CARMINA BURANA - The Chicago Bar Association

25TH ANNIVERSARY CELEBRATION OFFICIAL PROGRAM 

The Chicago Bar Association presents 

The Chicago Bar Association Symphony Orchestra 

David Katz music director 

25th Anniversary Celebration 

Carl Orff’s 

CARMINA BURANA 

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

CBA Chorus Naperville Chorus Young Naperville Singers 

Rebecca Patterson director Jeordano Martinez music director Angie Johnson artistic director 

25TH ANNIVERSARY CELEBRATION | 1


Welcome to a very special night for the Chicago Bar Association. Twenty-five years 

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

lawyers–conceived of the unique idea of starting a symphony orchestra within the 

Chicago Bar Association. Twenty-five years, scores of concerts and many recordings 

later, we are here to celebrate with the CBA Symphony Orchestra and its members 

as they reach this important milestone. 

The Orchestra, and its partner in the arts the CBA Symphony Chorus, which celebrates 

its fifth anniversary this year, provide an important artistic outlet for lawyers, 

judges, law professors and law students in Chicago who love the law, but not to the exclusion of their music. 

These wonderful musicians rehearse week after week–in courtrooms and bar association meeting rooms– 

to feed their passion for music, and to provide us with remarkable performances. 

During my time as an Officer of the Chicago Bar Association, I have met Bar Officers from cities literally 

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

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

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

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

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

Havana, we gave our hosts CDs recorded by the CBA Symphony Orchestra and the Barristers’ Big Band 

as our thank you gifts. 

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

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

Bravo! 

Terri L. Mascherin 

President 


CBA SYMPHONY & CHORUS OFFICIAL PROGRAM 

4 | CBA SYMPHONY & CHORUS 

In Celebration of the 25 th Season of the Chicago Bar Association Symphony Orchestra 

Carl Orff 

Carmina Burana 

Cantiones profanæ cantoribus et choris 

cantandæ comitantibus instrumentis atque imaginibus magicis 

(Songs of Beuern: Secular songs for singers and choruses 

to be sung together with instruments and magic images) 

Conducted by David Katz 

Chicago Bar association Symphony Orchestra 

David Katz, Music Director 

Chicago Bar association Chorus 

Rebecca Patterson, Chorus Director 

The naperville Chorus 

Jeordano Martínez, Music Director 

Young naperville Singers 

Angie Johnson, Artistic Director 

Patrice michaels, Soprano 

ian mcEuen, Tenor 

Jacob Lassetter, Baritone 

Symphony Center, Chicago, illinois 

June 5, 2011


YOU INSPIRE US. 

The intricacy of the music...the purity of the tone... 

the dedication to practice. 

Barnes & Thornburg LLP is proud to celebrate 

The Chicago Bar Association Symphony Orchestra 

and Chorus’ Performance of Carmina Burana. 

You inspire us to be the best we can be. 



Fortuna Imperatrix Mundi (Fortune, Empress of the World) 

1. O Fortuna (O Fortune) chorus 

2. Fortune Plango Vulnera (I lament the wounds that Fortune deals) chorus 

Part I Primo vere (In Spring) 

3. Veris Leta Facies (The joyous face of Spring) chorus 

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

5. Ecce Gratum (Behold the welcome) chorus 

Uf dem Anger (In the Meadow) 

6. Tanz (Dance) orchestra 

7. Floret Silva (The forest flowers) chorus 

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

9a. Reie (Round Dance) orchestra 

9b. Swaz Hie Gat Umbe (They who here go dancing around) chorus 

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

9d. Swaz Hie Gat Umbe (They who here go dancing around) chorus 

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

Part II In Taberna (In the Tavern) 

11. Estuans Interius (Seething inside) Mr. Lassetter 

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

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

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

Part III Cour d’amours (Court of Love) 

