Producer James Ginsburg Engineers Eric Arunas, Bill Maylone THE PULITZER PROJECT Patch Session Director Christopher Bell (1910–1992) Leo Sowerby (1895–1968) Cover Grant Park Orchestra & Chorus performing in Chicago’s Jay Pritzker Pavilion A Free Song* (13:41) The * (32:18) at night, photo by Norman Timonera 1943 Pulitzer 1946 Pulitzer Recorded in concert at the Harris Theater for Music and Dance in Millennium 1 Part I. “Look down, fair moon” (7:26) bl O Most High… (4:35) Park, Chicago, June 25 and 26, 2010 Baritone solo: Ryan J. Cox bm Praised be my Lord God with all his Art Direction Adam Fleishman / www.adamfleishman.com 2 Part II. Song of the Banner (6:15) creatures… (2:48) PUBLISHERS bn Praised be my Lord for our sister the Schuman A Free Song © 1943 Associated Music Publishers, Inc. (1900–1990) Moon… (2:56) (27:40) Copland Appalachian Spring © 1945 Boosey & Hawkes, Inc. bo Praised be my Lord for our brother the Sowerby The Canticle of the Sun 1945 Pulitzer (awarded to original, Wind… (1:58) full ballet score for 13 instruments) © 1944 The H.W. Gray Company, All Rights Assigned to and Controlled by Alfred bp Praised be my Lord for our sister Music Publishing Co., Inc. All Rights Reserved 3 Very slowly (3:51) Water… (2:08) 4 Allegro (2:49) bq Praised be my Lord for our brother Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted 5 Moderato (4:10) Fire… (2:13) 6 to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s Fast (3:36) br Praised be my Lord for our mother the activities are supported in part by contributions and grants from individuals, foundations, corporations, and 7 subito Allegro (4:17) Earth… (3:03) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, 8 As at first (slowly) (1:35) bs Praised be my Lord for all those who NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project 9 Doppio movimento (3:11) pardon one another… (2:47) is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. bu Moderato (4:08) bt Praised be my Lord for our sister the Death of the body… (3:25) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION Grant Park Orchestra & Chorus cu Blessed are they… (1:26) MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. Carlos Kalmar Conductor cl Praise ye the Lord… (4:52) Christopher Bell Chorus Director CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation Chicago Park District Board of Commissioners 1205 W Balmoral Ave., Chicago IL 60640, USA Timothy J. Mitchell * World Premiere Recording TT: (74:00) 773.989.2515 tel - 773.989.2517 fax General Superintendent & CEO WWW.CEDILLERECORDS.ORG CDR 90000 125 P & C 2011 Cedille Records All Rights Reserved. Made in U.S.A

2 3 The Grant Park Orchestra & Chorus conducted by Carlos Kalmar VIOLA OBOE TROMBONE Patricia Hurd TENOR ORCHESTRA Terri Van Valkinburgh Alison Chung Dan Cloutier Kathryn Kamp David Anderson VIOLIN I Laura Helen Fuller Anne Bach Jeremy Moeller Alexia Kruger Madison Bolt Jeremy Black Patrick Brennan OBOE/ENGLISH HORN BASS TROMBONE Emily Joy Lee Hoss Brock Ilana Setapen Keith Conant Judith Kulb Jeffrey Gray Laura Lynch Joseph Matthew Cloonan Dayna Anderson Joel Gibbs John Schwalm Lindsay Metzger Thomas E. Dymit Eugene Pazin Duke Lee CLARINET Susan Nelson Klaus Georg Ying Chai Mathieu Page-Bouchard Charlene Zimmerman TUBA Maire O’Brien Christopher Lorimer Injoo Choi Ji Hyun Son Christian Schubert Fritz Kaenzig Lijana Pauletti Kevin McKelvie Jennifer Cappelli VIOLONCELLO CLARINET/BASS TIMPANI Angela Presutti Korbitz Stephen D. Noon Andrew Fuller Walter Haman CLARINET Michael Green Patricia Rhiew Clayton Parr Ellen Hildner Peter Szczepanek Gene Collerd PERCUSSION Cindy Senneke Martin Pazdioch Matthew Lehmann Margaret Daly E-FLAT CLARINET Eric Millstein Emily Sinclair Peder Reiff Rika Seko Larry Glazier Leslie Grimm Joel Cohen Angela Thomas Matthew W. Schlesinger Sang Shen Sherry Veal Peter J. Sovitzky Steven Houser BASSOON Richard Janicki Karen Sinclair Peter C. Voigt Eric Kutz Eric Hall Doug Waddell ALTO Bonnie Terry Eric West Eran Meir Jenni Groyon Rebekah Kirsten Askeland Jeanine Wynton Levin HARP Dale Newton Kayo Ishimaru-Fleisher Melissa Arning BASS Thomas Yang BASSOON/ Michael Boschert Linc Smelser CONTRABASSOON Beth Babbitt Krzysztof Zimowski PIANO Karen Brunssen Ryan J. Cox BASS Michael Davis Andrea Swan VIOLIN II Michael Geller Dominique M. Frigo Daniel Eifert Liba Shacht HORN Elizabeth Grizzell Matt Greenberg Brian Ferguson Jonathan Boen Laura Miller Andrew Anderson Deborah Guscott Thomas Hall Alexander Belavsky Stephanie Blaha CHORUS Nina Heebink John Holland Jennifer Downing Olsson Neil Kimel Karl Davies John Floeter SOPRANO Marjorie Johnston Jan Jarvis Teresa Fream Erin Lano Cassie Mara Makeeff Keven Keys Timothy Shaffer Steven Replogle