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Home , Alyson Cambridge, Anna Netrebko, Kathleen Battle, Nicole Cabell

SISTERS IN SONG

ALYSON CAMBRIDGE LAKE FOREST | VLADIMIR KULENOVIC SISTERS A PERSONAL NOTE NICOLE CABELL ALYSON CAMBRIDGE IN SONG LAKE FOREST SYMPHONY | VLADIMIR KULENOVIC ALYSON CAMBRIDGE & NICOLE CABELL

OPERA SONGS* We couldn’t be more excited to bring Sisters of us having resided or currently residing in JACQUES OFFENBACH FERNANDO J. OBRADORS In Song to fruition! It has been a long time Chicago, it seemed like a natural fit for us 1 Barcarolle from Les Contes 6 Del Cabello más Sutil (2:51) coming and in the making. We have enjoyed a to record with Cedille, and we couldn’t be d'Hoffmann (3:39) nearly two decade-long friendship that began more thrilled that it worked out as it did! GABRIEL FAURÉ as young singers at “ summer camp” at We applaud Cedille’s commitment, not only LÉO DELIBES 7 Clair de Lune (3:28) the Chautauqua Institution. Not only did we to Chicago-based artists, but also to new 2 Flower Duet from Lakmé (5:47) become fast friends, but there was a mutual and interesting recording projects and to TRADITIONAL respect and admiration for one another’s artists’ visions that might not otherwise get ENGELBERT HUMPERDINCK 8 Black is the Color (of My True vocal talents and musicality that has to be heard. 3 Evening Prayer from Hänsel Love’s Hair) (3:47) continued throughout the years. As our paths und Gretel (4:24) have continued to cross, both on and off As we look ahead, we share the same goal CHARLES GOUNOD after J.S. BACH stage, the idea of recording a uniquely “us” that not only will the album Sisters In Song 9 Ave Maria (2:20) project kept coming up. We both share reach listeners far and wide, but that we will from Così fan tutte, K. 588 multi-ethnic heritages and have a love and be able to take this unique and diverse 4 Ah guarda, sorella (4:09) * affinity for many musical genres outside the program on tour with worldwide. 5 Soave sia il vento (3:05) 10 There is a Balm in Gilead (3:55) traditional classical repertoire that has We would be remiss if we did not with Will Liverman, 11 Oh, What a Beautiful City! (2:22) defined much of our careers, including , acknowledge two of our early idols, Jessye 12 Ain’t That Good News (2:21) the American Songbook, folk, soul... (the list Norman and Kathleen Battle, whose album of 13 Sometimes I Feel Like a goes on). We both had the desire to create spiritual duets was profoundly influential on Motherless Child (4:08) an album together that allowed us to show our musical upbringing. We can only hope 14 He’s Got the Whole World in our various musical sides and our voices that our own duets album will have that same His Hands (1:54) in harmony. kind of resonance within the musical community, that our love for the repertoire *Arranged by Joe Clark Our partnership with Cedille Records was and we have so carefully chosen, and the is wonderfully organic! Having known Jim wonderful arrangements written specially for Ginsburg and his family socially and on the us by Joe Clark, will be enjoyed by one and all music scene for several years, and with both and stand the test of time.

3 PROGRAMBIOGRAPHIES NOTES & SONG TEXTS

NICOLE CABELL Symphony at Tanglewood with the Cleveland Recordings include , an opera recital , Mater Gloriosa in Mahler’s Symphony disc for Decca; Silver Rain, songs of Ricky Ian No. 8, Tippett’s A Child of Our Time with the Gordon, Chanson D’Avril, and Mademoiselle — Nicole Cabell, 2005 BBC Cardiff Singer of the Edinburgh Festival, Mahler’s Fourth Symphony Premiere Audience, Unknown Music of Nadia World, is an exciting whose career with the Chicago Symphony Orchestra, Greig’s Boulanger on Delos; Musetta in Deutsche has taken her to the most important opera Peer Gynt with the San Diego Symphony, Grammophon’s La Bohème with stages and concert halls in the world. Gorecki’s 3rd Symphony with the Minnesota and Rolando Villazon; the title role in Opera Orchestra, Britten’s Les Illuminations with the Rara’s Imelda di Lambertazzi; songs of Clara Opera roles include the title role in Alcina BBC Symphony Orchestra and Sir Andrew Schumann on Telarc’s Brahms Beloved; and (Grand Théâtre de Genève), Mimi in La Bohème Davis, and as Norina in with the Clara on Decca’s with John (Paris Opera, Opera), Hanna Glawari Bayerischer Rundfunk and Eudoxie in concert Mauceri and the Nashville Symphony. She in The Merry Widow (), performances of at has also appeared as Musetta on Kultur’s La Rosalinda in Die Fledermaus (Cincinnati Opera), House Covent Garden. Bohème: The Film. Violetta in La Traviata (

