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25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> presents<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

David Katz music director<br />

25th Anniversary Celebration<br />

Carl Orff’s<br />

<strong>CARMINA</strong> <strong>BURANA</strong><br />

Sunday, June 5, 2011 at 7:30 pm — Orchestra Hall / Symphony Center — <strong>Chicago</strong><br />

CBA Chorus Naperville Chorus Young Naperville Singers<br />

Rebecca Patterson director Jeordano Martinez music director Angie Johnson artistic director<br />

25TH ANNIVERSARY CELEBRATION | 1


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

Welcome to a very special night for the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>. Twenty-five years<br />

ago this year, a group of talented musicians–who also happen to be very talented<br />

lawyers–conceived of the unique idea of starting a symphony orchestra within the<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>. Twenty-five years, scores of concerts and many recordings<br />

later, we are here to celebrate with the CBA Symphony Orchestra and its members<br />

as they reach this important milestone.<br />

<strong>The</strong> Orchestra, and its partner in the arts the CBA Symphony Chorus, which celebrates<br />

its fifth anniversary this year, provide an important artistic outlet for lawyers,<br />

judges, law professors and law students in <strong>Chicago</strong> who love the law, but not to the exclusion of their music.<br />

<strong>The</strong>se wonderful musicians rehearse week after week–in courtrooms and bar association meeting rooms–<br />

to feed their passion for music, and to provide us with remarkable performances.<br />

During my time as an Officer of the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>, I have met <strong>Bar</strong> Officers from cities literally<br />

all over the world. I have yet to learn of another <strong>Bar</strong> <strong>Association</strong> that can boast of having a symphony<br />

orchestra and chorus. A group of foreign <strong>Bar</strong> leaders joined us in <strong>Chicago</strong> for the CBA Symphony Orchestra’s<br />

twentieth anniversary concert five years ago, and when we see those leaders at conference to this day<br />

they remark about how amazed they were to see how talented the members of the CBA are. This past<br />

fall, when a delegation from the CBA visited Cuba to meet with lawyers, judges and law professors in<br />

Havana, we gave our hosts CDs recorded by the CBA Symphony Orchestra and the <strong>Bar</strong>risters’ Big Band<br />

as our thank you gifts.<br />

My heartfelt thanks and admiration go out to the members of the CBA Symphony Orchestra and Chorus,<br />

and I wish you a wonderful concert this evening. You are a big part of what makes the CBA so special.<br />

Bravo!<br />

Terri L. Mascherin<br />

President<br />

25TH ANNIVERSARY CELEBRATION | 3


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

4 | CBA SYMPHONY & CHORUS<br />

In Celebration of the 25 th Season of the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

Carl Orff<br />

Carmina Burana<br />

Cantiones profanæ cantoribus et choris<br />

cantandæ comitantibus instrumentis atque imaginibus magicis<br />

(Songs of Beuern: Secular songs for singers and choruses<br />

to be sung together with instruments and magic images)<br />

Conducted by David Katz<br />

<strong>Chicago</strong> <strong>Bar</strong> association Symphony Orchestra<br />

David Katz, Music Director<br />

<strong>Chicago</strong> <strong>Bar</strong> association Chorus<br />

Rebecca Patterson, Chorus Director<br />

<strong>The</strong> naperville Chorus<br />

Jeordano Martínez, Music Director<br />

Young naperville Singers<br />

Angie Johnson, Artistic Director<br />

Patrice michaels, Soprano<br />

ian mcEuen, Tenor<br />

Jacob Lassetter, <strong>Bar</strong>itone<br />

Symphony Center, <strong>Chicago</strong>, illinois<br />

June 5, 2011


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

YOU INSPIRE US.<br />

<strong>The</strong> intricacy of the music...the purity of the tone...<br />

the dedication to practice.<br />

<strong>Bar</strong>nes & Thornburg LLP is proud to celebrate<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

and Chorus’ Performance of Carmina Burana.<br />

You inspire us to be the best we can be.<br />

25TH ANNIVERSARY CELEBRATION | 5


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

Fortuna Imperatrix Mundi (Fortune, Empress of the World)<br />

1. O Fortuna (O Fortune) chorus<br />

2. Fortune Plango Vulnera (I lament the wounds that Fortune deals) chorus<br />

Part I Primo vere (In Spring)<br />

3. Veris Leta Facies (<strong>The</strong> joyous face of Spring) chorus<br />

4. Omnia Sol Temperat (All things are tempered by the Sun) Mr. Lassetter<br />

5. Ecce Gratum (Behold the welcome) chorus<br />

Uf dem Anger (In the Meadow)<br />

6. Tanz (Dance) orchestra<br />

7. Floret Silva (<strong>The</strong> forest flowers) chorus<br />

8. Chramer, gip die varwe mir (Monger, give me coloured paint) children’s chorus<br />

9a. Reie (Round Dance) orchestra<br />

9b. Swaz Hie Gat Umbe (<strong>The</strong>y who here go dancing around) chorus<br />

9c. Chume, chum, geselle min (Come, come, my dear companion) chorus<br />

9d. Swaz Hie Gat Umbe (<strong>The</strong>y who here go dancing around) chorus<br />

10. Were Diu Werlt Alle Min (If the whole world were but mine) chorus<br />

Part II In Taberna (In the Tavern)<br />

11. Estuans Interius (Seething inside) Mr. Lassetter<br />

12. Olim Lacus Colueram (Once I swam in lakes) Mr. McEuen, male chorus<br />

13. Ego Sum Abbas (I am the abbot of Cockaigne) Mr. Lassetter, male chorus<br />

14. In Taberna Quando Sumus (When we are in the tavern) male chorus<br />

Part III Cour d’amours (Court of Love)<br />

15. Amor Volat Undique (Love flies everywhere) Ms. Michaels, children’s chorus<br />

16. Dies Nox et Omnia (Day, night and everything) Mr. Lassetter<br />

17. Stetit Puella (<strong>The</strong>re stood a girl) Ms. Michaels<br />

18. Circa Mea Pectora (In my breast) Mr. Lassetter, chorus<br />

19. Si Puer Cum Puellula (If a boy with a girl) male chorus<br />

20. Veni, Veni, Venias (Come, come, pray come) chorus<br />

21. In Trutina (On the scales) Ms. Michaels<br />

22. Tempus Est Iocundum (Time to jest) Ms. Michaels, Mr. Lassetter, chorus, children’s chorus<br />

23. Dulcissime (Sweetest boy) Ms. Michaels<br />

Blanziflor et Helena (Blanchefleur and Helen)<br />

24. Ave Formosissima (Hail to the most lovely) chorus<br />

Fortuna Imperatrix Mundi (Fortune, Empress of the World)<br />

25. O Fortuna (O Fortune) chorus<br />

6 | CBA SYMPHONY & CHORUS


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

Eric Boyd<br />

Rebecca Burlingham<br />

Frank Cargle<br />

Arthur Carvajal<br />

Jon Duncan<br />

Alan Jedlicka<br />

Acknowledgements<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

25 th Anniversary Celebration Committee<br />

David Katz, Music Director<br />

Rebecca Patterson, Chorus Director<br />

Michael and Suzanne Poulos, Co-Chairs<br />

Thank you to<br />

Terrence M. Murphy, Executive Director of the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>, and the leadership of the <strong>Chicago</strong><br />

<strong>Bar</strong> <strong>Association</strong> over these many years for the vision to see how music can further the mission of<br />

the CBA and providing us the resources to turn that vision into reality.<br />

Emily Riojas, Tamra Drees, Linda Heacox, Sharon Nolan, David Beam, Sharon Stepan, and Shirley Dutton<br />

(retired) at the CBA for publicity, ticketing, logistics, and your enthusiastic help with all the things that<br />

make an orchestra and chorus possible.<br />

Jon Duncan, co-chairs, and volunteers who help weekly behind the scenes setting up our rehearsal<br />

and concert space and equipment.<br />

<strong>The</strong> Daley Center judges and staff who allow us to rehearse in their courtrooms.<br />

Bruce <strong>Bar</strong>ber and St. James Cathedral for providing our primary performance venue.<br />

John Vishneski for production of concert CD’s.<br />

Terrence Kennedy, Jr.<br />

Carolyn Kitty<br />

Nancy Klein<br />

Renee Roffle<br />

Deborah Solarski<br />

John Tangren<br />

Liisa Thomas<br />

Teri Firmiss Thompson<br />

John Vishneski<br />

Jennifer Widmer<br />

Gregory Zinkl<br />

Anthony Carvajal and DKE, LLC for their artwork on many CBASO posters and CD covers.<br />

James and Stefania Dion for videography, and Ryan Albrecht, Senyah Sound for audio recording.<br />

Chorus members Candace Davis, Alice Dolan, Martha Garcia, Marilou Gervacio, Carolyn Jones, Ruth<br />

Kaufman, Lucy Kennedy, Maureen Kennedy, Nancy Klein, Kathleen Loos, Patricia Mehler, Stephan<br />

Metzger, Bill Nichols, Allyn Rawling, Donna Weaver, and Margaret Wood, for work above and beyond<br />

the call of singing.<br />

25TH ANNIVERSARY CELEBRATION | 7


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

Founding Members from the Orchestra’s<br />

Debut Concert Performance<br />

<strong>The</strong>se individuals performing in Carmina Burana also performed in<br />

the debut concert of the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

on June 25, 1987 at the CBA Annual Dinner Meeting<br />

in the Drake Hotel:<br />

David Katz, Music Director Mark Hellner, trumpet<br />

Jerome Kaplan,<br />

oboe and English horn<br />

Tom Lichten, clarinet<br />

Blanche Manning, clarinet<br />

Katherine Erwin, bassoon<br />

Michael Poulos, trumpet<br />

Desiree Grode, violin<br />

Pat Bronte, violin<br />

Gail Margolis, violin<br />

Leslie Bertagnolli, violin<br />

Alexander Weaver, viola<br />

Bob Hodge, bass<br />

CBA Symphony Orchestra Co-Chairs<br />

1986-1987 Julia Nowicki, Susan Chernoff Huvard<br />

1987-1988 Susan Chernoff Huvard, Karen Boyaris<br />

1988-1989 Leslie Bertagnolli, Mark Hellner<br />

1989-1990 Leslie Bertagnolli, Mark Hellner<br />

1990-1991 Gail Margolis, Adam Walker<br />

1991-1992 Giff Zimmerman, Gail Margolis<br />

1992-1993 Todd Weiner, Mary Alred<br />

1993-1994 Mary Alred, Michael McVickar<br />

1994-1995 Mary Alred, Michael McVickar, Beth Lodal<br />

1995-1996 Beth Lodal, Michael Poulos, Peter Duda<br />

1996-1997 Michael Poulos, Ellen Douglass<br />

1997-1998 Michael Poulos, Ellen Douglass, James<br />

McMasters<br />

1998-1999 Ellen Douglass, James McMasters, John<br />

Vishneski<br />

1999-2000 James McMasters, John Vishneski, Karen <strong>Bar</strong>nes<br />

2000-2001 John Vishneski, Karen <strong>Bar</strong>nes, Jon Duncan<br />

2001-2002 Karen <strong>Bar</strong>nes, Jon Duncan, Mitchell Brumwell<br />

2002-2003 Jon Duncan, Mitchell Brumwell, Alexander<br />

Weaver<br />

2003-2004 Mitchell Brumwell, Alexander Weaver, Mary<br />

Callaghan<br />

2004-2005 Alexander Weaver, Mary Callaghan,<br />

Arthur Carvajal<br />

2005-2006 Mary Callaghan, Arthur Carvajal, Emily Chen<br />

2006-2007 Arthur Carvajal, Emily Chen, Heather Neaveill<br />

2007-2008 Emily Chen, Heather Neaveill, Gregory Zinkl<br />

2008-2009 Emily Chen, Gregory Zinkl, John Tangren<br />

2009-2010 Gregory Zinkl, John Tangren, Alan Jedlicka<br />

2010-2011 John Tangren, Alan Jedlicka, Liisa Thomas<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Chorus Co-Chairs<br />

2006-2007 Jennifer Widmer, Mark Burkland<br />

2007-2008 Jennifer Widmer, Terrence Kennedy, Jr.<br />

2008-2009 Jennifer Widmer, Terrence Kennedy, Jr.<br />

2009-2010 Jennifer Widmer, Terrence Kennedy, Jr.<br />

2010-2011 Jennifer Widmer, Terrence Kennedy, Jr.,<br />

Rebecca Burlingham<br />

8 | CBA SYMPHONY & CHORUS<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> association Symphony Orchestra and Chorus<br />

David Katz, music director / Rebecca Patterson, chorus director<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> association Symphony Orchestra is <strong>Chicago</strong>land’s unique<br />

orchestra of attorneys, judges and law students. Founded in 1986 by two lawyercellists<br />

who shared a stand at a Do-It-Yourself Messiah performance conducted by<br />

Margaret Hillis, it was she who recommended David Katz, her Elgin Symphony<br />

associate conductor, to be the group’s music director. Growing from just a handful<br />

of musicians at its first rehearsal, many of whom still play with the ensemble, the<br />

group now regularly fields an orchestra of 75 musicians or more, virtually all affiliated<br />

with <strong>Chicago</strong>’s legal community.<br />

Among notable performances in the orchestra’s long history are the first performances<br />

anywhere of Gilbert & Sullivan’s courthouse operetta, Trial By Jury, in which<br />

the entire cast—soloists, chorus and orchestra—was made up of legal professionals<br />

and performed in a working courtroom. <strong>The</strong> CBASO has collaborated with such<br />

notable soloists as Grammy Award winners William Warfield (Copland’s Lincoln<br />

Portrait) Robert Black (Glazunov’s Saxophone Concerto), <strong>Chicago</strong> Symphony principal<br />

tubist Gene Pokorny (Tubby the Tuba), and former Lyric Opera concertmaster, Henry<br />

Criz (Tchaikovsky’s Violin Concerto).<br />

<strong>The</strong> ensemble has performed at many public events for the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>,<br />

its prime sponsor, including annual Law Day observances on Daley Plaza, the Lincoln<br />

Bicentennial Celebration at Navy Pier with noted author Doris Kearns Goodwin, and<br />

the recent gala for retiring U.S. Supreme Court Justice John Paul Stevens.<br />

To mark its 20th anniversary in 2006, the CBASO presented Beethoven’s Symphony<br />

