Wednesday, October 11, 2017 • 8:00 p.m.

Ensemble 20+ Michael Lewanski, conductor

DePaul Concert Hall 800 West Belden Avenue • Chicago

Wednesday, October 11, 2017 • 8:00 p.m. DePaul Concert Hall Ensemble 20+ Michael Lewanski, conductor Lis Pearse, narrator

Program

Galina Ustvolskaya (1919-2006) Composition No. 3: Benedictus, qui venit (1975)

Galina Ustvolskaya (1919-2006) Symphony No. 5, Amen (1990)

Lis Pearse, narrator

Sofia Gubaidulina (b. 1931) Quattro (1971)

Kaija Saariaho (b. 1952) Io for ensemble and live electronics (1987) Ensemble 20+ • October 11, 2017

Program Notes Galina Ustvolskaya Composition No. 3: Benedictus, qui venit Duration: 10 Minutes Composition No. 3, Benedictus, qui venit, is the third piece in Ustvolskaya’s 1970s series of Compositions. Composed in 1974-75, the “Benedictus” maintains the highly unusual instrumentation of her other Compositions, this time offsetting groups of flutes and bassoons with less polyphonic interplay than in the “Dona Nobis Pacem.” As in Composition No. 1, the words to the subtitle “Benedictus, qui venit’ have been borrowed from one of the most sacred moments of the Roman Catholic and Orthodox services. According to her second husband, Konstantin Bagrenin, Ustvolskaya considered a church or a temple to be the ideal space for performing of her music. When the representatives of the State Opera Ballet visited her home to ask for permission to use her Compositions in a ballet, Ustvolskaya refused their proposal. Her choice reveals an unbending character and a commitment to a traditional understanding of sacred music.

Yet in Ustvolskaya’s Composition No. 3, the monolithic idée fixe calls to mind the organization of military units preparing for war. Passed between choirs of bassoons and flutes, the four quarter-note idée fixe penetrates every moment of this piece. Whereas the tone clusters played by the instrument choirs may alter, Ustvolskaya’s monochromatic rhythm marches onward punctuated at times by the piano’s arrhythmic punch.

— Emily Erken Ensemble 20+ • October 11, 2017 Program Notes Galina Ustvolskaya Symphony No. 5, Amen Duration: 10 Minutes At one point in her Fifth Symphony, Galina Ustvolskaya instructs the violin to play its phrase like “a voice from under the ground.” Wondering what she might hear beneath the soil, one would do well to remember that Ustvolskaya had spent her entire life in that three-named city of Petrograd/Leningrad/St. Petersburg, and hence endured ’s “terrible years,” in which invasion and purges saw millions of citizens disappear in unspeakable ways. One might think of Ustvolskaya’s five symphonies in the way that Shostakovich allegedly thought of his fifteen: as “tombstones.” Hers are, however, almost the inversion of Shostakovich’s: all single movements, all relatively short, only the first for a typical orchestral ensemble—another kind of “Leningrad Symphony” (as Shostakovich’s Seventh was famously known), all performing in their own recalcitrant way the same tortured work of remembering and giving voice to indescribable catastrophe. The reciter of the Fifth Symphony (in the form of a single wooden cube)— declaims the Lord’s Prayer, a task for which she is instructed to dress as if in mourning— “in all black,” and without jewelry. Likewise, she is to speak “with inner emotion.” The image of a eulogy comes to mind, its speaker steeling herself more out of duty than distance.

So Ustvolskaya’s Fifth Symphony is, like her Fourth, brazenly antisymphonic. It has no complex network of developing themes, but rather only four or so distinct musical “blocks,” stamped, as if by machine, out of the hardest material. Plangent, angular, and not quite polytonal, these ruminative blocks present themselves with hypnotic inevitability, remaining utterly discrete— simply giving way to the next. An immensely preparatory atmosphere descends. Only when the flesh is reduced to absolute zero, Ustvolskaya seems to say, when all fades into darkness, can the spirit begin to grieve. The grayness is a fusion of violent hues, awaiting imminent release.

