For the Common Man Chicago Sinfonietta Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor

Sunday, October 3, 2010, 2:30 pm – Dominican University Monday, October 4, 2010, 7:30 pm – Symphony Center For the Common Man Chicago Sinfonietta Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor

Fanfare for the Common Man...... Aaron Copland

Neue slavische Tänze (Slavonic Dances), op.72 no.7 (15)...... Antonín Dvořák 7. In C major - SrbskÈ Kolo

Fire and Blood, for Violin and Orchestra ...... Michael Daugherty 1. Volcano 2. River Rouge 3. Assembly Line Tai Murray, violin

Intermission

Sundown’s Promise (for Taiko and Orchestra)...... Renée Baker I. Company Song VII. Transcendence II. Wa ( peace/balance) VIII. No Mi Kai (Drinking party) III. Wabi IX. Chant IV. Sabi X. Sitting V. Pride XI. Walking VI. Enkai (Banquet Feast) XII. Learning to see the Invisible XIII. Shime (Ending of celebration) JASC Tsukasa Taiko, Japanese drums and Shamisen Nicole LeGette, butoh dancer

On the Waterfront: Symphonic Suite from the Film...... Leonard Bernstein

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Please hold your applause for a brief silence after each work. This will help everyone to enjoy every note. chicagosinfonietta.org facebook.com/chicagosinfonietta Chicago Sinfonietta 1 THE MAESTRO’S FINAL SEASON

These 2010 season-opening performances mark the beginning of a season of transition as our beloved Founder and Music Director Paul Freeman takes the podium for the final time. Throughout the year Maestro Freeman will be conducting pieces that have become personal favorites of his, many of which he probably introduced to you, our audience. We will also be sharing some of his compelling life story and reprinting some amazing photos from the Sinfonietta archive. We hope you enjoy this season-long look at Maestro’s career, and encourage everyone you know to join us in celebrating his many accomplishments.

The Early Days

Paul Douglas Freeman was born in Richmond, Virgin- ia, on January 2, 1936. His father ran a produce shop. He grew up in modest circumstances in the American South in the middle of the twentieth century--diffi- cult beginnings for any African American. “Growing up in segregation in Richmond ... to have fulfilled my personal dreams and to have helped to found an entity [the Chicago Sinfonietta] that brings dreams to others, even I sometimes can’t believe what we’ve done,” Freeman told the Chicago Sun-Times.

Eleanor roosevelt with a young The dream began with Freeman’s music-loving Maestro Freeman-1955 family. Symphony orchestra concerts on the radio and weekly broadcasts from New York’s Metropolitan Opera, the New York Philharmonic, and the NBC Orchestra were required listening for all twelve Freeman siblings as were music lessons when they grew old enough to handle them. Freeman started piano lessons at age five, and he soon took up the clarinet as well. He took clarinet lessons at Richmond’s Armstrong High School while still in elementary school and took lessons at Virginia State College in Petersburg while in high school. One of the stories Paul shares is about the first time he ever heard an orchestra perform as a child in his hometown of Richmond. He and his mother were directed to sit in the colored section of the theater, or as he likes to refer to it, the “peanut gallery”.

His conducting debut came at age 14 or 15, when his clarinet teacher fell ill and was unable to conduct the Armstrong school band for its scheduled performance at a PTA meeting. Freeman stepped in as a substitute. “Although the ministry was an earlier career interest, a maestro was born that evening,” Freeman wrote in a letter quoted in the book Black Conductors.

More about Paul in the next program book.

2 Chicago Sinfonietta PROGRAM NOTES PROGRAM NOTES ( c o n t.)

“You compose because you want to somehow into a talented violin and viola player into tools for men’s service. It was a new virtuosic triple stops, while the orches- summarize in some permanent form your and gaining a position with the Bohe- music, waiting for the composer . . . to give tra explodes with pulsating energy. The most basic feelings about being alive, to set mian Provisional Theater Orchestra for it communicable form.” composition alternates between repeated down... some sort of permanent statement most of the 1860s. patterns in 7/4 time and polytonal pas- about the way it feels to live now, today.” I. Volcano sages that occur simultaneously in — Aaron Copland Originally written for piano 4-hands, Before coming to Detroit, Rivera lived in different tempos. It concludes with an and modeled after Johannes Brahms’s Mexico City, surrounded by volcanoes. extended violin cadenza accompanied by It would be unthinkable not to include Hungarian Dances, it was Brahms himself Fire is an important element in his murals, marimba and maracas. Aaron Copland on a concert dedicated who recommended Dvořák to the music which depict the blaze of factory furnaces to the experience of the Common Man. publisher Fritz Simrock. With the first like erupting volcanoes. Volcanic fire II. River Rouge Through his orchestral, ballet, and film set of dances published in 1878, Dvořák was also associated with revolution by At the Ford River Rouge Automobile scores he pioneered what is commonly became a household name and Simrock’s Rivera, an ardent member of the Mexican Complex, located next to the Detroit agreed to be the American sound in clas- publishing house earned a great deal of Communist party. He saw the creation of River, Rivera spent many months creating sical music. One of his most memorable money. This prompted the composition the Detroit murals as a way to further his sketches of workers and machinery in works, Fanfare for the Common Man, was of the second set (op. 72) in 1886 and a revolutionary ideas. The music of the first action. He was accompanied by his young composed in response to a commission full orchestral version of all of the dances, movement responds to the fiery furnaces wife, the remarkable Mexican painter Frida from conductor of the Cincinnati Sym- with orchestrations by Dvořák himself. of Rivera’s imagination. The violinist plays Kahlo (1906-1954). She lived in constant phony Eugene Goossens. In 1942, with Unlike the Brahms’s Hunarian Dances, the US entangled in the Second World Dvořák did not literally quote any folk War, Goossens engaged 18 composers tunes. Rather, he used the harmonies and to create fanfares to galvanize the public rhythms in the folk tunes of his native and to give them hope. All of them were Czechoslovakia to craft his own original premiered during the 1942-43 season, pieces. Instantly appealing in their tunes but only Copland’s has remained in the and dazzling in their bold orchestration, standard repertory. the deft craftsmanship of these pieces almost slips by unnoticed. The fanfare is so familiar, even the most uninitiated classical music listener has Michael Daugherty, drawing much of heard it at least once. This makes it dif- his inspiration from popular culture, has ficult to analyze the piece to understand written a vast number of works for the why it is so memorable. What is striking orchestra that refuses the elitisms and is the leanness of his musical materials. exclusivity often associated with clas- Opening with several strikes from the per- sical music. With pieces including the cussion, the silences are as crucial to the Superman-themed Metropolis Symphony, work as any of the notes. The unforgetta- an opera about Jackie O, and Dead Elvis ble melody appears first in the trumpets, for a bassoon playing Elvis-impersonator, soaring above the timpani and bass drum. Daugherty has created works that engage Through the next two minutes the work the “common man”. Written in 2003, Fire alternates between percussion and brass, and Blood, a concerto for violin and carefully developing the theme in the orchestra, is no exception. most gradual and seemingly inevitable ways. The Fanfare for the Common Man is In 1932, Edsel Ford commissioned the one of those works of art that is so clear, Mexican modernist artist Diego Rivera so moving, and so direct that it seems to (1886-1957) to paint a mural representing have always existed, as if Copland tran- the automobile industry of Detroit. Rivera scribed a deeper musical truth rather than came to Detroit and worked over the next creating it from scratch. two years to paint four large walls of the inner courtyard at the Detroit Institute Dvořák’s Slavonic Dances, op. 72 were of Arts. Considered among his best work, widely popular and, along with the first Rivera’s extraordinary “Detroit Industry” set of dances, largely responsible for his murals have inspired me to create my gain in notoriety as a composer. Born own musical fresco for violin and orches- in 1841, Antonín Dvořák was the son of tra. It was Rivera himself who predicted a working class family; his father was the possibility of turning his murals into a butcher, innkeeper, and professional music, after returning from a tour of the zither player. His musical talents were Ford factories: “In my ears, I heard the clear from a young age and he was wonderful symphony which came from encouraged to pursue them, developing his factories where metals were shaped