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

16. Dies Nox et Omnia (Day, night and everything) Mr. Lassetter 

17. Stetit Puella (There stood a girl) Ms. Michaels 

18. Circa Mea Pectora (In my breast) Mr. Lassetter, chorus 

19. Si Puer Cum Puellula (If a boy with a girl) male chorus 

20. Veni, Veni, Venias (Come, come, pray come) chorus 

21. In Trutina (On the scales) Ms. Michaels 

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

23. Dulcissime (Sweetest boy) Ms. Michaels 

Blanziflor et Helena (Blanchefleur and Helen) 

24. Ave Formosissima (Hail to the most lovely) chorus 

Fortuna Imperatrix Mundi (Fortune, Empress of the World) 

25. O Fortuna (O Fortune) chorus 

6 | CBA SYMPHONY & CHORUS


Eric Boyd 

Rebecca Burlingham 

Frank Cargle 

Arthur Carvajal 

Jon Duncan 

Alan Jedlicka 

Acknowledgements 

Chicago Bar Association Symphony Orchestra 

25 th Anniversary Celebration Committee 

David Katz, Music Director 

Rebecca Patterson, Chorus Director 

Michael and Suzanne Poulos, Co-Chairs 

Thank you to 

Terrence M. Murphy, Executive Director of the Chicago Bar Association, and the leadership of the Chicago 

Bar Association over these many years for the vision to see how music can further the mission of 

the CBA and providing us the resources to turn that vision into reality. 

Emily Riojas, Tamra Drees, Linda Heacox, Sharon Nolan, David Beam, Sharon Stepan, and Shirley Dutton 

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

make an orchestra and chorus possible. 

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

and concert space and equipment. 

The Daley Center judges and staff who allow us to rehearse in their courtrooms. 

Bruce Barber and St. James Cathedral for providing our primary performance venue. 

John Vishneski for production of concert CD’s. 

Terrence Kennedy, Jr. 

Carolyn Kitty 

Nancy Klein 

Renee Roffle 

Deborah Solarski 

John Tangren 

Liisa Thomas 

Teri Firmiss Thompson 

John Vishneski 

Jennifer Widmer 

Gregory Zinkl 

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

James and Stefania Dion for videography, and Ryan Albrecht, Senyah Sound for audio recording. 

Chorus members Candace Davis, Alice Dolan, Martha Garcia, Marilou Gervacio, Carolyn Jones, Ruth 

Kaufman, Lucy Kennedy, Maureen Kennedy, Nancy Klein, Kathleen Loos, Patricia Mehler, Stephan 

Metzger, Bill Nichols, Allyn Rawling, Donna Weaver, and Margaret Wood, for work above and beyond 

the call of singing. 



Founding Members from the Orchestra’s 

Debut Concert Performance 

These individuals performing in Carmina Burana also performed in 

the debut concert of the Chicago Bar Association Symphony Orchestra 

on June 25, 1987 at the CBA Annual Dinner Meeting 

in the Drake Hotel: 

