Symphonic Choir

Cliff Colnot, conductor

Wednesday, May 23, 2018 Orchestra Hall at Symphony Center 220 S. Michigan Ave. concert These experiences are backed by a DePaul Sextet world class education. Concepts taught Dana Hall, director and reinforced by Chicago’s most prodigious musicians are made all the DePaul Symphonic Choir more meaningful when students can Eric Esparza, conductor see those same professors live out their DePaul Symphony Orchestra methods during a performance or in Cliff Colnot, conductor a recording studio. Knowing that your teachers perform on the world’s greatest stages is certainly inspiring, but seeing PROGRAM it firsthand makes the dream suddenly seem attainable and worth working for. 6:45 P.M. DePaul Jazz Sextet Yes, there are other institutions connected to tremendous cultural resources and Black Narcissus 1969 exceptional working faculty. But this annual Jeremy Benshish and Paul Wagner 1937–2001 evening always seems to demonstrate one final aspect of the DePaul identity Cannonball 1956 Julian “Cannonball” Adderley Dear Friends, hard to find elsewhere: a culture that Jacob Delgado and Connor Druhan 1928–1975 pushes students hard to achieve their absolute best while also demonstrating When I think about the defining Speak Like a Child 1968 Herbie Hancock characteristics of a DePaul School of care and compassion. Few institutions Simon Ciaccio and Casey Dahl b. 1940 Music education, this evening endures, can successfully navigate this fine line, year after year, as a perfect example of but tonight’s stunning performance is Humpty Dumpty 1978 Chick Corea our unique identity. While our home proof that the DePaul School of Music base, including the new Holtschneider methodology yields success for you, our Jeremy Benshish, Casey Dahl & Jacob Delgado b. 1941 Performance Center, exists in Lincoln audience, and our students who represent Park, the transformative growth of our the future of this industry. Ballad For Barretto 2008 Joe Magnarelli students takes place when they step Connor Druhan b. 1960 out of what’s familiar and onto the stages of the Jazz Showcase, the Merle Enjoy the music! Reskin Theatre, the Driehaus Museum 8:00 P.M. DePaul Symphony Orchestra and DePaul Symphonic Choir or Orchestra Hall. Our young musicians embrace the city, and with growth and Schicksalslied, Op. 54 1871 Johannes Brahms maturity, seek out their own gigs in Ronald Caltabiano 1833–1897 venues large and small, internships at all Dean of the School of Music manner of arts organization and student teaching assignments in every corner of Concerto for Orchestra, Sz. 116 1944 Béla Bartók Chicago. DePaul’s urban character is a 1881–1945 foundational element of who we are and Introduzione. Andante non troppo - Allegro vivace how we develop the next generation of Giuoco delle coppie. Allegro scherzando music professionals. Elegia. Andante non troppo Intermezzo interrotto. Allegretto Finale. Presto D E PAUL JAZZ SEXTET D E PAUL SYMPHONY ORCHESTRA Dana Hall, director of jazz studies Cliff Colnot, conductor Jim Trompeter, ensemble coach

