Friday, May 27, 2016 • 8:00 p.m.

Wind Symphony Erica Neidlinger, conductor

DePaul Concert Hall 800 West Belden Avenue • Chicago

Friday, May 27, 2016 • 8:00 p.m. DePaul Concert Hall WIND SYMPHONY Erica Neidlinger, conductor

Program

Vientos y Tangos Michael Gandolf (b. 1956)

From a Dark Millennium Joseph Schwantner (b. 1943)

Music for Prague (1968) Karel Husa Introduction and Fanfare (b. 1921) Aria Interlude Toccata and Chorale

presenting sponsor DePaul Wind Symphony • May 27, 2016

Program Notes Michael Gandolf (b. 1956) Vientos y Tangos Duration: 11 minutes As a self-taught guitarist, Michael Gandolf began playing rock and jazz at age eight. Te growth of his improvisational skills led to an interest in composition. He attended the New England Conservatory of Music, where he earned his bachelor’s and master’s degrees in composition and now serves as chair of the composition department. He was also once a Fellow at the Tanglewood Music Center, and now heads the composition faculty. Gandofi is a member of the Atlanta School of Composers, which evolved as a project of Robert Spano (conductor of the Atlanta Symphony Orchestra) to nurture, commission, and record contemporary music. Select composers include Jennifer Higdon, Christopher Teofanidis, Osvaldo Golijov, and Adam Schoenberg. An example of Gandolf’s contribution is Garden of Cosmic Speculation (2007). It was commissioned by the Boston Symphony Orchestra and Tanglewood, recorded by Spano and the Atlanta Symphony Orchestra, and nominated for a Grammy.

Gandolf’s broad range of musical interests embraces not only contemporary classical music but also popular genres. Tis in addition to his cultural curiosity has resulted in many intersections between his music and other disciplines including science, flm, and theater. Vientos y Tangos is a clear example of this intersection, as boldly diferent renditions of the tango unfold in a highly theatrical manner. Te composer noted:

Vientos y Tangos (Winds and Tangos) was commissioned by Te Frank L. Battisti 70th Birthday Commission Project and is dedicated to Frank Battisti in recognition of his immense contributions to the advancement of concert wind literature. It was Mr. Battisti’s specifc request that I write a tango for wind ensemble. In preparation for this piece, I devoted several months to the study and transcription of tangos from the early style of Juan D’arienzo and the ‘Tango Nuevo’ style of Astor Piazzolla to the current trend of ‘Disco/Techno Tango,’ among others. After immersing myself in this listening experience, I simply allowed the most salient features of these various tangos to inform the direction of my work. Te dynamic contour and the various instrumental combinations that I employ in the piece are all inspired by the traditional sounds of the bandoneon, violin, piano and contrabass. Michael Gandolf DePaul Wind Symphony • May 27, 2016 program notes Joseph Schwantner (b. 1943) From a Dark Millennium Duration: 12 minutes A Chicago native, Joseph Schwantner was educated at the Chicago Conservatory and Northwestern University. He has served on the faculties of the Eastman School of Music, the Julliard School, and the Yale School of Music. He has also been composer in residence with the St. Louis Symphony and has received numerous commissions from ensembles including the National Symphony Orchestra, the New York Philharmonic, the Boston Symphony Orchestra, the St. Paul Chamber Orchestra, and the Eastman Wind Ensemble. In addition, Schwantner has received numerous Grammy award nominations and was honored as the 1979 Pulitzer Prize winner in Music for his Aftertones of Infnity.

At age eight Schwantner began studying guitar, which he believes made an enormous impact on his compositional style.

It is absolutely clear to me the profound infuence of the guitar in my music. When you look at my pieces, frst of all is the preoccupation with color. Te guitar is a wonderfully resonant and colorful instrument. Secondly, the guitar is a very highly articulate instrument. You don’t bow it, you pluck it and so the notes are very incisive. My musical ideas, the world I seem to inhabit, is highly articulate. Lots of percussion where everything is sharply etched, and then fnally, those sharply articulated ideas often hang in the air, which is exactly what happens when you play an E major chord on the guitar. Tere are these sharp articulations, and then this kind of sustained resonance that you can easily do in percussion - a favorite trick of mine!