4 Chicago Sinfonietta Chicago Sinfonietta 5 PROGRAM NOTES ( c o n t.) pain as a result of polio in childhood and III. Assembly Line Wh>&ZDE͕Dh^//ZdKZ a serious bus accident at age 18 in Mexico Rivera described his murals as a City. Many of her self-portraits depict the depiction of “towering blast furnaces, suffering of her body. During her time with serpentine conveyor belts, impressive Rivera in Detroit, Kahlo nearly died from a scientific laboratories, busy assembly miscarriage, as depicted in paintings such rooms; and all the men who worked as “Henry Ford Hospital” and “My Birth.” them all.” Rather than pitting man D^dZK&ZDE͛^>^d^^KE The color of blood is everywhere in these against machine, Rivera thought the :ŽŝŶƚŚĞǇĞĂƌͲůŽŶŐĐĞůĞďƌĂƚŝŽŶŽĨĂŶŵĞƌŝĐĂŶŽƌŝŐŝŶĂů͊ works. She also had a passionate and collaboration of man and machine playful side: she loved wearing colorful would bring liberation for the worker. traditional Mexican dresses and jewelry, The violin soloist in this final move- drinking tequila and singing at parties. ment is like the worker, surrounded KĐƚŽďĞƌϯϬ͕ϮϬϭϬĂǇŽĨƚŚĞĞĂĚ Kahlo’s labors, grief, and zeal for life added by a mechanical orchestra. The music /ŶĂƐƉĞĐŝĂůĐŽŶĐĞƌƚŶĞǁƚŽƚŚĞϮϬϭϬͲϮϬϭϭƐĞĂƐŽŶ͕ƚŚĞ^ŝŶĨŽŶŝĞƚƚĂ another perspective to Rivera’s industry. is a roller coaster ride on a conveyor ĐŽŵŵĞŵŽƌĂƚĞƐƚŚĞDĞǆŝĐĂŶŚŽůŝĚĂǇşĂĚĞůŽƐDƵĞƌƚŽƐ;ĂǇŽĨƚŚĞĞĂĚͿ This movement is dedicated to Frida belt, moving rapidly in 7/8 time. This ŚŽŶŽƌŝŶŐƚŚĞĚĞĂƌůǇĚĞƉĂƌƚĞĚ͘'ƵĞƐƚĐŽŶĚƵĐƚŽƌ,ĞĐƚŽƌ'ƵǌŵĂŶůĞĂĚƐƚŚĞ Kahlo’s spirit. The solo violin introduces perpetual motion is punctuated by ŽƌĐŚĞƐƚƌĂƚŚƌŽƵŐŚǀŝǀŝĚƐŽƵŶĚƐĂŶĚŝŵĂŐĞƌǇƚŚĂƚĐŽŶƚƌĂƐƚƐƚŚĞƐŽŵďĞƌ two main themes. The first theme is disso- pizzicato strings, percussive whips, ƵƌŽƉĞĂŶƚƌĂĚŝƚŝŽŶƐŽĨŵŽƵƌŶŝŶŐǁŝƚŚƚŚĞŵŽƌĞũƵďŝůĂŶƚĐĞůĞďƌĂƚŝŽŶƐŽĨ nant and chromatic, flowing like a red river and brassy cluster chords. The percus- >ĂƚŝŶŽĐƵůƚƵƌĞƐ͘ of blood. The second is a haunting melody sion section plays factory noises on that Kahlo herself might have sung, long- metal instruments like break drums :ĂŶƵĂƌǇϭϱ͕ϭϲ͕Θϭϳ͕ϮϬϭϭƌĞĂŵhŶĨŽůĚƐ͗dƌŝďƵƚĞƚŽD>< ing to return to her native Mexico. The or- and triangles, and a ratchet turns like chestra resonates with floating marimbas the wheels of the machinery. In addi- /ŶƚŚŝƐďĞůŽǀĞĚĐŽŶĐĞƌƚƚƌĂĚŝƚŝŽŶ͕ŐƵĞƐƚĐŽŶĚƵĐƚŽƌ>ĞƐůŝĞ͘ƵŶŶĞƌũŽŝŶƐ and string tremolo, echoing like a mariachi tion to this acceleration of multiple DĂĞƐƚƌŽ&ƌĞĞŵĂŶĂŶĚƚŚĞ^ŝŶĨŽŶŝĞƚƚĂŝŶƉĂǇŝŶŐƚƌŝďƵƚĞƚŽƌ͘DĂƌƚŝŶ>ƵƚŚĞƌ band in the distance. The orchestration is mechanical rhythms, the musical <ŝŶŐ͕:ƌ͘dŚƌŽƵŐŚĂƐĞƚŽĨĨŝǀĞǁŽƌŬƐĂŶĚŵƵůƚŝƉůĞŐƵĞƐƚĂƌƚŝƐƚƐ͕ƚŚŝƐĐĞůĞďƌĂͲ colorful, like the bright tapestries of her phrasing recalls the undulating wave ƚŝŽŶǁŝůůĐŽŵŵĞŵŽƌĂƚĞ<ŝŶŐ͛ƐůĞŐĂĐǇĂŶĚĂůůŽǁůŝƐƚĞŶĞƌƐƚŽƌĞĨůĞĐƚŽŶ<ŝŶŐ͛Ɛ dress. While death and suffering haunt the pattern that moves from panel to ŝŶĚĞůŝďůĞŵĂƌŬŽŶŵĞƌŝĐĂŶŚŝƐƚŽƌǇ͘ music, there is an echo of hope. panel in Rivera’s mural. DĂƌĐŚϮϴ͕ϮϬϭϭ'ĞŶĞƌĂƚŝŽŶEĞǆƚ >ŽŽŬŝŶŐƚŽǁĂƌĚƚŚĞĨƵƚƵƌĞŽĨĐůĂƐƐŝĐĂůŵƵƐŝĐ͕DĂĞƐƚƌŽ&ƌĞĞŵĂŶĂůŽŶŐǁŝƚŚ ŐƵĞƐƚĐŽŶĚƵĐƚŽƌdĞƌƌĂŶĐĞ'ƌĂǇ͕ĐƵƌƌĞŶƚůǇƚŚĞƐƐŽĐŝĂƚĞŽŶĚƵĐƚŽƌŽĨƚŚĞ ŚŝĐĂŐŽzŽƵƚŚ^ǇŵƉŚŽŶǇKƌĐŚĞƐƚƌĂƐ͕ǁĞůĐŽŵĞƐŽŵĞŽĨƚŚĞĐŝƚǇ͛ƐĨŝŶĞƐƚ ǇŽƵŶŐŵƵƐŝĐŝĂŶƐĨŽƌƚŚĞƐĞĂƐŽŶ͛ƐĨŽƵƌƚŚĐŽŶĐĞƌƚ͘ DĂǇϮϮΘϮϯ͕ϮϬϭϭtŽŵĞŶŝŶůĂƐƐŝĐĂůDƵƐŝĐ /ŶŚŝƐĨŝŶĂůĐŽŶĐĞƌƚĂƐDƵƐŝĐŝƌĞĐƚŽƌ͕DĂĞƐƚƌŽ&ƌĞĞŵĂŶǁŝůůďĞũŽŝŶĞĚŽŶ ƚŚĞƉŽĚŝƵŵďǇDƵƐŝĐŝƌĞĐƚŽƌĞƐŝŐŶĂƚĞDĞŝͲŶŶŚĞŶĨŽƌĂĐŽŶĐĞƌƚŚŽŶͲ ŽƌŝŶŐǁŽŵĞŶŝŶĐůĂƐƐŝĐĂůŵƵƐŝĐ͕ĂŶĚŝŶĐůƵĚĞƐDĂĞƐƚƌĂŚĞŶ͛ƐƚƌŝďƵƚĞƚŽƚŚĞ ^ŝŶĨŽŶŝĞƚƚĂ͛ƐĨŽƵŶĚĞƌĂŶĚŐƵŝĚŝŶŐƉƌĞƐĞŶĐĞ͘ ŚĂŵďĞƌDƵƐŝĐ^ĞƌŝĞƐĂƚƌŽŽŬĨŝĞůĚŽŽ EŽǀĞŵďĞƌϮϭ͕&ĞďƌƵĂƌǇϮϬ͕Ɖƌŝůϯ dŚĞ^ŝŶĨŽŶŝĞƚƚĂ͛ƐĂŶŶƵĂůŚĂŵďĞƌ^ĞƌŝĞƐǁĞůĐŽŵĞƐŶĞǁƉĂƌƚŶĞƌƌŽŽŬĨŝĞůĚ ŽŽƚŽƉƌĞƐĞŶƚƚŚƌĞĞ^ƵŶĚĂǇĂĨƚĞƌŶŽŽŶĐŽŶĐĞƌƚƐĨŽƌƚŚĞǁŚŽůĞĨĂŵŝůǇ ƉƌŽŐƌĂŵŵĞĚĂŶĚůĞĚďǇ^ŝŶĨŽŶŝĞƚƚĂWƌŝŶĐŝƉĂůsŝŽůŝƐƚZĞŶĠĞĂŬĞƌ͘tĞ͛ůů ĞǆƉůŽƌĞƚŚĞǁŽŶĚĞƌƐŽĨƚŚĞŶĂƚƵƌĂůǁŽƌůĚƚŚƌŽƵŐŚŵƵƐŝĐ͘WůƵƐ͕ǇŽƵƌĐŽŶĐĞƌƚ ƚŝĐŬĞƚŝŶĐůƵĚĞƐĂĚŵŝƐƐŝŽŶƚŽƚŚĞŽŽďĞĨŽƌĞĂŶĚĂĨƚĞƌƚŚĞƐŚŽǁ͊

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6 Chicago Sinfonietta PROGRAM NOTES ( c o n t.) PROGRAM NOTES ( c o n t.)

Renée Baker, who should be no stranger As conductor, educator, and composer for The film, an intense drama set amongst from a hit film and is, instead, a symphonic to the Sinfonietta audience having per- stage, screen, and the concert hall, Leonard the docks in post-WWII Hoboken New ode to the struggles of the working class formed with the orchestra for twenty-four Bernstein was one of the most charismatic Jersey, received eight Oscars and in 1955 in the 1950s. A fitting close to a concert years, has created a work for her home- and communicative advocates for classical Bernstein went through his film score dedicated to the Common Man. team orchestra combining Japanese Taiko music in America. Both consummate musi- to craft a symphonic suite. Rather than drumming with the Western orchestra. cian and showman, at the heart of all of his assembling several scenes of the film as “I believe in people. I feel, love, need and re- Renée speaks about the process of creat- activities was a commitment to engaging individual movements, Bernstein selected spect people above all else, including natural ing Sundown’s Promise: and inspiring his audience. However, his the strongest musical themes from the scenery, organized piety and nationalistic score for the Oscar-winning filmOn the score and created a single cohesive work superstructures. One human figure on the “I used what appeared to be integral com- Waterfront, and the resulting Symphonic that, according to him, “follow as much slope of a mountain can make the mountain ponents of traditional Japanese harvest Suite from On the Waterfront almost did as possible the chronological flow of disappear for me, one person fighting for festivities. Harvest time is an important not exist. When Hollywood producer Sam the film itself.” The result is closer to the truth can disqualify for me the entire system milestone in many lands. It can last for Spiegel asked Bernstein to compose the symphonic poems of Liszt rather than which had dispensed it.” - Leonard Bernstein months depending on the crop but the score for the film, Bernstein was already in a simple hit-parade of favorite tunes. success of the harvest can determine the high demand. He had served as Associate Opening with the mournful horn melody, Composer and writer John Glover writes quality of life, often for months to come. Conductor of the New York Philharmonic, originally used as the main title sequence notes, articles, and online courses for Hard labor and a rewarding harvest is cer- received accolades for his “Jeremiah” Sym- for the film, which recurs throughout as a organizations such as the Los Angeles tainly reason to celebrate ... imagine a vil- phony, and written the scores the popular way to hold the piece together, the piece Philharmonic, Glimmerglass Opera, the lage celebrating the end of the harvesting Broadway shows Wonderful Town and On explodes into both violent sections for Chicago Sinfonietta, Carnegie Hall, and season and the promise of sundown, with the Town. He was very resistant to writing percussion and tender lyrical strains. Most Opera America. He has received grants its’ repose until the next harvest. Imagine for film, since the composer tends to take a notable is Bernstein’s refusal to pander to and commissions from organizations the anticipation of the soon to come back seat in the process. his audience. Freed from the constraints including Meet The Composer, Glim- celebration and its festivities. Traditionally of Hollywood, he avoids the obligatory merglass Opera, violist Liuh-Wen Ting, in Japan the harvest festival surrounds Spiegel was able to court Bernstein out happy ending of a big-budget picture and the American Conservatory Theater. the rice harvest. However, none of the rice to California to see a rough cut of the film, with an outburst of rough and dissonant He currently lives in New York City and is from the harvest can be consumed until which Bernstein documents in the essay “Up- chords from the orchestra. The Suite far developing a new opera ‘Our Basic Nature’ the dances, and processionals take place. per Dubbing, Calif.” from The Joy of Music: exceeds the obligatory collage of tunes with American Opera Projects. These festivals usually involve musicians with drums, flutes and bells. “When I was first shown a rough cut of the picture I thought it a masterpiece of Sundown’s Promise is comprised of the direction; and Marlon Brando seemed to following sections, some of which are me to give the greatest performance I momentary, but all sections segue into had ever seen him give... I was swept away the next, continuing the festivities. by my enthusiasm into accepting the commission to write the score, although I I. Company Song had thereto resisted all such offers on the II. Wa ( peace/balance) grounds that it is a musically unsatisfac- III. Wabi tory experience for a composer to write IV. Sabi a score whose chief merit ought to be V. Pride its unobtrusiveness....” He set to work VI. Enkai (Banquet Feast) immediately, fell in love with the film, and VII. Transcendence became increasingly attached to the de- VIII. No Mi Kai (Drinking party) tailed and nuanced score he was crafting IX. Chant for it. Again from his essay, Bernstein re- X. Sitting calls: “I had to keep reminding myself that XI. Walking it is really the least important part, that a XII. Learning to see the Invisible spoken line covered by music is a line lost, XIII. Shime (Ending of celebration) and by that much a loss to the picture, while a bar of music completely obliter- As in Haiku tradition, I wish the title(s) to ated by speech is only a bar of music lost invoke and suggest.... and not necessarily a loss to the picture.... Gratitude to the Creator of the harvest... And so the composer sits by, protesting In my music, I hope you find strength, hard- as he can, but ultimately accepting, be it ship and humor… with a heavy heart, the inevitable loss of All necessary realms of labor, resulting in a good part of his score. Everyone tries the solidarity of shared community effort to comfort him. ‘You can always use it in to bring in a life-giving harvest.” a suite.’ Cold comfort. But after all is said and done, the others are right.”