First Violin Cello Bass Clarinet Connor Druhan, Alina Kobialka, David Sands, principal Michael Tran concertmaster Emily Munn-Wood, Jacob Delgado, alto saxophone Shaleah Feinstein, assistant principal Paul Wagner, tenor saxophone Sandra Bailey assistant concertmaster Michelle Dodson Casey Dahl, piano Jonathan LiVolsi Adam Dorn Jingjing Hu Simon Ciaccio, bass Nick Ritter Heidi Hatch Aurora Lawrie Jeremy Benshish, drums and cymbals Konrad Kowal Philip Lee Contrabassoon Lara Madden Sarah Nail Jonathan LiVolsi Rasa Mahmoudian Keegan O'Donald Horn D E PAUL SYMPHONIC CHOIR Yefim Romanov Anna Patterson Abby Black Eric Esparza, conductor Courtney Silver Zachary Sears Payton Chadwick Barbora Valiukeviciute Nomin Zolzaya Michael McElvain, pianist Fiona Chisholm Yu Xin Bass Ali Nizamani Sofie Yang Teddy Gabrielides, Emily Whittaker Georgiana Adams Mason Goldberg Daniel O’Hearn Second Violin principal Trumpet Chuckie Aiello Stephanie Gubin Brian O’Neill Ece Dolu, principal Isaac Polinsky, J. R. Buzzell Ty Allen Nick Guetterman Gia Pappas Luis Salazar, assistant principal Ruben Cova Kais Ali Ellie Heinzen Amanda Patino assistant principal Nicholas DeLaurentis Adam Shohet Sebastian Armendáriz Erin Hogan Tyler Ricco Angelo Horngtay Chiu Lee Chris DeMarco Julia Tsuchiya-Mayhew Rose Augustinksy Daniel Irani Rudy Rosenmayer Meghan Henson Micah Stoddard Joseph Jung Trombone Lucy Baker Ethan Isaacson Kelby Roth Flute Natasha Kubit David Behm Mallory Baker Lauren Jacob Declan Ryan Emily Bieker Alexandra Kwasny Nate Doucette Daniel Beatty Radka Kasparcova Amon Saheljo Ana Boulas Jong Sean Lee Prapat Prateepphleepon Pantelis Bolorakis Nicole Kelly Drew Saiz Emily DePalma Ruoyao Li Caleb Shemwell Marisa Buchheit Brennan Kennedy Everett Sarich Erin Wallace Diana Ortiz Salazar Lucas Steidinger Kellen Campbell Zach Kuehn Steven Schein Brent Taghap Piccolo Tuba Gisselle Cervantes Robby Kulik Liliana Schiller Ana Boulas Kevin Wenglin Julia Clarke Breanna Leach Rachel Singh Viola Michael Zahlit, principal Maria Consamus Olivia Leone Betsy Sorensen Annika Sundberg, Erik Andrusyak Sarah Christianson Roy Curiale Miranda Levin Sarah Szeszol assistant principal Andrew Cooper Leo Taylor Drew Curry Jack Macklin Julie Watkins David Beytas* Lindsay Wiley Percussion Angela De Venuto Connor Mannebach Shannon Watkins Caleb Henry English Horn Christian Hughes Webb Dieter Emily Margevich Ryan Wolfe Aleksa Kuzma† Erik Andrusyak Boyan Tantchev Carmani Edwards Alexander Mark Chet Zenor Kevin Lin† Leo Taylor Madeline Ehlinger Brandon Meng Angela Zúñiga Rachel Mostek Clarinet Laurie Blanchet Lauren Florek Hanna-Grace Mowery Jonathan Walters Harp Emily Kerski Matt Galvan Lauryn Nelson Michael Maganuco* Louis Kim Jennifer Ruggieri* Michael Tran Theresa Zick * Guest † Alumni PROGRAM NOTES