Laura J. Amend Caroline Jones Christopher White Suna Avci Kristina Pappademos Eric Miranda Ann Lehmann Robert Johnson Amy Pickering Ryan O’Mealey FLUTE Alyssa Bennett Dylana Leung TRUMPET Stephanie Chamberlin Sarah Ponder Martin Lowen Poock John Macfarlane Mary Stolper David Gordon Suzanne A. Shields Benjamin D. Rivera Alyce Johnson Amy Conn Kjersti Nostbakken Billy R. Hunter, Jr. Amanda Crumley Susan Palmatier Steele Andrew Schultze Cristina Muresan FLUTE/PICCOLO Channing Philbrick Elizabeth Gottlieb Maia Surace Jeffrey W. Taylor Irene Radetzky Jennifer Debiec Lawson Michael Myers Katherine Gray Noon Joanna Wernette Scott Uddenberg Michael Shelton Margaret Quinnette Harden Debra Wilder Eric Wardell Ronald Watkins

6 7 THE PULITZER PROJECT publisher. Shrewd business deals and encouragement of public service, include Ives, Menotti, Piston, Barber, Notes by Dr. Richard E. Rodda tireless work brought him ownership public morals, American literature Carter, Crumb, Druckman, Rorem, Joseph Pulitzer, born in Hungary in of the St. Louis Post-Dispatch in 1878. and the advancement of education.” Del Tredici, Sessions, Bolcom, 1847 and well educated in Budapest, Through populist appeal, crusades The first Pulitzer Prizes were awarded Harbison, Zwilich, Schuller, Kernis, decided to become a soldier when against public and private corruption, in 1917 “to honor excellence in jour- Adams, Reich, Higdon, and many he was seventeen. Unable to get and ingenious promotions, the Post- nalism and the arts.” The original other of the most gifted American into the military of Austria, Britain, Dispatch flourished. Thanks to this award categories were for biography composers. The award took on or France due to poor eyesight success, Pulitzer was able to buy or autobiography, history, editorial additional significance when its scope and frail health, he encountered a the struggling New York World from writing, and reporting; fiction, drama, was broadened in 1997 to include jazz bounty recruiter for the United States financier Jay Gould in 1883. Pulitzer and public service were added a year and other mainstream music: Winton Army in Hamburg and enlisted as a used the same business formula in later. Categories have continued to Marsalis won in that year for his “jazz substitute for an American draftee New York that had worked in St. Louis change over the years, including the oratorio” Blood on the Fields; Ornette who had paid to escape service in the (one of his promotions raised funds addition of an award in 1943 “for a Coleman prevailed in 2007 for Sound Civil War. Legend has it that Pulitzer for a pedestal so that the Statue of distinguished musical composition Grammar; and George Gershwin, jumped overboard as his ship sailed Liberty could be erected in New York by an American that has had its first Duke Ellington, Thelonious Monk, into Boston harbor, swam to shore, harbor) and made the World into one performance or recording in the United and John Coltrane have received and collected the bounty for himself. of the nation’s leading newspapers States during the year.” The award’s special posthumous citations. Though Pulitzer eventually made his way to despite frequent controversies, fero- first recipient was William Schuman, not considered in the music category, St. Louis, where he impressed the cious competition, and his own for his A Free Song. Pulitzer Prizes for some of Broadway’s most memorable owner of a local German-language fragile health. Music in the following three years went shows have received the Pulitzer Prize newspaper during an impromptu Among Pulitzer’s bequests upon to (Symphony No. 4), for Drama: Of Thee I Sing (George chess game at the city’s Mercantile his death, in 1911, was $2 million Aaron Copland (Appalachian Spring) and Ira Gershwin), South Pacific Library in 1868 and got hired as a to establish a school of journalism and Leo Sowerby (The Canticle (Rodgers and Hammerstein), Fiorello! reporter. Pulitzer was a diligent and at Columbia University; one-fourth of the Sun). The Pulitzer has since (Jerry Bock and Sheldon Harnick), enterprising journalist, and within of that amount was to be “applied been recognized as concert music’s How To Succeed In Business Without four years became the paper’s to prizes or scholarships for the most prestigious award. Its recipients Really Trying (Frank Loesser and Abe