—Seth Brodsky Ensemble 20+ • October 11, 2017 Program Notes Text

Otche nash! Sushchii na nebesakh! Our father who art in heaven! Da sviatitsya imya Tvoe; Hallowed be thy name. Da priidet Tsarstvie Tvoe! Thy kingdom come Da budet volya Tvoya I na zemle, kak i na Thy will be done on earth as it is in nebe. heaven. Otche Nash! Our Father! Otche! Otche! Otche nash! Father! Father! Our Father! Kleb nash nasushchnyi Give us this day our daily bread. Dam nam na sej den’. And forgive us our trespasses, Prosti nam dolgi nashi, And forgive us our trespasses, Prosti nam dolgi nashi. And forgive us our trespasses, Prosti nam dolgi nashi, As we forgive them that trespasses Kak I my proshchaem dolshnakam against us. nashim. Our father! Otche nash! Otche! Otche! Father! Father! Our father! Otche nash! And lead us not into temptation, Ne vvedi nas v iskushenye, But deliver us from evil. No izbavi nas ot lukavogo, And lead us not into temptation, Ne vvedi nas v iskushenie, But deliver us from evil. No isbavi nas ot lukavogo. Our father! Otche Nash! Father! Father! Our father! Otche! Otche! Otche nash! For thine is the kingdom, Tvie est’ Tsarstvo I sila I slava voveki! The power and the glory, Amin’. Forever and ever! Amen! Ensemble 20+ • October 11, 2017 Program Notes A note on performing Ustvolskaya’ music from an interview by Nomi Epstein with Reinbert de Leeuw, the Dutch pianist/conductor who championed Ustvolskaya’s music in the West:

If there was one word which would describe her music it would be ‘espressivissimo.’ (as expressive as possible.) A performer of Ustvolskaya’s music must be totally loyal to what she has written in the score. Sometimes it is very, very, very hard to play exactly as written. You must observe all dynamic markings, even the ones that are loud, very loud. To play this music, you need a lot of power. It is very intense.

Ustvolskaya said that her music had nothing to do with any other music. Under Stalin, she was, of course, very isolated, and she went on with her work with this isolation, on her own path. She never talked about other composers, not even Shostakovich, who was a great admirer of her music. She didn’t want to be compared with others: Her music was outside of musical history. She did not she speak about her own music. This isolation was part of her aesthetic- Radicalism and isolationist to a fault. She believed her music should speak for itself. ‘My music has nothing to do with anything/anyone else.’

It’s difficult for us to imagine the time and circumstances within which she lived. But these circumstances, and her own reality seeps very deeply into her music. Her language is so personal to her experience, and it is far from everything around her.

She was very critical of performances of her music and was very rarely happy with them. To this she believed that performances should never be compromised. All performances should carry this message: UNCOMPROMISING. Her music should always be played with the utmost intensity. Performances must emphasize her very radical language. She writes for a constant intensity. Every note is urgent. Performers must emphasize this urgency.

Sofia Gubaidulina Quattro Duration: 12 Minutes Writes Stuart Jeffries:

One day in 1973, Sofia Gubaidulina was attacked in the lift of her Moscow apartment building. The man started to strangle her. The composer thought grimly that this was the end and, if so, her chief regret was that she would never complete the bassoon concerto on which she’d been Ensemble 20+ • October 11, 2017 Program Notes working. “I’m not afraid of death but of violence,” she told her biographer later. She got exasperated with her attacker. “Why so slow?” she asked. Amazingly, the words scared him off.

Gubaidulina writes music that has nothing to lose. A deeply religious person in a society (the Soviet Union) that was officially atheistic, a woman in a “man’s profession,” an artist who went mostly unperformed in her time, she felt, quite simply, that she could write what she wanted. She took, apparently, the advice given to her by , who said, when she played for him the symphony she had written for her final composition exam: “My wish for you is that you should continue on your own incorrect path.” (“Incorrect,” it should be noted, was a dangerous euphemism in official Soviet discourse.)