Johannes Brahms 1833–1897 Schicksalslied, Op. 54 1871

Duration 17 minutes

For most of Brahms’ works with text, 37 years of his life. His odes, elegies darkness in the timpani, almost as if Hölderlin’s worlds into etchings of he chose words from which he could and other verse forms were complex in a distant rumble of thunder. The alto Schickslalslied in his collection of create an atmosphere over words of their language and thought, drawing section then enters the texture with the “Brahms Fantasies.” In the first engraving, great substance. However, struck by the from his university years spent alongside text “Ihr wandelt droben im Licht” an old man is using what’s left of his lyre work of poet Friedrich Hölderlin, Brahms philosophers G.W.F. Hegel and F.W.J. (Ye move up yonder in light). The first two to play a song to a seashore full of bodies wrote his first sketches forSchicksalslied Schelling, as well as his mentor and first verses continue in this hallowed, floating that were destroyed by a shipwreck and in the summer of 1868, while he was publisher, Friedrich Schiller. The rhythms world until the wind section introduces are now “walking above in the light.” on a trip to view the North Sea naval of the texts are a unique combination a dissonant chord and the strings whirl Upon seeing this, Brahms immediately base at Wilhelmshaven with conductor/ of elevated classical style and the into a tempest, the text of the chorus recognized the unification of his music, composers Albert Dietrich and Karl vernacular of his native, southwestern switching to the “suffering, sorrowing Hölderlin’s text and Klinger’s artwork and Reinthaler and their wives. Dietrich recalls German Swabian tongue. Hyperion, mortals.” In this dark world of mortals wrote to Klinger: the excursion: the novel that inspired Brahms to take is where Hölderlin’s version of the story I see the music. I see the beautiful this plunge into the world of destiny, ends; however, Brahms chose to have the Our friend, usually so cheery, was words– and now your glorious was written in two installments at the music of the gods return, this time with silent and serious on the journey. drawings carry me yet further. very end of the eighteenth century, just that already distant rumbling of drums He told us how, early that morning Looking at them, it is as though the before the ending of a tragic love affair significantly reduced. (he . . . got up extremely early), he music were sounding on into the that claimed Hölderlin’s last moments had found [Friedrich] Hölderlin’s Brahms struggled with the ending of Infinite and were saying everything of lucidity. The novel’s theme appears poems in the bookcase and been Schicksalslied, writing in many letters that I might have said, more clearly than often in Hölderlin’s writings and revolves profoundly stirred by Hyperion’s he thought Hölderlin didn’t get to the music can say it, yet just as replete around juxtaposing the unvarying Greek Song of Destiny. Later, as we rested most important part; however, Brahms with mystery and presentiment. gods with the constant turnover of ever- by the sea after much walking about never said exactly what he thought was Sometimes I come close to envying suffering mortals. At this point late in and looking at interesting sights, missing. The interpretation is left up to you for being able to be so lucid the novel, the main character sings his we discovered Brahms far removed the audience: was Brahms the optimist with your pencil, sometimes I am Song of Fate, or Schicksalslied, lamenting from us, sitting on the beach and ending with the world at peace and the happy that I don’t have to be. Finally that the gods above live freely while the writing. It was the first sketch for the gods in their rightful place in heaven, it seems to me that all art is one and mortals below live a life of suffering. Schicksalslied. or was he the pessimist ending with a speaks one language. The piece begins with an ethereal spotlight on the detached apathy of the Friedrich Hölderlin lived a colorful life melody in the violins, regal and god- gods as they live untroubled above a that created a voice unlike any of Brahms’ Notes by Lauren Jacob (MM ’18) with like as it soars over the accompanying world of mortal suffering? previous literary muses. In his twenties, Dr. Anna Kathryn Grau orchestra like the clouds that float above he was diagnosed with schizophrenia, German symbolist painter Max Klinger the mortal world on earth. The lengthy a mental illness that governed the last made tangible both Brahms’ and introduction presents only a tinge of PROGRAM NOTES