8 Chicago Sinfonietta Chicago Sinfonietta 9 PROFILES

Maestro Paul contributions to African American life, Freeman, history, and culture. Music Director Maestro Paul Free- Maestro Freeman’s talent was summa- man is in his 24th rized in the following quotation from season as Music Di- Robert Marsh, longtime music critic rector of the Chicago for the Chicago Sun-Times: “Free- Sinfonietta, a post he man conducts performances which has held since his founding of the or- are remarkable for their beauty and chestra in 1987. communicative force. He brings the sound of the Chicago Sinfonietta to Born in Richmond, Virginia, Maestro the heights of angels.” Freeman has established himself as one of America’s leading conductors. In Harvey Felder, 1996, he was appointed music director Guest Conductor and chief conductor of the Czech Na- Described by The tional Symphony Orchestra in Prague, Milwaukee Sentinel a position he held simultaneously as “a thoughtful and with his Chicago Sinfonietta till 2009. sincere musician, From 1979 to 1989, he served as music with a stylish, poised director of the Victoria Symphony in podium presence,” Canada, principal guest conductor of Harvey Felder is currently the Music the Helsinki Philharmonic in Finland, Director of the Tacoma Symphony. associate conductor of the Dallas and Detroit Symphony Orchestras, and Also active as a guest conductor, music director of the Opera Theatre of Harvey Felder made his Carnegie Hall Rochester, New York. debut during the 1991 Carnegie Hall at 100 celebration, leading the Ameri- A recipient of the Mahler Award from can Symphony Orchestra in a series of the European Union of Arts, Free- young people’s concerts. These appear- man as a guest conductor has led ances launched a guest conducting ca- more than 100 orchestras in over 30 reer which has included engagements countries. As one of America’s most with the National, Omaha, Baltimore, successful recording conductors, he Seattle, American, Delaware, Honolulu, has approximately 200 releases to his New Jersey, Baton Rouge, Santa Fe, credit. Freeman has been involved in North Carolina, Indianapolis, Madison, more than a dozen televised orchestra Missouri and Grant Park Symphony productions in North American and Orchestras, as well as the Kansas City, Europe. He has been nominated for Rochester, Dayton, Orange County and two Emmy Awards and constantly Boulder Philharmonics, the Concord receives rave reviews for his record- Chamber Orchestra, the Concerto Solo- ings. The December 2000 issue of ists of Philadelphia and the Pro Musica Fanfare magazine proclaimed Maestro Chamber Orchestra. He conducted Freeman “one of the finest conductors the Atlanta Symphony Orchestra in out- which our nation has produced.” reach, education and family concerts, as well as a holiday concert that was Dr. Freeman received his Ph.D. from nationally televised on PBS. With the Eastman School of Music. He studied Chicago Symphony, Mr. Felder has on a U.S. Fulbright Grant in Berlin, and led family and education concerts, as holds honorary doctorate degrees from well as a nationally televised concerto Dominican and Loyola Universities. In competition concert on PBS. Outside 2005, Maestro Freeman was designated of the U.S. Mr. Felder has appeared with a HistoryMaker, having been nominated the Osaka Telemann Chamber Orches- by the DuSable Museum of African tra (on two occasions), the Orquesta American History, for his outstanding Sinfonica del Estados de Mexico, the Chicago Sinfonietta 11 PROFILES ( c o n t.) PROFILES ( c o n t.)

Orquesta Sinfonica Nacional de Costa Other recent debuts include those resident arts program of the Japanese Drummers: Eigen Aoki, Miyumi Aoki, Rica, and the New Japan Philharmonic. with the Cincinnati and Dallas sym- American Service Committee of Chi- Kioto Aoki, Kiyomi Negi Tran, Kenji Negi phony orchestras, Shanghai Sym- cago (JASC) in 2004. Tran, Koji Negi Tran, Warren Hidaka, He received his B.M. from the Univer- phony, London’s BBC Symphony, BBC Christine Nitahara, Michelle Nitahara, sity of Wisconsin at Madison and his Scottish Symphony, BBC Proms, the JASC Tsukasa Taiko’s mission is to pre- Justin Mark M.M. from the University of Michigan. National Youth Orchestra of Venezuela serve and pass on the traditional con- Shamisen: Lori Ashikawa, Amy Homma Well known for his music education and the Danish National Symphony cepts of taiko as a cultural legacy and Head instructor: Amy Homma programs, Mr. Felder was appointed Orchestra, as well as re-engagements to utilize these concepts in expanding Instructor: Noriko Sugiyama to an ad hoc commission jointly as- with the Chicago, St. Louis, and Balti- and evolving the taiko form. Dedicated Executive Producer:Tatsu Aoki sembled by the Kennedy and Getty more symphony orchestras. to strengthening the Chicago Japanese Centers to develop recommendations American/Asian American communi- Nicole LeGette, Butoh Dancer for the inclusion of an arts curriculum An avid recitalist, Ms. Murray has per- ties and being a leader in the taiko Nicole LeGette, Blushing Poppy Pro- in educational reform legislation. The formed in Boston, Chicago, La Jolla, Los drumming culture of the Midwest, JASC ductions, is the only Midwestern artist commission’s findings were used by Angeles, New Orleans, and Philadelphia Tsukasa Taiko maintains an interna- dedicated to performing, producing, the Secretary of Education in the plan- with pianist Gilles Vonsattel, in addition tional profile by performing around and teaching butoh; an expressive ning of the Educate America program to a critically acclaimed return to the the world throughout the year while form of dance-theater that originated and the congressional act Improving Philadelphia Chamber Music Society remaining an active, positive presence in 1959 Japan. She has traveled the America’s Schools. He is the recipient of (Winter ‘09) in a performance with pia- in the metropolitan Chicago area. world to study with masters of the numerous awards, including Tacoma’s nist Lambert Orkis. form and has invited many of them Arts Fund Outstanding Achievement in In addition to presenting high-quality to share their gifts with Chicago. For the Arts Award, a Citation of Excellence A dedicated chamber musician, Ms. performance programs, JASC Tsukasa more information please visit, from the Wisconsin State Assembly, a Murray is a member of the conductor- Taiko also offers classes, workshops, www.blushingpoppy.org. Distinguished Citizen Award from the less East Coast Chamber Orchestra lectures, and demonstrations designed Wisconsin Civic Music Association, and (ECCO). She has been on tour numerous to teach people how to play taiko, as Throughout the world, most cultures the Distinguished Alumni Award from times with Musicians from Marlboro well as to advance the understanding incorporate dance as part of the cel- the University of Wisconsin-Madison. and was a member of Lincoln Center’s of how the cultural arts are a reflection ebration of life cycles and significant Chamber Music Society II (2004-2006). of a community’s heritage and legacy. moments within nature, community, and Tai Murray, Violin JASC Tsukasa Taiko has appeared the individual. Butoh is a contemporary Acclaimed as “su- A native of Chicago, Ms. Murray studied at the Asian American Jazz Festival: form of dance-theater from Japan (1959) perb” by The New with Yuval Yaron and Franco Gulli at Poland/Malta International Theatre that incorporates specific traditional York Times, twenty- Indiana University and Joel Smirnoff Festival, the Smithsonian, San Fran- arts with modern western influences in seven year old at The Juilliard School. Winner of an cisco’s Yerba Buena Center for the Arts, order to create new rituals for personal violinist Tai Murray Avery Fisher Career Grant in 2004, Ms. Chicago’s Museum of Contemporary and communal deep expression. is a rising star of her Murray is currently a BBC New Genera- Art, the Chicago Cultural Center and generation increas- tion Artist (2008-2010). She performs Millennium Park. Mankwe Ndosi, Vocalist ingly in demand for both recitals and on a violin made for her in 2007 by Mankwe Ndosi (Twin Cities, MN) works orchestral engagements. She has distinguished and extraordinary luthier Quarterly taiko class sessions and in voice, word and improvisation, performed on the stages of Berlin’s Mario Miralles. special workshops are offered expanding vocabularies of song and Konzerthaus, Chicago’s Orchestra Hall, throughout the year for students at collaborating with musicians, dancers, Copenhagen’s Tivoli Gardens, Shang- all levels of experience. It is recom- MC’s, and artists of all kinds. She has hai’s Concert Hall and New York’s Carn- mended that children be at least 5 been performing in the Twin Cities and egie Hall and has collaborated with a years of age to begin classes. in Chicago for more than a decade, in- wide range of conductors and instru- cluding national and international mentalists including Marin Alsop, Alan The Toyoaki Shamisen Project, under appearances with Nicole Mitchell, At- Gilbert, Richard Goode, Jaime Laredo, the direction of prominent musician mosphere, Laurie Carlos, Ananya Dance Hannu Lintu, Dmitry Sitkovetsky and Tatsu Aoki, is a branch program of Theater and Douglas R. Ewart. She has Mitsuko Uchida. During the 2009/10 JASC Tsukasa Taiko, and offers instruc- received support in Minnesota from the season, she will make her Wigmore tion in the distinctive Zashiki tradition American Composer’s Forum/McKnight Hall recital debut as well as debuts of shamisen (3-stringed lute) perfor- Foundation, The Jerome Foundation, with the Houston Symphony and the mance. Individual and group lessons and the Minnesota State Arts Board. Detusche Oper am Rhein Orchestra. JASC Tsukasa Taiko in this unique, Tokyo-based style of She will also return to the Atlanta Sym- performance are available. phony Orchestra, among others. JASC Tsukasa Taiko, one of the leading taiko (Japanese drum) ensembles in the Chicago area, was established as a 12 Chicago Sinfonietta Chicago Sinfonietta 13 PROFILES ( c o n t.) REFLECTIONS ON THE HISTORY OF LABOR IN CHICAGO