No. 9 at Navy Pier on the final evening of the convention of World <strong>Bar</strong> <strong>Association</strong>s.<br />

<strong>The</strong> choral ensemble formed for that performance became the CBa Chorus, now<br />

celebrating its fifth anniversary. Under the direction of Rebecca Patterson, the Chorus<br />

has performed many times with the CBASO in repertoire ranging from Mendelssohn’s<br />

Elijah and Haydn’s Creation to the Faure Requiem and Poulenc Gloria.<br />

<strong>The</strong> CBASO and Chorus join together next season for an evening of opera choruses.<br />

Additional repertoire for the 2011-12 season includes Respighi’s Pines of Rome,<br />

Schubert’s Unfinished Symphony, Gershwin’s Concerto in F and the Schumann Piano<br />

Concerto, all presented at the CBASO’s performance home, St. James Episcopal<br />

Cathedral, Wabash at Huron, <strong>Chicago</strong>.<br />

www.cbasymphonyandchorus.blogspot.com<br />

membership information<br />

Membership in the <strong>Chicago</strong> <strong>Bar</strong> association Symphony Orchestra is open to<br />

qualified CBA members, law students, and other interested musicians in the legal<br />

community. Openings may be limited, but please inquire. For additional information,<br />

contact the co-chairs at cbaso.cochairs@gmail.com.<br />

<strong>Chicago</strong> <strong>Bar</strong> association Chorus membership is open to all CBA members, law<br />

students, and other interested singers. No audition is required, although prior<br />

choral experience is preferred. For additional information, contact the chorus cochairs,<br />

Jennifer Widmer (jennifer.widmer@sbcglobal.net) or Rebecca Burlingham<br />

(rburlingham@atg.state.il.us). For more information visit the CBA Chorus web page.<br />

www.chicagobar.org/chorus


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

<strong>The</strong> NAPerville ChOruS<br />

JEORDANO MARTíNEZ, Music Director<br />

<strong>The</strong> history of the Naperville Chorus is about music, centuries-old choral works of timeless<br />

beauty by Bach, Beethoven, Haydn, Handel, Schubert, Strauss; reggae-style Christmas<br />

carols; the requiem, or Mass for the Dead, Mozart left unfinished at his own death; the Motet<br />

composed to honor Naperville native Commander Daniel Shanower, killed in the 9/11 attack<br />

on the Pentagon; modern masterpieces evoking despair and delight…and so much more.<br />

<strong>The</strong> history of the Chorus is also about people. In the 1960’s Dr. Paul Warren Allen of the North<br />

Central College Music Department melded the vocal talents of students, college personnel,<br />

and community members into a forerunner of the Naperville Chorus. <strong>The</strong> NCC-Community<br />

Chorus flourished and performed contemporary and traditional choral works until 1971,<br />

when financial cutbacks at the college eliminated the Music Department.<br />

In 1976 Mr. Robert O. Jaynes revived the concept of a community-wide chorus for Naperville,<br />

anchored by singers recruited to perform with the Municipal Band at the City’s celebration<br />

of the U.S. Bicentennial. Reincarnated as the Naperville Community Chorus, the group presented<br />

concerts semi-annually, and soon added appearances at the downtown Christmas<br />

tree lighting ceremony and at summer band concerts.<br />

With the retirement of Mr. Jaynes in 1989, the Chorus entered a new era. Professor Jeordano<br />

Martínez, of the restored Music Department at North Central College, accepted the<br />

Chorus Directorship, re-establishing the musical link between residents and the college.<br />

In the spring of 1992, the Chorus dropped “Community” from its name in recognition of<br />

the breadth of its membership.<br />

Under the leadership of Professor Martínez, the Chorus has diversified. <strong>The</strong> Chamber Singers,<br />

formerly under Assistant Director Mr. Jon Warfel, and now directed by Ross Berkley,<br />

are available for appearances at community, civic and business events where a small group<br />

is called for. Where massive volume is artistically appropriate, the Chorus has combined<br />

performances with other area choruses and the DuPage Symphony Orchestra.<br />

<strong>The</strong> Chorus toured Central Europe in 1999 and Spain and Portugal in 2001. <strong>The</strong> Chorus is<br />

expanding its repertoire, ranging from haunting medieval chants to music by Andrew Lloyd-<br />

Webber. <strong>The</strong> Chorus looks forward to continuing and expanding its tradition of offering fine<br />

choral music to the citizens of Naperville. <strong>The</strong> support of the Illinois Arts Council, the Target<br />

Foundation and individual benefactors will strengthen the future as they have the past.<br />

YOuNg NAPerville SiNgerS<br />

ANGIE JOHNSON, Artistic Director<br />

MeMBerShiP iNFOrMATiON<br />

<strong>The</strong> Naperville Chorus will begin<br />

rehearsals on Monday September<br />

12, 2011 for our Fall 2011 season. To<br />

celebrate the 150th anniversary of<br />

North Central College, the Chorus<br />

will present Messiah, by George Frideric<br />

Handel. If you are interested in<br />

joining the chorus, come to North<br />

Central College Wentz Concert Hall<br />

and Fine Arts Center between 7:00<br />

and 7:30 on September 12th. We are<br />

always looking for new singers. For<br />

more information, call 630-369-2609<br />

or check our website. www.NapervilleChorus.org<br />

As Young Naperville Singers ends its 27th season of song, the choir celebrates over two decades of excellence in choral music education.<br />

<strong>The</strong> mission of Young Naperville Singers is to provide a choral experience for every child who demonstrates basic music ability<br />

and a desire to sing.<br />

Young Naperville Singers (YNS) is the premier children’s choir in Naperville. <strong>The</strong> choir consists of five ability based ensembles and<br />

members range in age from six to seventeen. Our satellite choir in Oswego, the Young Fox Valley Singers, was founded in 2007 and<br />

because of its success, has expanded to two ability based choirs this season. Membership in Young Naperville Singers and Young<br />

Fox Valley Singers totals over 275 singers.<br />

YNS has performed with the American Boychoir; participated in the Des Moines International Children’s Choir Festival, the Niagara<br />

Falls International Festival, the “Sing a Mile High Children’s Choir Festival” (Colorado), the Crescent City Choral Festival (New<br />

Orleans), the Pacific Rim International Chorus Festival, (HI); enjoyed performance collaborations with professional guest artists Judy<br />

Collins, David Benoit and Natalie MacMaster; and premiered commissioned works by many noted composers.<br />

In past seasons, the Young Naperville Singers were invited to sing at the Rotary International Centennial Convention, the American<br />

Choral Director’s <strong>Association</strong> Regional Convention, and performed at Carnegie Hall in New York. This July, 42 members will participate<br />

in the Coastal Sound International Choral Festival, Vancouver, BC, Canada.<br />

A priority for Young Naperville Singers is involvement with the Naperville community. As an outreach program to local schools,<br />

Young Naperville Singers hosts an annual Boys Power Sing, an annual Girls Diva Day!, Boys OUT LOUD singing and drumming<br />

nights, invitational choir festivals and more. Membership is by audition and is open to all children regardless of race, gender or<br />

physical ability.<br />

10 | CBA SYMPHONY & CHORUS


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

25TH ANNIVERSARY CELEBRATION | 11


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

12 | CBA SYMPHONY & CHORUS<br />

COmmEnTS<br />

By Phillip Huscher<br />

CARL ORFF<br />

Born July 10, 1895, Munich, Bavaria.<br />

Died March 29, 1982, Munich, Bavaria.<br />

Carmina burana<br />

Orff composed Carmina burana in 1935 to 1936.<br />

<strong>The</strong> work was first performed in a staged production<br />

at the Frankfurt Opera on June 8, 1937.<br />

<strong>The</strong> score calls for soprano, tenor, and baritone<br />

solos; a large mixed chorus; a small mixed<br />

chorus; a children’s chorus; and an orchestra<br />

consisting of three flutes and two piccolos,<br />

three oboes and english horn, three clarinets,<br />

E-flat clarinet and bass clarinet, two bassoons<br />

and contrabassoon, four horns, three trumpets,<br />

three trombones and tuba, timpani, three glockenspiels,<br />

xylophone, castanets, ratchet, small<br />

bells, triangle, antique cymbals, crash cymbals,<br />

suspended cymbal, tam-tam, tubular bells,<br />

tambourine, snare drum, bass drum, celesta,<br />

two pianos, and strings. Performance time is<br />

approximately sixty-one minutes.<br />

When Carmina burana made him an overnight<br />

celebrity at the age of forty-two, Carl Orff decided<br />

to start his career over from scratch. Immediately<br />

after the premiere in 1937 he wrote to the Schott<br />

company in Munich, his publisher for a full decade:<br />

“Everything I have written to date, and which you<br />

have, unfortunately, printed, can be destroyed. With<br />

Carmina burana my collected works begin.”<br />

Before the premiere of Carmina burana in 1937,<br />

Orff’s career had proceeded nicely, if routinely, on<br />

track. His infatuation with music began at an early<br />

age—he took music lessons and composed songs<br />

as a young child—and at the age of four he became<br />

enchanted with the theater during a traditional<br />

Punch and Judy show. At fourteen he heard his first<br />

opera, Wagner’s <strong>The</strong> Flying Dutchman; it started an<br />

avalanche, as Orff later recalled. <strong>The</strong> young composer’s<br />

grandfather kept a notebook in which he<br />

recorded the progress of Carl’s musical education:<br />

Wagner’s entire Ring cycle and Tristan and Isolde,<br />

the principal Mozart operas, Strauss’s Salome and<br />

Elektra. By the age of seventeen, Orff had composed<br />

some sixty songs, which revealed the unmistakable<br />

influence of Debussy and early Schoenberg. (He was<br />

particularly taken with Schoenberg’s Five Pieces<br />

for Orchestra.) Orff’s interests were wide and he<br />

eventually wrote music in a number of forms. <strong>The</strong><br />

catalog he asked Schott to destroy in 1937 included<br />

an operatic treatment of the Japanese play Terakoya,<br />

a symphony based on the poetry of Maurice<br />

Maeterlinck, and choral settings of texts by Franz<br />

Werfel (Orff’s favorite writer) and Bertold Brecht.<br />

Carmina burana marked a shift in direction. It was<br />

Orff’s first attempt at total theater—a combination<br />

of music, word, movement, and visual spectacle—<br />

and his earliest essay in a potent and accessible<br />

musical style designed to engage listeners who<br />

had lost their way in the complexities of twentiethcentury<br />

music, although it was Orff more than<br />

anyone who found his way as a result of the piece.<br />

<strong>The</strong> work was immensely popular at once and its<br />

exceptional appeal has never waned. After Carmina<br />

burana, Orff did not tamper with his formula: he<br />

composed virtually nothing but vocal works for the<br />

stage—few are operas in the traditional sense—that<br />

place a high value on simplicity of musical language<br />

and directness of expression. At its most extreme, as<br />

in Die Bernauerin, composed in 1947, Orff’s output<br />

hardly resembles music as we know it: spoken word<br />

alternates with rhythmic chanting; notated pitch is<br />

virtually nonexistent.<br />

<strong>The</strong> life-changing idea of composing Carmina<br />

burana began in a rare book shop in Würzburg on<br />

Maunday Thursday in 1935, when Orff’s eye fell<br />

upon a collection of medieval poems. <strong>The</strong> texts, in<br />

Latin, Middle High German, and French, celebrate<br />

springtime, love, and the varied pleasures of a full, if<br />

self-indulgent, life. <strong>The</strong>se songs (Orff was not aware<br />

that melodies also existed) had been preserved for<br />

centuries in the Benedikbeuern monastery thirty<br />

miles south of Munich in the foothills of the Bavarian<br />

Alps. In the early nineteenth century, the manuscript<br />

was transferred to Munich, and, in 1847, selections<br />

were published by Johann Andreas Schmeller, the<br />

Munich court librarian. (Schmeller also was a selfappointed<br />

censor: he omitted the raciest numbers.)<br />

Schmeller’s title, Carmina—with the accent on the<br />

first syllable— burana, means “songs of Bavaria.” It<br />

was Schmeller’s edition that Orff picked up during<br />

an afternoon of fortuitous browsing.<br />

“Upon turning to the first page,” Orff later remembered,<br />

“I found the familiar image of Fortune with<br />

her wheel, and under it the lines ‘O Fortuna velut<br />

Luna statu variabilis . . . (O fortune, like the moon<br />

ever-changing).’ Image and Word overtook me.”<br />

That very day he sketched the opening chorus,<br />

with its great, inexorable wheel of fate. Orff picked<br />

twenty-four poems, already imagining a stage piece<br />

with chorus and dancers, and arranged a libretto.<br />

He composed the music quickly, in a single burst of<br />

inspiration; visitors to his Munich apartment recall<br />

the red-faced excitement with which he played<br />

finished numbers for them at the piano.<br />

<strong>The</strong> title page of Orff’s Carmina burana promises<br />

“secular songs to be sung by singers and choruses<br />

to the accompaniment of instruments and also<br />

of magic pictures.” Although the premiere, at<br />

the Frankfurt Opera House, was staged and costumed,<br />

and magic pictures accompanied many<br />

early performances, Carmina burana is best known<br />

today through concerts and recordings where the<br />

immediacy and physical excitement of Orff’s music<br />

stand alone.<br />

Orff’s score often has been criticized for popularizing—and,<br />

sometimes, for cheapening—the musical<br />

style of Stravinsky’s landmarks Oedipus rex and, in<br />

particular, Les noces. Orff was attracted to the most<br />

superficial aspects of those Stravinsky scores, such<br />

as the glittering and percussive orchestral writing<br />

(Les noces is scored for four pianos, Carmina burana


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

Navigant is proud to support the <strong>Chicago</strong><br />

<strong>Bar</strong> <strong>Association</strong> Symphony Orchestra and<br />

its 25th anniversary celebration.<br />

www.navigant.com<br />

©2011 Navigant Consulting, Inc. All rights reserved. Navigant Consulting is not a certified public accounting firm and does not provide audit, attest, or public<br />

accounting services. See www.navigantconsulting.com/licensing for a complete listing of private investigator licenses.<br />