Covent Garden, ), Adina Photo Erika Dufour Nicole has sung recitals in locations including www.nicole-cabell.com in L’elisir d’amore (Lyric Opera of Chicago, Copenhagen, Prague, , Frankfurt, ), Pamina in Die Zauberflöte Tokyo), and Musetta in La Bohème (Teatro Dortmund, Ottawa, Indianapolis, Raleigh, (Lyric Opera of Chicago, Metropolitan Opera, Colon in Buenos Aires, Metropolitan Opera, Toronto, Atlanta, Louisville, Chicago, New York, ), Contessa Almaviva in Lyric Opera of Chicago, Royal Opera House, and Orange County, . Le Nozze di Figaro (Lyric Opera of Chicago, , Washington National Opera). Grand Théâtre de Genève), Juliette in Romeo et Juliette (Deutsche Oper Berlin, Atlanta Notable concert appearances include opera Opera), Giulietta in arias with the , Poulenc’s (San Francisco Opera, Washington Concert with the Royal Philharmonic Orchestra, Opera), Micaela in (Metropolitan Opera, Poulenc’s with the Orchestre Lyric Opera of Chicago, Deutsche Oper Berlin), de Paris, Elgar’s The Apostles with Sir Andrew Leila in Les Pecheurs des Perles (Lyric Opera of Davis and the BBC Orchestra, Mozart’s Chicago, Santa Fe Opera, Royal Opera House), at , Bach’s B minor Mass and St. Donna Elvira in (Deutsche Opera Matthew Passion in Chicago with Soli Deo Berlin, Cologne Opera, New National Theater Gloria and , Beethoven’s Ninth

4 5 BIOGRAPHIES

ALYSON CAMBRIDGE Nashville Opera, two seasons with PORT Opera, and Boston Lyric Opera. Solo concert performances include appearances with the American soprano Alyson Cambridge is one Vienna Kamerorchester, Munich Philharmoniker, of the most diverse and compelling vocal , National Symphony artists on the scene today. Her rich, lyrico- Orchestra, Festival de Saint-Denis, Madison spinto soprano, combined with a striking stage Symphony Orchestra, Spoleto Festival USA presence and affecting musical and dramatic Symphony, American Symphony Orchestra, interpretation, have brought her nearly two Washington Performing Arts at the Kennedy decades of success on the world’s leading opera Center, two recitals at the U.S. Supreme Court, and concert stages including The Metropolitan and a Music and the Spoken Word international Opera, Lyric Opera of Chicago, Washington TV and radio broadcast as the featured artist National Opera, , Carnegie with the Mormon Tabernacle . She has also Hall, London’s Royal Albert Hall, Deutsche been featured on BET’s Soul Train Music Awards Oper Berlin, Vienna Konzerthaus, and Kennedy Photo Enrique Vega and hosted the BET documentary, Of Thee We Center, to name a few. Her operatic repertoire Sing: The 75th Anniversary includes the beloved heroines of Puccini, Until Now, a mix of jazz, pop, and musical Celebration. Verdi, and Mozart (Madama Butterfly, Mimi, and theater standards, was released in January 2016 Donna Elvira frequently among them), as well on the Naxos imprint Suite 28 Records. www.alysoncambridge.com as successful forays into “crossover,” Broadway, and jazz repertoire, including award-winning Recent and notable career highlights and and critically acclaimed performances as engagements for Alyson include five seasons Julie in Show Boat, Vi in Gershwin’s rarely with Washington National Opera, eight seasons performed jazz-opera Blue Monday, and her with The Metropolitan Opera, Lyric Opera of most recent Broadway debut in Rocktopia. Chicago, Deutsche Oper Berlin debut, Polish Alyson’s debut classical album, From the Diary National Opera, two previous seasons with of Sally Hemings, a classical song-cycle by Florentine Opera, London’s Royal Albert Hall, acclaimed American composer William Bolcom, San Diego Opera, three seasons with Opera premiered in concert at Carnegie Hall’s Weill Theatre of St. Louis, Los Angeles Opera, Spoleto Recital Hall to rave reviews. Her second album, Festival USA, Dallas Opera, Kentucky Opera,