Renée Baker, Sinfonietta Chamber Ensemble and By Les Orear, President Emeritus, Illinois Labor History Society Composer Great Black Music Ensemble/AACM. Renée Baker is found- In 2009, Ms. Baker’s compositions From its inception, Chicago was assured of its future er/leader of thirteen have premiered in Umbria, Italy and as a mighty industrial and commercial engine by contemporary also have been performed at Suoni virtue of its geographic location and growing com- music performance Per Il Popolo in Montreal. Ms. Baker mand of essential transportation networks. Chicago’s entities-- Chicago has presented over twenty concerts future as the leading manufacturing and distribution Modern Orchestra including her compositions for the center of the nation emerged in the post-Civil War Project, FAQ tet, Mantra Blue Free Chicago State University Student period. At that time, industries vital to the national Orchestra, Red Chai, Project 6, Wrinkled Afternoon recital Series, from 2002- economy blossomed here -- agricultural processing Linen, Connoisseur Musica String 2007. She has premiered over ten such as livestock slaughter and meat packing, iron Ensemble (classical), Poemusici (spoken works on the Chicago Sinfonietta and steel production, railroading and other forms of word group), Mimetic Cast (new music Chamber Series 2008-2010. Ms Baker transportation, printing, communication equipment, performance ensemble and publisher), was accepted into the cutting-edge warehousing, farm equipment, and the manufacture Blanché (experimental orchestra Jazz Composers Orchestra Institute of machinery. ), Baker Artet, Tuntui (experimental at Columbia University in July 2010. The ability of the area to develop its favorable situations was enhanced by the piano quartet) and the Renée Baker She is currently working on music abundance of labor (historically drawn chiefly from European immigration), the Trio. She has created eclectic chamber score for a film sponsored by the availability of open land, and access to capital in the East where thriving markets festivals for Adler Planetarium, Shedd Chicago Architecture Foundation for consumption existed. Aquarium, Joffrey Ballet Chamber and is also composing scores for Series, Norris Cultural Arts Center and the Museum of Contemporary Art As industry developed its demand for labor, the urge on the part of labor to organize Classical Symphony Hall. (Chicago), a program entitled Brass into unions intensified, particularly in the building trades, where the growth of the As a composer, Ms. Baker has penned Epiphany, part of the 45th Anniver- city was most immediately felt in the need for housing and commercial structures. creative compositions for her own sary celebration of the AACM to be For example, the number of carpenters in Chicago shot up from 6,712 in 1880 to over groups, as well as the Chicago presented in November 2010. 20,000 only ten years later in 1890. Within those years, the percentage of carpenters who were unionized also rose rapidly, doubling from 15% in 1880 to 30% in 1890.

As the city’s industries and labor force grew, Chicago became a battleground over the distribution of profits and the political direction that the forces of Capital and Labor would take.

Within this arena of struggle existed a variety of groups and political perspec- tives. While government sometimes assisted business interests in the suppression of labor activism, at other times it proved to be a legislative force to mitigate the harmful effects of corporate greed and provide for the public good. On labor’s side, this period was marked by the popularity of a number of distinct political currents, including Populism; Socialism, as exemplified by such figures as American Railway Union leader Eugene V. Debs; and the more controversial ideas of Anarchism, including the IWW (Industrial Workers of the World), which held its founding convention in Chicago in 1905. The standard attitude within the Ameri- can Federation of Labor was one of “pure-and-simple” trade unionism.

As the years passed, Chicago’s industrial base continued to expand, with the growth at the turn of the 20th century of the needle-craft industries, all of which became the focus of union organizing efforts by the employees. At the same time, Get the latest headlines and public school teacher unionism in Chicago had taken hold and by mid-century, union growth among other public employees was well under way. listen on your smart phone with iPhone and Android apps. IT’S MORE THAN JUST TALK With the failure of the IWW to maintain a foothold in American industry, successful organization on an industry-wide basis lagged until the Great Depression and the election of Franklin Delano Roosevelt. As a part of his New Deal program, Pres- ident Roosevelt urged the Congress to declare its support of collective bargaining 14 Chicago Sinfonietta Chicago Sinfonietta 15 REFLECTIONS ON THE HISTORY OF LABOR IN CHICAGO ( c o n t.) CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH and the role of organized labor. A tidal change took place with the passage of the Audience Matters is the Chicago Sinfonietta’s core educational program. This pro- National Labor Relations Act in 1935. Commonly referred to as the Wagner Act, it gram provides an immersive introduction to classical music for elementary school soon became known as labor’s Magna Carta. students in the Chicago Public School system. Through the program, students learn about the families of instruments in the orchestra from teaching artists – Sensing an opportunity, John L. Lewis, President of the United Mine Workers (for Sinfonietta musicians – who also relate composers, history, art, and architecture to many years an industrial union itself), gathered together a committee of other the various periods of classical music. On multiple visits, musicians from different industrial-style unions already in the American Federation of Labor. Primary sections of the orchestra demonstrate their instruments through experiential among these members of the Committee on Industrial Organization (CIO) were tools, integrating visual, audio, and tactile elements to help the students learn. In the clothing workers. The committee proceeded to press the AFL to launch a addition, students and their families are invited to all Sinfonietta performances major industrial union organizing campaign. The Lewis forces were rejected, for the season. Over 1,000 students are participating in Audience Matters this year whereupon the committee accepted its expulsion and created a rival central body thanks to our generous donors. in 1937, which it called the Congress of Industrial Organization (CIO). SEED (Student Ensembles with Excellence and Diversity) provides mentor- The new CIO moved immediately to organize industrial workers, beginning with ing for young musicians. The SEED Program identifies talented high school the steel and auto industries. Total union membership in the U.S. nearly doubled musicians and offers them a series of workshops and master classes taught by from 1935 to 1937, going from 3.5 to more than 7.5 million in that short time. Chicago Sinfonietta teacher-musicians in small ensemble settings. The program This included a gain for the AFL of around one million new members. The CIO concludes with a concert performed by the ensembles. The goal of this program expanded from the original nine internationals to 32 affiliates by 1937. Its ranks is to both inspire and mentor these young artists, and encourage their profes- grew from 900,000 to 3.5 million. This growth was well reflected in Cahicago. In sional growth for the future. December 1953 the two federations merged into the AFL-CIO, thus becoming the largest body of organized workers in the world. Project Inclusion: Musicians of Color Fellowship Program Tragically, the deindustrialization era, which began in the late 20th century with the emergence of widespread technological developments, saw significant The Chicago Sinfonietta is delighted to introduce the 2010 Class of Fellows for decline of traditional industries. That is a trend which continues to this day. All of Project Inclusion. This program, begun in 2007, provides professional development this has placed the service sector of the economy, such as teachers and govern- opportunities for talented minority musicians funded through the generous sup- ment employees, into their current prominence within Chicago’s labor landscape. port of Aon Cornerstone Innovative Solutions, the Chicago Community Trust, and Hewitt. Project Inclusion addresses the Sinfonietta’s long-term goal of increasing the number of minority musicians playing in orchestras across the U.S. by providing fellowships and ensemble experience for promising young musicians. Recent data shows that less than 3% of orchestral musicians performing with the top 1,000 orchestras are people of color.

Project Inclusion provides 2 year fellowships for young musicians of color that include rehearsing and performing with the orchestra, receiving one-on-one mentoring from senior members of the Sinfonietta, attending master classes and mock auditions, and assistance in job placement after completion of the program. We are delighted to introduce the 2010 class of Project Inclusion Orchestra Fellows. They are:

Name Instrument College Elizabeth Diaz Flute Loyola Tamara Gonzalez Violin DePaul Tasha Lawson Horn LSU

We are also delighted to introduce the 2010 Project Inclusion Ensemble Fellows who will be performing in smaller ensembles at various locations throughout the year. They are:

Name Instrument College Ricardo Ferreira Violin DePaul Kevin Lin Viola Roosevelt Shawnita Tyus Violin DePaul

16 Chicago Sinfonietta Chicago Sinfonietta 17 CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH CHICAGO SINFONIETTA MISSION

Project Inclusion Orchestra and Ensemble Fellows Program is managed by Renée The Mission of the Chicago Sinfonietta is to serve as a national model for inclu- Baker. Our mentors include orchestra members Renée Baker, Principal Viola, John siveness and innovation in classical music through the presentation of the highest Fairfield, Principal French Horn, Janice McDonald, Principal Flute, and Karen Nel- quality orchestral concerts and related programs. The Chicago Sinfonietta aspires son, Principal Second Violin. to remove the barriers to participation in, and appreciation of classical music through its educational and outreach programs that expose children and their Maestro Freeman notes, “We look forward to working with these talented musi- families to classical music, and by providing professional development oppor- cians and aiding in their professional development. This program addresses the tunities for young musicians and composers of diverse backgrounds enabling core of our mission and is a wonderful continuation of our past work. We sin- new, important voices to be heard. This will help America become a true cultural cerely thank all who have contributed to the development and implementation of democracy, in which everyone can share fully in its cultural resources and in which all can contribute to its cultural richness. Project Inclusion.”