25TH ANNIVERSARY CELEBRATION | 13


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

Gretchen Zook, Erik Eisenmann, Peter Maltese,<br />

David Coronna, Michael Poulos, and Andrew Pigott<br />

perform at Winter Wonderfest<br />

14 | CBA SYMPHONY & CHORUS<br />

calls for two), the idea of giving the central narrative<br />

role to the chorus, and the prominent use of<br />

insistent rhythms. But where Stravinsky achieves a<br />

certain complexity of style and idea, Orff keeps his<br />

music stripped to its bones. In Carmina burana he<br />

avoids complicated rhythm and harmony (several<br />

numbers subsist on a steady diet of two chords),<br />

and eschews polyphony altogether. His melodies<br />

are plain and syllabic. Occasionally a single driving<br />

rhythmic pattern alone keeps the music going.<br />

(Imagine the courage it must have taken to write a<br />

pit-band oom-pah accompaniment in 1935.) Despite<br />

the spartan recipe, Orff succeeds brilliantly because<br />

of his flair for dramatic pacing, his ear for dazzling<br />

and seductive color, the energy of his rhythms, and,<br />

perhaps above all, the number of catchy tunes he<br />

composed. <strong>The</strong> result is a highly charged, expressive<br />

work of undeniable power and immediacy—claims<br />

that can be made for few pieces of serious music<br />

written in our century.<br />

Orff begins and ends with the wheel of fate—a<br />

massive chorus that slowly turns, building in speed<br />

and volume as it goes. In between these two pillars,<br />

he writes three large chapters. <strong>The</strong> first celebrates<br />

springtime in a series of songs and dances. <strong>The</strong><br />

dance music is for orchestra alone; the vocal pieces<br />

are scored for baritone solo and various combinations<br />

of full chorus and small choir, often singing in<br />

alternation. <strong>The</strong> second section moves indoors to<br />

iN MeMOriAM<br />

evelyn Meine (1926 to February 24, 2011), long time Coordinator of Education<br />

and Outreach for the <strong>Chicago</strong> Symphony Orchestra. Evelyn was key in the<br />

creation of the CBASO. In the spring of 1986 it was Evelyn Meine, at the suggestion<br />

of Margaret Hillis, David Katz’s boss at the Elgin Symphony, who first got<br />

the young conductor together with a handful of <strong>Chicago</strong> lawyers looking to<br />

start an orchestra. David Katz writes: “Talk about a Citizen Musician Initiative!<br />

Evelyn somehow knew that I might have the right combination of personality<br />

and musical skill to guide and grow an ensemble of attorneys and judges. I am<br />

delighted that our silver anniversary concert will be held in the building where<br />

she herself championed music for so many years.”<br />

John Burke. Noted <strong>Chicago</strong> recording engineer and friend to the <strong>Chicago</strong><br />

community of opera singers, John recorded many of the leading professional<br />

<strong>Chicago</strong> music ensembles and most of the concerts of the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong><br />

Symphony Orchestra. He is remembered in the wonderful recordings he<br />

made and the careers he fostered.<br />

William Warfield. Acclaimed throughout the world as one of the great vocal<br />

artists of our time, Warfield was a star in every field open to a singer’s art. He<br />

is best known to the world as Joe, the dockhand in the movie version of the<br />

musical showboat, singing “Ol’ Man River.” He sang the role of Porgy in George<br />

Gershwin’s opera Porgy and Bess. He recorded Messiah with Leonard Bernstein and won<br />

a GRAMMY award for his recording of Copland’s Lincoln Portrait. In 1998 he reprised<br />

his role reading the words of that great Illinois lawyer in the Daley Center Plaza<br />

accompanied by the <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra.<br />

hon. Bernard S. Neistein. State Sen. Bernie Neistein was one of the first violinists<br />

to join the CBASO. He graduated from DePaul Law School at the age of 19.<br />

He played a 17th century Amati violin on the floor of the Senate. He obtained the<br />

CBASO’s first actual conductor’s podium, and always called David Katz “teacher.”<br />

He was 87 when he passed away in 2003.<br />

the tavern—the exclusive province of male voices<br />

and the temple of food and drink. (<strong>The</strong> saga of the<br />

roasted swan, sung by a wailing tenor, is a marvel<br />

of exotic color.) In the sensuous music of the third<br />

section, set in the courts of love, we hear the solo<br />

soprano and the voices of children for the first<br />

time. Almost all of these nine pieces are scored<br />

for different vocal forces, and the final sequence<br />

of numbers is swift and dramatic. From a rowdy,<br />

swinging chorus (no. 20, for split choirs), Orff turns to<br />

the soprano, who is lost in thought as she vacillates<br />

between chastity and physical love (a measured<br />

monologue, set in the soprano’s lowest range).<br />

Encouraged by the baritone and choruses, she<br />

makes her choice, suddenly soaring to the highest<br />

reaches of the soprano voice. <strong>The</strong> music erupts in<br />

a magnificent hymn of praise (“Noble Venus, hail”),<br />

and the circle starts again, as the wheel of fate spins<br />

around.<br />

Phillip Huscher is the program annotator for the<br />

<strong>Chicago</strong> Symphony Orchestra.<br />

Program comments copyright © 1995 by <strong>The</strong> <strong>Chicago</strong><br />

Symphony Orchestra <strong>Association</strong>. All rights<br />

reserved. Reprinted by permission.


Pugh, Jones, Johnson<br />

& Quandt<br />

is proud to support the<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong><br />

Orchestra and Chorus<br />

Pugh, Jones, Johnson & Quandt, P.C.<br />

180 North LaSalle, Suite 3400<br />

<strong>Chicago</strong>, Illinois 60601<br />

Telephone: (312)768-7800<br />

Facsimile: (312)768-7801<br />

www.pjjq.com


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

rebecca Patterson, Choral Director<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> association Chorus<br />

Choral direc tor<br />

Rebecca Patterson<br />

brings more<br />

than thirty years<br />

of p rofessional<br />

experience to her<br />

work with the <strong>Chicago</strong><br />

<strong>Bar</strong> <strong>Association</strong><br />

Chorus. As a<br />

soprano soloist, she<br />

has appeared with<br />

the <strong>Chicago</strong> Symphony<br />

Orchestra, Music of the <strong>Bar</strong>oque, and<br />

regional orchestras. In operatic performances<br />

she has portrayed such diverse characters as<br />

Lauretta in Puccini’s Gianni Schicchi, Musetta<br />

in La Bohème, and Amahl in Menotti’s Amahl<br />

and the Night Visitors.<br />

As a choral musician, Rebecca has experience<br />

as both singer and conductor. As a chorister<br />

she sang with <strong>The</strong> <strong>Chicago</strong> Symphony Chorus<br />

under Margaret Hillis and the Grant Park Festival<br />

Chorus. In 2006 Rebecca led the CBA Chorus<br />

in rehearsals for its performance of Beethoven’s<br />

Symphony No. 9 at Navy Pier. Since then, she<br />

has prepared the chorus for performances of<br />

Fauré’s Requiem, Vivaldi’s Gloria, Mendelssohn’s<br />

Elijah, Haydn’s Creation and Poulenc’s Gloria.<br />

Shortly after the Chorus’s formation, Rebecca<br />

led the group in the National Anthem at a<br />

<strong>Chicago</strong> White Sox game. Before conducting<br />

at baseball games, Rebecca served as music<br />

director for a number of churches in the <strong>Chicago</strong><br />

area.<br />

In addition to conducting, Rebecca maintains<br />

a private voice studio, where she works with<br />

classical and musical theatre singers.<br />

16 | CBA SYMPHONY & CHORUS<br />

David Katz, Founding music Director and Conductor<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> association Symphony Orchestra<br />

David Katz is one of the most versatile of performing artists:<br />

conductor, composer, playwright, and actor.<br />

He is the founding music director of the <strong>Chicago</strong> <strong>Bar</strong><br />

<strong>Association</strong> Symphony Orchestra, now celebrating his<br />

25th season. During his long tenure <strong>Chicago</strong>land’s unique<br />

all-lawyer ensemble has performed more than one hundred<br />

times, in repertoire ranging from Gilbert and Sullivan’s Trial By Jury to<br />

Beethoven’s Symphony No. 9 and Carmina Burana.<br />

David Katz has led more than sixty orchestras and opera companies throughout<br />

the U.S., Canada and Mexico as guest conductor, including concerts with<br />

the Detroit Symphony Orchestra, the Mississippi Symphony and Corpus Christi<br />

Symphony. Former associate conductor of the Elgin Symphony Orchestra<br />

under Margaret Hillis, and for twelve years music director of the Adrian<br />

Symphony Orchestra and co-founder of Opera!Lenawee in Michigan, Katz<br />

is currently artistic director of Hat City Music <strong>The</strong>ater and the Candlewood<br />

Symphony in Connecticut.<br />

In addition to David Katz’s busy career as conductor and composer (<strong>Chicago</strong><br />

Symphony principal horn Dale Clevenger premiered his A Baccahanal for<br />

horn and orchestra with the Elgin Symphony) David is also a professional<br />

playwright and actor. He has toured his acclaimed one-man play, MUSE of<br />

FIRE, about the secrets of the conductor’s art, from <strong>Chicago</strong> to Halifax, Baltimore<br />

to Boston, and returns to the Midwest with it in 2012. Called “a MUST<br />

SEE” by WFMT, a “one-man epic,” and hailed by the <strong>Chicago</strong> Sun-Times for its<br />

“unique depth and humor, tremendous verve and palpable passion,” MUSE of<br />

FIRE was the last play directed by Tony-Award winner, Charles Nelson Reilly.<br />

www.museoffireplay.squarespace.com.<br />

David Katz is also the Chief Judge and U.S. spokesperson for <strong>The</strong> American<br />

Prize national competitions in the performing arts, a unique series of nonprofit<br />

contests that provide feedback, reward, and recognition to classically<br />

trained conductors, composers, vocalists, pianists, actors and performing arts<br />

ensembles nationwide. First held in 2010, the competitions have already provided<br />

hundreds of professional evaluations to artists and awarded thousands<br />

of dollars in prizes. www.theamericanprize.org.<br />

David Katz holds baccalaureate and master’s degrees in composition and conducting<br />

from the Hartt School of Music of the University of Hartford. He was a<br />

student of the great Lithuanian maestro, Vytautas Marijosius, and was the first<br />

in the school’s history to be awarded an Artist’s Diploma in Conducting. Katz<br />

also studied for five years under Maestro Charles Bruck at the Pierre Monteux<br />

School for Conductors in Maine, and later founded Opera Maine, the Monteux<br />

Opera Festival, and the Chamber Orchestra of Maine. He has partnered such<br />

artists as Itzhak Perlman and Misha Dichter in concert and has worked with<br />

some of the greatest composers of the age, including William Schuman, Hans<br />

Werner Henze, Milton Babbitt and Elliott Carter. Katz’s own compositions are<br />

published by Carl Fischer and G. Schirmer, among others.


Seyfarth Shaw<br />

is proud to support the<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong><br />

Symphony Orchestra and Chorus.<br />

www.seyfarth.com


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

angie Johnson,<br />

artistic Director<br />

Young naperville Singers<br />

Angie Johnson received<br />

a Bachelor of Arts Degree<br />

in music education with<br />

honors from Nor thern<br />

Illinois University in 1991<br />

where she studied piano with Donald Walker.<br />

Upon graduating, she taught choral/general music<br />

for Circle Center Middle School (Yorkville, IL) and<br />

Gregory Middle School (Naperville, IL). Conducting<br />

choral programs of up to 350 singers, she was named<br />

a “Most Influential Educator.”<br />

Mrs. Johnson is an active clinician, adjudicator,<br />

accompanist and festival conductor. She has conducted<br />

for several junior high festivals and loves to<br />

work with choirs in their school setting. Passionate<br />

about sharing her love for teaching, she has led panel<br />

discussions, workshops and teacher institutes for<br />

both future and current teachers. In her 12th season<br />

as a director and 4th season as the Artistic Director,<br />

she is honored to serve with a talented artistic team<br />

of directors and accompanists.<br />

18 | CBA SYMPHONY & CHORUS<br />

Jeordano martínez, music Director<br />

<strong>The</strong> naperville Chorus<br />

Launching his twentieth season as the highly acclaimed<br />

director of the Naperville Chorus, Jeordano Martínez<br />

brings an extraordinary talent, boundless energy, and a<br />

true love of the major choral and orchestral repertoire<br />

to the audiences of Naperville and DuPage County.<br />

His reputation for excellence in choral music has been<br />

noted in concerts throughout the United States and Europe, where<br />

he has conducted concerts in Poland, Austria, Spain, Portugal, and<br />

the Czech Republic.<br />

Under his leadership the Chorus has more than doubled in membership<br />

and has made guest appearances with the Elgin Symphony<br />

Orchestra, DuPage Symphony, Downers Grove Oratorio Society, East<br />

Meets West Orchestra, and the Naperville Municipal Band.<br />

A graduate of Baylor University and Southern Illinois University, Martínez<br />

studied orchestral conducting with Irwin Hoffmann and James<br />

Dixon, choral conducting with Donald Moses and Margaret Hillis,<br />

and operatic direction with the late Metropolitan Opera star Marjorie<br />

Lawrence. He is a full professor at North Central College where he has<br />

been honored twice with the Dissinger Award for outstanding teaching,<br />

in 1992 and 2002.<br />

He is a former musical director of the Hinsdale Opera Chorus, Elgin<br />

Youth Orchestra, Elgin Summer Music <strong>The</strong>ater, Miss Illinois State Pageant,<br />

and the Liberty-Fremont Concert Society. He has also served as<br />

conductor and adjudicator throughout the Midwest and also in Canada<br />

and Costa Rica. Presently he also serves as director of the North Central<br />

College Concert Choir and Opera Workshop and directs the Chancel<br />

Choir at the First United Methodist Church of Glen Ellyn.<br />

Janet Eckhardt, rehearsal accompanist<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> association Chorus<br />

Pianist Janet Eckhardt is well known among <strong>Chicago</strong> singers. A faculty<br />

member at North Park University and staff accompanist at the Moody Bible<br />

Institute, Janet also serves as accompanist for churches and synagogues<br />

in the <strong>Chicago</strong> area. Ms. Eckhardt received her Master of Music degree<br />

from the Hartt School of Music at the University of Hartford.<br />

<strong>Bar</strong>bara Vanderwall, rehearsal accompanist<br />

<strong>The</strong> naperville Chorus<br />

<strong>Bar</strong>bara Vanderwall is an Instructor of Piano at North Central College and<br />

also serves as the Piano Studies Coordinator for the Music Department.<br />

She has been the accompanist for the North Central College Women’s<br />

Chorale directed by Dr. Ramona Wis since its inception. Mrs. Vanderwall<br />

frequently appears as a vocal and instrumental accompanist in the <strong>Chicago</strong><br />

area and has experience as a chamber musician.