Schwantner’s frst work for wind band was …and the mountains rising nowhere (1977). Tis and two pieces that followed, From a Dark Millennium (1980) and In evening’s stillness (1996), were all inspired by poetry. Te three together create his trilogy for band. All use amplifed piano, an extensive percussion section, and episodes of what Schwantner calls “shared monody,” a linear melodic idea shared by doublings and the sustain of pitches within a given theme. Although Schwantner does not consider the piece to be programmatic he has stated, “Te mysterious and shadowy atmosphere of From a Dark Millennium springs from images drawn from a brief original poem that forms the poetic backdrop for the work. Te poem helped to DePaul Wind Symphony • May 27, 2016 program notes stimulate, provoke and enhance the fow of my musical ideas.” Te poem, entitled Sanctuary, is by the composer himself:

Sanctuary… deep forests a play of shadows, most ancient murmurings from a dark millennium, the trembling fragrance of the music of amber…

Karel Husa (b. 1921) Music for Prague (1968) Duration: 23 minutes Pulitzer Prize winning composer Karel Husa was born in Prague Czechoslovakia. He studied at the Prague Conservatory and the Academy of Music, before going on to Paris where he studied with Arthur Honegger and Nadia Boulanger. During his studies in Paris, Husa developed a reputation as a conductor as well as a composer. He met an American named Elliot Galkin who was soon to begin a position in musicology at Cornell University. It was Galkin who recommended Husa for an interim conducting position at Cornell, and in 1954 Husa moved to the United States. He became a U.S. citizen in 1959 and remained on the Cornell faculty until his retirement in 1992.

Husa left for Paris in 1946, two years before Czechoslovakia became a member of the Communist Bloc (an event caused by a Soviet-backed political coup). Teir alignment with the Soviet Union remained until Communism fell in Czechoslovakia in November of 1989 (the entire Communist Bloc later dissolved in 1991). While under the oppression of Communism, there was a brief period of relief in 1968 when newly elected leader Alexander Dubcek took ofce in January. He initiated the “Prague Spring” reform, intended to give socialism “a human face.” Te reform was abruptly stopped on August 20, 1968 when forces from fve Communist Bloc countries invaded Czechoslovakia, exercising the right of Soviet forces to intervene should a member of the Bloc appear to shift towards Capitalism. Tirty Czechs were killed, 300 injured, and hundreds of thousands eventually fed the country. Tese events greatly disturbed Husa and compelled him to write Music for Prague (1968). DePaul Wind Symphony • May 27, 2016 program notes During those tragic and dark moments…I suddenly felt the necessity to write this piece for so long meditated…I was sure that the music I would write for Prague would be scored for the concert band, a medium which I have admired for a long time. Te combination of wind and brass instruments with percussion fascinated me and the unexplored possibilities of new sounds…attracted me.

Although the piece was premiered in January of 1969, it was not performed in Prague until February 13, 1990 with Husa conducting. Te performance received an overwhelming emotional response.

Husa provided the following notes in the score and requested they be printed for every performance:

Tree main ideas bind the composition together. Te frst and most important is an old Hussite war song from the 15th century, “Ye Warriors of God and His Law,” a symbol of resistance and hope for hundreds of years, whenever fate lay heavy on the Czech nation. It has been utilized also by many Czech composers, including Smetana in My Country. Te beginning of this religious song is announced very softly in the frst movement by the timpani and concludes in a strong unison (Chorale).

Te second idea is the sound of bells throughout; Prague, named also the City of “Hundreds of Towers,” has used its magnifcently sounding church bells as calls of distress as well as of victory.

Te last idea is a motif of three chords frst appearing very softly under the piccolo solo at the beginning of the piece, in fute, clarinet, and horn. Later it reappears at extremely strong dynamic levels, for example, in the middle of the Aria.