Quattro (simply, “four”), written two years before her near-death encounter, displays precisely the sort of musical courage one would expect from such a person. It is is a series of musical conversations: a trombone duet, an angry quartet, a trumpet duet, a section of four soloists, a trombone cadenza, an alleatoric fragment, an inconclusive finish. Dialogues, soliloquies, outbursts, mania, disappointment appear in the pitch material, but are also acted out by the players. It is highly personal music by a person who had good reason to think it might never get played; let us feel lucky that what we suppose her suspicion to have been has been proven incorrect.

Io was composed for the 10th anniversary celebrations of the Pompidou Centre in Paris. It would seem to be located at something of a boundary-point in the composer’s development: Io is a synthesis of earlier experiences, above all Lichtbogen and Jardin Secret II, and at the same time it points the way forward.

The greatest difference between this and many of Saariaho’s earlier compositions lies in Io’s complexity. Linear processes are no longer necessarily laid out only in sequence, but also in parallel. The simultaneous strata are built up as it were of transparencies placed one on top of the other, ultimately forming a new coherent figure.

The idea of treating timbre and harmony as two aspects of the same phenomenon is a clearly recognisable thread running through the music of this century, and particularly in the music coming out of France. Saariaho has not, however, embraced the thinking of such figures as L’Itinéraire school (Murail, Grisey, et al), concepts of timbral transformation by means of spectral analysis, but rather her approach is in this respect more intuitive, in spite of the fact that she has written a number of scientific articles on the relationship of timbre and harmony. Ensemble 20+ • October 11, 2017 Program Notes

Just as in Lichtbogen, in Io harmony has been found from analysing the sounds of individual instruments. The nonharmonic sounds produced on the double bass and bass flute provide a model both for the chord structure and the tape. Complex and rich sounds are transformed when run through gates of screens of different sizes. Some of the frequencies pass through, others disappear. As and when the timbre changes, so too does the harmonic structure. The harmonic energy of the piece rests on the treatment of timbre as a system, which is formed from the categorisation of instruments and the sounds they produce. They are divided into different categories according to how and where they place themselves along an axis whose endpoints are either clear or noise-like sounds. In this approach, clear clean sounds are considered as consonances, noises as dissonances.

The use of tape as an extension of instrumental sounds is becoming almost obsolete with the advent of the means to allow real-time transformation of sounds. Saariaho has nevertheless used tape, despite the measure of rigidity it brings with it to the concert platform, since for all its drawbacks it does allow the production of extremely precise and subtle shades. To combine the worlds of tape and instruments in performance she has used live transformation - live electronics. For example, the surprising expressivo violin solo found here is subjected to a process of alienation by running it rapidly through a series of different acoustic landscapes.

It would be very tempting at this point to interpret the name of the composition as the Italian word for ‘I’ - to argue that this is Saariaho arriving at a turning point in her career, offering herself openly and directly to the listeners. Tempting, but not so: the name comes from the third largest of Jupiter’s 14 moons. As a name it suits equally well: energy, and colors.

—Risto Nieminen

The Ustvolsaka works on this program were performed previously on the festival of Power in Sound: The Music of Galina Ustvolskaya, co-organized/ curated by Nomi Epstein and Shanna Guttierez, in which Ensemble 20+ participated.

Notes by Michael Lewanski. Ensemble 20+ • October 11, 2017

Biographies

Conductor, educator, and writer Michael Lewanski is a champion of new and old music. His work seeks to create deeper and more engaged connections between audiences, musicians, and the music that is part of their culture and history. He is Associate Professor at the DePaul University School of Music, where he has been on the faculty since 2008; he conducts DePaul’s Concert Orchestra, Ensemble 20+ (20th century and contemporary music), and works with other ensembles. He is conductor of Ensemble Dal Niente, a Chicago-based new music group.

Michael has guest-conducted ensembles from Lyric Opera of Chicago, the Chicago Symphony Orchestra, the Civic Orchestra of Chicago, the Toledo Symphony Orchestra, the National Symphony Orchestra of Turkmenistan, the International Contemporary Ensemble (ICE), the Chicago Chamber Musicians, the Fifth House Ensemble, and many others. He has led over 100 world premieres. He was the Conducting Assistant for the Civic Orchestra of Chicago from 2010 to 2014. At the 2012 Darmstadt Summer Courses, Ensemble Dal Niente won the prestigious Kranichstein Music Prize under his direction. Michael has an extensive discography as both a conductor and a producer.