8 9 Burrows), A Chorus Line (Marvin dual responsibilities of Director of Foundation, Broadcast Music, Inc., impact of granite-like blocks of Hamlisch and Edward Kliban), Sunday Publications for G. Schirmer, Inc. and and the MacDowell Colony while dissonant harmony and sharp-edged In The Park With George (Stephen President of the Juilliard School of remaining active as a composer. counterpoint.” Sondheim), Rent (Jonathan Larson), Music in New York City. At Juilliard, Thanks to his strict and methodical The two contrasted passages from and (Tom Kitt and where he remained for eighteen work schedule, Schuman produced an Next to Normal Drum Taps set in A Free Song Brian Yorkey). years, his tenure was notable for enormous amount of music for a man embody Whitman’s belief in America’s * * * the establishment of the renowned of so many parts: ten symphonies; fundamental strength and optimism William Schuman, born in New York Juilliard Quartet and for the thorough concertante works for piano, violin, in a time of great strife. These spoke City in 1910, was one of America’s overhaul of the teaching of music horn, cello, and viola; five ballets; an with special force to a country in the most distinguished composers and theory. This latter achievement, which opera; several independent pieces midst of another brutal war in 1943. educators. As a teenager, his interest influenced the curricula of music for concert band and orchestra; two The first movement concerns the hard was in jazz and popular music, but schools throughout the country, dozen choral works; and numerous truths drawn from a time of national arose from his philosophy of basing chamber music scores. he turned to concert music before testing: Long, too long, America … instruction directly on the experiences leaving high school. Following study A Free Song (1942) takes its texts from you learned from joys and prosperity of listening to and creating music at Columbia University and privately Drum Taps, Walt Whitman’s powerful only, But now, ah now, to learn from rather than on any rigid pedagogical with Roy Harris, Schuman joined the response to his observations and crises of anguish. Schuman captured faculty of Sarah Lawrence College system. From 1962 to 1969, Schuman feelings while volunteering for much not only the pervasive mood of in Bronxville, New York in 1935. The served as President of Lincoln Center of the Civil War in the hospitals of troubled uncertainty in these words for the Performing Arts, a period American Festival Overture of 1939 Washington, D.C. The G. Schirmer but also the pictorial implications of that began with the opening of was his first work to gain popular company’s press release announcing such phrases as “Travelling roads all Philharmonic Hall and ended with the notice. During the ensuing five years, its publication of A Free Song de- even and peaceful” and “Pour softly complex’s completion. He was also he became one of the leading artistic clared, “The vigorous, expansive down night’s nimbus.” The second figures of his generation, receiving among this country’s most prominent verse of Whitman finds a congenial movement begins with a muscular, the first Pulitzer Prize in music in spokesmen and advisors for the association with Schuman’s fierce rhythmically dynamic fugue that arts, acting as consultant to, among 1943 for A Free Song. In 1945, he and concentrated style, where grace ascends through the woodwinds left Sarah Lawrence to assume the many others, CBS, the Rockefeller and charm are crowded out by the into the full orchestra to preface

10 11 the jubilant chorus that distills the Rodeo. Graham’s scenario based on and she adopted it for her new ballet, reprinted in the published score: expressive essence of Whitman’s memories of her grandmother’s farm although the content of the poem [The ballet concerns] a pioneer heroic verses: We hear the drums in turn-of-the-20th-century Penn- bears no relation to the stage work. celebration in spring around a newly sylvania proved a perfect match for beat and the trumpets blowing, A Appalachian Spring was unveiled built farmhouse in the Pennsylvania new song, a free song, We hear the the direct, quintessentially American in Washington in October 1944 and hills in the early part of the 19th jubilant shouts of millions of men, We style Copland exhibited in those repeated in New York in May to great century. The bride-to-be and the hear Liberty! years. acclaim, garnering the 1945 Pulitzer young farmer-husband enact the * * * The premiere was set for October 30, Prize for Music and the New York emotions, joyful and apprehensive, In 1942, one of America’s greatest 1944 (in honor of Mrs. Coolidge’s 80th Music Critics Circle Award as the their new domestic partnership patrons of the arts, Mrs. Elizabeth birthday) in the auditorium of the outstanding theatrical work of the invites. An older neighbor suggests Sprague Coolidge, went to see a Library of Congress in Washington, 1944–1945 season. Soon after its New now and then the rocky confidence dance recital by Martha Graham. So D.C. The theater’s