DOriS KEarnS GOODWin


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

ian mcEuen,<br />

Tenor<br />

I a n M c E u e n<br />

m ost rece ntly<br />

appeared as the<br />

Marquis in Corigliano’s<br />

Ghosts<br />

of Versailles with<br />

the Aspen Opera<br />

<strong>The</strong>atre Center.<br />

Last summer, he<br />

graduated with<br />

honors from Carnegie Mellon University, where he<br />

performed the roles of Nanki-Poo in the Mikado,<br />

the Chevalier de la Force in Dialogues of the Carmelites,<br />

Sam Kaplan in Street Scene, and Amore in<br />

L’incoronazione di Poppea. His previous oratorio<br />

experience includes Uriel in Haydn’s Creation and<br />

the Tenor Soloist in Handel’s Messiah, both with<br />

the Carnegie Mellon choirs.<br />

An avid recitalist and proponent of 20th and 21st<br />

century music, Ian recently performed Britten’s<br />

Seven Sonnets of Michelangelo and the world<br />

premiere of Kate Pukinskis’s A Game of Glass. He<br />

has also performed multiple times in Pittsburgh<br />

Opera’s Brown Bag Concert Series with pianist<br />

James Lesniak.<br />

Ian is the recipient of numerous awards and<br />

honors, including most recently the third place<br />

and Seagle Colony awards in the Charles A. Lynam<br />

Vocal Competition, a Shirley Rabb Winston Scholarship,<br />

and Second Place in the Sue Goetz Ross<br />

Memorial Competition. He is currently working<br />

towards his masters in voice at the University<br />

of Cincinnati’s College-Conservatory of Music,<br />

where he will be performing as Romboïdal in<br />

Offenbach’s L’ile de Tulipatan.<br />

Patrice michaels, Soprano<br />

“Like the Romantic ideal of art, Patrice Michaels’<br />

voice is both natural and passionate,” says Classical<br />

CD Digest. “A formidable interpretative talent”<br />

(<strong>The</strong> New Yorker), Ms. Michaels receives raves for<br />

her “poise, musicianship and impressive fioratura”<br />

(Los Angeles Times), “a voice that is light, rich and<br />

flexible” (Opera News).<br />

Her concert engagements include appearances<br />

with the Shanghai, Czech National, St. Louis,<br />

Omaha, Atlanta, Phoenix, Milwaukee, and Minnesota<br />

Orchestras, the Maryland Handel Festival, Dallas Bach Society and Charlotte,<br />

Kansas City and Virginia Symphonies, as well as New York’s Concert Royal<br />

and <strong>Chicago</strong>’s Music of the <strong>Bar</strong>oque. Ms. Michaels has sung the Great Mass in C<br />

Minor with Skrowaczewski, Christmas Oratorio with Shaw, Mahler 4 with Zdenek<br />

Macal, Mozart Arias with Andrew Parrott and Nicolas McGegan, Carmina Burana<br />

with Joanne Falletta and Beethoven 9 with Andreas Delfs and Victor Yampolsky.<br />

Ms. Michaels includes in her operatic credits the Hal Prince production of Candide<br />

at the Lyric Opera of <strong>Chicago</strong>. She made her debut with the Cleveland Opera as<br />

Marzelline in Fidelio and has sung with Central City Opera, Tacoma Opera, <strong>The</strong><br />

Banff Centre, Canada and <strong>Chicago</strong> Opera <strong>The</strong>ater. Her recording as Monica in<br />

Menotti’s <strong>The</strong> Medium (Cedille Records) continues to receive international critical<br />

acclaim.<br />

Recital appearances for Ms. Michaels include three consecutive seasons at the<br />

Festival of Contemporary Music in Havana, Cuba and tours of Mexico, Japan,<br />

Venezuela, <strong>Bar</strong>bados, and Belize. She performs frequently in the United States and<br />

Canada, has sung with pianist John Browning for Music at the Supreme Court, as<br />

guest artist with the <strong>Chicago</strong> Chamber Musicians, for the Schubert Club of St. Paul<br />

and for many academic institutions, including her alma mater Pomona College,<br />

Northwestern University, and Harvard.<br />

www.patricemichaels.com<br />

Jacob Lassetter, <strong>Bar</strong>itone<br />

A native of San Antonio, Texas, baritone Jacob Lassetter is achieving triumphant success with his dignified<br />

characterizations, unique range of high notes, and richness of tone quality.<br />

In 2010, Jacob Lassetter returned to his signature role Germont in La Traviata at the Music by the Lake<br />

summer festival, which he first sang in his Italian debut at the Teatro Accademico in Castelfranco Veneto.<br />

This summer also marked Mr. Lassetter’s debut in the title role in Le Nozze di Figaro with the Peninsula<br />

Music Festival. Critical acclaim followed his recent performances as a featured soloist with the Lexington<br />

Philharmonic in Beethoven’s Symphony No. 9 and Orff’s Carmina Burana.<br />

Mr. Lassetter’s operatic repertoire includes the title role in Mozart’s Don Giovanni, Enrico in Lucia di Lammermoor,<br />

Don Alfonso in Così fan tutte, and Griswold in <strong>The</strong> Voyage of Edgar Allan Poe. He performed the<br />

title character of Delling in Eric Chasalow’s new opera <strong>The</strong> Puzzle Master in the Midwestern Premiere. Jacob Lassetter has participated<br />

in the Young Artists Programs of Chautauqua Opera, Des Moines Metro Opera, and Utah Festival Opera.<br />

Equally adept on the concert stage, Jacob Lassetter has been the featured soloist for numerous symphony organizations, performing<br />

Händel’s Messiah, Monteverdi’s Vespro della Beata Vergine and Bach’s St. John Passion, St. Matthew Passion, Christmas and Easter Oratorios,<br />

and Missa Brevis in F. In 2008, he made his debut at New York City’s Carnegie Hall performing with his wife, soprano Karen Kanakis.<br />

Mr. Lassetter holds a Bachelor of Music degree, magna cum laude, from Louisiana State University, a Master of Music degree from the<br />

University of North Texas, and the Doctor of Musical Arts from the University of Cincinnati College-Conservatory of Music.<br />

20 | CBA SYMPHONY & CHORUS


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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

TEXT<br />

22 | CBA SYMPHONY & CHORUS<br />

Carmina Burana: Cantiones profanæ cantoribus<br />

et choris cantandæ comitantibus<br />

instrumentis atque imaginibus magicis<br />

Translations by Terry Kennedy, Louis Michael Bell,<br />

Joseph Marren, and Catherine Masters<br />

Fortuna Imperatrix Mundi<br />

1. O Fortuna<br />

(choir)<br />

O Fortuna, velut Luna<br />

statu variabilis,<br />

Semper crescis, aut decrescis:<br />

vita detestabilis<br />

Nunc obdurat et tunc curat<br />

ludo mentis aciem,<br />

Egestatem, potestatem<br />

dissolvit ut glaciem.<br />

Sors immanis et inanis,<br />

rota tu volubilis,<br />

Status malus, vana salus<br />

semper dissolubilis,<br />

Obumbrata et velata<br />

michi quoque niteris;<br />

Nunc per ludum dorsum nudum<br />

fero tui sceleris.<br />

Sors salutis et virtutis<br />

michi nunc contraria,<br />

Est affectus et defectus<br />

semper in angaria.<br />

Hac in hora sine mora<br />

corde pulsum tangite;<br />

Quod per sortem sternit fortem,<br />

mecum omnes plangite!<br />

Songs of Beuern: Secular songs for singers<br />

and choruses to be sung together with<br />

instruments and magic images<br />

Translations by Terry Kennedy, Louis Michael Bell,<br />

Joseph Marren, and Catherine Masters<br />

Fortune, Empress of the World<br />

1. O Fortune<br />

(choir)<br />

Oh, Fortune, like the moon,<br />

constantly changing,<br />

you always wax or wane;<br />

Life is hateful,<br />

Now in jest it hardens, then eases<br />

the mind’s keenness.<br />

Poverty, power --it<br />

dissolves like ice.<br />

Fate monstrous and meaningless,<br />

you are a turning wheel,<br />

Status is unlucky, health unreliable,<br />

always on the point of vanishing,<br />

Obscured and veiled,<br />

you press on me.<br />

Now in jest, a naked back<br />

I offer to your villainy.<br />

A fate of health and strength<br />

is now denied me.<br />

<strong>The</strong>re is always both good will<br />

and weakness in [Fortune’s] service.<br />

In this hour, without delay,<br />

strike a beat on the strings;<br />

Since by chance [Fortune] strikes down the strong,<br />

all join me in this sad song.


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

2. Fortune Plango Vulnera<br />

(choir)<br />

Fortune plango vulnera<br />

stillantibus ocellis,<br />

Quod sua michi munera<br />

subtrahit rebellis.<br />

Verum est, quod legitur<br />

fronte capillata,<br />

Sed plerumque sequitur,<br />

Occasio calvata.<br />

In Fortune solio<br />

sederam elatus,<br />

Prosperitatis vario<br />

flore coronatus;<br />

Quicquid enim florui<br />

felix et beatus,<br />

Nunc a summo corrui,<br />

gloria privatus.<br />

Fortune rota volvitur:<br />

descendo minoratus;<br />

Alter in altum tollitur,<br />

nimis exaltatus.<br />

Rex sedet in vertice<br />

caveat ruinam!<br />

Nam sub axe legimus<br />

Hecubam reginam.<br />

2. I lament the wounds that Fortune deals<br />

(choir)<br />

I lament Fortune’s wounds<br />

with dripping eyes,<br />

because her gifts to me<br />

she takes away, rebellious.<br />

It is true, as written,<br />

that Opportunity has gorgeous hair in front,<br />

but it generally follows<br />

that it is bald in back.<br />

On Fortune’s throne<br />

I proudly sat,<br />

crowned with Prosperity’s<br />

many colored flowers;<br />

Yet however much I flourished then,<br />

happy and blessed,<br />

now I have fallen from the top,<br />

deprived of glory.<br />

<strong>The</strong> wheel of Fortune turns:<br />

I sink down, reduced to nothing;<br />

another is raised aloft,<br />

lifted far too high.<br />

<strong>The</strong> king sits at the pinnacle,<br />

let him beware of ruin!<br />

For under Fate’s axle we read the name<br />

of Hecuba the queen [of fallen Troy].<br />

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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

TEXT<br />

24 | CBA SYMPHONY & CHORUS<br />

Part I Primo vere<br />

3. Veris Leta Facies<br />

(choir)<br />

Veris leta facies<br />

mundo propinatur,<br />

Hiemalis acies<br />

victa iam fugatur,<br />

In vestitu vario<br />

Flora principatur,<br />

Nemorum dulcisonoque<br />

cantu celebratur.<br />

Flore fusus gremio<br />

Phebus novo more<br />

Risum dat, hoc vario<br />

iam stipata flore.<br />

Zephyrus nectareo<br />

spirans in odore;<br />

Certatim pro bravio<br />

curramus in amore.<br />

Cytharizat cantico<br />

dulcis Philomena,<br />

Flore rident vario<br />

prata iam serena,<br />

Salit cetus avium<br />

silve per amena,<br />

Chorus promit virginum<br />

iam gaudia millena.<br />

<strong>The</strong> Founders of the CBASO–Susan Chernoff Huvard and<br />

Julia M. Nowicki<br />

Part I In Spring<br />

3. <strong>The</strong> joyous face of Spring<br />

(choir)<br />

<strong>The</strong> happy face of Spring<br />

is turned to the world,<br />

<strong>The</strong> forces of Winter<br />

now flee in defeat,<br />

In colorful garments,<br />

Flora [goddess of spring] rules,<br />

and in the woods’ sweet songs<br />

she is celebrated.<br />

Spread on Flora’s lap<br />

in a new way, Phoebus [the sun god]<br />

smiles, that she is now<br />

crowded with many-colored flowers.<br />

Zephyrus [the west wind] exhales<br />

a fragrance of nectar;<br />

let us run eagerly<br />

for the prize of love.<br />

Sweet Philomena [the nightingale]<br />

plays the lyre in song;<br />

the bright fields now laugh<br />

with many-colored flowers,<br />

Flocks of birds dart<br />

through pleasant woodland glades;<br />

a band of dancing girls<br />

now brings a thousand pleasures.