David Katz, Music Director Mark Hellner, trumpet 

Jerome Kaplan, 

oboe and English horn 

Tom Lichten, clarinet 

Blanche Manning, clarinet 

Katherine Erwin, bassoon 

Michael Poulos, trumpet 

Desiree Grode, violin 

Pat Bronte, violin 

Gail Margolis, violin 

Leslie Bertagnolli, violin 

Alexander Weaver, viola 

Bob Hodge, bass 

CBA Symphony Orchestra Co-Chairs 

1986-1987 Julia Nowicki, Susan Chernoff Huvard 

1987-1988 Susan Chernoff Huvard, Karen Boyaris 

1988-1989 Leslie Bertagnolli, Mark Hellner 

1989-1990 Leslie Bertagnolli, Mark Hellner 

1990-1991 Gail Margolis, Adam Walker 

1991-1992 Giff Zimmerman, Gail Margolis 

1992-1993 Todd Weiner, Mary Alred 

1993-1994 Mary Alred, Michael McVickar 

1994-1995 Mary Alred, Michael McVickar, Beth Lodal 

1995-1996 Beth Lodal, Michael Poulos, Peter Duda 

1996-1997 Michael Poulos, Ellen Douglass 

1997-1998 Michael Poulos, Ellen Douglass, James 

McMasters 

1998-1999 Ellen Douglass, James McMasters, John 

Vishneski 

1999-2000 James McMasters, John Vishneski, Karen Barnes 

2000-2001 John Vishneski, Karen Barnes, Jon Duncan 

2001-2002 Karen Barnes, Jon Duncan, Mitchell Brumwell 

2002-2003 Jon Duncan, Mitchell Brumwell, Alexander 

Weaver 

2003-2004 Mitchell Brumwell, Alexander Weaver, Mary 

Callaghan 

2004-2005 Alexander Weaver, Mary Callaghan, 

Arthur Carvajal 

2005-2006 Mary Callaghan, Arthur Carvajal, Emily Chen 

2006-2007 Arthur Carvajal, Emily Chen, Heather Neaveill 

2007-2008 Emily Chen, Heather Neaveill, Gregory Zinkl 

2008-2009 Emily Chen, Gregory Zinkl, John Tangren 

2009-2010 Gregory Zinkl, John Tangren, Alan Jedlicka 

2010-2011 John Tangren, Alan Jedlicka, Liisa Thomas 

Chicago Bar Association Chorus Co-Chairs 

2006-2007 Jennifer Widmer, Mark Burkland 

2007-2008 Jennifer Widmer, Terrence Kennedy, Jr. 



2010-2011 Jennifer Widmer, Terrence Kennedy, Jr., 

Rebecca Burlingham 


The Chicago Bar association Symphony Orchestra and Chorus 

David Katz, music director / Rebecca Patterson, chorus director 

The Chicago Bar association Symphony Orchestra is Chicagoland’s unique 

orchestra of attorneys, judges and law students. Founded in 1986 by two lawyercellists 

who shared a stand at a Do-It-Yourself Messiah performance conducted by 

Margaret Hillis, it was she who recommended David Katz, her Elgin Symphony 

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

of musicians at its first rehearsal, many of whom still play with the ensemble, the 

group now regularly fields an orchestra of 75 musicians or more, virtually all affiliated 

with Chicago’s legal community. 

Among notable performances in the orchestra’s long history are the first performances 

anywhere of Gilbert & Sullivan’s courthouse operetta, Trial By Jury, in which 

the entire cast—soloists, chorus and orchestra—was made up of legal professionals 

and performed in a working courtroom. The CBASO has collaborated with such 

notable soloists as Grammy Award winners William Warfield (Copland’s Lincoln 

Portrait) Robert Black (Glazunov’s Saxophone Concerto), Chicago Symphony principal 

tubist Gene Pokorny (Tubby the Tuba), and former Lyric Opera concertmaster, Henry 

Criz (Tchaikovsky’s Violin Concerto). 

The ensemble has performed at many public events for the Chicago Bar Association, 

its prime sponsor, including annual Law Day observances on Daley Plaza, the Lincoln 

Bicentennial Celebration at Navy Pier with noted author Doris Kearns Goodwin, and 

the recent gala for retiring U.S. Supreme Court Justice John Paul Stevens. 

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

No. 9 at Navy Pier on the final evening of the convention of World Bar Associations. 

The choral ensemble formed for that performance became the CBa Chorus, now 

celebrating its fifth anniversary. Under the direction of Rebecca Patterson, the Chorus 

has performed many times with the CBASO in repertoire ranging from Mendelssohn’s 

Elijah and Haydn’s Creation to the Faure Requiem and Poulenc Gloria. 

The CBASO and Chorus join together next season for an evening of opera choruses. 

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

Schubert’s Unfinished Symphony, Gershwin’s Concerto in F and the Schumann Piano 

Concerto, all presented at the CBASO’s performance home, St. James Episcopal 

Cathedral, Wabash at Huron, Chicago. 

www.cbasymphonyandchorus.blogspot.com 

membership information 

Membership in the Chicago Bar association Symphony Orchestra is open to 

qualified CBA members, law students, and other interested musicians in the legal 

community. Openings may be limited, but please inquire. For additional information, 

contact the co-chairs at cbaso.cochairs@gmail.com. 