We also wish to acknowledge some very important partners whose assistance has CHICAGO SINFONIETTA HISTORY been invaluable in developing and implementing Project Inclusion: Maestro Paul Freeman founded the Chicago Sinfonietta in 1987 in response to Chicago College of the Performing Arts at Roosevelt University – Henry Fogel, Dean the lack of opportunity for minority classical musicians, composers, and soloists. DePaul School of Music – Donald E. Casey, Dean Twenty-four season later, the Chicago Sinfonietta remains as the national model and true trailblazer for promoting diversity and inclusiveness in orchestral music. Northwestern University School of Music – Toni-Marie Montgomery, Dean The Chicago Sinfonietta has a proud history of having enriched the cultural, edu- We thank Aon Cornerstone Innovative Solutions, the Lead cational, and social quality of life in Chicago, while gaining significant recognition Sponsor of Project Inclusion. Thanks also to Supporting Spon- on the national and international stage. Committed to promoting diversity and sors Chicago Community Trust and Hewitt & Associates LLC. inclusiveness in classical music, the Sinfonietta performs at Chicago’s Symphony Center, Lund Auditorium at Dominican University, Wentz Concert Hall in Naper- ville, and the Harris Theater for Music and Dance at Millennium Park. The Sinfoniet- ta presents a full season of symphonic concerts as well as a Chamber Series which for the 2010/2011 season will be held at Brookfield Zoo. The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

Under the guidance of founding Music Director Paul Freeman, the orchestra performs at the highest artistic level and has achieved an outstanding reputation for its innovative programs. The Sinfonietta is dedicated to the authentic performance of Classical, Romantic and Contemporary repertoire and excels at presenting imaginative new works by composers and soloists of color.

Chicago Sinfonietta musicians truly represent the city’s rich cultural landscape and continue to fulfill the orchestra’s mission of Musical Excellence through Diver- sity™. A 2007 survey of major orchestras revealed that the Chicago Sinfonietta is the most diverse professional orchestra in the United States. Through this distinction, the Chicago Sinfonietta serves as a national model for inclusiveness in classical music.

During the first ten years, the orchestra embarked on six international tours performing concerts in Germany, Austria, Italy, Switzerland and the Canary Islands. The Chicago Sinfonietta has produced fourteen compact discs, including the much heralded three-disc African Heritage Symphonic Series released on Cedille Records in 2002 and a live recording of the 2007 Tribute to Dr. Martin Luther King, Jr. concert. The orchestra has performed twice at the John F. Kennedy Center in Washington D.C. In August of 2008, the Chicago Sinfonietta made its debut performance at the Jay Pritzker Pavilion in Millennium Park to over 11,000 people and performed for over 90,000 people during 2009-2010.

18 Chicago Sinfonietta Chicago Sinfonietta 19 CHICAGO SINFONIETTA BOARD OF DIRECTORS

Cheri Chappelle...... Chair Tara Dowd Gurber...... Immediate Past Chair Anita Wilson...... Secretary Mark J. Williams...... Treasurer Dean R. Nelson...... Marketing Committee Chair Nazneen Razi...... Program Committee Chair Virginia Clarke...... Nominating Committee Chair Patrick Cermak ...... Development Committee Chair Dr. Paul Freeman ...... Founding Music Director Mei-Ann Chen...... Music Director Designate Jim Hirsch...... Executive Director

Dr. Neelum Aggarwal John Luce Karim Ahamed Stephanie Springs Anne Barlow-Johnston Michelle Vanderlaan Linda Boasmond Kimberly Waller Phil Engel Greta Weathersby Margarete Evanoff Phil Gant III Chairs of Friends Organizations Dan Grossman Dr. Lascelles Anderson – West Side Steven Hunter Friends Gregory P. Jacobson Linda Tuggle – South Side Friends Betty Johnson Barbara Harper Norman – North Side Nicole Johnson-Scales Friends Kevin A. Krakora Kathleen Tannyhill – North Side Friends

CHICAGO SINFONIETTA ADMINISTRATIVE PERSONNEL

Jim Hirsch...... Executive Director Renée Baker...... Personnel Manager Paris Braxton...... Box Office/Database Manager Jeanetta Hampton...... Financial Director Jeff Handley...... Education Outreach Program Director Christina Harris...... Production Manager/Librarian Don Macica...... Marketing Consultant Courtney Perkins...... Director of Development William Porter...... Assistant Librarian Ryan Smith...... Administrative/Website Coordinator

We Need You! Volunteer for the Chicago Sinfonietta, meet great people, and make a real difference. For information on how you can become a Sinfonietta volunteer, call Ryan Smith at 312-236-3681 x1552.

Classical music for your special event! The Chicago Sinfonietta’s wonderful and talented musicians are available to perform at parties, weddings, corporate meetings, or special events. For more information, call 312-236-3681 x 1553.

The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

20 Chicago Sinfonietta Chicago Sinfonietta 21 BRIO CHICAGO SINFONIETTA PERSONNEL

Brio, the Chicago Sinfonietta’s Network for Young Profession- Paul Freeman, Music Director and Conductor als, is an affinity group for the culturally adventurous between the Harvey Felder, Guest Conductor ages of 21 and 44 who embrace the universal language of music. VIOLIN FLUTE The mission of Brio is to extend the base of support for the Chicago Carol Lahti, concertmaster Janice MacDonald, principal Sinfonietta and its goals by engaging the next generation of culturally adventurous David Katz, asst. concertmaster Claudia Cryer and philanthropically inclined audiences through access to behind-the-scenes experi- Karen Nelson, principal second Nicole Mitchell ences and volunteer opportunities. Nina Saito, asst. principal Elizabeth Diaz* Mark Agnor To learn more about Brio, visit www.chicagosinfonietta.org/brio, or call Courtney Lucinda Ali OBOE Perkins at 312.284.1559. Charles Bontrager Ricardo Castaneda, principal Elizabeth Brausa-Brathwaite June Matayoshi BRIO LEADERSHIP COUNCIL Melanie Clevert-Sarapa Stanley Hill...... Chair Tamara Gonzalez* CLARINET Jasmin French...... Immediate Past Chair Terrance Gray Leslie Grimm, acting principal Carmen Llop-Kassinger Dileep Gangolli Dalida Jongsma...... Secretary Daniel Won Mackenzie Phillips...... Treasurer Domnica Lungu Todd Matthews BASSOON Dana Austin Steven Hunter Kameron Matthews James Sanders Robert Barris, principal Matthew Braun Micaeh Johnson Jacqueline N’Namdi Phyllis Sanders Peter Brusen Michelle Crisanti Gretchen Sherrell Rachael Young Edith Yokley SAXOPHONE BRIO MEMBERS VIOLA Chip Gdalman Becky Coffman, principal Ashley Amaya Danielle LeRoy Nicole Pittmon Andrew Dowd III FRENCH HORN Joseph Besch David LeRoy Renauda Riddle Scott Dowd John Fairfield, principal William Biby Christopher Lloyd Diane Robinson Robert Fisher Laura Fairfield Barbara Dael Lauren Loew Ausra Rudaleviciute Carl Johnston Beth Mazur-Johnson Stacey Devore Domingo Lugo Samira Said Vannia Phillips John Schreckengost Francine Eisner Denise Matyas Ruth Schlitz Tasha Lawson* Jennifer Farkas Jennifer Melsheimer Nicole Sims CELLO Kelly Flowers Alyson Miller Tanya Stanfield Edward Moore, principal TRUMPET Mark Anderson Marcus Gemoets Brandi Mobley Kendra Thompson Edgar Campos, principal Donald Mead Eda Gjergo Natalie Moore Lisa Ton John Burson William Porter Megan Goering Catherine Mugeria Sacha Urban Charles Finton Teddy Rankin-Parker Kevin Wood Jon Grosshans Jumaane N’Namdi Douglas Weiss Andrew Snow Shelby Harris Jay Parker Davon Woodard TROMBONE BASS Don Hodges Ilona Pawlak Kara Wright Katherine Stubbins, principal John Floeter, principal Selina Hood-Freshnock Brittany Pedersen Sherman Wright Robert Hoffhines Christian Dillingham Dongyan Huang Yolanda Pena David Young John McAllister Brenda Donati Karl E.H. Seigfried TUBA Alan Steiner Sean Whitaker

Special Occasions call for Special Treats. HARP TIMPANI Footlights Dining Guide offers great Faye Seeman Robert Everson, principal places to dine before the show, Joel Cohen after the show, or anytime! PIANO Donald Mead PERCUSSION Jeff Handley, principal For advertising opportunities, Jon Johnson call 888.376.3700. Tina Laughlin Names of players are listed in alphabetical order, as the Chicago Sinfonietta uses seat rotation except for principals. WWW.FOOTLIGHTS.COM * Project Inclusion Fellow