small stage allowed York premiere, Copland revised the of experience. A revivalist and his taken with the genius of the dancer- for a chamber orchestra of only score as a suite of eight continuous followers remind the new house- choreographer was Mrs. Coolidge thirteen instruments: flute, clarinet, sections for full orchestra, eliminating holders of the strange and terrible that she offered to commission three bassoon, piano, and nine strings. about eight minutes of music in which aspects of human fate. At the end, ballets specially for Graham. Martha Copland began work in June 1943 he said, “the interest is primarily the couple are left quiet and strong Graham chose the composers: in Hollywood (while writing music for choreographic.” On October 4, 1945, in their new house. Darius Milhaud, Paul Hindemith, the movie North Star) and finished Artur Rodzinski led the New York Copland wrote: and an American whose work she a year later in Cambridge, where he Philharmonic in the premiere of this had admired for over a decade — was delivering the Horatio Appleton version, which has become one the The suite arranged from the ballet Aaron Copland. In 1931, Graham had Lamb Lectures at Harvard. The plot, best-loved works of 20th-century contains the following sections, staged Copland’s Piano Variations as music, and most of the choreography American music. played without interruption: the ballet Dithyramb, and she was were completed before a title was Edwin Denby’s description of the 1.  Very Slowly. Introduction of the eager to have another dance piece chosen. Graham was taken at just ballet’s action from his review of the characters, one by one, in a from him, especially after his recent that time with the name of a poem by New York premiere in May 1945 was suffused light. successes with Billy the Kid and Hart Crane — Appalachian Spring —

12 13 2. Fast. Sudden burst of unison strings Andrews, and published under Program annotator for the Grant Park Leo Sowerby’s The Canticle of the Sun in A-major arpeggios starts the the title “The Gift To Be Simple.” Music Festival, Dr. Richard E. Rodda Notes by Francis Crociata action. A sentiment both elated The melody I borrowed and used received a prestigious 2010 ASCAP “CONGRATULATIONS ON THE and religious gives the keynote to almost literally, is called “Simple Deems Taylor Award for his program PULITZER AWARD. NOW YOU’LL this scene. Gifts.” It has this text: note for Elgar’s The Dream of BE HARDER TO SELL THAN EVER.” Geronitius 3. Moderato. Duo for the Bride and   ’Tis the gift to be simple, , published in the program  ’Tis the gift to be free, book of the Festival. Dr. Rodda has This tongue-in-cheek message from her Intended — scene of tenderness his publisher, William Gray, arrived and passion. ’Tis the gift to come down also provided program notes for Where we ought to be. many of the world’s top orchestras slightly ahead of the telegram from 4. Quite fast. The Revivalist and his the Trustees of Columbia University. flock. Folksy feelings — suggestions  And when we find ourselves and musical institutions and liner In the place just right, notes for numerous major and Thus Leo Sowerby learned he had of square dances and country received the 1946 Pulitzer Prize fiddlers. ’Twill be in the valley independent classical record labels. for his cantata The Canticle of the 5. Still faster. Solo dance of the Bride Of love and delight. Dr. Rodda teaches at Case Western Sun, his setting for mixed chorus — presentiment of motherhood. When true simplicity is gain’d, Reserve University and the Cleveland To bow and to bend we shan’t Institute of Music. and orchestra of Matthew Arnold’s Extremes of joy and fear and translation of the famous St. Francis of wonder. be asham’d. To turn, turn will be our delight, Assisi poem. The selection committee 6. Very slowly (as at first). Transition for the 1946 Pulitzer included two scene to music reminiscent of the ’Til by turning, turning we come round right. previous Pulitzer recipients, Howard introduction. Hanson (1944, for his Symphony 7. Calm and flowing. Scenes of 8. Moderate. Coda. The Bride takes No. 4) and Aaron Copland (1945, for daily activity for the Bride and her her place among her neighbors. At Appalachian Spring), and Columbia Farmer-husband. There are five the end the couple are left “quiet University factotum Chalmers Clifton. variations on a Shaker theme. The and strong in their new house.” theme, sung by a solo clarinet, was Muted strings intone a hushed, The Canticle of the Sun was taken from a collection of Shaker prayer-like passage. The close is commissioned by the Alice M. melodies compiled by Edward D. reminiscent of the opening music. Ditson Fund, which is administered