6 7 BIOGRAPHIES

LAKE FOREST VIOLIN 1 Mark Djordjevic CLARINET Netanel Draiblate Scott Dowd Kathryne Pirtle, Principal SYMPHONY Concertmaster Dileep Gangolli VLADIMIR KULENOVIC David Katz, Assoc. CM CELLO MUSIC DIRECTOR Thomas Yang, Asst. CM Steven Houser, Principal BASSOON Lori Ashikawa Andrew Snow, Asst. Principal Collin Anderson Carmen Llop Kassinger Mark Anderson Acting Principal The Lake Forest Symphony has been performing Paul Zafer Elizabeth Anderson Peter Brusen in Lake County, Illinois, north of Chicago, for Clara Lindner Mark Lekas over 60 years. The orchestra has been honored Sylvia de la Cerna Richard Yeo HORN numerous times by the Illinois Council of Carl Johnston Barbara Cannon Michael Buckwalter, Principal Orchestras and League of American Orchestras. Elaine Fohrman Margaret Daly Jeremiah Frederick In 2014, the Symphony welcomed its seventh Photo Aleksandar Ivanovic and Beatriz Ronzero Melanie Cottle Music Director, Vladimir Kulenovic. The orchestra strives to reach as many young VIOLIN 2 BASS Kelly Langenberg

children and students as possible during Paul Vanderwerf, Principal John Floeter, Principal Robert Kalter and William English founded each subscription season. Currently, outreach Rachel Fisher, Asst. Principal Alan Steiner, Asst. Principal TIMPANI the Symphony in 1957 as a chamber orchestra programs reach thousands of school children Chuck Bontrager John Tuck Robert Everson, Principal of volunteer musicians. By 1965 the group throughout Lake County and Northern Illinois. Carol Setapen Judith Hanna had over 60 players, and in 1988 became This is accomplished through age-appropriate Lisabeth McQuaid Sara Barbee PERCUSSION fully professional. The Symphony performs Youth Concerts and in-school performances. John Ling Debbie Katz Knowles throughout Lake County and northern Illinois, Mark Agnor FLUTE Principal including at the College of Lake County’s The Lake Forest Symphony also works to engage Rika Seko Lyon Leifer, Principal James Lumber Center, Lake Forest Academy’s its older adult audience through the Musical Irene Claude HARP Cressey Center for the Arts, and the Lake Forest Memories program, a revolutionary health and VIOLA Tija Danilovics, Principal Gorton Center. wellness outreach initiative using music as a Daniel Golden, Principal OBOE therapeutic tool in addressing the brain health Nicholas Mowry, Asst. Principal Ricardo Castañeda, Principal PIANO The Symphony was recently the focus of a of seniors suffering from memory loss and Sally Didrickson Deborah Stevenson George Radosavljevic radio documentary by Chicago’s 98.7 WFMT, dementia. Christine Due in which the audience was invited to observe Kjell Sleipness MUSIC LIBRARIAN the process of selecting a new music director. www.lakeforestsymphony.org Paul Beck 8 9 both The and the Peabody Opera of Chicago as Tommy McIntire in Fellow BIOGRAPHIES Institute and was one of six top U.S. emerging Travelers, and Papageno in Die Zauberflöte conductors chosen by the League of American with Florentine Opera and