Béla Bartók 1881-1945 Sarnac Lake, New York, he composed exposition in the finale is somewhat Concerto for Orchestra, Sz. 116 1944, revised 1945 the Concerto for Orchestra. It is a extended, and its development virtuoso piece that puts great demands consists of a fugue built on the last Introduzione. Andante non troppo - Allegro vivace on the orchestral players. Since its first theme of the exposition. Giuoco delle coppie. Allegro scherzando presentation, it has been recognized as Elegia. Andante non troppo Less traditional forms are found in the one of the masterworks of 20th century Intermezzo interrotto. Allegretto second and third movements. The orchestral literature. Finale. Presto main part of the second consists of a Perhaps it is worth noting that the title chain of independent short sections Duration 40 minutes of the second movement “Giuoco by wind instruments consecutively delle copie” or “Play of the couples” is introduced in five pairs (, not accurate. The precise Hungarian , clarinets, flutes and muted translation is “Introduction of the ). Thematically, the five Béla Bartók, (March 25, 1881, on playing a demanding repertoire, and Couples,” and refers to a frequent aspect sections have nothing in common. A Nagyszentmiklós, Austria-Hungary [now had a somewhat aloof stage presence. of peasant dances: At the beginning of a kind of ‘trio’—a short chorale for brass Sânnicolau Mare, Romania] - September He had difficulty earning a living. His dance, each couple in turn, steps forward, instruments and 26, 1945, New York, NY) one of the most many friends and admirers obtained a “introduce themselves” and step back, side-drum—follows, after which the important composers in the 20th century, research position for him at Columbia yielding their turn to the next couple. five sections are recapitulated in a was a virtuoso pianist, chair of piano at University, systematizing a collection more elaborate instrumentation. the Liszt Conservatory in Budapest, as of folk melodies, but this was a term Bartók himself provided explanatory well as a pioneer ethnomusicologist, project, and renewal was uncertain. Also, program notes for the Boston Symphony The structure of the third movement who collected, transcribed and edited his health deteriorated—in 1943, while premiere performance (December 1, likewise is chain-like; three themes large collections of Eastern European folk at Harvard to deliver a series of lectures, 1944) under the direction of Serge appear successively. These constitute music. He found the political situation he collapsed. He was diagnosed with Koussevitzky: the core of the movement, which in Hungary in the late thirties becoming leukemia, leaving him both physically is enframed by a misty texture of The title of this symphony-like intolerable. Bartók, a deeply nationalistic and mentally exhausted. rudimentary motifs. Most of the orchestral work is explained by humanist, viewed Hungary’s increasing thematic material of this movement At this difficult juncture, Bartók’s friends, its tendency to treat the single involvement with Nazi Germany immoral derives from the ‘Introduction’ to Szigeti and the conductor Fritz Reiner, instruments or instrument groups and catastrophic. He believed in the first movement. The form of convinced Serge Koussevitzky, the in a concertant or soloistic manner. “the brotherhood of peoples, brotherhood the fourth movement— ‘Intermezzo conductor of the Boston Symphony The ‘virtuoso’ treatment appears, in spite of all wars and conflicts.” interrotto’ (‘Interrupted Intermezzo’)— Orchestra, to offer Bartók a commission for instance in the fugato sections He went on to say, “I try—to the best of could be rendered by the letter for an orchestral work. Bartók was of the development of the first my ability—to serve this idea in my music.” symbols ‘ABA—interruption—BA.’ reluctant to accept the commission and movement (brass instruments), The political environment became the advance payment. He thought that or in the ‘perpetuum mobile’-like The general mood of the work unbearable for a man with his principles. his health was too precarious, and only passages of the principal theme in represents, apart from the jesting In 1940 he retired from the Conservatory agreed to undertake the project after the last movement (strings), and, second movement, a gradual and the Hungarian Academy of Sciences being assured by Koussevitzky that the especially, in the second movement, transition from the sternness of the and immigrated to the United States. advance would not have to be repaid in which pairs of instruments appear first movement and the lugubrious He encountered grave difficulties in if he were too sick to complete the consecutively with brilliant passages. death-song of the third, to the life- his new country: While he had a very composition. assertion of the last one. As for the structure of the work, the successful concert tour with violinist Bartók seemed to thrive after receiving first and fifth movements are written Joseph Szigeti and clarinetist Benny the assignment. His leukemia went into in a more or less regular sonata form. Goodman, his concert career did not Notes by Dr. Cathy Ann Elias remission, and between August and The development of the first contains blossom—perhaps because he insisted October 1943, while recuperating at fugato sections for brass; the TEXT AND TRANSLATION

Schicksalslied

Music Johannes Brahms Poetry Friedrich Hölderlin

Ihr wandelt droben im Licht Ye move up yonder in light, Auf weichem Boden selige Genien! On airy ground, o blessed spirits! Glänzende Götterlüfte Radiant winds ethereal Rühren Euch leicht, O’er you play light, Wie die Finger der Künstlerin As the fingers inspired that wake Heilige Saiten. Heavenly lyre-chords.

Schicksallos, wie der Schlafende Free from Fate, like the slumbering Säugling, atmen die Himmlischen; Suckling, breathe the immortals. Keusch bewahrt, Pure, unsullied, Dr. Eric Esparza In bescheidener Knospe In bud that enfolds director of choral studies, Blühet ewig It blooms for aye, vocal coordinator Ihnen der Geist, The flower of their spirit. Und die seligen Augen And the eyes of the blessed — Blicken in stiller Gaze in tranquil Dr. Eric Esparza is the director of choral Originally from San Antonio, Texas, Ewiger Klarheit Brightness eternal. activities and vocal area coordinator he holds a Bachelor of Music in vocal at the DePaul University School of performance and a Master of Music in Doch uns ist gegeben But to us is it given Music, where he conducts the DePaul choral conducting from the Shepherd Auf keiner Stätte zu ruh’n; In no abiding place to dwell; Chamber Choir, Concert Choir and School of Music at Rice University in Es schwinden, es fallen We vanish, we stumble, teaches courses in choral music. Houston, Texas, where he studied with Die leidenden Menschen We suffering, sorrowing mortals Dr. Esparza is also the artistic director Dr. Joyce Farwell and Maestro Thomas Blindlings von einer Blindly from one of Windy City Performing Arts and Jaber. He also holds a Master of Arts Stunde zur andern, Brief hour to another, was the founder and artistic director degree in arts administration from Florida Wie Wasser von Klippe Like water from boulder of International Voices Houston. State University where he was a university Zu Klippe geworfen To boulder flung downward, Previously, he served on the music fellow and served as assistant conductor Jahrlang in's Ungewisse hinab. Year by year to the dark Unknown below. faculty of Sam Houston State University of the Florida State University Opera. School as conductor of the Concert Dr. Esparza earned the Doctor of Musical Choir, and teacher of voice, diction Arts degree in choral conducting from and music theory. Dr. Esparza was also Boston University where he studied with artistic director of the United Nations Dr. Ann Howard Jones. He remains active Association International Choir and internationally as a singer, conductor and director of ministries at St. Mark’s United music editor. Methodist Church in Houston, Texas.