14 15 by Columbia University (as is the conductor Frederick Stock. Sowerby Festival performances documented envisioned for the 1944 Worcester Pulitizer Prize). Sowerby received was beginning to have difficulty by this recording. Nonetheless, Festival but, for reasons this writer the commission at Christmas-time, finding publishers for his solo and Leo’s Canticle was his good luck has been unable to discover, that 1942. For a $1000 stipend, he was chamber works, while H.W. Gray piece. It kept his name before the performance never materialized and to produce a choral-orchestral published every piece he wrote for public when his regard among Canticle was premiered instead at a work of 15–30 minutes duration on organ and/or chorus as fast as they symphony conductors and soloists Carnegie Hall benefit for the Armed whatever text he chose, secular or emerged from his pen. Perhaps for was waning. It prompted the 1954 Forces Recording Service on April sacred. Sowerby considered setting this reason, Sowerby always insisted invitation for Sowerby to conduct 16, 1945. A slightly reduced New two different texts: the Benedicite that Canticle was a secular concert the Chicago Symphony. In 1953, York Philharmonic joined the Schola (canticle from the Book of Daniel used work, belonging to his imposing Leo’s conducting of Canticle with the Cantorum, conducted by Hugh Ross, in Anglican and Catholic daily prayer) body of symphonies, , and National Symphony and Cathedral which also performed a Mozart Mass, and Francis Thompson’s “Hound of chamber works, distinct from his Choral Society in Washington set in Holst’s Te Deum, Randall Thompson’s Heaven,” but settled on the Arnold equally sizable group of compositions motion a chain of events including his Testament of Freedom, and a setting translation of St. Francis’s canticle, on for the church, for which he is mainly commission for The Throne of God by Charles Martin Loeffler, for soprano which Leo’s friend Mrs. H.H.A. Beach remembered today. to celebrate the 50th anniversary and orchestra, of the St. Francis poem had already fashioned a version for of the founding of the Washington in its original Italian. Hugh Ross, in Over a life span of 65 years, The chorus and organ. (After Sowerby’s Cathedral in 1957. The Cathedral consultation with Sowerby, wrote for Canticle of the Sun has received only setting came ones by Seth Bingham a dozen performances — and most Rector, Francis Sayer, was explicit in the occasion: and Roy Harris.) of those were of Jack Ossewaard’s asking for a work modeled in scope No doubt the subject appealed At the time of the commission, the odd, yet surprisingly effective, ar- and sonority on The Canticle of the to the composer because of its 48-year-old composer had enjoyed rangement for organ, two pianos, Sun. The Cathedral performances of opportunities for musical color. He a 30-year run as the Chicago brass, and percussion. Sowerby’s Canticle and Throne made Sowerby’s has made of it a panorama of all Symphony’s de facto composer-in- original orchestration was heard at the selection as the first director of the elements of heaven and earth residence, a status effectively ended New York premiere, two composer- the Cathedral’s College of Church which join in praising their creator, two months earlier with the death led performances in the early 1950s, Musicians an inevitability. and it unfolds in a series of tonal of his champion, longtime CSO and the pair of 2010 Grant Park Music The Canticle of the Sun was originally pictures, each motivated by the

16 17 phase it describes. The order of of praise in the final section to unmentionable element of the Delius through stained glass.” In the pictures is determined by the give balance and coherence to the Divine Name merges everything the Times, Olin Downes cited the structure of the poem. whole plan. into a conglomerate harmony once sophistication of Sowerby’s setting The music begins with an orchestral The themes most closely derived more. “Our sister the Death of the in preference to Loeffler’s. In the prelude, combining the elements from this main subject are those for Body” is typified by a direct phrase Herald-Tribune, of the chief keys, F, D, and B, in a sun and fire, which, therefore show of lamentation. Those who walk by took the opposite view, dismissing species of cosmic spectrum. This great similarity to each other. They the Divine Will are described in a Sowerby’s score as Wagnerian- prelude expounds the main theme are both scherzando movements veiled walking rhythm and a serene Lisztian. The audience included of the work, a leaping corrugated in fast triple time. The section least choral phrase is reserved for those former Sowerby student Ned Rorem