Central City Opera. Orchestras for the 2013 National Future seasons include anticipated appearances VLADIMIR KULENOVIC Worldwide, Mr. Kulenovic has appeared with the Basque National Orchestra of Spain, Conducting Preview. with The Metropolitan Opera, Santa Fe Opera, CONDUCTOR Beethoven-Orchester Bonn, Bilkent Symphony, Opera Philadelphia, and Dallas Opera. An Deutsche Kammerakademie Neuss, Leipziger www.vladimirkulenovic.com alumnus of the prestigious Ryan Opera Center Designated “Chicagoan of the Year in Classical Symphonie Orchester, Malaysia Philharmonic, at Lyric Opera of Chicago, Will holds a Master Music” (2015) by distinguished Minas Gerais Philharmonic, National Arts Centre WILL LIVERMAN of Music degree from The Juilliard School and critic John von Rhein, Vladimir Kulenovic is his Bachelor of Music degree from Wheaton Orchestra, Orquesta Filarmónica de Jalisco, Praised by as “mellow- entering his fifth season as Music Director of College in Illinois. Orchestra Sinfonica de España, Orchestra voiced and charismatic” and identified as a the Lake Forest Symphony. Recent winner of Classica de Santa Cecilia, Romanian State baritone to watch by , Will Liverman the Sir Conducting Award, one of Philharmonic, Slovenia Philharmonic, Taipei is quickly gaining a reputation for his compelling the most prestigious conducting honors in the JOE CLARK Symphony, Zagreb Philharmonic, Macedonian performances, while making significant debuts Joe Clark is a Chicago-based composer and , he has taken his place as one of Philharmonic, and the Macedonian National at opera houses across the country. He is the arranger. He has been on the faculty of DePaul the finest and most imaginative conductors of Opera. Festival appearances include Aspen, recipient of a 2017 George London Award, as University since 2012 and Northwestern his generation. Having concluded four seasons Cabrillo, Kuhmo, Round Tops, Salzburg well as a 2017 3Arts Award, given to exceptional University since 2014. Clark’s compositions as Associate Conductor of the Utah Symphony Mozarteum, and Verbier. Chicago-based artists. Will’s 2017–2018 season and arrangements have been performed by / Utah Opera, Mr. Kulenovic has also served included a return to the Seattle Opera and Yo-Yo Ma, Renée Fleming, Jeff Hamilton, Randy as assistant conductor with the Lyric Opera In 2012, Mr. Kulenovic was awarded the a debut with Kentucky Opera as Figaro in Il Brecker, Jon Faddis, Marquis Hill, Kurt Elling, Phil of Chicago, Principal Conductor of the Kyoto Mendelssohn-Bartholdy Fellowship and the barbiere di Siviglia, plus performances with Lyric Woods, Ira Sullivan, Julia Bentley, the Minnesota International Festival in Japan, and Resident position of conducting assistant with the Orchestra, Chicago Brass Quintet, Chicago Conductor of the Belgrade Philharmonic in his Leipzig Gewandhaus Orchestra, where he Sinfonietta, Civic Orchestra of Chicago, Chicago native Serbia. worked closely with his longtime mentor, Horn Consort, Bob Lark Alumni Big Band,

