CARMINA BURANA - The Chicago Bar Association
CARMINA BURANA - The Chicago Bar Association
CARMINA BURANA - The Chicago Bar Association
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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 />
25TH ANNIVERSARY CELEBRATION | 25
CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />
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 />
25TH ANNIVERSARY CELEBRATION | 27
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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 />
25TH ANNIVERSARY CELEBRATION | 29
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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 />
Elizabeth Bebel<br />
Melissa Bebel<br />
Ali Bettuzzi<br />
Maggie<br />
Blackledge<br />
Laurel Fischer<br />
Luke Frees<br />
Amanda Garvey<br />
Emily Hill<br />
Evan Hill<br />
Anna Holden<br />
Dianna Leigh<br />
Alexander Linder<br />
Catherine Malone<br />
Kaitlyn Morris<br />
Sherine Mostafa<br />
Angel Musaazi<br />
Kate Randall<br />
Austin Rupert<br />
Becky Thomas<br />
Audrey<br />
Timberlake<br />
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Gretchen<br />
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Kirsten Asensio<br />
Alexis Bishop<br />
Micaela Bratland<br />
Stephanie Gerace<br />
Katie Giddings<br />
Lily Hislop<br />
Elizabeth Musaazi<br />
Meredith Olson<br />
Asura Osborne<br />
Ally Piepho<br />
Myna Sharma<br />
Stephanie Smick<br />
Rachel Tinker<br />
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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Publication: <strong>Chicago</strong> <strong>Bar</strong> <strong>Association</strong><br />
Proud Sponsor of<br />
Region: Central<br />
CBA Symphony<br />
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Change: __________________<br />
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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 />
of being the first classical saxophonist to win a<br />
Grammy Award – for his performance of<br />
“Walton’s Façade” with <strong>Chicago</strong> pro Musica.<br />
His performance that April night with CBA<br />
Symphony Orchestra was ample evidence of<br />
why he won that distinction.<br />
<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 />
established the basic performance and rehearsal<br />
schedule that has continued successfully for 20<br />
years. <strong>The</strong> rest, as they say, is history. ▄<br />
50 | CBA SYMPHONY & CHORUS
Thank you CBA for supporting members and<br />
colleagues in their creative endeavors.<br />
Congratulations on 25 years of musical service<br />
to the members, profession and community by<br />
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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Rev. Daniel P. Buck<br />
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congratulates<br />
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52 | CBA SYMPHONY & CHORUS<br />
on its first 25 years of<br />
great music<br />
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Happy 25th, CBASO! Glad to play a part.<br />
–Emily A. Chen, Violin II<br />
25 Years with the<br />
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Thanks to Fearless<br />
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inspired dedication.<br />
Gail Margolis
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CBA SYMPHONY & CHORUS OFFICIAL PROGRAM<br />
Carmina Burana at Wentz Hall in Naperville, May 7, 2011<br />
<strong>The</strong> trumpets sound. Mark Hellner, Peter Maltese, Arthur Carvajal, David Coronna,<br />
Michael Poulos.<br />
54 | CBA SYMPHONY & CHORUS<br />
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