scale passage. It motivates the alike, though still of a chromatic “who pardon one another,” and and a young composer for whose theme of sunlight and fire, nature, is that “for our sister who “serve in great humility.” Prix de Rome candidacy Sowerby had undergoes a weird transformation Water,” where only the final phrase This latter phrase, in its final advocated: Samuel Barber. Barber’s in the music of the moon, is and its accompaniment derive from form, is sung in a pure example later penned a touching tribute to his inverted to describe wind and the opening. But there are certain of the Lydian mode. This mode is older colleague: “Dammit, Leo, I wish cloud, provides the choral theme passages of a totally different especially important, as it char- I could write for chorus like you!” for “our mother the Earth,” and character. These occur where St. acterizes every single theme and comes as a cry of judgment against Francis refers to specifically human section except that of those who those “dying in mortal sin.” elements. The keys also change pardon one another, and in its last conspicuously. version, mentioned above, has an Francis Crociata has been president Even where it does not provide of the Leo Sowerby Foundation since the thematic content, it is heard The second statement of divine extraordinary effect as of looking upwards in complete serenity. 1993 and works in the advancement brooding over the other music praise is viewed from the human division of Saint Leo University in as in the praise for those “who angle — (this comes at the end of Sowerby’s Canticle elicited widely Florida. pardon one another” or in the final the first paragraph of the poem). varied reactions from the New York admonition to “serve God with The spectrum fades away, and critics. In New York PM, musicologist great humility.” It is fully restated we have a simple key of F minor Paul Henry Lang described the music with its attendant choral outburst changing to E major, until the and its creator approvingly as “Like

18 19 TEXTS The Canticle of the Sun Saint A Free Song Translation by Matthew Arnold From Drum Taps by Walt Whitman bl O Most High, O Almighty, good Lord br Praised be my Lord for our mother 1 Long, too long, America, 2 O, a new song, a free song,  God, to thee belong praise, glory, the Earth, the which doth sustain  Travelling roads all even and Flapping, flapping, flapping, power, and all blessings. To thee us and keep us; and bringeth forth peaceful, you learned from joys flapping, alone, most high, do they belong, divers fruits and flowers of many and prosperity only, Where the banner at daybreak is and there is no man worthy to colors, and grass. But now, ah now, to learn from crises flapping, by sounds, by voices mention thee. of anguish. clearer, bs Praised be my Lord for all those who By the wind’s voice bm Praised be my Lord God with all his pardon one another for his love’s Look down, fair moon, and bathe By the banner’s voice and child’s creatures and specially our brother sake, and who endure weakness and this scene; voice, and sea’s voice, and father’s the Sun, who brings us the day and tribulation; blessed are they who Pour softly down night’s nimbus voice, who brings us the light; fair is he and peaceably shall endure, for Thou, floods, on faces ghastly, swollen, Low on the ground and high in the shines with a very great splendor. O O most highest, shalt give them a purple; air, Lord, he signifies to us Thee. crown. On the dead, on their backs, with Where the banner at daybreak is bn Praised be my Lord for our sister the bt Praised be my Lord for our sister their arms tossed wide. flapping. Moon, and for the Stars, the which he the Death of the Body from which Pour down your unstinted nimbus, has set clear and lovely in heaven. no living man escapeth. Woe to him sacred moon. We hear and see not strips of cloth who dieth in mortal sin. alone; bo Praised be my Lord for our brother We hear again the tramp of armies, the Wind, and for Air and Cloud, cu Blessed are they who are found We hear the drums beat and the calm and all weather by the which walking by thy most holy will. Blessed trumpets blowing, thou upholdest life in all creatures. are they, for the second death shall A new song, a free song, have no power to do them harm. bp Praised be my Lord for our sister We hear the jubilant shouts of Water who is very serviceable unto us cl Praise ye the Lord, bless ye the Lord, millions of men, and humble and precious and clean. and give thanks unto him and serve We hear Liberty! him with great humility. bq Praised be my Lord for our brother Fire through whom Thou givest us light in the darkness, and he is bright and very pleasant and very mighty and strong.