Chicago Bar association Chorus membership is open to all CBA members, law 

students, and other interested singers. No audition is required, although prior 

choral experience is preferred. For additional information, contact the chorus cochairs, 

Jennifer Widmer (jennifer.widmer@sbcglobal.net) or Rebecca Burlingham 

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

www.chicagobar.org/chorus


The NAPerville ChOruS 

JEORDANO MARTíNEZ, Music Director 

The history of the Naperville Chorus is about music, centuries-old choral works of timeless 

beauty by Bach, Beethoven, Haydn, Handel, Schubert, Strauss; reggae-style Christmas 

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

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

on the Pentagon; modern masterpieces evoking despair and delight…and so much more. 

The history of the Chorus is also about people. In the 1960’s Dr. Paul Warren Allen of the North 

Central College Music Department melded the vocal talents of students, college personnel, 

and community members into a forerunner of the Naperville Chorus. The NCC-Community 

Chorus flourished and performed contemporary and traditional choral works until 1971, 

when financial cutbacks at the college eliminated the Music Department. 

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

anchored by singers recruited to perform with the Municipal Band at the City’s celebration 

of the U.S. Bicentennial. Reincarnated as the Naperville Community Chorus, the group presented 

concerts semi-annually, and soon added appearances at the downtown Christmas 

tree lighting ceremony and at summer band concerts. 

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

Martínez, of the restored Music Department at North Central College, accepted the 

Chorus Directorship, re-establishing the musical link between residents and the college. 

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

the breadth of its membership. 

Under the leadership of Professor Martínez, the Chorus has diversified. The Chamber Singers, 

formerly under Assistant Director Mr. Jon Warfel, and now directed by Ross Berkley, 

are available for appearances at community, civic and business events where a small group 

is called for. Where massive volume is artistically appropriate, the Chorus has combined 

performances with other area choruses and the DuPage Symphony Orchestra. 

The Chorus toured Central Europe in 1999 and Spain and Portugal in 2001. The Chorus is 

expanding its repertoire, ranging from haunting medieval chants to music by Andrew Lloyd- 

Webber. The Chorus looks forward to continuing and expanding its tradition of offering fine 

choral music to the citizens of Naperville. The support of the Illinois Arts Council, the Target 

Foundation and individual benefactors will strengthen the future as they have the past. 

YOuNg NAPerville SiNgerS 

ANGIE JOHNSON, Artistic Director 

MeMBerShiP iNFOrMATiON 

The Naperville Chorus will begin 

rehearsals on Monday September 

12, 2011 for our Fall 2011 season. To 

celebrate the 150th anniversary of 

North Central College, the Chorus 

will present Messiah, by George Frideric 

Handel. If you are interested in 

joining the chorus, come to North 

Central College Wentz Concert Hall 

and Fine Arts Center between 7:00 

and 7:30 on September 12th. We are 

always looking for new singers. For 

more information, call 630-369-2609 

or check our website. www.NapervilleChorus.org 

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

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

and a desire to sing. 

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

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

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

Fox Valley Singers totals over 275 singers. 

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

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

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

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

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

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

in the Coastal Sound International Choral Festival, Vancouver, BC, Canada. 

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

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

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

physical ability. 






COmmEnTS 

By Phillip Huscher 

CARL ORFF 

Born July 10, 1895, Munich, Bavaria. 

Died March 29, 1982, Munich, Bavaria. 

Carmina burana 

Orff composed Carmina burana in 1935 to 1936. 

The work was first performed in a staged production 

at the Frankfurt Opera on June 8, 1937. 