In addition to Husa’s comments, there are other symbolic references in the piece. Te Introduction and Fanfare opens with a piccolo solo that emulates a bird call, a symbol of liberty that the city of Prague has only experienced for short periods of its thousand years of existence. Strong fanfares interrupt the opening “calm before the storm” as calls of distress. Husa uses mallet percussion throughout the piece to represent the church bells. Tese are introduced in the frst movement and return throughout. Te movement establishes yet resists conformity with its ternary form and tone row DePaul Wind Symphony • May 27, 2016 program notes (appearing in the A and A’ sections). Te tone row is used loosely as if the people are resisting the imposed structure.

Te term Aria in the second movement is sarcastic in Husa’s view. Contrary to its operatic implication, it instead represents tragedy. Te saxophone leads much of the movement due to his feeling that it is closest to the vox humana (or human voice) on the organ. Te melodic material expresses the fear and desolation of what will come next. Troughout, the mallet percussion remains persistent but anguished in tonality. A second tone row is introduced in this movement and used more literally. Also in ternary form, the structure of the Aria contributes to the sense of tragedy as the voices of the people are heard within strict confnes.

Te Interlude is a percussive exploration of intense disposition. Most of the movement is set as a palindrome, reading the same forwards and backwards. Te symbolism continues, with the voice of the Czech people found in the vibes, auxiliary percussion representing the tolling bells of Prague, and the snare drum depicting the advancing Soviet forces. Te palindrome again creates strict conformity that leads to a tremendous rise in tension between the Czech people and the Soviets.

Te fnal movement dramatically bursts forth from the climax of the Interlude, breaking all expected structure with its binary form (Toccata and Chorale). Tis is the only movement free from the confnes of mirrored form and serialism. As the people reject the oppression forced upon them, unusual rhythmic accents appear in the style of Czech folk dances, distress calls return from movement one and the unifying Hussite war song returns with tremendous force. In a gesture of ultimate defance and hope, Husa ends the work in a unison outcry of the symbolic war song:

Ye warriors of God and His Law Pray for God’s help and hope in Him Tat you will have fnal victory with faith in Him.

Notes by Erica Neidlinger. DePaul Wind Symphony • May 27, 2016

Biography Erica Neidlinger is Associate Professor and conductor of the Wind Symphony at DePaul University. Additional responsibilities include teaching conducting and instrumental music education courses. Dr. Neidlinger has conducted performances across the United States and in Europe. She has traveled to Singapore and Canada as an ensemble adjudicator and clinician and has been featured as a guest conductor and clinician in Latvia. Presentations at international conferences include the World Association for Symphonic Bands and Ensembles in Killarney, Ireland and the Midwest International Band and Orchestra Clinic. She has also conducted honor bands and presented at many conferences across the United States.

Before her teaching at DePaul, Dr. Neidlinger served as Assistant Director of Bands at the University of Nebraska at Omaha, where she conducted university concert ensembles and directed the marching band. She has been a member of the band and music education faculty at Te Ohio State University and has also served as conductor of the Nebraska Wind Symphony. Under her direction the ensemble was selected to perform for the 2005 Association of Concert Bands National Convention and the 2007 Nebraska State Bandmasters Conference. Neidlinger completed her doctoral degree at the University of Minnesota under the supervision of Professor Craig Kirchhof. In addition, she holds a Bachelors degree from the University of Kansas and a Masters degree from the University of Illinois, Urbana-Champaign. DePaul Wind Symphony • May 27, 2016