maestro Kurt Masur. He has also served as cover New Standard Jazz Orchestra, Quince, V3NTO, Mr. Kulenovic’s U.S. guest conducting conductor with the Boston Symphony, New Spektral Quartet, and ensembles worldwide. engagements include the of York Philharmonic, and Baltimore Symphony, Joe is an arranger for The Negaunee Music Alabama, Chicago, Columbus, Grand Rapids, where he has assisted many illustrious Institute at the Chicago Symphony Orchestra. Houston, Illinois, Indianapolis, Jacksonville, conductors including , Zubin He works frequently with conductor-arranger Knoxville, San Francisco, South Bend, Stamford, Mehta, Sir , Alan Gilbert, Marin Cliff Colnot. Joe Clark is also a trumpeter and Utah, and Winston-Salem, in addition to the Alsop, and others. Vladimir Kulenovic holds bandleader with three recordings as a leader: philharmonic orchestras of Naples (FL) and graduate diplomas in conducting from Lush (2013), The C.O.W.L. Sessions (2014), and Oklahoma City, and the Louisville Orchestra. Arcana: This Sounds Like Us (2018). Photo 10 11 PROGRAM NOTES & SONG TEXTS

Program Notes by Jim Kendros

1 Barcarolle from Les Contes d’Hoffmann FRENCH ENGLISH Jacques Offenbach (1819–1880) Belle nuit, ô nuit d’amour Lovely night, oh, night of love, Venetian gondoliers, as they rowed their craft throughout the famed Souris à nos ivresses smile upon our joys! waterways of Venice, would serenade their passengers by singing Nuit plus douce que le jour Night much sweeter than the day, a Barcarolle, a lilting song usually in 3/8 or 6/8 meter. In Act III of Ô,belle nuit d’amour! Oh beautiful night of love! Offenbach’s The Tales of Hoffman, titled “Venice,” Hoffman mistakenly Le temps fuit et sans retour Time flies by, and carries away believes that the courtesan Giulietta is returning his affections as this Emporte nos tendresses our tender caresses for ever! famous duet is sung. Giulietta, however, sings this in return for a diamond Loin de cet heureux séjour Time flies far from this happy promised to her by Captain Dapertutto. The magnificent beauty of this Le temps fuit sans retour oasis and does not return duet, familiar to all who hear it, shows nothing of the underlying plot Zéphyrs embrasés Burning zephyrs, by Giulietta. The wonderful opening suggests the hypnotic nature of Versez-nous vos caresses embrace us with your caresses! Giulietta’s deception. Zéphyrs embrasés Burning zephyrs, Donnez-nous vos baisers! Give us your kisses! Vos baisers! Vos baisers! Ah! Your kisses! Your kisses! Ah! Belle nuit, ô, nuit d’amour Lovely night, oh, night of love, Souris à nos ivresses smile upon our joys! Nuit plus douce que le jour, Night much sweeter than the day, Ô, belle nuit d’amour! Oh, beautiful night of love! Ah! souris à nos ivresses! Ah! Smile upon our joys! Nuit d’amour, ô, nuit d’amour! Night of love, oh, night of love! Ah! ah! ah! ah! ah! ah! ah! ah! ah! ah! Ah! ah! ah! ah! ah! ah! ah! ah! ah! ah! Jim Kendros is the Pre-Concert Lecturer and Resident Music Historian for the Lake Forest Symphony. A composer of over 500 works, Jim performs and lectures throughout the Chicago area. His radio show, “ in Bite-Size Nuggets,” can be heard by going to www.huntleyradio.com. 12 13 2 Flower Duet from Lakmé Léo Delibes (1836–1891)

This famous duet is from Act I as Lakmé and her trusted servant Mallika prepare to bathe in a river, paying homage to the white jasmine, roses, and many other flowers that adorn the riverbank. ENGLISH

LAKMÉ Reaches for the bank, Look Mallika! Lianes are in bloom Where the spring sleeps, LAKMÉ Viens, gagnons le bord, Casting downward their shadows And the bird, the bird sings. Viens, Mallika, les lianes en fleurs Où la source dort et Over the sacred stream that flows Jettent déjà leur ombre L’oiseau, l’oiseau chante. calm and somber Under the thick dome Sur le ruisseau sacré qui coule, Awakened by the sound of the song- Where the white jasmine calme et sombre, Sous le dôme épais happy birds! Let us descend together! FRENCH Eveillé par le chant des oiseaux Où le blanc jasmin, tapageurs! Ah! descendons MALLIKA LAKMÉ Ensemble! Oh dear mistress! But, I don’t know what sudden fear MALLIKA It’s time at last I see you smiling seizes me, Oh! maîtresse, LAKMÉ The time has come and I am reading When my father C’est l’heure ou je te vois sourire, Mais, je ne sais quelle crainte subite, What was closed up in the heart of goes alone to their cursed city L’heure bénie où je puis lire S’empare de moi, Lakme! I tremble, I tremble from fear. dans le coeur toujours fermé de Lakmé! Quand mon père va seul à leur ville maudite; Under the thick dome MALLIKA Sous le dôme épais Je tremble, je tremble d’effroi! Where the white jasmine So that the God Ganesha protects him, Où le blanc jasmin With the roses entwined together Until the pond where swans with snow- À la rose s’assemble MALLIKA On the river bank covered with flowers white wings Sur la rive en fleurs, Pour que le Dieu Ganeça le protège, laughing in the morning play together joyously. Riant au matin Viens, Jusqu’à l’étang où s’ébattent joyeux Let us descend together! Let’s go pick blue lotuses. descendons ensemble. Les cygnes aux ailes de neige, Yes, near swans with snow-white wings, Allons cueillir les lotus bleus. Gently floating on its charming risings, Let’s pick blue lotuses. Doucement glissons Oui, près des cygnes aux ailles de neige, On the river’s current de son flot charmant Allons cueillir les lotus bleus. On the shining waves, Refrain Suivons le courant fuyant One hand reaches, Dans l’onde frémissante Refrain D’une main nonchalante

14 15 3 Evening Prayer from Hänsel und Gretel 4 “Ah, guarda sorella” from Così fan tutte, K. 588 Engelbert Humperdinck (1854–1921) Wolfgang Amadeus Mozart (1756–1791)