The score calls for soprano, tenor, and baritone 

solos; a large mixed chorus; a small mixed 

chorus; a children’s chorus; and an orchestra 

consisting of three flutes and two piccolos, 

three oboes and english horn, three clarinets, 

E-flat clarinet and bass clarinet, two bassoons 

and contrabassoon, four horns, three trumpets, 

three trombones and tuba, timpani, three glockenspiels, 

xylophone, castanets, ratchet, small 

bells, triangle, antique cymbals, crash cymbals, 

suspended cymbal, tam-tam, tubular bells, 

tambourine, snare drum, bass drum, celesta, 

two pianos, and strings. Performance time is 

approximately sixty-one minutes. 

When Carmina burana made him an overnight 

celebrity at the age of forty-two, Carl Orff decided 

to start his career over from scratch. Immediately 

after the premiere in 1937 he wrote to the Schott 

company in Munich, his publisher for a full decade: 

“Everything I have written to date, and which you 

have, unfortunately, printed, can be destroyed. With 

Carmina burana my collected works begin.” 

Before the premiere of Carmina burana in 1937, 

Orff’s career had proceeded nicely, if routinely, on 

track. His infatuation with music began at an early 

age—he took music lessons and composed songs 

as a young child—and at the age of four he became 

enchanted with the theater during a traditional 

Punch and Judy show. At fourteen he heard his first 

opera, Wagner’s The Flying Dutchman; it started an 

avalanche, as Orff later recalled. The young composer’s 

grandfather kept a notebook in which he 

recorded the progress of Carl’s musical education: 

Wagner’s entire Ring cycle and Tristan and Isolde, 

the principal Mozart operas, Strauss’s Salome and 

Elektra. By the age of seventeen, Orff had composed 

some sixty songs, which revealed the unmistakable 

influence of Debussy and early Schoenberg. (He was 

particularly taken with Schoenberg’s Five Pieces 

for Orchestra.) Orff’s interests were wide and he 

eventually wrote music in a number of forms. The 

catalog he asked Schott to destroy in 1937 included 

an operatic treatment of the Japanese play Terakoya, 

a symphony based on the poetry of Maurice 

Maeterlinck, and choral settings of texts by Franz 

Werfel (Orff’s favorite writer) and Bertold Brecht. 

Carmina burana marked a shift in direction. It was 

Orff’s first attempt at total theater—a combination 

of music, word, movement, and visual spectacle— 

and his earliest essay in a potent and accessible 

musical style designed to engage listeners who 

had lost their way in the complexities of twentiethcentury 

music, although it was Orff more than 

anyone who found his way as a result of the piece. 

The work was immensely popular at once and its 

exceptional appeal has never waned. After Carmina 

burana, Orff did not tamper with his formula: he 

composed virtually nothing but vocal works for the 

stage—few are operas in the traditional sense—that 

place a high value on simplicity of musical language 

and directness of expression. At its most extreme, as 

in Die Bernauerin, composed in 1947, Orff’s output 

hardly resembles music as we know it: spoken word 

alternates with rhythmic chanting; notated pitch is 

virtually nonexistent. 

The life-changing idea of composing Carmina 

burana began in a rare book shop in Würzburg on 

Maunday Thursday in 1935, when Orff’s eye fell 

upon a collection of medieval poems. The texts, in 

Latin, Middle High German, and French, celebrate 

springtime, love, and the varied pleasures of a full, if 

self-indulgent, life. These songs (Orff was not aware 

that melodies also existed) had been preserved for 

centuries in the Benedikbeuern monastery thirty 

miles south of Munich in the foothills of the Bavarian 

Alps. In the early nineteenth century, the manuscript 

was transferred to Munich, and, in 1847, selections 

were published by Johann Andreas Schmeller, the 

Munich court librarian. (Schmeller also was a selfappointed 

censor: he omitted the raciest numbers.) 

Schmeller’s title, Carmina—with the accent on the 

first syllable— burana, means “songs of Bavaria.” It 

was Schmeller’s edition that Orff picked up during 

an afternoon of fortuitous browsing. 

