February 20 - 22, 2020 - music.depaul.edu

February 20 - 22, 2020

College Band direCtors national assoCiation

north Central division ConferenCe

Holtschneider Performance Center 2330 North Halsted Street • Chicago

dePaul Wind ensemBle

Friday, February 21, 2020 • 8:30 PM

Dr. Erica Neidlinger, conductorMark Fisher, tromboneViktoria Vizin, mezzo soprano

Ronald Caltabiano, DMA, Dean

Mary Patricia Gannon Concert Hall2330 North Halsted Street • Chicago

Friday, February 21, 2020 • 8:30 PM Gannon Concert Hall

dePaul Wind ensemBleDr. Erica Neidlinger, conductorMark Fisher, tromboneViktoria Vizin, mezzo sopranoProgram

Kathryn Salfelder (b. 1987)Stylus Phantasticus (2012)

Gustav Holst (1874-1934)Hammersmith (1930)

Henri Tomasi (1901-1971); trans. MGyStg. Donald PattersonConcerto for Trombone (1956) I. Andante et Scherzo - Valse II. Nocturne III. Final - Tambourin

Mark Fisher, trombone

Joseph Schwantner (b. 1943)The Awakening Hour (2017)

James Stephenson (b. 1969)Symphony No. 2, “Voices” (2016) I. Of Passion II. Shouts and Murmurs III. Voices of One

Viktoria Vizin, mezzo soprano

DePaul WinD ensemble • February 21, 2020

Dr. Erica J. Neidlinger is Associate Professor and wind conductor at DePaul University. Additional responsibilities include teaching conducting and wind history/repertoire courses. Dr. Neidlinger’s conducting experiences are broad, ranging from chamber ensembles, contemporary ensembles, symphonic bands, and wind ensembles. She has conducted perfomances across the United States and in Europe, has traveled to Singapore and Canada as an ensemble adjudicator, and has been featured as a guest conductor and clinician in Riga, Latvia and Moscow, Russia. Presentations at international conferences include the World Association for Symphonic Bands and Ensembles and the Midwest International Band and Orchestra Clinic. She has conducted honor bands and presented at many conferences across the United States in addition to maintaining a highly active schedule as a clinician or ensembles visiting Chicago.

Before her position at DePaul, Dr. Neidlinger served on the faculty of the University of Nebraska at Omaha, where she conducted university concert ensembles and directed the marching band. She has been a member of the band and music education faculty at The Ohio State University and has also served as conductor of the Nebraska Wind Symphony. Neidlinger completed her doctoral degree at the University of Minnesota under the supervision of Professor Craig Kirchhoff. Her research applies Laban’s Effort Shape Theory to the expressive development of conductors.

Mason City, Iowa native Mark Fisher is Assistant Principal Trombonist with the Lyric Opera of Chicago and serves the Santa Fe Opera as Principal Trombone. Fisher has performed with virtually every major ensemble in Chicago and as substitute with many of the nation’s leading orchestras including the Chicago Symphony, Cleveland Orchestra, Detroit Symphony, Milwaukee Symphony, Minnesota Orchestra, St. Louis Symphony and the San Francisco Symphony. Also an accomplished euphonium soloist, Fisher is past prize winner of numerous international solo competitions and his solo CD Eufish continues to meet with worldwide acclaim.

In addition to his long association with the award-winning Asbury Brass Quintet, Fisher is the founder and director of the Chicago Trombone Consort, one of the world’s leading trombone ensembles. Fisher is a frequent performer with the Chicago Chamber Musicians and the Santa Fe Chamber Music Festival.

BiograPhies

DePaul WinD ensemble • February 21, 2020biograPhies

Head of the Trombone Department at DePaul University, Fisher has presented recitals and masterclasses throughout the U.S., Europe, Canada and Japan. He has served on the faculties of Northwestern University, the University of Michigan, Roosevelt University, Northern Illinois University and the Banff International Festival. Mr. Fisher is an honors graduate of the University of Northern Iowa and the New England Conservatory of Music.