A native of Savannah, Georgia, he studied piano and violin; he made his conducting debut at age 13, leading his own composition. At 16, he was the youngest student ever accepted into the conducting class of the legendary Ilya Musin at the St. Petersburg Conservatory. Michael attended Yale University. His post-Yale education featured conducting study with Cliff Colnot and Lucas Vis.

Michael’s schedule for the 2017-2018 concert season includes concerts with DePaul School of Music Ensembles, performances with Ensemble Dal Niente (concerts at the Art Institute of Chicago, New York’s Metropolitan Museum of Art, residencies at Brown, Brandeis, Northwestern and University of Chicago), guest conducting engagements throughout the US, recording projects, and festival appearances. Ensemble 20+ • October 11, 2017 Personnel

Flute Cello Jill DeGroot Alex Chambers-Ozasky Anatolia Evarkiou-Kaku David Sands Eliz Fisher Bass Oboe Daniel Meyers Laura Adkins Librarian & Ensemble Assistant Clarinet Laura Adkins Zachary Good Alessandro Tenorio-Bucci

Alto Saxophone Richard Brasseale

Horn Fiona Chisholm

Percussion Christian Hughes George Tantchev Sarah Weddle

Harp Kasia Szczech

Violin Carmen Abelson Cody Hiller Erica Jacobs-Perkins

Viola Kevin Lin Jonathan Walters Listings in the honor roll reflect contributions and pledge payments made between July 1, 2015 and June 30, 2016 to DePaul University’s School of Music. Gifts of $1,000 and above annually qualify for membership in the President’s Club, DePaul University’s honor society of donors. $50,000 + $5,000-$9,999 Bertha Lebus Charitable Trust Fr. McCabe Circle Fr. O’Connell Circle Irene McDunn Edward & Lois Brennan Family Fdn. Rochelle Abramson, MED ‘89 & William McIntosh John Brennan (Trustee) & Elliott Abramson James Shaddle Jean Brennan * Craig J. Anderson, MUS ‘96 & Dr. Craig A. Sirles Kimberly Brennan & Kathryn K. Anderson, LAS ‘92 + Lawrence Sullivan, BUS ‘57 & Donald Brennan Russ Bach, MUS ‘58; MM ‘60 & Geraldine Sullivan Lois Brennan (dec.) * + Mary Ellen Brumbach (dec.) Elizabeth Ware, MA ‘98 Philip H. Corboy Foundation Susanne Baker # & David Baker Dr. Arnold Weber The Crown Family Melissa Behr Cathy Williams Mary Dempsey, JD ‘82 (Trustee) William Buchman # James Zartman & Fidelity Charitable Gift Fund * Stephen Bundra, MD & Katherine Zartman Sasha Gerritson, MUS ‘99 (Trustee) Judy Bundra # & Eugene Jarvis * Samantha Cohen & Joel Cohen $1,000-$2,499 Geoffrey Hirt, PhD & Linda Hirt * # Daniel Corrigan, MUS ‘59 Vincentian Circle Elizabeth Morse Genius Dr. Patricia Ewers, DHL ‘98 & Frances Anderson Charitable Trust John Ewers (dec.) Anonymous * James Schaefer, BUS ‘59 & Henry Frank, JD ‘57 & Rhoda Frank Bank of America Foundation, Inc. Mary Schaefer * Geico Robert Berry John Graven, BUS ‘49; MBA ‘50 Jacqueline Bishop & $25,000-$49,999 (dec.) & Anastasia