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

4. Omnia Sol Temperat<br />

(<strong>Bar</strong>itone)<br />

Omnia sol temperat<br />

Purus et subtilis,<br />

Nova mundo reserat<br />

Faciem Aprilis,<br />

Ad Amorem properat<br />

Animus herilis<br />

Et iocundis imperat<br />

Deus puerilis.<br />

Rerum tanta novitas<br />

In solemni vere<br />

Et veris auctoritas<br />

Jubet nos gaudere,<br />

Vias prebet solitas,<br />

Et in tuo vere<br />

Fides est et probitas<br />

Tuum retinere.<br />

Ama me fideliter!<br />

Fidem meam nota:<br />

De corde totaliter<br />

Et ex mente tota<br />

Sum presentialiter<br />

Absens in remota,<br />

Quisquis amat taliter<br />

Volvitur in rota.<br />

5. Ecce Gratum<br />

(Choir)<br />

Ecce gratum et optatum<br />

Ver reducit gaudia,<br />

Purpuratum floret pratum,<br />

Sol serenat omnia.<br />

Iamiam cedant tristia!<br />

Estas redit, nunc recedit<br />

Hyemis sevitia.<br />

Iam liquescit et decrescit<br />

grando nix et cetera,<br />

Bruma fugit, et iam sugit<br />

Ver Estatis ubera;<br />

Illi mens est misera,<br />

qui nec vivit, nec lascivit<br />

sub Estatis dextera;<br />

Gloriantur et letantur<br />

in melle dulcedinis,<br />

Qui conantur, ut utantur<br />

premio Cupidinis;<br />

Simus iussu Cypridis,<br />

gloriantes et letantes<br />

pares esse Paridis.<br />

4. All things are tempered by the Sun<br />

(<strong>Bar</strong>itone)<br />

<strong>The</strong> sun, pure and fine,<br />

Brings mildness to all;<br />

It shows anew to the world<br />

<strong>The</strong> face of April;<br />

<strong>The</strong> spirit of the young man<br />

Hastens to love,<br />

And the boy-god<br />

Rules over all pleasures.<br />

<strong>The</strong>re is a renewal of all things<br />

In spring’s annual rites<br />

And spring’s power<br />

Bids us rejoice;<br />

It presents its familiar paths,<br />

Yet in your own springtime<br />

Faith and virtue demand<br />

That you hold fast your own.<br />

Love me faithfully!<br />

Mark my faithfulness:<br />

With all my heart<br />

And with all my mind,<br />

I am here with you<br />

Even when I am far away.<br />

Whoever loves so much<br />

Is turned on the wheel.<br />

5. Behold the welcome<br />

(Choir)<br />

Behold how pleasing and longed for<br />

Spring brings back joy,<br />

<strong>The</strong> fields bloom in violet,<br />

the Sun brightens all.<br />

Now let sadness cease!<br />

Summer returns, now disappears<br />

winter’s savagery.<br />

Now melt and dissipate<br />

ice and snow and all of that.<br />

Winter flees, and now Spring<br />

suckles at Summer’s breast.<br />

That man has a pitiable mind<br />

who does not embrace life, who does not revel<br />

under Summer’s right hand.<br />

<strong>The</strong>y glory and delight<br />

in the honey of sweetness;<br />

who strive for and enjoy<br />

Cupid’s prize.<br />

Let us be subject to Venus,<br />

glorying and delighting<br />

to be like Paris [favorite of the Goddess of Love].<br />

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TEXT<br />

26 | CBA SYMPHONY & CHORUS<br />

Uf dem Anger<br />

6. Tanz<br />

(instrumental)<br />

7. Floret Silva<br />

(choir)<br />

Floret silva nobilis<br />

floribus et foliis,<br />

Ubi est antiquus<br />

meus amicus?<br />

Hinc, hinc, hinc equitavit,<br />

Eia, quis me amabit?<br />

Floret silva undique<br />

Nah mime gesellen ist mir we.<br />

Gruonet der walt allent halben,<br />

Wa ist min gesellen alse lange?<br />

Der ist geriten hinnen.<br />

O wi, wer sol mich minnen?<br />

8. Chramer, gip die varwe mir<br />

(children’s choir)<br />

Chramer, Gip die varve mir,<br />

Die min wengel roete,<br />

Damit ich die jungen man<br />

An ir dank der minnen liebe noete.<br />

Seht mich an, jungen man!<br />

Lat mich iu gevallen.<br />

Minnet, tugentliche man,<br />

Minnecliche frouwen!<br />

Minne tuot iu hoch gemuot<br />

Unde lat iuch in hohen eren schouwen.<br />

Seht mich an, jungen man!<br />

Lat mich iu gevallen.<br />

Wol dir, Werlt, daz du bist<br />

Also freudenriche!<br />

Ich will dir sin undertan<br />

Durch din liebe immer sicherliche.<br />

Seht mich an, jungen man!<br />

Lat mich iu gevallen.<br />

In the Meadow<br />

6. Dance<br />

(instrumental)<br />

7. <strong>The</strong> forest flowers<br />

(choir)<br />

<strong>The</strong> noble forest blooms<br />

with flowers and leaves,<br />

Where is my long ago<br />

boyfriend?<br />

Away, away, he has ridden away.<br />

Oh, who will love me?<br />

<strong>The</strong> forest blooms everywhere.<br />

I pine for my companion.<br />

<strong>The</strong> woods are green on all sides.<br />

Why is my companion gone so long?<br />

He has ridden away.<br />

Oh, who will love me?<br />

8. Monger, give me coloured paint<br />

(children’s choir)<br />

Shopkeeper, give me the color,<br />

That reddens my cheek,<br />

So that I can make young men<br />

Love me, thanks to you.<br />

Look at me, young man!<br />

Let me please you.<br />

Love, o man of virtue,<br />

Women worthy of love.<br />

Love puts you in a high mood<br />

And makes you appear in high honors.<br />

Look at me, young man!<br />

Let me please you.<br />

Well for you, World, that you are<br />

Thus rich in joys!<br />

I will owe you allegiance<br />

For your always constant love.<br />

Look at me, young man!<br />

Let me please you.


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

9a. Reie<br />

(instrumental)<br />

9b. Swaz Hie Gat Umbe<br />

(choir)<br />

Swaz hie gat umbe,<br />

Daz sint allez megede,<br />

Die wellent an man<br />

Alle disen sumer gan. Sla!<br />

9c. Chume, chum, geselle min<br />

(choir)<br />

Chume, chum, geselle min,<br />

Ih enbite harte din,<br />

Ih enbite harte din,<br />

Chume, chum, geselle min.<br />

Suozer Rosenvarwer munt,<br />

Chum unde mache mich gesunt,<br />

Chum unde mache mich gesunt,<br />

Suozer Rosenvarwer munt.<br />

9b. Swaz Hie Gat Umbe<br />

(choir)<br />

Swaz hie gat umbe,<br />

Daz sint allez megede,<br />

Die wellent an man<br />

Alle disen sumer gan. Sla!<br />

10. Were Diu Werlt Alle Min<br />

(choir)<br />

Were diu werlt alle min<br />

Von deme mere unse an den Rin,<br />

Des wolt ih mih darben<br />

Daz diu chunegin von Engellant<br />

Lege an minin armen. Hei!<br />

9a. Round Dance<br />

(instrumental)<br />

9b. <strong>The</strong>y who here go dancing around<br />

(choir)<br />

Those dancing in the circle here<br />

Are all young maidens<br />

Who want to do without men<br />

All this summer long. Hah!<br />

9c. Come, come, my dear companion<br />

(choir)<br />

Come, come, my beloved,<br />

I am waiting for you tenderly,<br />

I am waiting for you tenderly,<br />

Come, come, my beloved.<br />

Sweet rose-colored mouth,<br />

Come and heal me,<br />

Come and heal me,<br />

Sweet rose-colored mouth.<br />

9b. <strong>The</strong>y who here go dancing around<br />

(choir)<br />

Those dancing in the circle here<br />

Are all young maidens<br />

Who want to do without men<br />

All this summer long. Hah!<br />

10. If the whole world were but mine<br />

(choir)<br />

If the world were all mine<br />

From the sea to the Rhine,<br />

I would give it up<br />

That the Queen of England<br />

Might lie in my arms. Hey!<br />

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TEXT<br />

28 | CBA SYMPHONY & CHORUS<br />

Part II In Taberna<br />

11. Estuans Interius<br />

(baritone)<br />

Estuans interius<br />

ira vehementi<br />

In amaritudine<br />

loquor mee menti:<br />

Factus de materia,<br />

Cinis elementi<br />

Similis sum folio,<br />

De quo ludunt venti.<br />

Cum sit enim proprium<br />

Viro sapienti<br />

Supra petram ponere<br />

Sedem fundamenti,<br />

Stultus ego comparor<br />

Fluvio labenti,<br />

Sub eodem tramite<br />

Nunquam permanenti.<br />

Feror ego veluti<br />

Sine nauta navis,<br />

Ut per vias aeris<br />

Vaga fertur avis;<br />

Non me tenent vincula,<br />

Non me tenet clavis,<br />

Quero mihi similes<br />

Et adiungor pravis.<br />

Mihi cordis gravitas<br />

Res videtur gravis;<br />

Iocus est amabilis<br />

Dulciorque favis;<br />

Quicquid Venus imperat,<br />

Labor est suavis,<br />

Que nunquam in cordibus<br />

Habitat ignavis.<br />

Via lata gradior<br />

More iuventutis<br />

Inplicor et vitiis<br />

Immemor virtutis<br />

Voluptatis avidus<br />

Magis quam salutis,<br />

Mortuus in anima<br />

Curam gero cutis.<br />

Part II In the Tavern<br />

11. Seething inside<br />

(baritone)<br />

Burning inside<br />

With violent anger,<br />

In bitterness<br />

I speak to my heart:<br />

Made of stuff,<br />

Of simple ashes,<br />

I am like a leaf<br />

<strong>The</strong> winds play with.<br />

Though it be surely right<br />

For a wise man<br />

To place upon stone<br />

His house’s foundation<br />

I, a fool, am like<br />

A flowing river,<br />

In the same course<br />

Never staying the same.<br />

I am carried along like<br />

a ship without a sailor,<br />

As through the paths of the air<br />

A roving bird is carried;<br />

No chains restrain me,<br />

No key restrains me,<br />

I seek those like myself<br />

And I join the corrupt.<br />

To me, heaviness of heart<br />

Seems a heavy thing;<br />

Jesting is delightful<br />

And sweeter than honeycomb<br />

Whatever Venus commands,<br />

<strong>The</strong> work is pleasant -she<br />

who never dwells<br />

In faint hearts.<br />

I walk the broad path<br />

In the style of youth,<br />

I wrap myself in vices<br />

Forgetful of virtue,<br />

Avid for sensual pleasure<br />

More than for salvation,<br />

Dead in my soul,<br />

I watch out for my flesh.