Viktoria Vizin has displayed the elocution and musicianship to lift her entrance to the top. While she has devoted a significant portion of her concert schedule to the great works of song literature and has performed this repertoire to international acclaim, she is perhaps best known for her work with major orchestras and opera companies in the world’s foremost music center’s such as the Metropolitan Opera NY, London ROH, Wiener StaatsOper, Budapest State Opera House, Teatro Alla Scala, London’s East End among others.

Her theatrical appearances include Carmen Disruption by Tony Award winner Simon Stephens (Almeida Theatre, Londons East End, UK), A Festive Comedy with Krisztian Gergye Dance Theater (Manhattan Dance Theater) and The Witch by Gertrud Andrasi and Viktoria Vizin (Kodaly Festival, Hungary).

Viktoria has appeared in numerous concert halls such as Carnegie Hall, Dorothy Chandler Concert Hall, McAninch Arts Center, Opera i Rebild, Franz Liszt Academy of Music, Romanian Athenaeum, Roy Thomson Hall and Palace of Arts.

Her live broadcasts contain Vlaamse Opera - Carmen, Metropolitan Opera Rigoletto, Hungarian State Opera - Hypolite et Aricie, Così fan tutte, Carmen, Palace of Arts - La Damnation de Faust, Hercules, Messiah, Incoronazione di Poppea, BBC (ROH) - Carmen, Hungarian TV - Mozart Requiem, Teatro Massimo - Götterdämmerung.


Kathryn Salfelder (b. 1987)Stylus Phantasticus (2012)Duration: 7 minutes 30 secondsStylus Phantasticus is inspired by Buxtehude’s Toccata in D minor, BuxWV 155. Composer and organist Dietrich Buxtehude (1637-1707) is best known today for his toccatas, preludes, and chorale settings. These works are staples of the organ repertoire, and frequently performed in both sacred church settings and concert recitals.

Toccata in D minor is an example of the North German “stylus phantasticus.” Seventeenth-century theorist Athanasius Kircher describes this style as “the most free and unrestrained method of composing; it is bound to nothing, neither to words nor to a melodic subject.” Toccatas composed in this tradition typically alternate between fantasy-like free sections, where the performer is expected to take many liberties in tempo and ornamentation, and stricter fugues and contrapuntal sections. Like its namesake, Stylus Phantasticus alternates between free and strict forms, allowing for players’ individual expression while also incorporating principles of Baroque counterpoint. Buxtehude’s Toccata in D minor can be heard throughout, prominently displayed in direct quotations, lurking in the shadows, disguised in florid ornamentation -- but always present in spirit.

Stylus Phantasticus was commissioned by the Western Michigan University Symphonic Band, Robert Spradling, conductor, in celebration of the School of Music Centennial.

Notes by Kathryn Salfelder

Gustav Holst (1874-1934)Hammersmith (1930)Duration: 13 minutesBritish composer Gustav Holst was one of the first serious composers to write for wind band. His First Suite in Eb (1909) and Second Suite in F (1911) are cornerstones in the repertoire. He studied the piano as a child but began playing trombone instead when during his adolescent years a nerve condition affected the use of his right hand. He later played trombone professionally in the Carl Rosa Opera Company Orchestra. Holst entered the Royal College of Music in 1893 where he met his lifelong friend and fellow composer, Ralph Vaughan Williams. The two were influenced by each other and shared a common interest in folksongs. Together, their early work for military bands became the backbone for the serious growth of the wind band medium.

Program notes

DePaul WinD ensemble • February 21, 2020Program notes

In 1905 Holst accepted a teaching post at the St. Paul’s Girls’ School in Hammersmith, London - a position he held for the rest of his life. Through his many years in Hammersmith, Holst observed the daily activities of the people and his natural surroundings. In 1930 when the British Broadcasting Corporation Military Band requested a piece, Hammersmith was the product. This prelude and scherzo is in an arch form consisting of prelude, scherzo, lento, scherzo, postlude. The scherzos depict the bustling people of Hammersmith, not the aristocracy, but the common folk with cockney accents. Both prelude and postlude suppose London’s river Thames rolling by, oblivious to the activity on its banks. The river is patient and unconcerned, to such degree that the postlude ends without cadence - it is simply unfinished.