Graven, MA ‘64 Bernard Bishop Fr. Levan Circle David Harpest, MUS ‘00 Valerie Chang & Ian Jacobs Beatrice G. Crain Sidney C. Kleinman Elizabeth F. Cheney Foundation Crain-Maling Foundation Kenneth A. Lattman The Gertrude Wachtler Cohen Dr. Michael S. Maling Foundation, Inc. Memorial Foundation PNC Financial Services Carlotta Lucchesi & Patricia Danielsen & Group, Inc. * + Ronald Lucchesi Dr. Bartley Danielsen George Ruff, BUS ‘74 (Trustee) & Colleen Mayes & Edward Mayes Allan Drebin Tanya Ruff * Anne Michuda, MM ‘75 & Victor Faraci, MUS ‘54 & Sage Foundation + Leo Michuda (dec.) Barbara Faraci Brenda Michuda, MBA ‘92 & Beverly Felisian, MUS ‘57 & $10,000-$24,999 Mark Michuda Robert Felisian, MUS ‘59 Fr. Corcoran Circle Kristin Michuda & Josef Michuda Graham Fuguitt, MM ‘82 & Antunovich Associates, Inc. Marie Michuda, MUS ‘89 Margaret Fuguitt Leslie Antunovich & Cathleen Osborn & William Osborn Barbara Giambalvo Joseph Antunovich Roger Plummer (Life Trustee) & Scott Golinkin, JD ‘84 Aon Foundation Joanne Plummer Janice Honigberg & John Hedges Cherylee Bridges PNC Foundation + IBM International Foundation Bulley & Andrews, LLC Isabel Polsky & Charles Polsky Arthur James, MA ‘75 Rosemarie Buntrock & Rev. John T. Richardson, C.M. Marilyn Kelly & Dr. John Markese Dean Buntrock (Life Trustee) Mary Marshall & Cesare Ugianskis Donald Casey Jr. # & Rosetta W. Harris Charitable Florence Miller Christine Casey Lead Trust Mark Mroz James M. Denny (Life Trustee) & Rev. Charles Shelby, C.M., MS ‘72 * Raymond Niwa, MUS ‘43; MM ‘49 Catherine Denny * Ernest Wish, BUS ‘57; LLD ‘91 Celeste O’Donnell, MED ‘94 & Gina Gaudio, LAS ‘99 & (Life Trustee) & Mimi Wish * Lee O’Donnell Robert D’Addario, MUS ‘11 Beatrice Orzac William Hay, MBA ‘66; DHL ‘06 $2,500-$4,999 Anthony Peluso, MUS ‘73 & (Trustee) & Mary Pat Gannon Hay, Fr. O’Malley Circle Julie Peluso DHL ‘06 * Guy Arvia, MBA ‘73 & Janice Arvia Joseph Ponsetto, EDU ‘78; JD ‘82 & David Herro & Jay Franke Baird Jeanne Lenti Ponsetto, EDU ‘78 James Jenness, BUS ‘69; Linda Buonanno & Charles Price MBA ‘71; DHL ‘06 (Trustee) & Vincent Buonanno Rev. John E. Rybolt, C.M., MA ‘67 Sharon Jenness * CME Group, Inc. * (Life Trustee) PricewaterhouseCoopers, LLP Raymond Daly, MS ‘65 Rosemary Sanchez J. Christopher Reyes & Mary C. Finger, PhD & Schewe Photography Anne N. Reyes David Paris, PhD Rebecca Schewe & Jeff Schewe J. Christopher Reyes & Stephanie Flynn & John F. Flynn Vivian Schurfranz Anne N. Reyes Foundation Jerome Girsch (Life Trustee) & Janice Shipley, EDU ‘70; MS ‘79 & Kristi Savacool (Trustee) & Linda Girsch Dr. Frederic Shipley II Jeffrey Savacool Sally Hagan Caroline Shoenberger, JD ‘77 John G. Searle Family Trust Edgar Jannotta Paul Skowronski, BUS ‘86; MBA ‘92 Steven Weiss Mary Kohlmeier & John Kohlmeier & Sue Skowronski Ensemble 20+ • October 11, 2017 Donors