22 Chicago Sinfonietta Chicago Sinfonietta 23 MEET OUR LIFETIME TRUSTEES INDIVIDUAL AND INSTITUIONAL SUPPORTERS

We are honored to introduce five people who have made a huge difference for The Chicago Sinfonietta gratefully acknowledges the following contributors the Chicago Sinfonietta since our founding in 1987. Michelle Collins, Bettiann (as of 9-7-10): Gardner, Weldon Rougeau, Audrey Tuggle, and Roger Wilson were elected by the Concert Circle ($50,000+) Crescendo Circle Cedar Concepts Corporation Chicago Sinfonietta Board of Directors as members of the first class of Lifetime Anonymous ($10,000-$24,999) Chicago Tribune Foundation Trustees in recognition of their contributions and leadership. Aon Cornerstone Baxter DLA Piper US LLP Michelle Collins his work took him to Washington, DC Chicago Community Trust The Collins Family Fund Richard H. Driehaus The Joyce Foundation Gaylord and Dorothy Foundation Michelle joined the a number of years ago. Weldon served National Endowment for the Donnelley Foundation Fifth Third Bank – Jacob G. Chicago Sinfonietta as the president and chief executive Arts Recovery Act Ms. Tara Dowd Gurber Hewitt Schmidlapp Trusts Board of Directors officer of the Congressional Black Caucus The Wallace Foundation Illinois Tool Works, Inc. Mrs. Jill Fitzgerald in 1995 and became Foundation and is currently a Principal at Jenner and Block LLP Ann and Gordon Getty the chair in 2001. She Blank Rome in Washington, DC. Premier Circle Mr. and Mrs. William Johnson Foundation ($25,000-$49,999) John Mathias Grainger served as chair until Alphawood Foundation Elizabeth Morse Genius John R. Halligan Charitable 2007. Michelle has Audrey Tuggle Anonymous Charitable Trust Fund been, and continues to be one of the Audrey was recruited ABC7 National Endowment for the Jim and Michelle Hirsch orchestra’s most creative thought leaders to the South Side Blue Cross Blue Shield of Arts Drs. Peyton and Betty and consistent and generous supporters. Friends by its founder Illinois Northern Trust Charitable Hutchison She hired current Executive Director Jim Betty Wilkens and The Boeing Company Trust Illinois Arts Council Charitable Trust Northside Friends of the Illinois Tool Works Foundation Hirsch in 2004. The Sinfonietta launched began her work on Mrs. Bettiann Gardner Chicago Sinfonietta Irving Harris Foundation some of its most important initiatives behalf of the orches- Exelon People’s Energy The Jacobson Group under Michelle’s leadership including tra as a member and JP Morgan Chase Foundation The Albert Pick, Jr. Fund Macy’s Project Inclusion, the chamber music leader of this critical support group. She Kraft Foods Global, Inc. PricewaterhouseCoopers Mr. and Mrs. Salhuddin and series, and the SEED Program that serves founded the Magical Holiday Breakfast Prince Charitable Trust Wight & Company Nazneen Razi high-school age student-musicians. Mi- ten years ago, the delightful fundrais- Polk Bros. Foundation Reed Smith LLP Lloyd A. Fry Foundation Presto Circle Mr. Mark Williams chelle is the Principal of Cambium LLC. ing event presented every December Southside Friends of the ($5,000-$9,999) by the Friends at Navy Pier which has Chicago Sinfonietta Anonymous Bettiann Gardner raised well over $250,000 in support of Ms. Renée Baker Bettiann has been a the orchestra’s educational and concert stalwart supporter programs since its inception. Audrey and leader for the chaired the Sinfonietta’s 20th Anniversary Chicago Sinfonietta celebration in 2007 at the Civic Opera since the very begin- House and turned it into the elegant Ball 7KH$OEHUW3LFN-U)XQG ning. She served on that it has now become. She continues the Board of Directors to support the orchestra through her LVDSURXGVSRQVRURIWKLV early in the orchestra’s history and as leadership and volunteering. chair of various committees and initia- HYHQLQJ VSHUIRUPDQFHDQG tives throughout her long and ongoing Roger Wilson association with the Sinfonietta. Bet- Roger began his MRLQVWKH&KLFDJR6LQIRQLHWWD tiann, and her husband Ed, have been work on behalf of the instrumental in supporting our concerts, Chicago Sinfonietta LQSD\LQJWULEXWHWR recordings, tours, and educational pro- in 1987 as one of the grams. We would not be here without original members of ZRUNLQJZRPHQDQGPHQ their generous and ongoing support. the Board of Directors, a position he held Weldon Rougeau until 2005. During his tenure he served HYHU\ZKHUH Weldon served as a as a member of the Executive Committee founding member of as both Secretary and Treasurer. Roger the Sinfonietta’s board also served as chair of the Gala and both and as an officer raised and personally contributed sig- and president of the nificant funds that enabled the orchestra organization during to grow and flourish. He is Senior Vice his long tenure. He President, General Counsel and Corpo- and his wife Shirley have been long-time rate Secretary for Blue Cross Blue Shield supporters of the Sinfonietta, even after Association.

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24 Chicago Sinfonietta Chicago Sinfonietta 25 INDIVIDUAL AND INSTITUIONAL SUPPORTERS ( c o n t.) INDIVIDUAL AND INSTITUIONAL SUPPORTERS ( c o n t.)