20 21 During the past year, Carlos Kalmar Kalmar was the General Music CHRISTOPHER BELL has conducted subscription series Director of the Opera House and Christopher Bell enters his tenth concerts with the Chicago and Boston Philharmonic Orchestra in Dessau, season as Chorus Director of the Symphony Orchestras and was named Germany. Between 2000 and 2003, he Grant Park Music Festival in 2011. Principal Conductor and Artistic was Principal Conductor and Artistic He serves as Chorusmaster for the Director of the Orquestra Sinfónica Director of the Tonkünstler Orchestra Edinburgh International Festival, the de Radio Televisión Española in in Vienna. Equally in demand as a Royal Scottish National Orchestra Madrid. Carlos Kalmar has also served guest conductor, Kalmar travels the Junior Chorus, and the Belfast as Music Director of the Oregon globe appearing with all the world’s Photo by Jay Moreau Philharmonic Choir. He was largely Symphony since 2003. most important orchestras. responsible for the formation of the CARLOS KALMAR Carlos Kalmar was born in This is Carlos Kalmar’s eighth National Youth Choir of Scotland During the summer of 2010, Montevideo, Uruguay, to Austrian recording for Cedille Records. His (NYCoS) in 1996 and serves as its Carlos Kalmar celebrated his 10th parents. He studied conducting recordings for other labels include Artistic Director. anniversary as Principal Conductor in Vienna with Karl Randolf at the CDs with the Jeunesse Musicales Born in Belfast, Christopher Bell was with the Grant Park Music Festival. Konservatorium for Music and later World Orchestra (Alban Gerhardt, educated at Edinburgh University Under Kalmar’s leadership, the with Karl Österreicher at the city’s cello soloist) and Vienna’s Tonkünstler and held his first post as Associate Festival’s reputation has grown College for Music, and won First Orchestra for Austrian National Radio. Conductor of the BBC Scottish immensely: The Festival moved to its Prize at Vienna’s Hans Swarowsky Symphony Orchestra between 1989 new home in Chicago’s Millennium Conducting Competition in June and 1991. Since then, he has worked Park in 2004, the Grant Park Orchestra 1984. From 1987 to 1991, he was with many of the major orchestras released six recordings in seven years Chief Conductor of the Hamburg in the UK and Ireland, including the (2002–2008) on the Cedille Records Symphony Orchestra and General Royal Philharmonic, Royal Scottish label, and the Festival deepened Music Director and Chief Conductor National, BBC Scottish Symphony, its commitment to presenting ad- of the Stuttgart Philharmonic Ulster, Scottish Chamber, City of venturous programming. Orchestra between 1991 and 1995. London Sinfonia, and London Concert. From 1996 through 2000, Carlos

22 23 Christopher Bell was Chorusmaster of and the rest of the UK. For his services Park Music Festival runs for ten GRANT PARK CHORUS the Royal Scottish National Orchestra to choral music Bell was awarded an consecutive weeks each summer. The Grant Park Chorus was formed between 1989 and 2002 and was the honorary Master of the University The Grant Park Orchestra was founded in 1962 by Thomas Peck, who led first Artistic Director of the Edinburgh in 2009 from the United Kingdom’s in 1943. Nicolai Malko was named the group until his death in 1994. His Royal Choral Union. For six years innovative Open University. the first Principal Conductor in 1945, protégé, Michael Cullen, then led the he directed the TOT AL Aberdeen GRANT PARK ORCHESTRA a post he held through 1956. Since chorus until 1997, after which a series Youth Choir, undertaking touring and then, other prestigious conductors of guest conductors worked with the recordings as well as many concerts The Grant Park Orchestra is the resident orchestra of the Grant Park have held the position including ensemble until 2002. An international in the Northeast of Scotland. He was Irwin Hoffman, Leonard Slatkin, David search resulted in the appointment of the first Artistic