While the Suites for band were intended for amateur musicians, Holst intended Hammersmith for professional musicians. The BBC Military Band consisted of London’s best players. Although the ensemble rehearsed the piece, it was not premiered due to a long wait before a public concert. Anxious to premiere the piece, Holst transcribed the work and in 1931 the BBC Orchestra premiered Hammersmith instead. In 1932 Edwin Franko Goldman (eager to bring serious repertoire to the concert band) contacted Holst and asked to premiere Hammersmith at the American Bandmasters’ Association convention in Washington D.C. The piece was to be performed by the U.S. Marine Band with Holst conducting. Unfortunately, Holst fell ill and the premiere took place, but he was not present. Hammersmith was not performed again until 1954 (20 years after Holst passed) when Robert Cantrick and the Kiltie Band of the Carnegie Institute of Technology in Pittsburgh, Pennsylvania gave what Cantrick and the BBC at the time thought was the world premiere of the band version. After this performance, Hammersmith finally found its place in wind band repertoire. Perhaps in the 1930s it was too far ahead of its time – a mature work for a medium that had not yet matured enough to welcome it.

Notes by Matthew Sadowski

Henri Tomasi (1901-1971); trans. MGyStg. Donald PattersonConcerto for Trombone (1956)Duration: 18 minutesThe son of an amateur musician, French composer Henri Tomasi began studying music theory at age five. Two years later he entered the Conservatoire du Musique de Marseille and went on to win first prize for music theory and piano. As a young teenager Tomasi had dreams of becoming a sailor and was humiliated when his father made him perform


for wealthy families. When his entrance in to the Paris Conservatory was delayed by World War I, Tomasi earned a living performing in varied settings such as restaurants, hotels, and movie houses. Through his work on the keyboard and the need to improvise, he developed an aptitude for composition. In 1921 he was able to enter the Paris Conservatory. His first composition, a wind quintet, won the 1925 Prix Halphen (named after the French composer Fernand Halphen). Also a conductor, Tomasi served as the music director of the Radio Colonial Orchestra in French Indochina from 1930 to 1935. Additionally, along with his contemporaries Darius Milhaud, Sergei Prokofiev, Arthur Honegger, and Francis Poulenc, he was a founder of the contemporary music group “Triton.” In 1939 Tomasi was drafted into the French Army and became the band conductor at the Villefranche sur Mer fort, then took the position of director at the Orchestre Nationale in Marseille after his discharge in 1940. For the remainder of his life he was well known throughout Europe because of his many guest-conducting appearances.

Like his French contemporaries, Tomasi’s music is very colorful. While he composed concerti for violin and viola, one can assume he preferred composing for wind instruments since the majority of his concerti are written for them. Tomasi began composing his Trombone Concerto in 1956 for the Paris Conservatory as a competition piece. The concerto consists of three movements and explores the technical aspects of the trombone as well as its range of expression in terms of color and diversity of styles. The first movement, Andante et Scherzo – Valse, demands a wide range of expression from the soloist and is set in a type of dialogue with the orchestra (band) and evokes a rather “cirque du soleil” spirit from within the character of the music. The second movement, Nocturne, begins with a dreamlike and more introspective melody, as though one might be wondering through the city streets alone before coming upon certain nightclub scenes. The movement then enters into two different and rather short blues sections before returning to the opening calm and introspective muted melody to close the movement. The final movement, Tambourin, is an energetic and brilliant finish that is reflective of the bustling life one might experience in the streets of Paris.

Notes by the United States Marine Band


Joseph Schwantner (b. 1943)The Awakening Hour (2017)Duration: 6 minutesThe Awakening Hour was written to honor my friend Professor Jeffrey Renshaw and his retirement from the University of Connecticut. The title is drawn from Thoreau’s Walden: “The morning, which is the most memorable season of the year, is the awakening hour.” As Thoreau remarks, “The morning is when I am awake and there is a dawn in me.” The vibrant “awakening” of the day’s first light emerging from the hills near my home in southern New Hampshire, was a continual source of inspiration for the music.

Notes by Joseph Schwantner

James Stephenson (b. 1969)Symphony No. 2, “Voices” (2016)Duration: 20 minutes(Editor’s note – from the composer himself):For two years, the program notes further below (below the dashes) were what remained public. Recently, as I started feeling personally comfortable with it, I began sharing the original impetus for this symphony, which was):

On April 23, 2016, my mother, Shirley S. Stephenson, passed away, at the age of 74. It was the first time anyone that close to me had died, and I honestly didn’t know how to respond. As this new piece – the symphony – was the next major work on my plate, I thought the music would come pouring forth, as one would imagine in the movies, or in a novel.