Vivace Circle Ms. Jetta Jones Mr. Michael Falbo Ms. Mary Lou Bacon*** Ms. Mary James Sustainer’s Circle ($2,500-$4,999) Catherine and Jack Koten Mr. James Foley Mr. Jeff Baddeley Ms. Paula K. Jones ($100-$249) Dr. Neelum Aggarwal Mr. Joe Lerner Rosalind and Gilbert Frye Ms. Zita Baltramonas Mr. William Jones Mr. Finis Abernathy Anonymous Liberty Mutual Mr. Stanley Hilton Mr. Peter Barrett Katten Temple LLC Ms. Ruth A. Allin Mr. Karim Ahamed Mr. and Mrs. Richard McKinlay Mr. Richard Gamble Mr. Walter Becky II Mr. Steve King Ms. Arlene Alpert Ms. Karen Beal Mesirow Financial Ms. Alice Greenhouse Mr. Perry Berke Mr. Fred Labed Dr. Anna Anthony… Ms. Anne Barlow Johnston Mr. Michael Morris Mr. and Mrs. Timothy Greening Ms. Michelle Bibbs Mr. and Mrs. Richard and Ms. Rita Bakewell Challenger, Gray and Dr. John D. Morrison Ms. Joyce Grey Mr. Arthur Boddie Roberta Larson Ms. Karen Beal Christmas Mr. Walter Nelson Boston Consulting Group Ms. Barbara Bowles Ms. Louise Lee Reid Mr. David Beedy City Arts - Department of Oak Park Area Arts Council Mrs. Ann E. Grube Ms. Laurie Brady Dr. and Mrs. Edwin J. Liebner Ms. Janice Bell Cultural Affairs Mr. Quintin E. Primo III Ms. Gwendolyn Hatten Butler Ms. Pauline Spicer Brown Mr. and Mrs. Arnie Lenters Ms. Melanie Berg Ms. Virginia Clarke Ms. Brenda Pulliam Dr. and Mrs. James Haughton Ms. Ina Burd Ms. Vivian Loseth Ms. Geneva Bishop Columbia College Chicago, Ruzicka and Associates, LTD. Mr. Stanley Hill, Sr. Ms. J.C. Campbell Mrs. Christine Loving Mr. Stephen Blessman Institute for the Study of Mr. and Mrs. R.E. Sargent Mr. Pran Jha Mr. Ruben Cannon Mr. Craig Jeffery and Ms. Barua Ms. Diana Frances Blitzer Women and Gender in the Mr. Michael Sawyier Ms. Phyllis James Ms. Kimberly Chase Harding Manali John Paul Blosser Arts and Media Mr. James Stone Ms. Micaeh Johnson Ms. Aimee Christ Mr. Matthew Mantell Mr. Darryl Boggs Deloitte Consulting LLP Mr. Alexander Terras Ms. Nicole Johnson Scales Mr. and Mrs. John Clark Ms. Janis Marley Ms. Joyce Bowles Ms. Diane Dowd Ms. Almarie Wagner Mr. Drew Kent Mr. Michael Cleavenger Mr. Hasan Merchant Ruby and Romural Bradley Mr. and Mrs. Philip L. Engel Ms. Cheri Wilson-Chappelle Mr. Eric King Mr. Lawrence Cohn Ms. Irene Meyer W. G. and Joann Braman Mr. and Mrs. Phil and LaJule Roger G. Wilson and Hon. Mr. Thomas Kirschbraun Mr. and Mrs. Lewis and Marge Ms. Doris Merrity Ms. Martha Brummitt Gant Giovinella Gonthieu La Rabida Children’s Hospital Collens Ms. Carole C. Miller –Wood Bob Bujak Mr. Dan Grossman Mr. and Mrs. Patrick Ms. Natalie Lewis Ms. Kevann Cooke Mr. Scott Miller In Honor of Dorothy White Ms. Susan Irion Wooldridge Dr. John and Doug Luce William R. Crozier and Judy Ms. Constance Montgomery Irving and Ragina L. Bunton Jack & Jill of America Mr. and Mrs. Joseph Yokley Chuck and Jan Mackie Chrisman Ms. Helen Moore Dr. Rose Butler Hayes Foundation Mr. George Mansour Ms. Barbara Cress Lawrence Ms. Nailah D. Muttalib Ms. Karen Callaway Jones Lang LaSalle Forte Circle ($500-$999) Ms. Toya Marionneaux Mr. Joseph Danahy Drs. Donald E. and Mary Ellen Ms. Debra O. Callen Mr. Kevin Krakora Ms. Rochelle Allen Ms. Janis E. Marley Ms. Marsha Davis Newsom Mr. Greg Cameron Motorola, Inc. Anonymous Mr. and Mrs. Walter and Shirley Ms. Bertha DePriest Ms. Dorothy Nisbeth In Honor of Audrey Tuggle Mr. and Mrs. Dean Nelson Mr. Stephen C. Baker Massey Ms. Gloria Dillard Ms. Alison E. Nelson M. J. Cannizzo Quarles & Brady LLP Mr. Dennis Bartolucci Ms. Beatrice W. Miller Mr. Patrick Dorsey Ms. Joyce Norman Mr. David Carnerin Mr. and Mrs. Weldon Rougeau Ms. Yasmin Bates Mr. and Mrs. Stephen and Joanne and Bob Dulski Ms. Deidra Ann Norris Richard and Nancy Carrigan Sage Foundation Mr. and Mrs. Lerone Bennett, Jr. Cindy Mitchell Ms. Maxine Duster Jeff and Susan Pearsall Fund Ms. Julia Cartwright Mr. and Mrs. John and Dr. Vanice (Van) Billups, Ph.D. Ms. Constance Montgomery Ms. Murrell Higgins Duster Mr. Gary Pelz Certified Tax Service Margaret Saphir Mr. Raymond Bisanz Ms. Isobel Neal Ms. Sarah Ebner Ms. Dolores Pettitt Mr. and Mrs. Richard and Ms. Stephanie S. Springs Dr. and Mrs. Simon Boyd Ms. Judy Petty Ms. Sylvia Edwards Mr. and Mrs. Joe and Naomi Jeanne Chaney Ms. Michelle Vanderlaan Ms. Teri Boyd and Mr. Mrs. Marion Roberts Mr. Paul M. Embree Petty Mr. Thomas Chesrown Ms. Anita Wilson Aleksandar Hemon John and Gwendolyn Rogers Ms. Emelda L. Estell Ms. Mackenzie Phillips Mr. and Mrs. Robert and Vivian The Farny R. Wurlitzer Dr. and Mrs. Arthur Brazier Mr. Al Sharp Ms. Margarete Evanoff Ms. Harriet Piccirilli Church Foundation Mr. Rich Brey Mr. and Mrs. William Scott Ms. Marcia Flick Mr. James W. Rankin Michael and Peg Cleary Ms. Beulah R. Brooks Sidley Austin Foundation Ms. Roshni Flynn Mr. and Mrs. Cordell Reed Ira and Nancy Cohen Allegro Circle Mr. Brady Brownlee Ruth and Frederick Spiegel Franczek Radelet Attorneys Andre and Dana Rice Mr. William Cousins, Jr. ($1,000-$2,499) Mr. Paul Bujak Foundation and Counselors Ms. Marion Roberts Ms. Mary-Terese Cozzola Ms. Kathy Abelson Ms. Luz Chavez Ms. Alisa Starks Sue and Paul Freehling Ms. Penelope Robinson Bob and Mary Ellen Creighton In Honor of Maestro Freeman The Chicago Classical Mrs. Tammy Steele Mr. Dennis Fruin Susan Rogers Ms. Geraldine Cunningham Mr. Richard Anderson Recording Society Mr. and Mrs. James W. Stone Gabriel Fuentes Ms. Helen Rosales Ms. Gwendolyn Currin Mr. and Mrs. James and Susan Chicago Federation of Ms. Kathleen Tannyhill Ms. Denise Gardner Ms. Jagriti Ruparel Mr. and Mrs. Tapas and Judy Annable Musicians Ms. Jacqueline Taylor Ms. Randilyn Gilliam Ms. Nisha Ruparel-Sen Das Gupta In Memory of William Mr. and Mrs. John T. Clark Ms. Dana Thomas Austin Ms. Jean Grant Ms. Gloria Silverman Ms. Donna Davies Johnston Mr. Wheeler Coleman The Rise Group Mr. Brian Gurber Mr. Robert Smith Mr. and Mrs. Charles and Ariel Capital Management, LLC Dr. Roosevelt Collins and Jean Ms. Lonnette Tuggle Ms. Janice Hamasaki Dr. Glenda Smith Rosalie Davis Linda and Eric Boasmond Collins Alexander Ms. Alyce Hammons Ms. Mary Ann Spiegel Thomas and Linda Davis Ms. Elena Bradie Ms. Rita Curry Mr. and Mrs. Peter and Pooja Ms. Murrell Higgins Duster Ms. Joyce Stricklin Joseph and Susanna Davison Hon. Roland Burris Mr. and Mrs. Michael Damsky Vukosavich C. M. Govia Ms. Sheila Tucker Mr. and Mrs. Kenneth H. R. M. Chin & Associates Ms. Marsha Davis Mr. and Mrs. David Winton Mr. Scott Hargadon Ms. Audrey Tuggle Dawson Mr. and Mrs. William and Marilyn and Robert Day Dr. and Mrs. Roland Waryjas Harris Bank Foundation Ms. Linda S. Tuggle Tom and Samantha DeKoven Arlene Connell Ms. Karen DeLau Ms. Thelma Westmoreland Ms. Marilyn Heckmyer David Hirschman and Ms. Shirley Dillard Ms. Jennifer Connelly Mr. Michael de Santiago Mr. Tramayne Whitney Mr. Jay Heyman Morrison Torrey Joann and Bob Dulski Ms. Frances Dixon Mr. William DeWoskin Mr. Hugh Williams Mr. Stan Hill Mr. David J. Varnerin Mr. and Mrs. Goodwin W. Ms. Catherine Dowd Ms. Tatiana K. Dixon Ms. Elizabeth S. Wilkins IBM International Foundation Mr. Darwin Walton Duncan Mr. Jamal Edwards Ms. Toni Dunning Mr. and Mrs. Bruce and Rita I-Stats Med Inc. Ms. Thelma Westmoreland Clarice Durham Barbara J. Farnandis, Ph.D Mr. Alan Eaks Wilson The Janotta-Pearsall Family Ms. Dorothy White Ms. Patricia Eichenold Mr. Doug Freeman Dr. Gloria Elam-Norris Ms. Beatrice Young Fund Ms. Regina Allen Wilson Robert Elston and Patricia Ms. Sharon Hatchett Deborah and David Epstein Ms. Carol B. Johnson Ms. Gladys Woods Sloan Mr. Prentiss Jackson and Dr. Foundation Patron’s Circle ($250-$499) Mr. and Mrs. George E. Mrs. Ruth O. Wooldridge Barbara and Charlotte Fanta Cynthia Henderson Epstein Global Advisor Charitable Gift Fund Johnson Nicala R. Carter-Woolfolk Mr. and Mrs. Paul and Mr. John Janowiak Carmen and Earnest Fair Ms. Iris Atkins Ms. Joyce Johnson Miller Ms. Aline O. Young LaVergne Fanta Ms. Carol B. Johnson Ms. Deb Kerr Dr. Lascelles Anderson Mr. Todd Much Ms. Susan Fiore 26 Chicago Sinfonietta Chicago Sinfonietta 27 INDIVIDUAL AND INSTITUIONAL SUPPORTERS ( c o n t.) INDIVIDUAL AND INSTITUIONAL SUPPORTERS ( c o n t.)

Ms. Joan Y. Fleming Ms. Deborah Minor Harvey Ms. Grace L. Mathis Ms. Rosemary Pietrzak Ms. Mary Blomquist Ms. Yvonne D. McElroy Ms. Pricilla Florence Gloria O. Hemphill Mr. Ruben McClendon, Jr. Mr. and Mrs. Larry and Judy Bruce and Faith Bonecutter Mr. and Mrs. Dick and Peg Dr. Juliann Bluitt Foster Ms. Barbara J. Herron Mr. and Mrs. Thomas McLean Pitts Donald and Irma Bravin McKinlay Ms. Victoria Frank Ms. Ruth Horwich Ms. Joyce Merriwether Ms. Katherine Ragnar Ms. Cynthia Brown Mr. and Mrs. Thomas and Ms. J. Friedman Ms. Yvonne Huntley Dr. Irene M. Meyer Mr. Brian Ray Ms. Laura Bunting Sharon McLean Mr. and Mrs. James Gervasio Ms. Delores Ivery Ms. Cindy Mitchel Ms. Elizabeth Ray Ms. Trina Burruss Irene M. Meyer Ms. Barbara Gilbert Mr. and Mrs. John and Leola Robert Moeller Ms. Lois Wells Reed Ms. Anne Canapary Barbara Millar Ms. Phyllis Glink Jackson Mary Momsen Mr. and Mrs. Jack Rogers Mr. William Cassin Ms. Vivian Mitchel Mr. and Mrs. Timothy Greening Mr. Prentiss Jackson Calvin Morris Ms. Marcia L. Rogers Dr. and Mrs. Roque Cordero Ms. Madeline Moon Mr. James Grisby Ms. Kennie M. James Edgar and Wilda Morris Ms. Susan Rogers Reverend Robert Cross Kathryn and Fred Nirde Anita & Warren Harder Ms. Mary L. Jannotta Ms. Peggy Montes Ms. Ida L. Scott William and Arlene Connell Ms. Earnestine Norwood Ms. Gwendolyn Hudson Mr. Dwayne Jasper Ms. Catherine Mugeria Mr. Howard J. Seller Mr. Andrew Cutler Ms. Sally Nusinson Ms. Doric Hullihan Mr. James Johnson Monica Murtha Ms. Elizabeth Selmier Ms. Kassie Davis Jewell K. Oates Mr. Clifford Hunt Ms. Sharon R. Johnston Mr. James Myers Howard S. Shapiro Mr. Thomas Davis Delano and Bonita O’Banion Ms. Delores Ivery Ms. Constance J. Jones Ms. Myrna Nolan Mr. and Mrs. Martin Silverman Mr. and Mrs. Ted and Joanne Ms. Irma Olmedo Ms. Pat Emmer Ms. Marion Jones Ms. Joyce Norman Mr. Craig Sokol Despotes Ms. Gertrude O’Reilly Ms. Carol Gilbertson Ms. Patricia Kilduff Ms. Karen Noorani South Shore Cultural Center Ms. Alison Donn Mr. Gary C. Pelz Ms. Irene Goldstein Mr. Bryant Kim Mr. Dragic M. Obradovic In Memory of Anna Anthony Ms. Joan Doss Anderson Noel and Bella Perlman Ms. Andrea Green Marie C. King Margaret O’Hara Ms. Jeanne Sparrow Marshall Keltz and Bill Drewry Joan and Robert Pope Ms. Flora Braxton Green Ms. Patricia Koldyke Mr. Paul Oppenheim Doris and Herman Smith Mr. Marvin Dyson Mr. Clyde Proctor Mr. and Mrs. Andrew and Mary Joan H. Lawson Ms. Dorris Ove Ms. Hope D. Smith Mr. and Mrs. John and Pamela Ms. Jennifer Reed Lee Greenlee Mr. Robert B. Lifton Mr. Larry Owens Franklin St. Lawrence Eggum E. Dolores Register Ms. Susan Grossman Mr. and Mrs. J. Samuel Allen and Georga Parchem Mr. and Mrs. Joan and Charles Ms. Delores Ellison Ms. Janice E. Rhodes In Honor of Dan and Caroline Lovering Ms. Gail Harvey Parker Staples Ms. Sondra L. Few J. Dennis and Eli Rich Grossman Ms. Patricia Long Ms. Maude Patterson Ms. Betty J. M. Starks Ms. Annette Ford Ms. Gloria Rigoni Mr. Calvin Hall, Sr. Ms. Corinne Allen McArdle Ms. Donna M. Perisee Ms. Marie Stauch Ms. Diana Frances Mr. Arnold Robinson Ms. Alyce G. Hammons Ms. Sylvia McClendon McFarlane Mr. Frankie Stephens Ms. Laura Dean Friedrich Ms. Michele Robinson Ms. Gwendolyn Harden Estelle McDougal Lanier Ms. Anna M. Perkins Mr. Brian Stinton Martha Garrett In Memory of Ethel Sparrow Doris J. Harris Ms. Rosemary Levine Toussaint and Thelma Perkins Mr. James Stone Ms. Ellen Gary Ms. Marguerite L. Saecker Mr. Dolphin S. Harris Nini and Tom Lyman III Martha B. Peters Ms. Lisa Sullivan Mr. and Mrs. James and Ms. Mary Rose Sarno Mr. Herbert C. Harris Ms. Shirley Martin Ms. Catherine Pickar Ms. Peggy Sullivan Annleola Gervasio Rev. and Mrs. Don Schilling Mr. Michael Sutko Ms. Phyllis J. Gilfoyle Mr. Jeff Scurry Mr. and Mrs. Steven and Ms. Marcella E. Gillie In Honor of Josephine Scurry Astrida Tantillo Mr. James Ginsburg Ms. June Shivers Janet and Samme Thompson Ms. Julia Golnick Mr. Herbert Siegel Ms. Bradena Thomas Ms. Ophelia Goodrum Mr. Brian Sikoyski Cordelia D. Twitty Ms. Barbara Greenlee Gloria P. Silverman Living Trust Ms. Gloria Cecilia Valentino Ms. Doris M. Gruskin Tomas Bissonnette and Rita Mr. John J. Viera Ms. Phyllis Handel Simo Ms. Carol R. Vieth Ms. Harriet Hausman Ms. Anna Cooper Stanton Ms. Audrey Walker Ms. Lori Hayes Shaw Ms. Lydia Smutny Sterba Mr. John Wallace Marilyn Heckmyer Caesar and Patricia Tabet Anita M. Ward Mr. William Heelan In Honor of Jacquié Taylor Ms. Jean E. Webster Ms. Mia Henry from Claire Laton-Taylor Ken and Marie Wester Ms. Rhonda Hill Ms. Shelby Tennant Mr. Jay N. Whipple, Jr. Ms. Florence L. Hirsch Mr. Melvin Thomas Ms. Melissa A. Whitson Alsencia Warren Hodo Albert and Glennette Turner Ms. Vera Wilkins In Honor of Patricia Bournique Ms. Dorothy V. Wadley Mr. Brian Williams Holloway Ms. Georgene Walters Mr. Harold Wingfield Ms. Holly Hughes Ms. Erika Walton Ms. Gladys Woods Ms. Rosemary Jack Mr. and Mrs. Bruce and Rita Mr. and Mrs. Eric Yondorf Ms. Doris Jackson Watson Mr. Clyde A. Young III Ms. Vera Curry James Mr. Jay Wilcoxen Ms. Milicent Young Ms. Argie Johnson Ms. Consuelo Williams Yvonne L. Young Ms. Beulah Johnson In Memory of George Williams Mr. Ray Johnson Ms. Ruth Teena Williams Friend’s Circle (To $99) Mr. and Mrs. Kenneth and Ms. Lynn Winikates Anonymous Charlotte Kenzel David and Nancy Winton Mr. Howard Ackerman Carol Kipperman Kionne Annette Wyndewicke Ms. Carolyn S. Austin George & Velna Kolodziej Michele Sutton Yeadon Mr. Charles A. Baker Mr. Robert Lardner Ms. Barbara Ballinger Mrs. Willie E. Legardy *** In Loving Memory Ms. Gail Banks Ms. Pearl Madlock Crotaluer Barnett Pearl Malk Ms. Jann Beauchamp Alefiyah Master Ms. Judith Beisser June Matayoshi Mr. Tomas G. Bissonnette Mr. John M. McDonald 28 Chicago Sinfonietta Chicago Sinfonietta 29 OTHER SUPPORTERS THE FRIENDS GROUPS OF THE CHICAGO SINFONIETTA