Personnel FLUTE Roy Miller EUPHONIUM Emily Bieker Nick Scholz Andy Chester Ana Boulas Ben Voigt Chad Martin Charlie Jacobs James Wilder Somer Hornbuckle Jennifer Klimek David Light TRUMPET TUBA Carrie Little J.R. Buzzell Aden Beery Jordan Mann Brendan Donnelly David Nelson Rebecca Murray Ben Dixon Megan Sellberg Eric Huels TIMPANI Willord Simmons Sam Veren Leo Taylor Claire Hendrickson OBOE Valerie Kolb PERCUSSION Reed Cawley Jessen Roeske-Smith Christian Hughes Carl Colvin Adam Shohet Christian Moreno Daniel Glynn* Nicholas Slaggert Norbert Kozinski Michael Verbic Aidan Kranz BASSOON David Wagner Robert Kulik Kayla Burke Evan Schirle Chris Hanson HORN Jacob Jang Barbara Dubravec PIANO Rebecca Shepro Kelly Kondry John-Paul Pendowski Jacob Nelson CLARINET Patrick Rasmussen CELESTE Jesse Bruer Katie Seybold Jesse Bruer Roy Cho Ben Cruz TROMBONE STRING BASS Celeste Esquivel Gil Bolster Robert Deal Molly Hunsinger Frankie Dobyns Austen Goebel Michael Ippolito Somer Hornbuckle Ian Marino Chad Martin *guest Geronimo Melendez Brian Mayo Julian Rymar Caleb Shemwell Brendan Whalen SAXOPHONE Richard Brasseale BASS TROMBONE Chun-Chi Huang Andy Chester Kyle Jimenez Adam Gough DePaul Wind Symphony • May 27, 2016 Alumni & Friends Listings in the honor roll refect contributions and pledge payments made between July 1, 2014 and June 30, 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. $50,000 + PNC Financial Services James Shaddle Fr. McCabe Circle Group, Inc. * Rev. Charles Shelby, C.M., MS ‘72 * Chartwells Dining Services * + J. Christopher & Anne N. Reyes Dr. Arnold Weber Compass Group USA, Inc. * + Foundation Steven Weiss Louis DeSalvo (dec.), EDU ‘66; J. Christopher Reyes Cathy Williams MED ‘72 John G. Searle Family Trust Sasha Gerritson, MUS ‘99 (Trustee) Stack Family Foundation $2,500-$4,999 & Eugene Jarvis * Dia S. Weil (Trustee) & Fr. O’Malley Circle John Herklotz, BUS ‘49 * + Edward S. Weil Jr. Doralu Chanen & Franklin Chanen Dr. Jacqueline Krump Raymond Daly, MS ‘65 Anne Michuda, MM ‘75 $5,000-$9,999 Mary C. Finger & David Paris Elizabeth Morse Genius Charitable Fr. O’Connell Circle Stephanie Flynn & John F. Flynn Trust Rochelle Abramson, MED ‘89 & Edgar Jannotta Elliott Abramson Sidney C. 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Professor M. Cherif Bassiouni & MED ‘09 & Dr. Tomas Berry, Rosemary Corrigan, CSH ‘69 Elaine Klemen-Bassiouni MBA ‘78 Carol Dammrich, CSH ‘76 & Dagmara Kokonas & Robert Berry Tomas Dammrich, LAS ‘74; Nicholas Kokonas Marvin Brustin, JD ‘61 MBA ‘78; MS ‘85 Bob & Linda Kozoman Russell Bruzek, GSD ‘64 Michael Filip, MUS ‘80 Frank Kuhlmann, MED ‘99 & Friends of Edward M. Burke Mary Goldberg Erica Kuhlmann Justice Anne Burke, SNL ‘76; Allison Hahr & Jon Spanbauer Bertha Lebus Charitable Trust DHL ‘05 & Alderman Edward Amy Jacobs, MED ‘00 & Daniel & Julie Love Burke Sr.,LAS ‘65; JD ‘68 Cary Jacobs, MUS ‘87; MM ‘89 Te John D. & Catherine T. Dolores Curns Jacqueline Kelly-McHale # MacArthur Foundation * + Cheryl Cutinho & Vladimir Leyetchkiss Joan Meister & Sunil Cutinho Camille Licklider, J.D., Dr. Richard Meister Eric Esparza # MUS ‘96 & James Licklider, Erin Minné Joan Ferrill & Jefrey Ferrill LAS ‘98; MS ‘01; MS ‘06 Mark Mroz Marshall Field Katherine Lisec & Raymond Niwa, MUS ‘43; MM ‘49 First Bank & Trust W. Michael Lisec Peggy Notebaert & Graham Fuguitt, MM ‘82 & Norman Malone, MUS ‘68; Richard Notebaert Margaret Fuguitt MM ‘73 Beatrice Orzac Donna Gritton & Steve Gritton Tifany Marshall, CMN ‘01 & Anthony Peluso, MUS ‘73 & Wendy Irvine # Adam Marshall, MUS ‘01 Julie Peluso Robert Krueger II, MBA ‘88 # Katherine McConville, MUS ‘07 Joseph Ponsetto, EDU ‘78; William Lear Katie McMenamin JD ‘82 & Jean Lenti Ponsetto, Herbert Marros, BUS ‘81 Emily Merritt EDU ‘78 Mary Marshall & Pat Mikos # Earl Richardson Jr., MS ‘05 Cesare Ugianskis Tomas Miller, MM ‘96 # Rev. John Rybolt, C.M., MA Marvin A. & Ben Brustin Kathleen Murtaugh, BUS ‘86; ‘67 (Life Trustee) Charitable Foundation MST ‘93 Schewe Photography Jeanne Montgomery & Layni Myers, THE ‘86; CMN Rebecca Schewe & Jef Schewe Robert Montgomery ‘89 & Deane Myers, MM ‘88 Rosemary Schnell Annmarie Neumeier Bradley & Jennifer Norris + Vivian Schurfranz Celeste O’Donnell, MED ‘94 Diane Pearse, MBA ‘86 & Seigle Family Foundation & Lee O’Donnell James Pearse, MBA ‘87 + Susan Seigle & Harry Seigle Kathryn Palmer & John Palmer Debra Stanton & Gary Stanton Janice Shipley, EDU ‘70; Nancy Petrillo, BUS ‘79 Sun Belle, Inc. MS ‘79 & Phil Varchetta & Associates Regina Syrkina Dr. Frederic Shipley II Charles Price Dr. Kurt Westerberg # & Caroline Shoenberger, JD ‘77 Lois Raedeke & Renee Westerberg Elizabeth Soete # & Ronald Raedeke Stephanie Woodson Raymond Narducy James Schaefer, BUS ‘59 & Rami Solomonow # Mary Schaefer * + $100-$249 Te Stelnicki Family Andrea Schafer, MUS ‘83 Nick Abbamonte Elizabeth Ware, MA ‘98 Harry Silverstein # & Anna Abbey & John Abbey Cornelia Wesley & JoBeth D’Agostino, Ph.D Joseph Antonelli, MUS ‘69 Dr. John Wesley Paul Skowronski, BUS ‘86; Michelle Bene Bain Ernest Wish, BUS ‘57; MBA ‘92 & Sue Skowronski Florence Baldacci DHL ‘91 (Life Trustee) & Dr. Kevin Stevens, MST ‘86 & Bank of America Foundation, Inc. Mimi Wish * Marietta Stevens Dr. Shirley Beaver Joan Yohanan & Augusta Read Tomas & Sandra Benedict Robert Yohanan Bernard Rands Sarah Benham, BUS ‘04 & Kenneth Zak, BUS ‘52; JD ‘54 United Way of Metropolitan Jeremiah Benham, MUS ‘00; James Zartman & Chicago MM ‘02 Katherine Zartman Phil Varchetta (dec.), BUS ‘49 Linda Benson & Robert Benson John Zielinski, MUS ‘79 & Edward Ward, MUS ‘63; Kathryn Berghof, MBA ‘82 & Laura Zielinski DHL ‘07 & Dale Ward Paul Berghof Hilary Zankel & Jay Gottfried Jill Beuter, MUS ‘59 $500-$999 Elka Block Nancy Bason, BUS ‘98 & $250-$499 Sania Bonnard & Pierric Bonnard Bill Colman Stephen Balderston # Jay Braatz, EdD Cynthia Bennett, MUS ‘85; Martha Garcia Barragan & Dr. Katherine Brucher # MM ‘90 David Oskandy Margaret Caraher, MUS ‘85 Christina Berry, CMN ‘01; Donna Branson DePaul Wind Symphony • May 27, 2016alumni & 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 Lahif, LAS ‘78 Lisa Russ Cor Creative, Inc. LaMetrice Lane & Steven Lane Robin & John Schneider Christine Corrigan Veronica Larry-Smith Nancy Scott-Rudnick & Cliford Daniel Corrigan, MUS ‘59 Sharon Lear Scott-Rudnick Ryan Coward, MUS ‘04 Michelle Lee, CDM ‘02; MS ‘10 Seman Violins, 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 Tompson & 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 Clif 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. Paul Glick Anna Nardi & Ignacio Garin Dr. Leslie Wilson Denise Goodman New Horizons Band Kevin Wong Carolyn Carriere Grenchik Chau Nguyen Yann Woolley Renu Gupta & Dr. Anand Goel Luz Nicolas & Dr. John Nicolas Wrigley Jr. Company Foundation Ama-Dapa Gyabin & J.F. Nunez-Gornes Yizhe Zhang & John Fitzgerald Shamsiden Balogun Seung-Won Oh # Janice Zimelis Richard Hansen, CDM ‘85 Friends of Oscar Mayer School Mark Zinger # Rosalie Harris Richard Pagliaro Sr., MUS ‘67 Jerry Zitko, MUS ‘83 Havas Impact, LLC Dorothy Pedtke Edwin Hicks David Ponsot, BUS ‘95 Debra Hinze Lynn Powell Jacqueline Hofman, MUS ‘55 Beth Prezembel, MUS ‘84; Carla Jedlicka & Alan Jedlicka MBA ‘91 & Glen Prezembel Sonja Johnson, JD ‘81 Ann Priest & Dr. Edwin Priest Walker Johnson Janet Puskar, MUS ‘64 Christopher Kendrick Kristin Quigley, MUS ‘13 Yumy Kim & Jong Kim Nadia Rahmani & Ronald Kloss, MUS ‘55 Noufel Rahmani Linda Koche, BUS ‘84 & Katlyn Reichelt Gary Koche, BUS ‘83; MBA ‘85 Deborah Rosenberg