However, the opposite happened, and I was stuck, not knowing how to cope, and not knowing what to write.

Eventually, after a month or so, I sat at the piano, and pounded a low Eb octave, followed by an anguished chord answer. I did this three times, with three new response-chords, essentially recreating how I felt. This became the opening of the symphony, with emphasis on the bass trombone, who gets the loudest low Eb.

I vowed I wouldn’t return to Eb (major) until the end of the piece, thus setting forth a compositional and emotional goal all at once: an Eb to Eb sustaining of long-term tension, technically speaking, and the final arrival at Eb major (letter I, 3rd movement) being a cathartic and powerful personal moment, when I finally would come to terms with the loss of my mother.

The voice in the piece is that of my mother, an untrained alto, which is why I ask for it without vibrato. In the end, she finally sings one last time, conveying to me that “all will be ok”.


I think it is the most difficult times we endure that force us, inspire us, to dig deeper than we could ever imagine. On the one hand, I am, of course, deeply saddened by the loss of my mother; but on the other, I will always have this piece – which is the most personal to me – to in essence keep her alive in my heart. I always tear up at letter I. Always. But they are tears of joy and treasured memories of 74 years with my mother.(Jim Stephenson; October, 2018) The original published program notes, were as follows below, because I was not in an emotional state where I was ready to talk about such personal matters, as shared above.———Recently, I was awaiting an international flight, when I heard the distinct sound of laughter coming from behind me. Because I could not see the people laughing, it occurred to me that it was a universal language of happiness; one which cannot evoke any judgment based on racial, religious, gender, social, or any other type of prejudice. I decided to not turn around, but rather to enjoy the laughter for what it was. It was this decidedly delightful sound of the human voice that inspired my 2nd symphony for wind ensemble.

Voices. They come in so many forms. Some high, some low. Extremely loud, or extremely soft. Some are menacing, or angelic. A voice is completely unique to each individual, and instantly recognizable to a close friend or relative. As a verb, it is used to express or vocalize an opinion. Used together, voices can express opposition, or unification. It occurred to me that all of these and more can be represented within the scope of a wind ensemble. The symphony No. 2 is an exploration of as many voices as I could formalize, resulting in a kind of concerto for wind ensemble. The culmination of the symphony is one of a unified voice, bringing together all of the different “cultures” and “individual voices” of the wind ensemble to express an amassed vision of hope and love; a vision I believe to be shared throughout all the world, yet disrupted continually by misguided and empowered individuals. I could think of no better messenger for such a work than the US “President’s Own” Marine Band – the commissioners of the work – who not only stand among the best musicians of the world, but also represent a country based on the principles of all-inclusiveness and celebrated diversity. It is because of this that no text is used for the mezzo-soprano voice used in this symphony. Instead, the singing voice is another instrument in the ensemble, joining in, or emerging from, the surrounding textures.

I would like to personally thank Lieutenant Colonel Jason K. Fettig for his invitation to compose such a significant work, and also the members of the band, many of whom I’m honored to call friends, for their remarkable musical gifts and dedication to our country.

Notes by Jim Stephenson, September 2016


PICCOLODominic DagostinoErin KeppnerEric Leise

FLUTEJustin Brown-GnarraDominic DagostinoAnatolia Evarkiou-KakuErin KeppnerMin Ha KimEric Leise

OBOEMeghan AndreachiBecca DoraKyung Yeon HongMatt Sampey

ENGLISH HORNBecca DoraKyung Yeon Hong

E-FLAT CLARINETAlex DergalDerek Novak

CLARINETErick AlvarezAlex DergalMelissa FrischSachina HoboSeok Hee JangElizabeth KapitaniukGilwoo KimDerek NovakJenna Pizer