Translation by Florence T. Jameson with the late Pierre Boulez and served arranged the Adagio from Mahler’s Marx, Phil Ramone, Hugh Jackman, Leann as assistant conductor to Boulez at the Symphony No. 10, Schoenberg’s Pelleas Rimes, SheDaisy, Patricia Barber, Emerson Lucerne Festival Academy. He regularly and Melisande (both published by Drive and Brian Culbertson. conducts the International Contemporary Universal) and Manuel De Falla’s Three Colnot graduated with honors from Ensemble (ICE), with whom he recorded Cornered Hat. For ICE, Colnot arranged Florida State University and in 1995 Richard Wernick’s The Name of the Game Olivier Messiaen’s received the Ernst for Bridge Records, and he collaborates Chants de Terre et “Cliff Colnot conducted von Dohnányi with the internationally acclaimed de Ciel for chamber the excellent International Certificate of contemporary music ensemble Eighth orchestra and Excellence. He has Blackbird. Colnot has been principal mezzo-soprano, Contemporary Ensemble in also received the conductor of the Chicago Symphony also published an alluring performance.” prestigious Alumni Orchestra’s contemporary MusicNOW by Universal. For — Anthony Tommasini, Merit Award from ensemble since its inception. Colnot members of the New York Times Northwestern was principal conductor of the Civic Yellow Barn Music University, where Orchestra of Chicago, an orchestra he Festival, Colnot he earned his doctorate. In 2001 the conducted for more than 22 years and arranged Shulamit Ran’s Soliloquy for Chicago Tribune named Cliff Colnot was principal conductor of the University Violin, Cello, and Piano, to be published by a “Chicagoan of the Year” in music, of Chicago’s Contempo Ensemble for Theodore Presser. Colnot re-orchestrated Cliff Colnot and in 2005 he received the William over 15 years. Currently, Colnot conducts the Bottesini Concerto No. 2 in B Minor director of orchestral activities Hall Sherwood Award for Outstanding the DePaul University Symphony for Double Bass, correcting many errors — Contributions to the Arts. Most recently, Orchestra and Wind Ensemble. He has in existing editions and providing a more Colnot has been awarded the 2016 appeared as a guest conductor with the viable performance version. He has In the past decade Cliff Colnot has Alice M. Ditson Conductor’s Award in San Antonio Symphony Orchestra, the also been commissioned to write works emerged as a distinguished conductor recognition for his excellent commitment American Composers Orchestra, the for the Chicago Symphony Orchestra and a musician of uncommon range. to the performance of works by American Saint Paul Chamber Orchestra, the Utah Percussion Scholarship Group. His One of few Composers. He Symphony and the orchestration of musicians to have “Everywhere [in Beethoven’s has studied with “To every score, conductor Chicago Philharmonic. Duke Ellington’s master jazz teacher studied orchestral New World Symphony No. 1] were signs Cliff Colnot brought a Colnot is also a David Bloom, repertoire with Coming was of meticulous preparation and dedication, virtuosity, and master arranger. has taught jazz Daniel Barenboim, premiered by the His orchestration of keen stylistic acuity.” arranging at DePaul Colnot has served as intensity of feeling new Chicago Symphony Shulamit Ran’s Three — Michael Cameron, University, film assistant conductor music needs but doesn’t Orchestra with Fantasy Pieces for Chicago Tribune scoring at Columbia for Barenboim’s Daniel Barenboim often receive.” Cello and Piano was College and West-Eastern Divan as piano soloist — John von Rhein, recorded by the English advanced orchestration at the University Workshops for in 2000, and Colnot also arranged, Chicago Tribune Chamber Orchestra. of Chicago. As a bassoonist, he was a young musicians conducted and co-produced the CD For the chamber member of the Lyric Opera Orchestra of from Israel, Egypt, Tribute to Ellington featuring Barenboim orchestra of the Jerusalem International Chicago, Music of the Baroque and the Syria and other Middle Eastern countries. at the piano. He has also written for Chamber Music Festival, Colnot has Contemporary Chamber Players. Colnot has also worked extensively rock-and-roll, pop and jazz artists Richard SCHOOL OF MUSIC FACULTY