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

12. Olim Lacus Colueram<br />

(tenor, male choir)<br />

Solo:<br />

Olim lacus colueram,<br />

Olim pulcher extiteram,<br />

Dum cignus ego fueram.<br />

Chorus:<br />

Miser, miser,<br />

Modo niger,<br />

Et ustus fortiter.<br />

Solo:<br />

Girat, regirat garcifer<br />

Me rogus urit fortiter<br />

Propinat me nunc dapifer.<br />

Chorus:<br />

Miser, miser,<br />

Modo niger,<br />

Et ustus fortiter.<br />

Solo:<br />

Nunc in scutella iaceo<br />

Et volitare nequeo<br />

Dentes frendentes video.<br />

Chorus:<br />

Miser, miser,<br />

Modo niger,<br />

Et ustus fortiter.<br />

13. Ego Sum Abbas<br />

(tenor, male choir)<br />

Ego sum abbas Cucaniensis<br />

Et consilium meum est cum bibulis,<br />

Et in secta Decii voluntas mea est,<br />

Et qui mane me quesierit in taberna,<br />

Post vesperam nudus egredietur<br />

Et sic denudatus veste clamabit,<br />

Wafna, wafna!<br />

Quid fecisti sors turpissima?<br />

Nostre vite gaudia<br />

Abstulisti omnia!<br />

Wafna, wafna!<br />

12. Once I swam in lakes<br />

(tenor, male choir)<br />

Solo:<br />

Once I inhabited lakes,<br />

Once I appeared beautiful,<br />

While I was a swan.<br />

Chorus:<br />

Wretched, wretched thing!<br />

But now blackened,<br />

And well roasted.<br />

Solo:<br />

<strong>The</strong> cook turns and turns me again;<br />

A funeral pyre roasts me well;<br />

Now the steward brings me forth.<br />

Chorus:<br />

Wretched, wretched thing!<br />

But now blackened,<br />

And well roasted.<br />

Solo:<br />

Now I lie on a platter,<br />

And I cannot fly.<br />

I see teeth grinding.<br />

Chorus:<br />

Wretched, wretched thing!<br />

But now blackened,<br />

And well roasted.<br />

13. I am the abbot of Cockaigne<br />

(tenor, male choir)<br />

I am abbot of Cockayne*<br />

And my counsel is with drinkers,<br />

And my wish is to be in the cult of Decius,<br />

And he who will seek me in the tavern in the morning,<br />

will leave naked after Vespers,<br />

And so stripped of clothing, will cry out:<br />

Alas, alas!<br />

What have you done, most vile Fate?<br />

<strong>The</strong> delights of our life,<br />

You have taken all of them away!<br />

Alas, alas!<br />

*Cockaigne is a medieval mythical land of plenty,<br />

extreme luxury and ease where physical comforts and<br />

pleasures are always immediately at hand. A medieval<br />

Utopia or Never-never-land.<br />

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TEXT<br />

30 | CBA SYMPHONY & CHORUS<br />

14. In Taberna Quando Sumus<br />

(male choir)<br />

In taberna quando sumus,<br />

Non curamus quid sit humus,<br />

Sed ad ludum properamus,<br />

Cui semper insudamus.<br />

Quid agatur in taberna<br />

Ubi nummus est pincerna,<br />

Hoc est opus ut quaeratur;<br />

Si quid loquar, audiatur.<br />

Quidam ludunt, quidam bibunt,<br />

Quidam indiscrete vivunt.<br />

Sed in ludo qui morantur,<br />

Ex his quidam denudantur,<br />

Quidam ibi vestiuntur,<br />

Quidam saccis induuntur;<br />

Ibi nullus timet mortem,<br />

Sed pro Baccho mittunt sortem.<br />

Primo pro nummata vini,<br />

Ex hac bibunt libertini;<br />

Semel bibunt pro captivis,<br />

Post haec bibunt ter pro vivis,<br />

Quater pro Christianis cunctis,<br />

Quinquies pro fidelibus defunctis,<br />

Sexies pro sororibus vanis,<br />

Septies pro militibus silvanis,<br />

Octies pro fratribus perversis<br />

Nonies pro monachis dispersis,<br />

Decies pro navigantibus,<br />

Undecies pro discordantibus,<br />

Duodecies pro penitentibus,<br />

Tredecies pro iter agentibus,<br />

Tam pro papa quam pro rege<br />

Bibunt omnes sine lege.<br />

Bibit hera, bibit herus,<br />

Bibit miles, bibit clerus,<br />

Bibit ille, bibit illa,<br />

Bibit servus cum ancilla,<br />

Bibit velox, bibit piger,<br />

Bibit albus, bibit niger,<br />

Bibit constans, bibit vagus,<br />

Bibit rudis, bibit magus,<br />

Bibit pauper et egrotus,<br />

Bibit exul et ignotus,<br />

Bibit puer, bibit canus,<br />

Bibit presul et decanus,<br />

Bibit soror, bibit frater,<br />

Bibit anus, bibit mater,<br />

Bibit iste, bibit ille,<br />

Bibunt centum, bibunt mille.<br />

Parum sexcente nummate<br />

Durant cum immoderate,<br />

Bibunt omnes sine meta,<br />

Quamvis bibant mente leta,<br />

Sic nos rodunt omnes gentes,<br />

Et sic erimus egentes.<br />

Qui nos rodunt confundantur<br />

Et cum iustis non scribantur.<br />

Io, io, io, io!<br />

14. When we are in the tavern<br />

(male choir)<br />

When we are in the tavern,<br />

We care about nothing, not even the grave,<br />

But hurry to the gambling,<br />

Where we always work up a sweat.<br />

What goes on in the tavern,<br />

Where money is bartender?,<br />

That’s a good question!<br />

Well, if I tell you, listen up!<br />

Some men gamble, some men drink,<br />

Some live indiscreetly,<br />

But those who linger in the games,<br />

Some are stripped bare,<br />

Some there become well-dressed,<br />

And some are clothed in sacks.<br />

<strong>The</strong>re no one fears death,<br />

But they throw the dice for Bacchus.<br />

First for the rich lady who likes wine,<br />

<strong>The</strong> commoners drink off her.<br />

Next they drink for captives,<br />

Third, they drink for the living,<br />

Fourth, for all Christians,<br />

Fifth, for the faithful departed,<br />

Sixth, for women of loose virtue,<br />

Seventh, for the forest militia,<br />

Eighth, for corrupted brothers,<br />

Ninth, for scattered monks,<br />

Tenth, for those at sea,<br />

Eleventh, for bickering lawyers,<br />

Twelfth, for the penitent,<br />

Thirteenth, for those on the road;<br />

As much for the pope as for the king,<br />

<strong>The</strong>y all drink without restraint.<br />

<strong>The</strong> mistress drinks, the master drinks,<br />

<strong>The</strong> soldier drinks, the cleric drinks,<br />

This man drinks, this woman drinks,<br />

<strong>The</strong> servant drinks with the maid,<br />

<strong>The</strong> quick man drinks, the dull man drinks,<br />

<strong>The</strong> white man drinks, the black man drinks,<br />

<strong>The</strong> steady man drinks, the rover drinks,<br />

<strong>The</strong> oaf drinks, the scholar drinks,<br />

<strong>The</strong> poor man and the sick man drink,<br />

<strong>The</strong> exile and the stranger drink,<br />

<strong>The</strong> boy drinks, the old man drinks,<br />

<strong>The</strong> bishop and the deacon drink,<br />

<strong>The</strong> sister drinks, the brother drinks,<br />

<strong>The</strong> old woman drinks, the mother drinks,<br />

This man drinks, that man drinks,<br />

One hundred drink, one thousand drink.<br />

Hardly do six hundred coins<br />

last long enough without moderation.<br />

<strong>The</strong>y all drink without measure,<br />

Although they drink with a cheerful mind.<br />

Still all of them sponge off us,<br />

And so we will be destitute.<br />

Let those who sponge off us be confounded,<br />

And not be listed in the book of the just.<br />

Io, io, io, io!


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

Part III Cour d’amours<br />

15. Amor Volat Undique<br />

(soprano, children’s choir)<br />

Amor volat undique,<br />

Captus est libidine<br />

Iuvenes, iuvencule<br />

Coniunguntur merito.<br />

Si qua sine socio,<br />

Caret omni gaudio,<br />

Tenet noctis infima<br />

Sub intimo cordis in custodia:<br />

Fit res amarissima.<br />

16. Dies Nox et Omnia<br />

(baritone)<br />

Dies, nox et omnia<br />

Michi sunt contraria;<br />

Virginum colloquia<br />

Me fay planszer<br />

Oy suvenz suspirer<br />

Plu me fay temer.<br />

O sodales, ludite,<br />

Vos qui scitis dicite<br />

Michi mesto parcite,<br />

Grand ey dolur,<br />

Attamen consulite<br />

Per voster honur.<br />

Tua pulchra facies<br />

Me fay planszer milies,<br />

Pectus habet glacies<br />

A remender<br />

Statim vivus fierem<br />

Per un baser.<br />

17. Stetit Puella<br />

(soprano)<br />

Stetit puella<br />

Rufa tunica;<br />

Si quis eam tetigit,<br />

Tunica crepuit.<br />

Eia.<br />

Stetit puella<br />

Tamquam rosula;<br />

Facie splenduit,<br />

Os eius floruit.<br />

Eia.<br />

Part III Court of Love<br />

15. Love flies everywhere<br />

(soprano, children’s choir)<br />

Love flies everywhere,<br />

Captured by desire.<br />

Young men, young women<br />

Rightly join themselves together.<br />

If any woman has no lover,<br />

She lacks every joy,<br />

She holds the depth of night<br />

Deep down, in the prison of her heart;<br />

It is the bitterest fate.<br />

16. Day, night and everything<br />

(baritone)<br />

Day, night, and all things<br />

Are against me;<br />

Maidens’ conversations<br />

Make me weep<br />

Or often sigh –<br />

Even more, make me afraid.<br />

O friends, go ahead and laugh,<br />

You who know, speak out,<br />

But yet spare poor me<br />

For my sorrow is great;<br />

Even so, counsel me,<br />

By your honor.<br />

Your beautiful face<br />

Makes me weep a thousand times,<br />

<strong>The</strong>re is ice in your heart.<br />

As a cure,<br />

I would instantly be revived<br />

With one kiss.<br />

17. <strong>The</strong>re stood a girl<br />

(soprano)<br />

<strong>The</strong>re stood a girl<br />

In a red slip;<br />

If anyone touched,<br />

<strong>The</strong> slip rustled.<br />

Oh!<br />

<strong>The</strong>re stood a girl<br />

Like a little rose;<br />

Her face was radiant,<br />

Her mouth blossomed.<br />

Oh!<br />

25TH ANNIVERSARY CELEBRATION | 31


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

TEXT<br />

32 | CBA SYMPHONY & CHORUS<br />

18. Circa Mea Pectora<br />

(baritone, choir)<br />

Circa mea pectora<br />

multa sunt suspiria<br />

De tua pulchritudine<br />

quae me laedunt misere.<br />

Manda liet, manda liet,<br />

Min geselle chumet niet.<br />

Tui lucent oculi<br />

sicut solis radii,<br />

Sicut splendor fulguris<br />

lucem donat tenebris.<br />

Manda liet, manda liet,<br />

Min geselle chumet niet.<br />

Vellet Deus, vellent dii,<br />

quod mente proposui,<br />

Ut eius virginea<br />

reserassem vincula.<br />

Manda liet, manda liet,<br />

Min geselle chumet niet.<br />

19. Si Puer Cum Puellula<br />

(male choir)<br />

Si puer cum puellula<br />

Moraretur in cellula,<br />

Felix coniunctio.<br />

Amore suscrescente,<br />

Pariter e medio<br />

avulso procul taedio,<br />

Fit ludus ineffabilis<br />

Membris, lacertis, labiis,<br />

Si puer cum puellula<br />

Moraretur in cellula,<br />

Felix coniunctio.<br />

20. Veni, Veni, Venias<br />

(choir)<br />

Veni, veni, venias<br />

Ne me mori facias<br />

Hyrca, hyrce, nazaza.<br />

Trillirivos, trillirivos.<br />

Pulchra tibi facies,<br />

Oculorum acies,<br />

Capillorum series,<br />

O quam clara species,<br />

Rosa rubicundior,<br />

Lilio candidior<br />

Omnibus formosior<br />

Semper in te glorior.<br />

18. In my breast<br />

(baritone, choir)<br />

Around my heart<br />

are many sighs,<br />

Because of your beauty,<br />

which wounds me sorely.<br />

Moonlight, moonlight,<br />

My lover doesn’t come.<br />

Your eyes shine<br />

like the rays of the sun,<br />

Just as the flash of lightning<br />

gives light to the shadows.<br />

Moonlight, moonlight,<br />

My lover doesn’t come.<br />

May God, may the gods,<br />

grant what I’ve had in mind,<br />

That I will unfasten<br />

her virginal chains.<br />

Moonlight, moonlight,<br />

My lover doesn’t come.<br />

19. If a boy with a girl<br />

(male choir)<br />

If a young man with a young woman,<br />

Dally in a little room,<br />

It is a happy union.<br />

With love overflowing,<br />

And equally with boredom<br />

plucked far from their midst,<br />

<strong>The</strong>re arises an indescribable game<br />

Of limbs and arms and lips,<br />

If a young man with a young woman,<br />

Dally in a little room.<br />

It is a happy union.<br />

20. Come, come, pray come<br />

(choir)<br />

Come, come, may you come,<br />

Lest you make me die.<br />

Hyrca, hyrce, nazaza.<br />

Trillirivos, trillirivos.<br />

Beautiful is your face,<br />

<strong>The</strong> gleam of your eyes,<br />

<strong>The</strong> braids of your hair,<br />

O how bright your beauty!<br />

Redder than the rose,<br />

Whiter than the lily,<br />

More beautiful than all,<br />

Always I glory in you.


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

TEXT<br />

21. In Trutina<br />

(soprano)<br />

In trutina mentis dubia<br />

Fluctuant contraria<br />

Lascivus amor et pudicitia.<br />

Sed eligo quod video,<br />

Collum iugo prebeo:<br />

Ad iugum tamen suave, suave transeo.<br />

22. Tempus Est Iocundum<br />

(soprano, baritone, choir, children’s choir)<br />

Tempus est iocundum, o virgines,<br />

Modo congaudete, vos juvenes.<br />

Oh, oh, oh, totus floreo,<br />

Iam amore virginali totus ardeo,<br />

Novus, novus amor est quo pereo.<br />

Mea me confortat promissio,<br />

Mea me deportat negatio.<br />

Oh, oh, oh, totus floreo,<br />

Iam amore virginali totus ardeo,<br />

Novus, novus amor est quo pereo.<br />

Tempore brumali vir patiens,<br />

Animo vernali lasciviens.<br />

Oh, oh, oh, totus floreo,<br />

Iam amore virginali totus ardeo,<br />

Novus, novus amor est quo pereo.<br />

Mea mecum ludit virginitas,<br />

Mea me detrudit simplicitas.<br />

Oh, oh, oh, totus floreo,<br />

Iam amore virginali totus ardeo,<br />

Novus, novus amor est quo pereo.<br />

Veni, domicella, cum gaudio,<br />

Veni, veni, pulchra, iam pereo.<br />

Oh, oh, oh, totus floreo,<br />

Iam amore virginali totus ardeo,<br />

Novus, novus amor est quo pereo.<br />

23. Dulcissime<br />

(soprano)<br />

Dulcissime,<br />

Totam tibi subdo me!<br />

21. On the scales<br />

(soprano)<br />

In the doubtful balance of my mind<br />

Contrary things weigh:<br />

Wanton love and chastity.<br />

But I choose what I see,<br />

I offer my neck to the yoke;<br />

To the yoke, yet sweetly, sweetly, I submit.<br />

22. Time to jest<br />

(soprano, baritone, choir, children’s choir)<br />

It is the season for enjoyment, oh maidens,<br />

Now rejoice together, you young men.<br />

Oh, I am all abloom,<br />

Now I burn in virginal love,<br />

New, new is this love from which I’m dying.<br />

My promise comforts me.<br />

My denial sweeps me away.<br />

Oh, I am all abloom,<br />

Now I burn in virginal love,<br />

New, new is this love from which I’m dying.<br />

In wintertime, a man simply endures,<br />

In the revival of spring, a man can have fun.<br />

Oh, I am all abloom,<br />

Now I burn in virginal love,<br />

New, new is this love from which I’m dying.<br />

My virginity teases me,<br />

My innocence pushes me back.<br />

Oh, I am all abloom,<br />

Now I burn in virginal love,<br />

New, new is this love from which I’m dying.<br />

Come, little mistress, with joy,<br />

Come, come, beautiful one, I’m dying.<br />

Oh, I am all abloom,<br />

Now I burn in virginal love,<br />

New, new is this love from which I’m dying.<br />

23. Sweetest boy<br />

(soprano)<br />

Sweetest one,<br />

Wholly to you I give myself!<br />

25TH ANNIVERSARY CELEBRATION | 33


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

TEXT<br />

34 | CBA SYMPHONY & CHORUS<br />

Blanziflor et Helena<br />

24. Ave Formosissima<br />

(choir)<br />

Ave Formosissima,<br />

Gemma pretiosa,<br />

Ave, decus virginum,<br />

Virgo gloriosa,<br />

Ave, mundi luminar,<br />

Ave mundi rosa,<br />

Blanziflor et Helena,<br />

Venus generosa.<br />

Fortuna Imperatrix Mundi<br />

25. O Fortuna<br />

(choir)<br />

O Fortuna, velut Luna<br />

statu variabilis,<br />

Semper crescis, aut decrescis:<br />

vita detestabilis<br />

Nunc obdurat et tunc curat<br />

ludo mentis aciem,<br />

Egestatem, potestatem<br />

dissolvit ut glaciem.<br />

Sors immanis et inanis,<br />

rota tu volubilis,<br />

Status malus, vana salus<br />

semper dissolubilis,<br />

Obumbrata et velata<br />

michi quoque niteris;<br />

Nunc per ludum dorsum nudum<br />

fero tui sceleris.<br />

Sors salutis et virtutis<br />

michi nunc contraria,<br />

Est affectus et defectus<br />

semper in angaria.<br />

Hac in hora sine mora<br />

corde pulsum tangite;<br />

Quod per sortem sternit fortem,<br />

mecum omnes plangite!<br />

Blanchefleur and Helen<br />

24. Hail to the most lovely<br />

(choir)<br />

Hail, most beautiful one,<br />

Precious jewel,<br />

Hail, epitome of maidens,<br />

Glorious maiden,<br />

Hail, light to the world,<br />

Hail, rose of the world,<br />

Blanziflor and Helen<br />

Noble Venus<br />

Fortune, Empress of the World<br />

25. O Fortune<br />

(choir)<br />

Oh, Fortune, like the moon,<br />

constantly changing,<br />

you always wax or wane;<br />

Life is hateful,<br />

Now in jest it hardens, then eases<br />

the mind’s keenness.<br />

Poverty, power --it<br />

dissolves like ice.<br />

Fate monstrous and meaningless,<br />

you are a turning wheel,<br />

Status is unlucky, health unreliable,<br />

always on the point of vanishing,<br />

Obscured and veiled,<br />

you press on me.<br />

Now in jest, a naked back<br />

I offer to your villainy.<br />

A fate of health and strength<br />

is now denied me.<br />

<strong>The</strong>re is always both good will<br />

and weakness in [Fortune’s] service.<br />

In this hour, without delay,<br />

strike a beat on the strings;<br />

Since by chance [Fortune] strikes down the strong,<br />

all join me in this sad song.