Elizabeth Soete # & Dr. Kevin Stevens, MST ‘86 & Maria Batten & Roger Batten Raymond Narducy Marietta Stevens Dr. Shirley Beaver Rami Solomonow # United Way of Metropolitan Chicago Sandra Benedict Amy Soudan Hilary Zankel & Jay Gottfried Sarah Benham, BUS ‘04 & Jeremiah The Stelnicki Family Benham, MUS ‘00; MM ‘02 Chester Wilczak, BUS ‘58; MBA ‘62 $250-$499 Theodore Berg, MUS ‘49 John Zielinski, MUS ‘79 & Monica Abramson-Lyons, THE ‘87 Jill Beuter, MUS ‘59 Laura Zielinski & Daniel Lyons, MUS ‘83; MM ‘91 R. Keith Bins Sandra Boafoa Anim, MS ‘13 Elka Block $500-$999 Jason Arends Sania Bonnard & Pierric Bonnard Adlai Stevenson High School Stephen Balderston # Giovanna Breu American Endowment Foundation Steven Behnke Julia Bright George Ayling Kay Bryce William Brodsky Martha Garcia Barragan & Victoria Buchanan William & Joan Brodsky David Oskandy Floyd Cooley Foundation, Inc. Cynthia Bennett, MUS ‘85; MM ‘90 Susan deCordova & Family Elizabeth Byrne Asher # William Bennett (Trustee) & Bernard & Sally Dobroski Fara Cage, BUS ‘08 Susan Bennett Carole Doris, JD ‘76 & Audrey Carie, MA ‘11 Lauretta Berg, MUS ‘60 Dr. Peter Doris Linda Cerabona, MUS ‘78; MA ‘93 Christina Berry, CMN ‘01; MED ‘09 Dorothy Duensing Carol Chaffee, MUS ‘68 & & Dr. Thomas Berry, MBA ‘78 Dr. Cathy Elias # & Janos Simon Gary Chaffee, MM ‘68 Dale Breidenthal Richard Ellis Sarah Chambers & Eugene Ozasky Russell Bruzek, GSD ‘64 Eric Esparza # Elsa Charlston # Rosemary Corrigan, CSH ‘69 Felicia Filbin, LAS ‘81 Hua Chen Dolores Curns Paul Greenawalt, BUS ‘65; MBA ‘68 Elaine Clancy, MM ‘92 Cheryl Cutinho & Sunil Cutinho Allison Hahr & Jon Spanbauer Christine Corrigan Joan Darneille Elizabeth Hansen & Michael Hansen Sharon Cortelyou Marcia Deck & Warren Deck Kathy Im & Young Im John Culbert & Patty Delony Wendy Irvine # Katherine Culbert, MED ‘04 DePaul Vincentian Residence Susan Kelley, MUS ‘64 Jessica Cummings, MUS ‘03 Susanna and Helmut Epp Jacqueline Kelly-McHale # Sally Czapar & George Czapar Linda Ferrell & O.C. Ferrell Kim Kirn Darnton & Hersh Fine Violins Mary Goldberg Bob & Linda Kozoman Susan Day Chester Gougis (Trustee) & Margaret Kuhlow, LAS ‘92 Samantha De Koven Shelley Ochab + Vladimir Leyetchkiss Cynthia Deitrick Mary Hunt Susan Lyons Dr. Donald DeRoche # & Thomas Karaba Helen Marlborough & Harry Roper Julie DeRoche # Lydia Kelley & Steve Kelley Adam Marshall, MUS ‘01 & Detroit Glee Club Elizabeth Keyser Tiffany Marshall, CMN ‘01 Bradley Dineen, MED ‘99 Dagmara Kokonas & Dana Marzonie Alexander Domanskis Nicholas Kokonas Randy Miller Nina Drew Dr. Jacqueline Krump Thomas Miller, MM ‘96 # F. Ellen Duff Frank Kuhlmann, MED ‘99 & Kathleen Murtaugh, BUS ‘86; Earths Flame, Inc. Erica Kuhlmann MST ‘93 P. Zachary Egan Donald Law Deane Myers, MM ‘88 & Marsha Etzkorn & Shawn Etzkorn The John D. & Catherine T. Layni Myers, THE ‘86; CMN ‘89 James Fahey, MUS ‘83 MacArthur Foundation * + Beverly Pendowski, BUS ‘90 & Joyce Fecske, LAS ‘69; MA ‘71 & Norman Malone, MUS ‘68; MM ‘73 James Pendowski, MUS ‘93 Stephen Fecske Karen Mannos & George Mannos Rev. William Piletic, C.M. Kathryn Flum, MM ‘10 # Herbert Marros, BUS ‘81 Penny Russel Fiona Fong Joan Meister & Schwab Fund for Charitable Giving Crispin Fornoff Dr. Richard Meister + Paul Seibold Ayriole Frost Richard Mesirow Susan Soler Helene Gabelnick & Mesirow Charitable Foundation Sun Belle, Inc. Stephen Gabelnick Erin Minné Regina Syrkina Lucy Gaven & Richard Gaven Annmarie Neumeier Stephanie Woodson Margaret Gentilcore Bradley & Jennifer Norris + Yann Woolley Matthew Geraldi, MUS ‘56 & Mary O’Brien & Peter O’Brien Kenlyn Geraldi Kathryn Palmer & John Palmer $100-$249 Sheila Gideon & Vern Gideon Peoples Gas Laura Adkins, MUS ‘12 Paul Glick Nancy Petrillo, BUS ‘79 Betty Ahlmann & Bruce Ahlmann Sr. David Grabacki, MBA ‘12 & Rosemary Schnell Aileen S. Andrew Foundation Janet Grabacki Kristine Schriesheim Corbin Andrick, MUS ‘11; MM ‘14 Carolyn Carriere Grenchik Select A Fee Real Estate System Joseph Antonelli, MUS ‘69 Mark Grenchik Harry Silverstein # & JoBeth Marta Aznavoorian Norehad # Ama-Dapa Gyabin & D’Agostino, Ph.D. Michelle Bene Bain Shamsiden Balogun Judge John Simon, JD ‘67; DHL ‘12 Kelley Baldwin Havas Impact, LLC (Life Trustee) & Millie Simon Neil Ballentine, MBA ‘15 Beth Hebert Ensemble 20+ • October 11, 2017 Donors