Performance Julian Hersh, Avo Randruut, African Natasha Bogojevich, Jazz Studies Music Education Julie DeRoche, Chair, Chamber Music Music Ensemble Musicianship Dana Hall, Director of Jazz Jacqueline Kelly-McHale, Department of Music Linda Hirt, Vocal Diction Jeff Ray, Voice Katherine Brucher, Studies, Jazz Chair, Department of Performance, Clarinet and Coach Jeremy Ruthrauff, Director of BA in Percussion and World Musical Studies, David Alt, Voice Stefán Höskuldsson, Flute Saxophone Music Program, World Music, Jazz Workshop Director of Music Marta Aznavoorian, Michael Hovnanian, Jenny Shin, Flute Music Coordinator, Michael Allemana, Education Chamber Music Orchestral Repertoire Harry Silverstein, Director, Musicianship Jazz Guitar Jeremy Attanaseo Stephen Balderston, Cello Nicholas Hutchinson, DePaul Opera Theatre Joe Clark, Musicianship Scott Burns, Jazz Gregory Bimm Brandi Berry, Diction James Smelser, Horn Cathy Ann Elias, Saxophone Meeghan Binder Chamber Music Alyce Johnson, Flute Mark Sparks, Flute Musicianship Dennis Carroll, Jazz Bass Meret Bitticks Alban “Kit” Bridges, Vocal Ilya Kaler, Violin Carolyn Stuart, Violin Geoff Farina, Musicianship Timothy Coffman, Keith Bjorklund Studies and Coach Olga Dubossarskaya Kyomi Sugimura, Piano Fredrick Gifford, Jazz Trombone Daniel Healy William Buchman, Kaler, Violin Janet Sung, Strings Area Musicianship and Typhanie Coller, Sara K. Jones Bassoon Robert Kassinger, Bass Coordinator, Violin Composition Jazz Voice Kelly Langenberg Keith Buncke, Bassoon Neil Kimel, Horn Brant Taylor, Cello David Grant, Musicianship Bob Lark, Jazz Trumpet, Tina Laughlin Nicole Cabell, Voice Alex Klein, Oboe Scott Tegge, Chamber Anna Grau Schmidt, Jazz Ensemble Frank Lestina Wagner Campos, Clarinet Michael Kozakis, Music, Tuba Musicianship Thomas Matta, Caitlin Lucci Oto Carrillo, Horn Percussion George Vatchnadze, Gregory J. Hutter, Jazz Arranging and Stevi Marks Cliff Colnot, Director Wei-Ting Kuo, Viola Keyboard Area Musicianship Composition, Jazz Ben McMunn of Orchestral Activities, Tage Larsen, Trumpet Coordinator, Piano Jae Hwang-Hoesley, Bass Trombone, Jazz Deborah Peot DePaul Symphony I-Hao Lee, Violin Anna Velzo, Oboe Musicianship Orchestra Nicole Rivera Orchestra, DePaul Matthew Lee, Trumpet Charles Vernon, Christopher Jones, Chad McCullough, Karl Rzasa Wind Ensemble Michael Lewanski, Trombone Musicianship and Jazz Trumpet Elisabeth Van Larry Combs, Clarinet Concert Orchestra, Jill Williamson, Winds Composition Bob Palmieri, Jazz Guitar Schoonhoven Matthew Comerford, Ensemble 20+ and Brass Area Jeffrey Kowalkowski, Jim Trompeter, Jazz Piano Trumpet Christopher Magiera, Coordinator, Musicianship Sound Recording Floyd Cooley, Tuba Voice Chamber Music Christopher Lemons, Technology Musicianship William Denton, Trumpet Miles Maner, Bassoon Stephen Williamson, Thomas Miller, Director Seung-Won Oh, Ian Ding, Percussion Mark Maxwell, Guitar Area Clarinet of Sound Recording Musicianship and Eric Esparza, Director of Coordinator, Guitar Cynthia Yeh, Percussion Technology Choral Activities, Vocal Eric Millstein, Percussion Composition Composition / Daniel Steinman Area Coordinator Jason Moy, Baroque Bradley Robin, Musicianship Mark Fisher, Trombone Ensemble, Chamber Musicianship Performing Arts Kurt Westerberg, Director Michael Green, Percussion Music, Harpsichord Junichi Steven Sato, Management of Musicianship and Area Coordinator, Erica Neidlinger, Wind Musicianship Alan Salzenstein, Director Composition Percussion Symphony Michael Staron, of Performing Arts Susanne Baker, Director Alexander Hanna, Bass Paul Neubauer, Viola Musicianship Management of Community John Henes, Alexander Albert Payson, Percussion Mischa Zupko, Shawn Murphy Music, Group Technique Nicholas Phan, Voice Musicanship Nicolas Sincaglia Piano Coordinator, David Herbert, Percussion Natalie Pilla, Steve Smith Musicianship Chamber Music Melissa Snoza Eric Soderstrom SCHOOL OF MUSIC STAFF AND BOARD