CHICAGO BAR ASSOCIATION<br />

ORCHESTRA & CHORUS<br />

Thank you for creating such wonderful musical memories.<br />

You bring together mind, body and spirit!<br />

<strong>The</strong> CBA legal community does indeed use both sides of the brain.<br />

200 West Adams Street, Suite 2850 • <strong>Chicago</strong>, IL 60606<br />

(312) 236-8500 • www.CookAlex.com


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

CBa SYmPHOnY<br />

36 | CBA SYMPHONY & CHORUS<br />

Flute<br />

Judith Grubner, principal<br />

Julie Howie<br />

Lisa Devlin<br />

Piccolo<br />

Lisa Devlin<br />

oboe<br />

Mary Callaghan, principal*<br />

Beth Lodal*<br />

Jerry Kaplan<br />

english horn<br />

Jerry Kaplan<br />

clarinet<br />

John S. Vishneski, III,<br />

principal*<br />

Tom Lichten<br />

Christine Rhode<br />

bass clarinet<br />

Blanche Manning<br />

bassoon<br />

Katherine Erwin, principal*<br />

Nyketa Marshall<br />

horn<br />

Gretchen Zook, principal<br />

Molly Eastman<br />

David VanOverloop<br />

Michael Neal<br />

Christian Arizmendi<br />

DaViD KaTZ, FOunDinG muSiC DirECTOr<br />

trumPet<br />

Michael Poulos, principal*<br />

Mark Hellner*<br />

Arthur Carvajal*<br />

David Coronna<br />

Peter Maltese<br />

Christopher Kantas<br />

Ryan Black<br />

trombone<br />

Lia Corinth, principal<br />

Christopher Boehm<br />

Phyllis Steinhauser<br />

tuba<br />

Andrew Pigott<br />

timPani<br />

Jon Duncan, principal*<br />

Percussion<br />

Jon Duncan, principal*<br />

<strong>Bar</strong>ry Kozak<br />

Susan Macaulay<br />

Edward Voci<br />

Ed Harrison<br />

Piano/celesta<br />

Janet Eckhardt<br />

Jennifer Zlotow<br />

Suzanne Poulos †<br />

Violin i<br />

Sara Su Jones, concertmaster<br />

Alexandra Newman<br />

Joe Chervin<br />

Desiree Grode<br />

John Tangren**<br />

Pat Bronte<br />

Kate Starshak<br />

Gail Margolis*<br />

Carlin Metzger<br />

Molly Thompson<br />

Kathy Marshall<br />

Shawn Liu<br />

Henry Criz<br />

Violin ii<br />

Emily Chen, principal*<br />

Leslie Bertagnolli*<br />

Ellen Douglass*<br />

Alan Jedlicka**<br />

Christina Liu<br />

Michael Gallo<br />

Erin Maher<br />

Liisa Thomas**<br />

Sacha Nelson<br />

Jaime Walsh<br />

Joe Hilden<br />

Harry Porterfield<br />

Jolianne Walters<br />

<strong>Bar</strong>bara Wald<br />

Viola<br />

Alexander Weaver, principal*<br />

Jamie Davidson<br />

Candice DeBray<br />

Catherine Hennessy<br />

Robin Karkowski-Schelar<br />

Johanne Jean<br />

Heather Neaveill*<br />

Greg Zinkl*<br />

cello<br />

Andrew Sajdak, principal<br />

Natasha White<br />

Ethel Leichti<br />

Scott Beller<br />

Judith Sawyier<br />

Jessica Park<br />

David Perlman<br />

Howard Miller<br />

Linda Kaplan<br />

bass<br />

Dirk VanKoughnett, principal<br />

Bob Hodge<br />

Jay Broutman<br />

assistant conductor<br />

Michael Poulos*<br />

librarian<br />

Ellen Douglass*<br />

transPortation<br />

Jon Duncan*<br />

reFreshment tzarina<br />

Kathy Marshall<br />

cba liaisons<br />

Emily Riojas<br />

John S. Vishneski, III*<br />

** current CBASO co-chair<br />

* past CBASO co-chair<br />

† principal, singing in chorus<br />

for this performance


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra and Chorus perform Beethoven’s Symphony No. 9 at the Conference of World City <strong>Bar</strong> Leaders and a sold-out crowd in attendance,<br />

Navy Pier, September 16, 2006. Photo by Bill Richert.<br />

<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra and Chorus perform in honor of retiring Supreme Court<br />

Justice John Paul Stevens.<br />

Members of the CBA Chorus perform at Navy Pier.<br />

25TH ANNIVERSARY CELEBRATION | 37


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

CBa CHOruS<br />

38 | CBA SYMPHONY & CHORUS<br />

SOPranO<br />

Kathryn S. Beard<br />

Rebecca Burlingham †<br />

Jeannine Cordero<br />

Candace Davis*<br />

Stefania Dion<br />

Alice E. Dolan*<br />

Felicia Duque<br />

Marilou C. Gervacio*<br />

Amy Harvey<br />

Marilyn Heraty<br />

Socorro Hernandez<br />

Paula K. Jacobi<br />

Lucy Kennedy*<br />

Maureen Kennedy*<br />

Dolores T. Kenney<br />

Nancy Klein*<br />

Laura Liekis<br />

Kathleen D. Loos*<br />

Catherine Masters *<br />

Patricia Mehler*<br />

Maribel Meisel<br />

Carissa J. Meyer<br />

Nicolle Neulist<br />

Diane Panozzo<br />

Suzanne M. Poulos*<br />

Susan M. Pudelek<br />

Reneé Elise Roffle*<br />

Nicole Schall-Plotner<br />

Gilda Small<br />

Teri Firmiss Thompson*<br />

Jennifer Widmer †<br />

Andrea Wood<br />

Margaret Wood*<br />

rEBECCa PaTTErSOn, CHOruS DirECTOr<br />

aLTO<br />

Michele Brenner<br />

Alice Brown<br />

Anna Chapman<br />

Carole Corns<br />

Severina Dimaranan<br />

Ami Gandhi<br />

Allison Gans<br />

Rene Girardi<br />

<strong>Bar</strong>bra Goering<br />

Linda Harris<br />

Carole Hays<br />

Alicia Hill<br />

Carolyn J. Jones*<br />

Ruth Kaufman*<br />

Carolyn Kitty*<br />

Carol A. Langer<br />

Jennifer LoGiudice<br />

<strong>Bar</strong>bara Long<br />

Penny Lukens<br />

Nina Mariano<br />

Joan Merchán<br />

Sandra D. Mertens<br />

Anita T. Molano<br />

Becky Jo Morgan<br />

Darka Papushkewych<br />

Jeanah Park<br />

Kathryn Raysses<br />

Ann Siena<br />

Anne Skrodski<br />

Dorothy A. Voigt<br />

Linda Westin<br />

TEnOr<br />

Paige <strong>Bar</strong>nett<br />

Joan E. Behrens<br />

Eric Boyd*<br />

Daniel Buck*<br />

Martha A. Garcia*<br />

Jannis Goodnow<br />

Manoj Govindaiah<br />

Malcolm Harsch<br />

Vester T. Holman, Jr.<br />

Dan Malone<br />

William Nichols*<br />

Allyn Wilcox Rawling*<br />

Gina Reynolds<br />

Hanna Stotland<br />

Donna H. Weaver*<br />

BaSS<br />

Jerry Bauer<br />

Eugene W. Beeler, Jr.<br />

Louis Michael Bell*<br />

Michael Berman<br />

Kevin E. Bry<br />

Frank E. Cargle, II*<br />

Douglas Davidson<br />

Samuel F. Hohmann<br />

Robert Jaydos<br />

Terrence Kennedy, Jr. †<br />

Robert Kernan<br />

Stephan J. Metzger<br />

Dale K. Nichols<br />

John Peters<br />

Thomas D. Rafter<br />

† CBA Chorus Co-Chairs<br />

*Volunteers


25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM<br />

naPErViLLE CHOruS<br />

SOPranO<br />

Pamela Andrews<br />

Kerry Ayres<br />

Jen Berosek<br />

Katie Brandonisio<br />

Mary Jane Bressier<br />

Grace Bryer<br />

Elizabeth Case<br />

Sharon Clark<br />

Janet Dee<br />

Celeste Doyle<br />

Michelle Hatcher<br />

Jillian Hentschel<br />

Deborah Houston<br />

Bea Jaynes<br />

Margaret Jonah<br />

Carol Keyes<br />

Kimberly Lynn<br />

Kathleen Macko<br />

Gail Nelson<br />

Kathy Owen<br />

Heather Reusz<br />

Jennifer Reusz<br />

Kathy Roberts<br />

Bonnie Ryder<br />

Sarah Sippy<br />

Sarah Stanfield<br />

Liz Stefanski<br />

Crae Tate<br />

Tammra Villarreal-<br />

Prochaska<br />

Jane Warfel<br />

Lucy Yester<br />

JEOrDanO marTÍnEZ, muSiC DirECTOr<br />

aLTO<br />

Lindsey <strong>Bar</strong>ba<br />

Darlene Belmore<br />

Jennifer Brockman<br />

Marsha Buffington<br />

Micki Casey<br />

Jane Crabtree<br />

Dianne David<br />

Carolyn Drake<br />

Joanne Fries<br />

Charlotte Gallagher<br />

Chandra Gioiello<br />

Jen Harris<br />

Brenda Hockberger<br />

Wilma Hunter<br />

Linda Leinweber<br />

Nancy Leventry<br />

Inger Marohn<br />

Rita Mathern<br />

Courtney Nash<br />

Mary Ann Nelson<br />

Nancy Rench<br />

Emily Schuler<br />

Nancy Sigel<br />

Deborah Solarski<br />

Pamela Stevenson<br />

Dorothy Strening<br />

Kelly Trombly-Freytag<br />

<strong>Bar</strong>b Wendel<br />

<strong>Bar</strong>bara Yahnke<br />

Jennifer Yosenick<br />

TEnOr<br />

Wes Ague<br />

Ed Fleming<br />

Paul Fries<br />

John Gerlach<br />

Charles Jonah<br />

Elizabeth Langan<br />

Bill Morris<br />

Lamar Owings<br />

Marco Peña<br />

Gary Prochaska<br />

John Ranos<br />

Tim Royer<br />

Lori Rueffer<br />

Robert Stehman<br />

SOPranO 1<br />

Sarah Bond<br />

Katelyn Casey<br />

Molly Durava<br />

Sydney Fabbri<br />

Isabelle Glimco<br />

Shannon Keegan<br />

Monika Martinek<br />

Carolyn Suther<br />

Serena Upadhyay<br />

Elena Wiesner<br />

Kate Williams<br />

SOPranO 2<br />

Irene Chang<br />

Jennifer Ding<br />

Claudia Dockery<br />

Christopher<br />

Gamble<br />

Tiffany Jeung<br />

BaSS<br />

Keith Anderson<br />

Bruce Bell<br />

Jeff David<br />

Jim Fancher<br />

Tom Jaynes<br />

Jim Kaduk<br />

Gary Kovener<br />

Jeremy Kropf<br />

Keith Landis<br />

Charles Lipkin<br />

Larry Lipskie<br />

Tom Mathern<br />

Tom Roberts<br />

John Ruby<br />

Dennis Schuett<br />

Jon Warfel<br />

Cliff Whall<br />

John Zelman<br />

YOunG naPErViLLE SinGErS<br />

anGiE JOHnSOn, arTiSTiC DirECTOr<br />

Celina Kobetitsch<br />

Grace Mertens<br />

Breanna Metry<br />

Rachel Nesti<br />

Lauren Rupert<br />

Lexi Sanders<br />

Irina Stolic<br />

Shelbey Vandenbroucke<br />

Amanda Wenger<br />

Claire Wiesner<br />

Katie Zalabak<br />

aLTO 1<br />

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25TH ANNIVERSARY CELEBRATION | 39


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

It Was 20 Years Ago Today …<br />

(How It All Began)<br />

<strong>The</strong> CBA Chamber Orchestra’s debut concert at the 114 th Annual CBA Meeting on June 25, 1987 in the Gold Coast Room of the Drake Hotel<br />

It all began at the old Medina Temple on<br />

State Street at Christmas-Time in 1985. <strong>The</strong><br />

annual Do-It-Yourself Messiah conducted by<br />

Margaret Hillis was being held there that year<br />

instead of the usual Orchestra Hall venue, due to<br />

construction, and two lawyer-cellists, Susan<br />

Chernoff (now Susan Chernoff Huvard) and<br />

Julia Nowicki, found themselves sharing a<br />

stand. During a break, Nowicki said “Wouldn’t<br />

this be fun to do more than once a year?” A<br />

light bulb went off in their heads and the idea<br />

for an all-lawyer orchestra was born.<br />

Nowicki recalls, “Susan and I talked. Got the<br />

hairbrained thing planned in our heads, took a<br />

deep breath, and hoped no one would laugh at us<br />

at the CBA. We were fairly young lawyers at the<br />

time. Taking a large dose of Imodium before the<br />

Board Meeting, we had no confidence at all that<br />

anyone would like it. Well, Esther Rothstein was<br />

on the Board. We barely got through our<br />

presentation, and she was taking it on as her<br />

cause. Of course, everyone in the room followed<br />

40 | CBA SYMPHONY & CHORUS<br />

This article is reprinted from the 20th Anniversary Program Book for the performance of the Beethoven 9th Symphony in 2006<br />

her lead. She said something like: ‘this is the best<br />

idea we have had presented to us in years---we<br />

MUST give it our full support.’”<br />

That board meeting took place early in 1986 and<br />

by March 1986 an ad appeared in “<strong>The</strong><br />

Communicator” (the newsletter published by the<br />

CBA at that time) that read:<br />

Attention Music Lovers: Are you interested in<br />

getting together with other CBA musicians to<br />

play chamber music? We would like to start a<br />

chamber orchestra. Possibilities are unlimited,<br />

but include performing for <strong>Bar</strong> activities and<br />

receptions and participating in smaller<br />

ensembles (quartets, quintets, etc. – strings and<br />

winds). One rehearsal per week will be held<br />

beginning in the fall. If you are interested in<br />

playing or conducting, please call Susan<br />

Chernoff at 845-9249 by March 28.<br />

By the summer of 1986, the CBA’s “Chamber<br />

Music Committee” had been created. <strong>The</strong>


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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