Edwin Hicks Jeanne Montgomery & Linda Tueth Nobuko Hijiya Robert Montgomery Cynthia Valukas, MD, MUS ‘75 Suzanne Olbrisch Hlotke, Diane Myhre, MM ‘90 & Kyomi Sugimura # & BUS ‘74 John Myhre George Vatchnadze # Jacqueline Hoffman, MUS ‘55 Nichole Nabasny & Michael Elaine Vermiglio Lola Horsfall Nabasny Irina Vorobeychik Jane Jackman & Steve Jackman Taoufik Nadji Margaret Walker, MM ‘83 Amy Jacobs, MED ‘00 & Dr. Hassan Nagib Dr. John H. Wallace, MUS ‘83 & Cary Jacobs, MUS ‘87; MM ‘89 New Horizons Band Mrs. Carol L. Wallace Christopher Jones Luz Nicolas & Dr. John Nicolas Cliff Wallis, MUS ‘96 M. Georgene Jones Northern Trust Corporation Andrea Walsh Stephanie Joseph J.F. Nunez-Gornes Carol Weir Janet Karabas Seung-Won Oh # Dr. Kurt Westerberg # & Jen Kentos Marcia Opp & Jon Ekdahl Renee Westerberg Morris Kern (dec.) Friends of Oscar Mayer School Janice Williams Miller Michelle Kiley & Scott Kiley Kathy Paddor-Rotholz & James Williams III Yumy Kim & Jong Kim David Rotholz Dr. Leslie Wilson Carol Kissel Xingguo Pan Thomas Witt Jeffrey Klein Lori Pedelty Ethel Witt-McCall, LUT, SNL ‘15 Ronald Kloss, MUS ‘55 Deborah Peot, MUS ‘95 # & James Zelhart Mark Kohnle Jason Peot, LAS ‘94 Janice Zimelis Dr. Gerald Koocher Shirley Percy Jerry Zitko, MUS ‘83 Susan Kosinski Ewa Petroski & Peter Petroski Robert Krueger II, MBA ‘88 # Pistachios Dr. Joan M. Lakebrink Dr. Robert Placek, MUS ‘55 LaMetrice Lane & Steven Lane Paul Pliester William Lear David Ponsot, BUS ‘95 Edmond Leonard Lynn Powell Howard Levin Glen Prezembel & Michael Lewanski # Beth Prezembel, MUS ‘84; Mary Ellen Lewis MBA ‘91 Camille Licklider, J.D., MUS ‘96 Ann Priest & Dr. Edwin Priest & James Licklider, LAS ‘98; MS Mary Pryce ‘01; MS ‘06 Trish Quintenz Constance Lilly, MUS ‘70 Louis Rapa Katherine Lisec & Mark Ricco W. Michael Lisec Jacqueline Roberts & Little Flower Catholic John Roberts Grade School Rochester Lions Club Dennis Lord Deborah Rosenberg Ying Lu, MS ‘02 & Min Cheng Mary Rundell Carolyn Makk & Salesforce.com Foundation Christopher Makk Alan Salzenstein # Donna Malaga & Joseph Lim Kanokon Sasismit Margaret Malkowski & Andrea Schafer, MUS ‘83 Marek Malkowski Erica Schewe Marie Malm, MA ‘50 Suzanne Schmidt Barbara Mandal, MUS ‘62 Melissa Schwalbach Law Offices of Jeffrey M. Marks Thomas Schwartz Judith Marshall Anna Sharp William Martay, JD ‘69 & Saraswathi Sista, MUS ‘13 Margaret Martay Arlene Sorkin Priscilla Matli & Steve Matli Mark Sparks Roberta McKeever & Jo Sparling Michael McKeever Patricia Stahlberg & Sandy McMillan & Stu McMillan Donald Stahlberg Sean McNeely, MM ‘97 Gordon Stefenhagen, BUS ‘67 Pola Melendez William Stoneburner Regina Mezydlo, MUS ‘76 Donnie Sujack, MUS ‘13 Sara Michaels, MUS ‘03 Mary Syc, JD ‘82 & Dianne Millard Allan Syc, JD ‘72 Nancy Mocek, MA ‘73 Leah Talmers & Peter Talmers * $1,000,000+ lifetime giving to DePaul University + Donor has made a special philanthropic pledge of $25,000 or greater to DePaul University between July 1, 2015 and June 30, 2016 # School of Music Faculty/Staff, current and retired Ensemble 20+ • October 11, 2017