ALTO CLARINETJoe Sanchez

BASS CLARINETErick AlvarezJoe Sanchez

Personnel

BASSOONRandal DennlerCarlos RuizMarty Wells

CONTRABASSOONMarty Wells

SOPRANO SAXOPHONERichard Brasseale*

ALTO SAXOPHONEFelicity ColeRichard Brasseale*

TENOR SAXOPHONEGordon Gest

BARITONE SAXOPHONEAdam Briggs*

TRUMPETPayton BorichMark HaleValerie KolbAidan LeiningerErin Marc-AureleHailey MenkhusRobert ObrochtaKatie Raney

HORNAbby BlackFernando ChapaMomo HasselbringMelody LinAllison WebbEmily Whittaker

TROMBONEZane BoothbyAlex KruzelDane MagruderNick MihalichCaleb Slabaugh

BASS TROMBONETerrell BoykinBrian Entwistle

EUPHONIUMZane BoothbySascha BurckhardtAlex KruzelCaleb Slabaugh

TUBARiley LindseySerena Voltz

PIANO/CELESTEEthan Valentin

BASSNicholas DeLaurentisWesley Jones

HARPLillian Lau*

TIMPANISam Johnson-Vrooman

PERCUSSIONJoe BrickerYi-Mei CiouThaddeus ChungJeremy ReutebuchLain SkowGeorge Tantchev

*Denotes guest


Ronald Caltabiano, DeanKatherine Brucher, Associate Dean for Academic AffairsBen Polancich, Senior Director of Business OperationHarry Silverstein, Chair, Department of PerformanceJacqueline Kelly-McHale, Chair, Department of Musical Studies

Mary Arendt, Coordinator of Career Services, Alumni EngagementSusanne Baker, Director, Community Music Division Ross Beacraft, Director of AdmissionsGenevieve Beaulieu, Coordinator of Performance & Instrumental Library Ashley Beech, Performance Coordinator, Community Music DivisionAdam Briggs, Business Coordinator, Community Music DivisionBrian Gier, Technology ManagerDaniel Glynn, Educational Programs Coordinator, Community Music DivisionJanice Hay, Director of Marketing & Communications Heidi Hewitt, Concert ManagerGiovanna Jacques, Assistant Director of AdmissionsAidan Kranz, Facilities CoordinatorKari Lindquist, Coordinator of Marketing, Communications & Engagement,

Community Music DivisionMichael Sportiello, Technical DirectorLaura Swierzbin, Box Office ManagerAmy Weatherford, Assistant Director of AdvisingSarah Wells Kaufman, Assistant Director of Academic ServicesAubrie Willaert, Director of DevelopmentMara Yurasek, Executive Assistant to the Dean

sChool of musiC administration & staff


PERFORMANCEJeremy Attanaseo, BassMarta Aznavoorian, Chamber Music Stephen Balderston, Cello Brandi Berry, Chamber MusicAlban “Kit” Bridges, Vocal Studies and

CoachAnn Marie Brink, Viola William Buchman, BassoonSarah Bullen, HarpKeith Buncke, BassoonStephen Burns, Trumpet Nicole Cabell, Voice Wagner Campos, Clarinet Oto Carrillo, HornDavid Cohen, TrumpetCliff Colnot, Director of Orchestral

Activities, DePaul Symphony Orchestra, DePaul Wind Ensemble

Floyd Cooley, TubaJulie DeRoche, Clarinet Ian Ding, PercussionEric Esparza, Director of Choral

Activities, Vocal Area CoordinatorMark Fisher, TromboneMichael Green, Percussion Area

Coordinator, PercussionSam Handley, VoiceAlexander Hanna, BassDavid Herbert, PercussionJulian Hersh, Chamber MusicLinda Hirt, Vocal Diction and CoachStefán Höskuldsson, FluteMichael Hovnanian, Orchestral RepertoireNicholas Hutchinson, DictionAlyce Johnson, Flute Kimberly Jones, VoiceRobert Kassinger, BassNeil Kimel, Horn Alex Klein, Oboe Paula Kosower, String PedagogyMichael Kozakis, PercussionWei-Ting Kuo, Viola

sChool of musiC faCulty

Tage Larsen, TrumpetI-Hao Lee, Violin Michael Lewanski, Concert Orchestra,

Ensemble 20+Paul Lowry, TrumpetAmanda Majeski, VoiceMiles Maner, BassoonMark Maxwell, Guitar Area