This timelessly lyrical and touching homage to peace, safety, and tranquility Dorabella and Fiordiligi think sweetly of their fiancés Guglielmo has enraptured audiences since December 1893. This lovely duet appears in and Ferrando as they revel in plans for their impending weddings. Act II, Scene ii as the Sandman tells the children he loves them and makes them them go to sleep. Gretel reminds Hansel to say their evening prayers as ITALIAN both fall asleep in the forest. FIORDILIGI FIORDILIGI DORABELLA Ah, guarda, sorella, Si vede un sembiante Felice son io. GERMAN ENGLISH Se bocca più bella, Guerriero ed amante. Se petto più nobile FIORDILIGI E DORABELLA Si può ritrovar. DORABELLA Se questo mio core Abends, will ich schlafen gehn, When at night I go to sleep, Si vede una faccia Mai cangia desio, Vierzehn Engel um mich stehn: fourteen angels watch do keep DORABELLA Che alletta e minaccia. Amore mi faccia Zwei zu meinen Häupten, Two my head are guarding, Osserva tu un poco, Vivendo penar. Che fuoco ha ne’ sguardi! FIORDILIGI Zwei zu meinen Füßen, two my feet are guarding Se fiamma, se dardi Io sono felice. Zwei zu meiner Rechten, Two are on my right hand, Non sembran scoccar. Zwei zu meiner Linken, two are on my left hand Zweie, die mich decken, Two who warmly cover, Zweie, die mich wecken, two who o’er me hover Zweie, die mich weisen, Two to whom ‘tis given, Zu Himmels-Paradeisen. to guide my steps to Heaven. ENGLISH

FIORDILIGI FIORDILIGI DORABELLA Ah tell me sister, This is the face of Happy I am. if one could ever find a soldier and a lover. A nobler face, FIORDILIGI AND a sweeter mouth. DORABELLA DORABELLA This is a face If ever my heart DORABELLA both charming and alarming. changes its affection, Just look, May love make see what fire is in his eye, FIORDILIGI me live in pain. If flames and darts I am happy. do not seem to flash forth! 16 17 5 “Soave sia il vento” from 6 Del Cabello más Sutil 7 Clair de Lune Così fan tutte, K. 588 Fernando Obradors (1897–1945), Gabriel Fauré (1845–1924), Arr. Joe Clark Mozart Arr. Joe Clark Mysterious and yearning, lyrical and exotic, Fauré left us a portrait of the immortal imagery of Spanish-born composer Fernando moonlight with this work for voice and piano. Featuring a haunting central section and a brief This amazingly beautiful trio, sung by the Obradors has given us this mystical song return to the mystical opening, Fauré’s song of homage to moonlight is a testament to his gift heroines Dorabella and Fiordiligi and of longing whose beauty touches the soul for creating enchanting works of wonder. Composed in 1887, the text is by the French poet philosopher Don Alfonso, is mesmerizing with noble sentiments. Paul Verlaine (1844–1896), whose same verse also inspired Claude Debussy to compose his in all aspects of music. The gently lilting famous piano piece of the same name in 1891. Fauré later orchestrated this song as part of his rhythms and rapturously elongated incidental music, Masques et bergamasques, Op. 112. melodic phrases suggest a peaceful Del cabello más sutil ocean voyage. The three bid farewell to Que tienes en tu trenzado Guglielmo and Ferrando as the men feign He de hacer una cadena to embark on a sea voyage. Para traerte a mi lado.

SPANISH FRENCH ENGLISH Una alcarraza en tu casa, DORABELLA, FIORDILIGI, Chiquilla, quisiera ser, Votre âme est un paysage choisi Your soul is a chosen landscape E DON ALFONSO Para besarte en la boca, Que vont charmants masques et where charming masqueraders and Soave sia il vento, Cuando fueras a beber. bergamasques, bergamasquers go Tranquilla sia l’onda, Ah! Jouant du luth et dansant, et quasi Playing the lute and dancing and almost ITALIAN Ed ogni elemento Tristes sous leurs déguisements sad beneath their fantastic disguises! Benigno risponda fantasques! They all sing in a minor key bout Ai nostri/vostri desir. From that finest hair Tout en chantant sur le mode mineur triumphant love and fortunate life, which thou dost braid L’amour vainqueur et la vie opportune. They do not seem to believe in their I would craft a chain Ils n’ont pas l’air de croire à leur bonheur, fortune, and their song blends with the to draw thee by my side. DORABELLA, FIORDILIGI, Et leur chanson se mêle au clair de lune, light of the moon,