“Upon turning to the first page,” Orff later remembered, 

“I found the familiar image of Fortune with 

her wheel, and under it the lines ‘O Fortuna velut 

Luna statu variabilis . . . (O fortune, like the moon 

ever-changing).’ Image and Word overtook me.” 

That very day he sketched the opening chorus, 

with its great, inexorable wheel of fate. Orff picked 

twenty-four poems, already imagining a stage piece 

with chorus and dancers, and arranged a libretto. 

He composed the music quickly, in a single burst of 

inspiration; visitors to his Munich apartment recall 

the red-faced excitement with which he played 

finished numbers for them at the piano. 

The title page of Orff’s Carmina burana promises 

“secular songs to be sung by singers and choruses 

to the accompaniment of instruments and also 

of magic pictures.” Although the premiere, at 

the Frankfurt Opera House, was staged and costumed, 

and magic pictures accompanied many 

early performances, Carmina burana is best known 

today through concerts and recordings where the 

immediacy and physical excitement of Orff’s music 

stand alone. 

Orff’s score often has been criticized for popularizing—and, 

sometimes, for cheapening—the musical 

style of Stravinsky’s landmarks Oedipus rex and, in 

particular, Les noces. Orff was attracted to the most 

superficial aspects of those Stravinsky scores, such 

as the glittering and percussive orchestral writing 

(Les noces is scored for four pianos, Carmina burana


Navigant is proud to support the Chicago 

Bar Association Symphony Orchestra and 

its 25th anniversary celebration. 

www.navigant.com 

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

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Gretchen Zook, Erik Eisenmann, Peter Maltese, 

David Coronna, Michael Poulos, and Andrew Pigott 

perform at Winter Wonderfest 


calls for two), the idea of giving the central narrative 

role to the chorus, and the prominent use of 

insistent rhythms. But where Stravinsky achieves a 

certain complexity of style and idea, Orff keeps his 

music stripped to its bones. In Carmina burana he 

avoids complicated rhythm and harmony (several 

numbers subsist on a steady diet of two chords), 

and eschews polyphony altogether. His melodies 

are plain and syllabic. Occasionally a single driving 

rhythmic pattern alone keeps the music going. 

(Imagine the courage it must have taken to write a 

pit-band oom-pah accompaniment in 1935.) Despite 

the spartan recipe, Orff succeeds brilliantly because 

of his flair for dramatic pacing, his ear for dazzling 

and seductive color, the energy of his rhythms, and, 

perhaps above all, the number of catchy tunes he 

composed. The result is a highly charged, expressive 

work of undeniable power and immediacy—claims 

that can be made for few pieces of serious music 

written in our century. 

Orff begins and ends with the wheel of fate—a 

massive chorus that slowly turns, building in speed 

and volume as it goes. In between these two pillars, 

he writes three large chapters. The first celebrates 

springtime in a series of songs and dances. The 

dance music is for orchestra alone; the vocal pieces 

are scored for baritone solo and various combinations 

of full chorus and small choir, often singing in 

alternation. The second section moves indoors to 

iN MeMOriAM 

evelyn Meine (1926 to February 24, 2011), long time Coordinator of Education 

and Outreach for the Chicago Symphony Orchestra. Evelyn was key in the 

creation of the CBASO. In the spring of 1986 it was Evelyn Meine, at the suggestion 

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

the young conductor together with a handful of Chicago lawyers looking to 

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

Evelyn somehow knew that I might have the right combination of personality 

and musical skill to guide and grow an ensemble of attorneys and judges. I am 

delighted that our silver anniversary concert will be held in the building where 

she herself championed music for so many years.” 

John Burke. Noted Chicago recording engineer and friend to the Chicago 

community of opera singers, John recorded many of the leading professional 

Chicago music ensembles and most of the concerts of the Chicago Bar Association 

Symphony Orchestra. He is remembered in the wonderful recordings he 

made and the careers he fostered. 