* $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 refects total giving to DePaul # School of Music Faculty/Staf, current and retired DePaul Wind Symphony • May 27, 2016

Upcoming Events Saturday, May 28 • 8:00 p.m. & Sunday, May 29 • 8:00 p.m. Concert Hall Prokofev 125

Sunday, May 29 • 1:00 p.m. Concert Hall Wind Chamber Ensembles I

Tuesday, May 31 • 8:00 p.m. Concert Hall Faculty Recital: Elizabeth Byrne, soprano & Steven Mosteller, piano

Tuesday, May 31 • 8:00 p.m. Recital Hall Jazz Combos II

Wednesday, June 1 • 8:00 p.m. Recital Hall Jazz Combos III

Wednesday, June 1 • 8:00 p.m. Concert Hall Wind Chamber Ensembles II

Tursday, June 2 • 8:00 p.m. DePaul Student Center • 2250 N. Shefeld Ave. Jazz Ensembles

Friday, June 3 • 5:00 p.m. Room 103 Guest Artist: Ryan Cohan, jazz pianist, composer & arranger

Friday, June 3 • 8:00 p.m. Concert Hall DePaul Concert Orchestra & Ensemble 20+ DePaul Wind Symphony • May 27, 2016 upcoming events

Saturday, June 4 • 8:00 p.m. Concert Hall Composers Forum

Sunday, June 5 • 1:00 p.m. Concert Hall Memorial Concert for Mason Cormie

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