Coordinator, GuitarEric Millstein, PercussionJason Moy, Baroque Ensemble,

Chamber Music, HarpsichordErica Neidlinger, Wind SymphonyNicholas Phan, Voice Natalie Pilla, Chamber MusicScott Ramsay, VoiceAvo Randruut, African Music EnsembleJeff Ray, VoiceJeremy Ruthrauff, Saxophone Ann Setzer, ViolinJenny Shin, FluteHarry Silverstein, Director, DePaul

Opera TheatreJames Smelser, Horn Mark Sparks, Flute Kyomi Sugimura, Piano Janet Sung, Strings Area Coordinator,

Violin Stacey Tappan, VoiceBrant Taylor, Cello Scott Tegge, Chamber Music, TubaAddison Teng, String PedagogyGeorge Vatchnadze, Keyboard Area

Coordinator, PianoAnna Velzo, OboeCharles Vernon, TromboneViktoria Vizin, VoiceJill Williamson, Director of

Orchestral Studies, Winds and Brass Area Coordinator, Chamber Music

Stephen Williamson, ClarinetCynthia Yeh, Percussion

DePaul WinD ensemble • February 21, 2020Faculty

MUSICIANSHIP/COMPOSITIONChristopher Jones, Director of

Musicianship and CompositionAmanda Blair MacDonald, Alexander

Technique Susanne Baker, Group Piano Coordinator,

MusicianshipNatasha Bogojevich, MusicianshipKatherine Brucher, Director of BA in

Music Program, World Music Coordinator, Musicianship

Joe Clark, MusicianshipNatalie Grana Douglass, MusicianshipCathy Ann Elias, MusicianshipGeoff Farina, MusicianshipFredrick Gifford, Musicianship and

CompositionDavid Grant, MusicianshipJae Hwang-Hoesley, MusicianshipPatrick Kaufman, Liberal StudiesJeffrey Kowalkowski, Musicianship Christopher Lemons, MusicianshipOsnat Netzer, Musicianship and

CompositionBradley Robin, Musicianship Junichi Sato, MusicianshipMichael Staron, MusicianshipSarah Wells Kaufman, Liberal StudiesMischa Zupko, Musicanship

PERFORMING ARTS MANAGEMENTAlan Salzenstein, Director of

Performing Arts ManagementHeather BoehmRobert DiFazioJeff HandleyShawn Murphy Nicolas Sincaglia Melissa Snoza NganErik Soderstrom

JAZZ STUDIESDana Hall, Director of Jazz Studies, Jazz

Percussion and World Music, Jazz Workshop

Neal Alger, Jazz Guitar, Jazz EssentialsScott Burns, Jazz SaxophoneDennis Carroll, Jazz BassTimothy Coffman, Jazz TromboneTyphanie Coller, Jazz Voice, Jazz Voice

EnsembleScott Hesse, Jazz Guitar, Jazz HistoryJeremy Kahn, Jazz PianoBob Lark, Jazz Trumpet, Jazz EnsembleThomas Matta, Jazz Arranging and

Composition, Jazz Bass Trombone, Jazz Orchestra

Chad McCullough, Jazz TrumpetBob Palmieri, Jazz GuitarJim Trompeter, Jazz Piano

SOUND RECORDING TECHNOLOGYThomas Miller, Director of Sound

Recording TechnologyMary MazurekJon SmithDaniel Steinman

MUSIC EDUCATIONJacqueline Kelly-McHale, Chair,

Department of Musical Studies, Director of Music Education

Krystina AndreoliMeeghan Binder Meret Bitticks Keith Bjorklund Sara K. Jones Tina Laughlin Frank Lestina Stevi Marks Ben McMunn David SandsNora ShafferHanna SterbaElisabeth Van SchoonhovenRenée Vogen


tiCkets and Patron serviCes

We hope you enjoy each and every concert experience you share with us at the Holtschneider Performance Center (HPC). Please share your experiences when visiting our concert and recital halls, and it’s always our pleasure to answer any questions or concerns you may have when visiting or planning your visit. Please don’t hesitate to contact us via phone at 773-325-5200, in person, or at [email protected].