Upcoming Events Friday, October 13 • 8:00 p.m. Concert Hall DePaul Concert Orchestra

Saturday, October 14 • 8:00 p.m. Concert Hall DePaul Chamber Choir and Concert Choir

Sunday, October 15 • 3:00 p.m. Concert Hall DePaul Wind Symphony

Friday, October 27 & Sunday, October 29 • 8:00 p.m. & 2:00 p.m. Concert Hall DePaul Opera Theatre Presents: The Turn of the Screw by Benjamin Britten

Monday, October 30 • 8:00 p.m. Concert Hall African Drum Ensemble

Tuesday, October 31 • 8:00 p.m. Concert Hall Baroque Chamber Concert

Tuesday, October 31 • 8:00 p.m. The Jazz Showcase 806 South Plymouth Court • Chicago DePaul Jazz Workshop

Wednesday, November 1 • 8:00 p.m. Concert Hall Guest Recital: Christopher Hutton, cello

Thursday, November 2 • 8:00 p.m. Concert Hall Faculty Artist Series: Jason Moy with Guest Shirley Hunt

Friday, November 3 • 8:00 p.m. Concert Hall New Music DePaul Ensemble 20+ • October 11, 2017 Upcoming Events

Saturday, November 4 • 8:00 p.m. Concert Hall DePaul Symphony Orchestra

Sunday, November 5 • 3:00 p.m. Concert Hall Faculty Artist Series: Ilya Kaler, violin

Sunday, November 5 • 3:00 p.m. Student Center 2250 North Sheffield Avenue • Chicago Jazz Orchestra

Sunday, November 5 • 8:00 p.m. Concert Hall Guitar Ensemble Festival

Monday, November 6 • 7:00 p.m. Recital Hall Jazz Combos

Monday, November 6 • 8:00 p.m. Concert Hall Wind/Mixed Chamber Showcase I

Tuesday, November 7 • 8:00 p.m. Concert Hall DePaul Wind Symphony

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