Administration and Staff Advisory Board Ronald Caltabiano, Dean Rich Daniels, Chair Kurt Westerberg, Associate Dean for Mark Mroz, Vice Chair Academic Affairs Craig Anderson Gifts of every amount make Ben Polancich, Director of Business Samantha Cohen Administration Robert D’Addario an important impact on the Graham Fuguitt Mary Arendt, Coordinator of Career Mary Patricia Gannon next generation of musicians Sasha Gerritson Services, Alumni Engagement David Harpest and support the mission of Susanne Baker, Director, Geoffrey Hirt Community Music Division Cary Jacobs the School of Music. Brian Barasch, Director of Marketing John Kohlmeier and Communications Carlotta Lucchesi Ross Beacraft, Director of Admission Alexander Mark Make your gift today by visiting Stephanie Carper, Director of Mary Marshall Development James Shaddle alumni.depaul.edu/springconcert Brian Gier, Technology Manager Elizabeth Ware Maria Hernandez, Business Manager Cathy Williams Heidi Hewitt, Concert Manager Emeritus Board of Advisors Giovanna Jacques, Admissions Russ Bach Coordinator Patricia O. Ewers Ben Rusch, Facilities Manager Victor D. Faraci Michael Sportiello, Technical Director Scott G. Golinkin Amy Weatherford, Assistant Director Sidney Kleinman Jacqueline Krump of Advising Samuel Magad Sarah Wells Kaufman, Coordinator Florence M. Miller of Academic Services Anthony D. Peluso Christina Wyrick, Coordinator Nancy J. Petrillo of Performance, Instrumental Library James J. Quinn Mara Yurasek, Executive Assistant Edward M. Ward to the Dean Mimi Wish William J. Young

Jianghai Ho (MM ’17) 2018 SPRING GALA CONCERT

Prior to tonight’s concert, more than 400 friends of the School of Music gathered for the 13th Annual Gala Dinner hosted by Dean Ronald Caltabiano and the School of Music Dean’s Advisory Board. The event co-chairs included Samantha and Joel Cohen, Mary Patricia Gannon and Linda and Geoffrey Hirt.

The gala raises funds for the School of Music’s Fund for Music, supporting the most pressing needs of the school including scholarships for its students.

Also this evening, we gathered to recognize extraordinary contributions to music and the arts with the 2018 Pro Musica Award

Allan E. Bulley, Jr. We were pleased to present this award to Joseph M. Antunovich, FAIA, and Allan E. Bulley, Jr. for their vision and expertise in bringing the Holtschneider Performance Center to life.

We thank everyone in attendance tonight for save the date their generous contributions to our students and Holtschneider Performance Center programs in pursuit of musical excellence.

Grand Opening Celebration Joseph M. Antunovich, FAIA

November 1–11, 2018 Spring Gala Sponsors Featuring reigning virtuoso of the violin Itzhak Perlman, We gratefully acknowledge the generous support of Antunovich Associates, Grammy-winning jazz trumpeter , Bulley & Andrews and Mary Patricia Gannon as our Gala Dinner Sponsors and we internationally renowned soprano Ana María Martínez, extend a special thanks to our corporate sponsors: the extraordinary Orpheus Chamber Orchestra, award-winning solo percussionist Evelyn Glennie and more than 30 other concerts and events!

Learn more at music.depaul.edu 804 W. Belden Ave. Chicago, IL 60614 (773) 325-7260 music.depaul.edu