Director of the Ulster Music Festival, which is dedicated to providing the public with free, Zinman, Zdnek Macal, and Hugh current Chorus Director, Christopher Youth Choir between 1999 and 2004, Wolff. In October 1999, Carlos Kalmar Bell, who is also founder of Chicago’s a group he developed into a critically high-quality orchestral performances through the presentation of was named Principal Conductor. Apprentice Chorale, which features acclaimed ensemble. Through his Christopher Bell was installed as the some of the most talented young leadership, the National Youth classical-music concerts. In addition to performing an array of classical Festival’s Chorus Director in 2002. In vocalists from De Paul and Roosevelt Choir of Scotland has performed at 2004, the Festival moved to its new Universities. the London Proms and Edinburgh repertoire, the Grant Park Orchestra is renowned for its focus on home, the Jay Pritzker Pavilion in The Grant Park Chorus is a fully International Festival, and made Millennium Park, a state-of-the-art numerous recordings and broadcasts contemporary American music. professional ensemble. In addition venue designed by internationally to frequent solo appearances and on BBC radio. Founded by the Chicago Park District renowned architect Frank Gehry with in 1935 and co-presented by the teaching careers, members of the For his work with singers (particularly sound system by the Talaske Group Grant Park Chorus perform in such with young vocalists) in Scotland, Chicago Department of Cultural of Oak Park, Illinois. This is the Grant acclaimed ensembles as Chicago a Christopher Bell received a Scotsman Affairs and the Grant Park Orchestral Park Orchestra’s seventh recording cappella, the William Ferris Chorale, of the Year (2001) award for Creative Association since 2001, the Festival for Cedille Records. is the nation’s only remaining free, and the Lyric Opera of Chicago and Talent. In 2003, he was awarded Chicago Symphony Choruses. the Charles Groves Prize for his municipally funded outdoor classical contribution to cultural life in Scotland music series of its kind. The Grant

24 25 ALSO WITH CARLOS KALMAR AND THE GRANT PARK ORCHESTRA

SYMPHONY IN WAVES CDR 90000 105 PORTRAITS CDR 90000 089 Music of Aaron Jay Kernis Violin Concertos by Szymanowski, Martinů, and Bartók Symphony in Waves, Newly Drawn Sky, Too Hot Toccata Jennifer Koh, violin “This is a fine outing by the ever-reliable and always “Cedille really does set an industry standard for finding challenging Grant Park Orchestra of Chicago with intelligent and desirable ways to showcase its artists, and its conductor Carlos Kalmar.” this release is a case in point. . . . The complete program is — Audiophile Audition as coherent and well thought-out as the performances are outstanding.” — ClassicsToday.com

ROYAL MEZZO CDR 90000 104 SYMPHONIC WORKS BY ROBERT KURKA CDR 90000 077 Music by Barber, Berlioz, Britten, and Ravel “Kalmar and the Grant Park Orchestra perform everything Jennifer Larmore, mezzo-soprano here with exuberance, commitment and edge.” “Kalmar and the orchestra are fully in accord with — The New York Times Larmore, punching out the musical emotion with “I have no hesitation in acclaiming this disc as one of the abandon.” most important and rewarding releases of 2004.” — American Record Guide — ClassicsToday.com

AMERICAN ORCHESTRAL WORKS CDR 90000 090 AMERICAN WORKS FOR ORGAN & ORCHESTRA Music by Barbara Kolb, Aaron Jay Kernis, Michael CDR 90000 063 Hersch, John Corigliano, and John Harbison Music of Barber, Piston, Sowerby, and Colgrass “A diverse program very well-suited to continuous David Schrader, organ listening, and the engineering is about as good as it “The Grant Park Orchestra under Carlos Kalmar plays with gets. Terrific!” extraordinary confidence and panache. . . . A completely — ClassicsToday.com captivating musical experience of the highest quality. “A hugely enjoyable survey of American works.” Bravo!” — ClassicsToday.com — Newark Star-Ledger