ENGLISH Au calme clair de lune triste et beau, In the calm moonlight, sad and AND DON ALFONSO A cup within thy house, On your voyage, Qui fait rêver, les oiseaux dans les arbres, beautiful, which has the birds dreaming dear maid, I’d pray become, Et sangloter d’extase les jets d’eau, in the trees. And the fountains sobbing may the winds be gentle Wherein I’d kiss thy mouth may the waves be calm. Les grands jets d’eau sveltes parmi les in ecstasy, the tall fountains, slender ENGLISH as oft as thou drink from. marbres. amid marble statues. May all the elements be kind Ah! and grant our/your desires 18 19 8 Black is the Color (of My True Love’s Hair) 9 Ave Maria Traditional, Arr. Joe Clark (1685–1750)/Charles Gounod (1818–1893), Arr. Joe Clark Although traditionally known as an American Appalachian folk song, there is strong evidence to suggest that this famous song actually A beloved work for almost any occasion, Ave Maria is the collective creation of two musical originated in Scotland. In many versions, the lyrics mention the River geniuses separated by 131 years. The musical underbed comes from the Prelude No. 1 from Clyde, the second longest river in Scotland. Book 1 of J.S. Bach’s Well-Tempered Clavier of 1722. Gounod superimposed his own melody over a slightly altered version of Bach’s original prelude. Gounod originally published the piece scored for violin (or cello), piano, and harmonium in 1853 as Méditation sur le premier Black is the color of my true love’s hair. prélude de piano de S. Bach. Later, Gounod arranged his melody for a vocalist, setting His face so soft and wondrous fair, the music to the “Ave Maria” text. This is the version, so cherished today, that Joe Clark has The purest eyes and the softest hands, arranged as a duet with orchestral accompaniment. I love the ground on where he stands.

I love my love and well he knows, I love the ground whereon he goes, LATIN ENGLISH And still I hope the time will come When he and I will be as one. Ave Maria Hail Mary, Gratia plena full of grace, I walk to the Clyde for to mourn and weep, Dominus tecum the Lord is with thee. But satisfied I ne’er can sleep. Benedicta tu in mulieribus Blessed art thou among women, I’ll write him a letter, just a few short lines, Et benedictus and blessed is And suffer death ten thousand times. fructus ventres the fruit of thy womb, Tui Jesus Jesus. I kneeled down and I wrote a song, Sancta Maria, Sancta Maria Holy Mary, Mother of God, I wrote it neat and wrote it long. Ora pro nobis Nobis peccatoribus pray for us sinners, At evr’y line I shed a tear, Nunc et in hora, in hora now and in the hour And the last line said “farewell my dear.” Mortis nostrae of our death. Amen Amen.

20 21 10 There is a Balm 11 Oh, What a 12 Ain’t That Good News

 in Gilead  Beautiful City! This upbeat spiritual gained special Traditional, Arr. Joe Clark Traditional, Arr. Joe Clark renown when composer and vocalist Sam Cooke (1931–1964) recorded it as the title An African-American spiritual, the “balm This profoundly moving African-American track of his final album, released in 1964. in Gilead” refers to a spiritual medicine. spiritual gives voice to the description of Taken originally from references in New Jerusalem in the book of Revelation Jeremiah, “Is there no balm in Gilead?”, 21:11. Emerging victoriously from darkness, I got a crown up in-a the kingdom, I got some slippers up in the kingdom, the lyrics also refer to salvation. The the city gates are each crafted with Ain’ a that good news! Ain’ a that good news! song’s refrain (and the first published pearls (reference to “pearly gates”) with I got a crown up in-a the kingdom, I got some slippers up in the kingdom, reference of it) appeared in a hymn from Angels guarding them. The “Twelve Gates” Ain’ a that good news! Ain’ a that good news! 1854 titled, “The Sinner’s Cure.” represent the full spectrum of humanity. The “Beautiful City” stands for Paradise I'm gonna lay-a down-a this world, Refrain There is a balm in Gilead for all humankind. Gonna shoulder up-a my cross. to make the wounded whole, Gonna to take it home-a to my Je-sus, I got a Savior in the kingdom, there is a balm in Gilead Oh! What a beautiful city, twelve gates Ain' a that good news! Ain' a that good news! to heal the sin-sick soul. into the city, hallelu. I got a Savior in the kingdom, I got a harp up in-a the kingdom, Ain' a that good news! Sometimes I feel discouraged Three gates in the East, Ain’ a that good news! and think my work’s in vain, and there’s three gates in the West, I got a harp up in-a the kingdom, Refrain but then the Holy Spirit three gates in the North, Ain’ a that good news! revives my soul again. and there’s three gates in the South. That makes twelve gates into the city, Refrain Refrain hallelu. I got a robe up in-a the kingdom, If you cannot preach like Peter, Refrain Ain’ a that good news! if you cannot pray like Paul, I got a robe up in-a the kingdom, you can tell the love of Jesus My Lord built that city, Ain’ a that good news! and say, “He died for all.” and said it was just four square. Wanted all you sinners Refrain Refrain to meet Him in the air. ‘Cause He built twelve gates into the city, 22 hallelu. 23 13 Sometimes I Feel Like a Motherless Child 14 He’s Got the Whole World in His Hands Traditional, Arr. Joe Clark Traditional, Arr. Joe Clark