HPC Box Office Information2330 North Halsted Street | Monday–Friday | 10 AM–3 PM*

*Seasonal hours apply, but we are always open 90 minutes prior to concert start times. Accessibility: HPC is dedicated to providing access for all patrons. We ask that you please contact the HPC Box Office at least two weeks prior to your performance date to request accessibility services.

Cameras and Recorders: The taking of photographs or the recording of concerts held at HPC is strictly prohibited. By attending this concert, you consent to be photographed, filmed and/or otherwise recorded. Your entry constitutes your consent to such and to any use, in any and all media throughout the universe in perpetuity, of your appearance, voice and name for any purpose whatsoever in connection with HPC and DePaul University School of Music.

Concert Dress: At any given concert, you will observe some concertgoers dressed up and others dressed more casually. Many patrons wear business attire or casual business attire. We encourage you to wear whatever makes you feel most comfortable.

Food and Beverage: The HPC Café, located next to the HPC Box Office, is open for some performances, offering limited snack and beverage items. While drinks, with lids, are allowed in performance spaces, food is never allowed.

Fire Notice: The exits indicated by a red light nearest your seat is the shortest route to the lobby and then outside to the street. In the event of fire or any emergency, please do not run. Walk to that exit.

Late Seating: Late seating breaks usually occur after the first piece on the program or at intermission in order to minimize disturbances to other audience members and those performing on stage. Late patrons will be seated at appropriate breaks at the discretion of the house management staff.

No Smoking: All public spaces in HPC are smoke-free.

Phones and Paging Devices: All electronic devices—including cellular phones, pagers and wristwatch alarms—should be turned off while in any concert or recital hall.

Website: For information about HPC, the DePaul University School of Music and its upcoming concerts or events, please visit go.depaul.edu/musicevents.

DePaul University School of MusicAdvisory Board

EXECUTIVE COUNCILAllan Bulley

Shelley FarleyMary Patricia Gannon

Sasha GerritsonColleen Mayes

MEMBERSCraig AndersonJanai Brugger

Samantha CohenRobert D’Addario

Orbert DavisDonald DeRocheGraham FuguittDavid HarpestGeoffrey HirtCary Jacobs

John KohlmeierCarlotta Lucchesi

Mary MarshallJames ShaddleElizabeth WareCathy Williams

Rich Daniels, ChairMark Mroz, Co-Chair

DePaul University School of MusicEmeritus Board

Russell BachPatricia EwersVictor Faraci

Scott GolinkinSid Kleinman

Jacqueline KrumpSamuel MagadFlorence Miller

Anthony PelusoNancy Petrillo

GALA COMMITTEECarlotta Lucchesi, Co-Chair

Mark Mroz, Co-ChairSamantha CohenRobert D’AddarioGraham Fuguitt

Geoffrey HirtAubrie Willaert, Staff Liaison

ALUMNI ENGAGEMENT COMMITTEEDavid Harpest, Co-ChairCary Jacobs, Co-Chair

Janai BruggerMary MarshallElizabeth Ware

Mary Arendt, Staff Liaison

James QuinnEdward Ward

Mimi WishWilliam Young


annual sPring gala

PLEASE SAVE THE DATE FOR THE

DePaul University School of Music Annual Spring Gala

THE EVENING OF

Saturday, May 16, 2020

A Celebration of IrelandFEATURING

Anthony Kearns of The Irish TenorsDePaul Symphony Orchestra with Maestro Cliff Colnot

AND THE PRESENTATION OF THE 2020 DePaul Pro Musica Award to Mary Patricia Gannon

Join us for this festive evening—the School’s only fundraiser—celebrating the arts and culture of Ireland and our 2020 Pro Musica Awardee. We look forward to welcoming you to this celebratory evening with all proceeds benefitting the students of DePaul School of Music.