The Chicago Sinfonietta is supported by grants from the Illinois Arts Council, a The Friends of the Chicago Sinfonietta is made up of three volunteer organiza- state agency; the Joyce Foundation; the Chicago Community Trust; the Chicago tions - the North, South, and West Side chapters - that promote the Sinfonietta Department of Cultural Affairs CityArts Program; the National Endowment for the and its mission. These groups introduce the Sinfonietta to new audiences and Arts, and other generous sponsors. seek their involvement as subscribers, attendees, contributors, and volunteers. For more information about how you can become involved, contact the Chicago Sinfonietta at 312.236.3681.

North Side Chapter Antoinette Scott Sharon E. Scott Barbara Norman, Co-Chair Glenda Smith, Ph.D. Kathleen Tannyhill, Co-Chair Joyce Occomy Stricklin Sheila Tucker Rochelle Allen Audrey Tuggle Anna Anthony Rita Curry Dorothy R. White Dr. Milton Draper Elizabeth Wilkins Stanley Hilton Rita Wilson Drs. Betty and Peyton Hutchison Barbara Wright-Pryor Carol Johnson Aline O. Young Constance Montgomery Nailah Muttalib Charlz Payne West Side Chapter Beverly Washington Dr. Lascelles Anderson, Chair

South Side Chapter Barbara Ballinger Jann Beauchamp Linda Tuggle, Chair Angela Billings – Chicago Sinfonietta patrons are invited to enjoy a special $41 Drs. Ernest and Vanice (Van) Billups, Ph.D. three-course pre-or post-concert dining menu at aria. Lonnette Alexander Bruce and Faith Bonecutter Iris Atkins Byron T. Broderick Julie Bargowski Judy Chrisman – The official hotel sponsor of the Chicago Sinfonietta. Beulah R. Brooks William and Barbara Coates Pauline Spicer Brown Bob and Mary Ellen Creighton Christine Browne William Crozier Carole H. Butler Eleanor M. Dunn Anna Cannon Mr. and Mrs. Robert Freeman Cheri Chappelle Flora Green Bobbi Jo Donelson Laurie Heckman – Parking partner of the Chicago Sinfonietta Elise Howard Edmond Carole Hohmeier Emelda L. Estell Linda Jacobson Eileen Foggie Mary James The Chicago Sinfonietta is represented by the Silverman Group for public rela- Ellen Gary Bob Kohl tions services. Joyce R. Grey Fred and Barbara Larson Janice M. Hamasaki Mr.& Mrs. Kweku Leighton-Armah The Sinfonietta thanks Starbucks for the donation of coffee for our Lund Audito- Sharon Hatchett Everlean Manning rium concerts. Veronica S. Jenifer Dick and Peg McKinlay Nekesa J. Josey Dr. John Morrison THANKS TO THE SAINTS, Volunteers for the Performing Arts. For information visit Janis E. Marley Adekunle Onayemi www.saintschicago.org or call 773-529-5510. Doris Merrity Ruth Peaslee Beatrice W. Miller… John Putnam Helen P. Moore Richard and Roberta Raymond-Larson Jacqueline L. Moore Lois Reed Joyce M. Norman Janice Rhodes Marcia A. Preston Jane Shirley Gwendolyn Ritchie Mabel Sims-Barnes Marion E. Roberts John Troelstrup 30 Chicago Sinfonietta Chicago Sinfonietta 31 CHICAGOCLASSICALMUSIC.ORG

Don’t miss out – visit chicagoclassicalmusic.org today! Highlighting an in-depth, behind-the-scenes look into Chicago’s world of classical music, the site features a comprehensive classical music events calendar, Hot Deal discounted tickets, a classical music news feed, forums to discuss the arts, blogs and articles written by musicians and leaders of top classical organizations in Chicago (including the Sinfonietta’s own Executive Director, Jim Hirsch),and much, much more. You can create your own user profile, post comments, articles and reviews!

So get engaged and join Chicago’s classical music online community – www.chicagoclassicalmusic.org!

Our 31 Participating organizations include Ars Antigua, Ars Viva, Avalon String Quartet, Baroque Band, Cedille Records, Chicago a cappella, Chicago Chamber Mu- sicians, Chicago Cultural Center – Department of Cultural Affairs, Chicago Opera Theater, Chicago Philharmonic, Chicago Sinfonietta, Chicago Symphony Orches- tra, CUBE, Dominican University Performing Arts Center, Elmhurst Choral Union, Fulcrum Point New Music Project, Grant Park Music Festival, Harris Theater for Music and Dance, Illinois Philharmonic Orchestra, Light Opera Works, Mostly Music Chicago, Music of the Baroque, Newberry Consort, Pacifica Quartet, Pick-Staiger Concert Hall, Northwestern University, Ravinia, Rembrandt Chamber Players, St. Charles Singers, The Chicago Ensemble, University of Chicago Presents, and WFMT.

Generous support is provided by the MacArthur Foundation.

7900 West Division Street River Forest, IL 60305 BOX OFFICE (708) 488-5000 or dom.edu/pac

Billy Bragg Ensemble Español SEASON 2010-11 Friday, September 10, 2010 | 7:30 p.m. Spanish Dance Theater PRESIDENT’S SIGNATURE CONCERT Saturday, January 29, 2011 | 7:30 p.m. Sara Evans The Women of Lockerbie Saturday, October 9, 2010 | 7:30 p.m. by Deborah Brevoort The Wiz February 24–27, 2011 Music and lyrics by Charlie Smalls, book by Circo Aereo William F. Brown; Based on The Wonderful Wizard Friday, March 4, 2011 | 7:30 p.m. of Oz by L. Frank Baum November 12-14, 2010 31ST ANNUAL TRUSTEE BENEFIT CONCERT Sérgio and Odair Assad Camerata Ireland Saturday, March 12, 2011 | 5:00 p.m. Saturday, November 20, 2010 | 7:30 p.m. HOLIDAY CONCERT She Stoops to Conquer Sweet Honey in the Rock® by Oliver Goldsmith April 14–17, 2011 Saturday, December 4, 2010 | 7:30 p.m. Garrison Keillor Sunday, May 1, 2011 | 7:30 p.m.

32 Chicago Sinfonietta