A stirring African-American spiritual dating from Pre-Civil War years in A traditional American spiritual/folk song, this work was first published in 1927. The America, the earliest recorded reference to a performance dates from the English singer Laurie London (b. 1944) recorded it between 1957–1958 and it became 1870s. The use of the word “sometimes” is significant, possibly suggesting an international best-selling song. Like most popular songs, it has been recorded and hope that the feelings of pain and despair will someday pass. performed in countless versions.

He’s got the whole world in His hands Sometimes I feel like a motherless child He’s got the whole world in His hands Sometimes I feel like a motherless child He’s got the whole world in His hands Sometimes I feel like a motherless child He’s got the whole world in His hands A long ways from home A long ways from home He’s got the little bitty baby in His hands He’s got the little bitty baby in His hands Sometimes I feel like I’m almost gone He’s got the little bitty baby in His hands Sometimes I feel like I’m almost gone He’s got the whole world in His hands Sometimes I feel like I’m almost gone A long ways from home He’s got you and me, sister, in His hands A long ways from home He’s got you and me, sister, in His hands He’s got you and me, sister, in His hands Refrain He’s got the whole world in His hands

He’s got everybody here in His hands He’s got everybody here in His hands He’s got everybody here in His hands He’s got the whole world in His hands

Refrain

He’s got the whole world... Sweet Lord’s got the world in His hands

24 25 PRODUCER James Ginsburg CEDILLE PRODUCERS CIRCLE ENGINEER Bill Maylone Honoring the generosity and loyalty of those individuals and COVER PHOTOS Elliot Mandel | DESIGN Bark Design foundations who have supported our recordings through their RECORDED January 22–25, 2018, James Lumber Center repeated, major annual gifts to Cedille Chicago for the Performing Arts, College of Lake County, Grayslake, IL Anonymous Nancy Loeb and Jeffrey Colman This recording is made possible by generous support Beech Street Foundation The MacArthur Fund for Arts from Patricia A. Kenney and Gregory J. O’Leary Steven C. Calicchio Foundation and Culture at Prince Graci and Dennis McGillicuddy Cedille Records is a trademark of Cedille Chicago, NFP, a not-for-profit organization Kristina Entner and Edward Malone devoted to promoting the finest musicians and ensembles in the Chicago area. Cedille Marian and M. Carr Ferguson Mesirow Financial Chicago’s activities are supported in part by contributions and grants from individuals, foundations, Frances and Henry Fogel Lori and Steven Mesirow corporations, and government agencies including The MacArthur Fund for Arts Ann and Gordon Getty Foundation Sara and Richard Mesirow and Culture at Prince, The Negaunee Foundation, Sage Foundation, Irving Harris Foundation, The Negaunee Foundation and the Illinois Arts Council, a state agency. The project is partially supported by a CityArts Jane Ginsburg and George Spera Grant from the City of Chicago Department of Cultural Affairs & Special Events. Kathleen Peratis Susan and Sanford Greenberg Rachel Barton Pine and Gregory Pine Irving Harris Foundation Pumpkin Foundation / Carol & Joe Reich Barbara Haws and William Josephson Beverly and Bill Rosoff Andrew and Irma Hilton Foundation Sage Foundation CONTRIBUTIONS TO CEDILLE CHICAGO MAY BE MADE The Julian Family Foundation Barbara Julius and Marc Silberberg AT CEDILLERECORDS.ORG OR 773-989-2515 Christine and Bill Landuyt Claire and Edward Stiepleman

CDR 90000 181 ℗ & © 2018 CEDILLE RECORDS, trademark of Cedille Chicago, Sandy and Jack Levin NFP 1205 W. Balmoral Ave, Chicago IL 60640 USA I 773.989.2515 tel • 773.989.2517 fax www.cedillerecords.org

26 27 Vladimir Kulenovic and the Lake Forest Symphony