For more information about the evening, please contact: Director of Development Aubrie Willaert at 312.362.8585 or [email protected]

The DePaul University School of Music is proud to recognize the following annual donors

BENEFACTOR CIRCLE($25,000+)AnonymousBulley* & AndrewsLarry Johnson

UNDERWRITER CIRCLE($15,000+)Antunovich Associates

LEADERSHIP CIRCLE($10,000+)Samantha* and Joel CohenRenée and Lester CrownGraham* and Margaret Fuguitt

PARTNER CIRCLE($5,000+)AnonymousArizona Community FoundationCheryl and Sunil CutinhoRobert* and Gina D’AddarioDuane Morris LLPAbby and Donald Funk

PATRON CIRCLE($2,500+)Craig* and Kathryn AndersonDr. Ronald CaltabianoDaniel CorriganJulie and Raymond DalyStephanie and John Flynn

MEMBERSHIP CIRCLE($1,000+)Frances AndersonAnonymousChristina and Thomas BerryValerie Chang and Ian JacobsDolores CurnsPatricia and Bartley DanielsenJosephine and Gabriel EstebanVictor* and Barbara FaraciBarbara GiambalvoJudith and William GreffinJean and Mark Halm

Kay and Fred KrehbielPatrick G. and Shirley W. Ryan Foundation

Geoffrey* and Linda Hirt

Mary Patricia Gannon*Sasha Gerritson±* and Eugene JarvisHoward L. Gottlieb Foundation

Jack+ and Donna GreenbergCary* and Amy JacobsSamuel* and Miriam MagadLaura and Christopher MlynarczykSusan and Robert MorrisonElaine and Allan Muchin

Erika and Dietrich GrossCarlotta* and Ronald LucchesiMary Marshall*Colleen* and Edward MayesIrene McDunn

David Harpest*Kathy and Young ImSid Kleinman*Dr. Jacqueline Krump*Eun Jin LeeKay and James MabieJohn Markese and Marilyn KellyFrancois MillardMark Mroz*Annemarie NeumeierRaymond Niwa

Liz StiffelDr. Marylou Witz

John Wirtz Estate

Florence Miller*Rosemary Schnell

Peter and Mimi O’BrienGeorge+ and Tanya RuffJessica and Steve SarowitzJames Shaddle*Elizabeth Ware* and Wally ShahCathy* and Justin Williams

Dr. Edward S. Orzac FoundationThe Honorable John Simon+ and Millie RosenbloomKathy and James Zartman

Dr. Linda O’BannonCharles PriceTom RaponiFather RyboltRebecca and Jeff ScheweMaureen and Robert SchuberthDr. Margaret SmollenElizabeth Soete and Raymond NarducyJeanette and Chester Wilczak

±DePaul University Trustee+DePaul University Life Trustee*School of Music Advisory Board or Emeritus Board Member As of September 30, 2019

You can make a difference by providing critical scholarship funding and other opportunities to the next generation of musicians. Make a gift

of any size in order to guarantee exceptional art experiences for years

to come.

Visit give.depaul.edu/music today.

For more information, please contact:Aubrie Willaert, Director of Development

DePaul University School of [email protected]

(312) 362-8585

uPComing events


Ensembles In Residence

April 5 • 3:00 p.m.Allen Recital HallChamber Music Chicago

April 15 • 8:00 p.m.Gannon Concert HallEnsemble Dal Niente

May 31 • 7:00 p.m.Gannon Concert HallOistrakh Symphony

DePaul University School of Music • Holtschneider Performance Center

2330 North Halsted Street • Chicago

Gannon Concert Hall • Allen Recital Hall • Brennan Recital Hall • HPC First Floor

Dempsey Corboy Jazz Hall • HPC Second Floor

music.depaul.edu • 773.325.5200

For ticketing information and a complete list of concerts visit: go.depaul.edu/musicevents.

HPC Chamber Series

April 26 • 2:00 p.m.Gannon Concert HallAmerican Brass Quintet

School of Music

February 22 • 7:00 p.m.Allen Recital HallBaroque Ensemble

February 25 • 7:00 p.m.Allen Recital HallComposers Forum

February 29 • 8:00 p.m.Gannon Concert HallDePaul Choirs

Faculty Artist Series

February 23 • 2:00 p.m.Gannon Concert HallTyphanie Coller, jazz voice

February 24 & 25 • 8:00 p.m.Gannon Concert HallStephen Balderston, cello &George Vatchnadze, piano

February 27 • 7:00 p.m.Allen Recital HallJason J. Moy, harpsichord

804 West Belden AvenueChicago, IL 60614

773.325.7260music.depaul.edu

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February 20 - 22, 2020 - music.depaul.edu

Documents

Transcript of February 20 - 22, 2020 - music.depaul.edu