CBA’s 1986-87 committee booklet listed it<br />

under service committees and stated: “<strong>The</strong><br />

Chamber Music Committee is designed for all<br />

CBA members who are interested in forming a<br />

chamber orchestra and performing in smaller<br />

chamber ensembles. Rehearsals will be held<br />

every Monday evening at the CBA and<br />

performances at <strong>Association</strong> functions will be<br />

scheduled as requested. All instrumentalists are<br />

invited to join.” Sign-up applications were due<br />

by July 27, 1986. [It turned out that Wednesdays<br />

worked better.]<br />

Hiring A Conductor<br />

<strong>The</strong> orchestra still needed a conductor … and<br />

that would require money. On September 26,<br />

1986, Chernoff Huvard submitted a budget of<br />

$7,352, including a line item to pay a conductor<br />

for 35 rehearsals, for the CBA Board to approve<br />

at its October 2 nd meeting. <strong>The</strong> Board approved<br />

and agreed to advance funds. Armed with the<br />

tools to make an offer, Nowicki and Chernoff<br />

Huvard set out to hire a conductor. <strong>The</strong>y<br />

contacted Evelyn Meine, director of special<br />

projects for the <strong>Chicago</strong> Symphony Orchestra<br />

for recommendations. “We wanted someone<br />

who could combine fun with professional<br />

playing” recalls Chernoff Huvard “and at the<br />

same time generate the right kind of<br />

enthusiasm.” Nowicki and Chernoff Huvard<br />

interviewed three conductors altogether, but<br />

according to Nowicki, “It was no contest as<br />

soon as we met David Katz. We had lunch at<br />

the old CBA dining room [at 29 S. LaSalle<br />

Street], and I remember Susan and I chuckling<br />

to each other after the first interview, who were<br />

we to be interviewing professional musicians?<br />

David was just so adorable, charming and<br />

personable, and well, you know.”<br />

David Katz also recalls that interview, “I was<br />

Margaret Hillis’s assistant conductor with the<br />

Elgin Symphony. She heard of the position<br />

somehow, asked me if I was interested and put<br />

me in touch with Evelyn Meine of the <strong>Chicago</strong><br />

Symphony Orchestra. I met with Evelyn, who I<br />

knew from the Board of Directors of the Illinois<br />

Counsel of Orchestras (I was also a director).<br />

42 | CBA SYMPHONY & CHORUS<br />

She had me set up a meeting with Julia and<br />

Susan in the dining room at the old CBA<br />

Headquarters on LaSalle. <strong>The</strong>y essentially<br />

asked me ‘how do you start on orchestra?’ I told<br />

them; they hired me; then Beethoven’s 9 th at<br />

Navy Pier, just like that!”<br />

Rehearsals Begin<br />

<strong>The</strong> orchestra’s first rehearsal took place on<br />

November 5, 1986 in the dining room at CBA<br />

headquarters. Nine musicians showed up and<br />

several, including Nowicki and Leslie<br />

Bertagnoli (violin), remember playing Leroy<br />

Anderson’s “Syncopated Clock.” According to<br />

a November 6, 1986 letter from Katz to those<br />

musical pioneers, rehearsals thereafter moved to<br />

Room 1504 of the Daley Center – Judge Julia<br />

Nowicki’s courtroom. Katz prophetically<br />

wrote, “Thanks to all of you who were able to<br />

attend our first good rehearsal of the <strong>Chicago</strong><br />

<strong>Bar</strong> <strong>Association</strong> Chamber Orchestra. I hope you<br />

share with me the belief that with the right<br />

attitude and some good recruiting we can keep<br />

our momentum and achieve something both<br />

lasting and unique. We have terrific potential.”<br />

An early rehearsal – the Illinois Revised Statutes make a fine podium


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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

By the end of 1986, the orchestra was well on<br />

its way. On December 23 rd , the Law Bulletin<br />

reported: “CBA Symphony almost ready. <strong>The</strong><br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong>’s new Chamber<br />

Symphony may not be entertaining this<br />

Christmas, but with a few good violinists, it<br />

could be ready by next year.” Chernoff Huvard<br />

was quoted: “We knew there was a lot of talent<br />

out there, and we knew it would provide a lot of<br />

goodwill to the bar and the community.”<br />

<strong>The</strong> Audition Concert<br />

It was soon decided that the orchestra would<br />

make its debut at the CBA’s annual meeting in<br />

June. However, the incoming CBA President,<br />

Jack Jiganti, and the CBA Executive Director,<br />

Terry Murphy, were not about to subject this<br />

well meaning group of musicians to the world’s<br />

most critical audience – 300 hundred lawyers –<br />

without at least checking them out.<br />

Consequently, with its first 1987 rehearsal on<br />

January 21 st , the orchestra members began<br />

preparing in earnest for their “audition.” <strong>The</strong>y<br />

worked up the following program:<br />

Procession of the Sardar – Ippolitov-Ivanov<br />

Jesu Joy of Man’s Desiring – Bach<br />

Impresario Overture – Mozart<br />

Seventeen Come Sunday – Vaughan Williams<br />

After many Wednesdays, the day came. On the<br />

evening of March 25, 1987 in Room 2403 of the<br />

Daley Center, the fledgling orchestra’s 30<br />

members performed their very first concert – for<br />

three people: Terry Murphy, Jack Jiganti and<br />

Evelyn Meine. <strong>The</strong>y were apparently<br />

impressed, and the CBA orchestra received its<br />

first official booking.<br />

<strong>The</strong> Sneak Preview Concert<br />

In route to its June 25 th official debut, the<br />

orchestra scheduled a sneak preview concert<br />

during the lunch hour on May 20, 1987 in Room<br />

2403 of the Daley Center. <strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong><br />

<strong>Association</strong> “Chamber” Orchestra added several<br />

new pieces to its repertoire between March 25 th<br />

and May 20 th (see image of the May 20, 1987<br />

44 | CBA SYMPHONY & CHORUS<br />

program below) and packed the courthouse for<br />

its sneak preview performance (see picture<br />

below).<br />

<strong>The</strong> CBA Chamber Orchestra Sneak Preview Concert –May 20, 1987<br />

Debut At <strong>The</strong> CBA’s 114 th Annual Meeting<br />

After months of preparation, June 25, 1987<br />

finally arrived. <strong>The</strong> orchestra was to be<br />

officially unveiled. What else was happening<br />

that summer? <strong>The</strong> same Law Bulletin issue that<br />

reported on the CBA Annual Meeting also<br />

reported: that opponents of Robert Bork’s<br />

nomination to the Supreme Court planned to<br />

raise a $1 million war chest to fight his<br />

nomination; that Operation Greylord scored two<br />

more convictions, bringing the total to sixty; and<br />

that the Illinois Supreme Court had decided to<br />

review the only asbestos case that had ever gone


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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

to trial in Cook County. On that fateful night in<br />

June 1987, amid the chaos in <strong>Chicago</strong>’s legal<br />

community that is business as usual, the<br />

<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra<br />

(as it was renamed in the Fall of 1987) arrived<br />

on the scene and began its mission of spreading<br />

goodwill through great music. Notwithstanding<br />

the clattering dishes, the orchestra brought<br />

Bach, Beethoven and Mozart to the occasion. A<br />

one-page program survives from that night and<br />

confirms that the orchestra played the same<br />

program it previewed in Judge Shields’<br />

courtroom on May 20 th at the sneak preview<br />

concert.<br />

At great moments in history there are often<br />

interesting coincidences. June 25, 1987 was no<br />

exception. <strong>The</strong> same currents of time that<br />

brought the orchestra to that dinner at the Drake<br />

<strong>The</strong> Second Season<br />

With the arrival of September, and the<br />

beginning of its first full-year season, the<br />

orchestra began to set the pattern for its<br />

successful annual series of concerts. An early<br />

notice described the CBA Symphony Orchestra<br />

as follows: “<strong>The</strong> Orchestra rehearses in the<br />

Daley Center on Wednesday evenings from<br />

6:30-8:15 from September to May with a break<br />

for the holiday period to coincide with exams<br />

46 | CBA SYMPHONY & CHORUS<br />

<strong>The</strong> second season begins – a 1987 CBA Symphony Orchestra rehearsal.<br />

also brought a young lawyer named Ellen<br />

Douglass to the same CBA Annual Meeting.<br />

Douglass, who was later to join the orchestra<br />

and become one of its leaders, had been honored<br />

earlier that day. She was a recipient of the<br />

<strong>Chicago</strong> <strong>Bar</strong> Foundation’s annual Weigle<br />

Award, recognizing an attorney under the age of<br />

36 who gave the most outstanding service to the<br />

legal profession and the organized bar during<br />

the preceding year. She won the award for her<br />

work re-opening the <strong>Chicago</strong> Volunteer Legal<br />

Services Liberty Baptist Church Legal Clinic on<br />

<strong>Chicago</strong>’s South Side. However, she missed the<br />

dinner portion of the meeting and remained<br />

unaware of the orchestra. Five years later, in<br />

the Spring of 1992, Douglass joined the<br />

orchestra as a member of the violin section and<br />

eventually became an orchestra co-chair and<br />

then its long-time music librarian.<br />

and holiday recess for our law student members.<br />

Our members range from sole practitioners to<br />

members of the city's largest law firms, from<br />

law students to attorneys with more than 25<br />

years at the bar, city corporation counsel, public<br />

defenders, and in-house attorneys. Our<br />

rehearsals are an enjoyable way to network with<br />

a diverse group of attorneys and judges.<br />

Gourmet cookies are an added benefit enjoyed<br />

by all at rehearsal breaks!”


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

Those Wednesday rehearsals, cookies and all,<br />

led inexorably to the orchestra’s first Fall<br />

concert in 1987, a concert focusing on serious<br />

and challenging works. On November 19, 1987,<br />

the orchestra performed its first symphony –<br />

Franz Joseph Haydn’s “Clock” Symphony –<br />

and, indeed, earned the right to change its name<br />

from the “<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Chamber<br />

Orchestra” to the “<strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong><br />

Symphony Orchestra.”<br />

<strong>The</strong> orchestra also hosted its first guest artist –<br />

the first of many artists, both guests and<br />

orchestra members, to be featured in orchestra<br />

concerts. On this occasion, Deborah Hanks, a<br />

tax attorney from Milwaukee, was featured on<br />

clarinet playing Carl Maria von Weber’s<br />

“Concertino.” At the time Hanks was also<br />

principal clarinet with the Milwaukee Ballet<br />

Orchestra and had previously been principal<br />

clarinet of the Toledo Symphony. Other works<br />

performed were Ravel’s “Pavane,” Rossini’s<br />

“Italian in Algiers Overture” and Liadov’s<br />

“Russian Folk Songs.”<br />

48 | CBA SYMPHONY & CHORUS<br />

Also, David Katz’ podium constructed of the<br />

Illinois Revised Statutes was replaced by a<br />

beautiful inlaid wood podium made and donated<br />

by <strong>The</strong>odore Shultz. Orchestra member<br />

Bernard Neistein, violinist and Illinois State<br />

Senator, persuaded Shultz to create the new<br />

podium. Unfortunately, the podium was so<br />

beautiful that it disappeared after a concert a<br />

few years later and had to be replaced.<br />

Nevertheless, it marked the end of the<br />

appearance of the Illinois Revised Statutes at<br />

orchestra concerts.<br />

<strong>The</strong> fall concert was followed by the first of<br />

many annual Holiday Favorites concerts. On<br />

December 17, 1987, the orchestra performed<br />

during the noon hour at Denning Hall in the old<br />

CBA building, including O Holy Night,<br />

featuring Jill Nicholson (soprano), Dance of the<br />

Blessed Spirits, featuring Tom Rosenwein<br />

(flute) and of course Leroy Anderson’s “A<br />

Christmas Festival.”<br />

Another milestone was reached that holiday<br />

season of 1987 – the familiar <strong>Chicago</strong> <strong>Bar</strong><br />

<strong>Association</strong> Symphony Orchestra logo, created<br />

and donated to the orchestra by Roger Harvey,<br />

made its first appearance.<br />

<strong>The</strong> traditions started in 1987, of a fall concert<br />

featuring serious works and holiday concert,<br />

continue to this day.<br />

As winter turned into spring, the orchestra<br />

prepared for its spring concert of serious works.<br />

On April 7, 1988, it performed its second<br />

symphony, Schubert’ Symphony No. 8. in B


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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

Minor (the “Unfinished” symphony). Other<br />

pieces included Delibs’ “March and Procession<br />

of Bacchus,” and Kabalevsky’s “<strong>The</strong><br />

Comedians.” But, the highlight of the evening<br />

was guest artist Robert Black’s rendition of<br />

Glazounov’s “Concerto for Saxophone.” Black,<br />

then a third-year law student at DePaul<br />

University College of Law, had the distinction<br />

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<strong>The</strong> <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong> Symphony Orchestra in Rehearsal with Robert Black (spring 1988).<br />

Following its spring 1988 concert, the orchestra<br />

prepared lighter and more popular pieces for its<br />

very first appearance at the annual Law Day<br />

ceremonies on May 2 nd that year. And, after<br />

many fine speeches, presentation of the Liberty<br />

Bell Award and a rousing rendition of Stars and<br />

Stripes Forever, the orchestra’s second season<br />

came to a close.<br />

In later years, the orchestra added a second<br />

spring concert, typically playing pops and<br />

scheduled close to the Law Day performance,<br />

bringing its full regular schedule to five concerts<br />

annually. However, that second season<br />

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schedule that has continued successfully for 20<br />

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50 | CBA SYMPHONY & CHORUS


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the CBA orchestra and chorus.<br />

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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

COnGraTuLaTiOnS TO THE CHiCaGO <strong>Bar</strong> aSSOCiaTiOn<br />

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52 | CBA SYMPHONY & CHORUS<br />

on its first 25 years of<br />

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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />

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54 | CBA SYMPHONY & CHORUS<br />

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