William Warfield. Acclaimed throughout the world as one of the great vocal 

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

is best known to the world as Joe, the dockhand in the movie version of the 

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

Gershwin’s opera Porgy and Bess. He recorded Messiah with Leonard Bernstein and won 

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

his role reading the words of that great Illinois lawyer in the Daley Center Plaza 

accompanied by the Chicago Bar Association Symphony Orchestra. 

hon. Bernard S. Neistein. State Sen. Bernie Neistein was one of the first violinists 

to join the CBASO. He graduated from DePaul Law School at the age of 19. 

He played a 17th century Amati violin on the floor of the Senate. He obtained the 

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

He was 87 when he passed away in 2003. 

the tavern—the exclusive province of male voices 

and the temple of food and drink. (The saga of the 

roasted swan, sung by a wailing tenor, is a marvel 

of exotic color.) In the sensuous music of the third 

section, set in the courts of love, we hear the solo 

soprano and the voices of children for the first 

time. Almost all of these nine pieces are scored 

for different vocal forces, and the final sequence 

of numbers is swift and dramatic. From a rowdy, 

swinging chorus (no. 20, for split choirs), Orff turns to 

the soprano, who is lost in thought as she vacillates 

between chastity and physical love (a measured 

monologue, set in the soprano’s lowest range). 

Encouraged by the baritone and choruses, she 

makes her choice, suddenly soaring to the highest 

reaches of the soprano voice. The music erupts in 

a magnificent hymn of praise (“Noble Venus, hail”), 

and the circle starts again, as the wheel of fate spins 

around. 

Phillip Huscher is the program annotator for the 

Chicago Symphony Orchestra. 

Program comments copyright © 1995 by The Chicago 

Symphony Orchestra Association. All rights 

reserved. Reprinted by permission.

Pugh, Jones, Johnson 

& Quandt 

is proud to support the 

Chicago Bar Association 

Orchestra and Chorus 

Pugh, Jones, Johnson & Quandt, P.C. 

180 North LaSalle, Suite 3400 

Chicago, Illinois 60601 

Telephone: (312)768-7800 

Facsimile: (312)768-7801 

www.pjjq.com


rebecca Patterson, Choral Director 

The Chicago Bar association Chorus 

Choral direc tor 

Rebecca Patterson 

brings more 

than thirty years 

of p rofessional 

experience to her 

work with the Chicago 

Bar Association 

Chorus. As a 

soprano soloist, she 

has appeared with 

the Chicago Symphony 

Orchestra, Music of the Baroque, and 

regional orchestras. In operatic performances 

she has portrayed such diverse characters as 

Lauretta in Puccini’s Gianni Schicchi, Musetta 

in La Bohème, and Amahl in Menotti’s Amahl 

and the Night Visitors. 

As a choral musician, Rebecca has experience 

as both singer and conductor. As a chorister 

she sang with The Chicago Symphony Chorus 

under Margaret Hillis and the Grant Park Festival 

Chorus. In 2006 Rebecca led the CBA Chorus 

in rehearsals for its performance of Beethoven’s 

Symphony No. 9 at Navy Pier. Since then, she 

has prepared the chorus for performances of 

Fauré’s Requiem, Vivaldi’s Gloria, Mendelssohn’s 

Elijah, Haydn’s Creation and Poulenc’s Gloria. 

Shortly after the Chorus’s formation, Rebecca 

led the group in the National Anthem at a 

Chicago White Sox game. Before conducting 

at baseball games, Rebecca served as music 

director for a number of churches in the Chicago 

area. 

In addition to conducting, Rebecca maintains 

a private voice studio, where she works with 

classical and musical theatre singers. 


David Katz, Founding music Director and Conductor 

The Chicago Bar association Symphony Orchestra 

David Katz is one of the most versatile of performing artists: 

conductor, composer, playwright, and actor. 

He is the founding music director of the Chicago Bar 

Association Symphony Orchestra, now celebrating his 

25th season. During his long tenure Chicagoland’s unique 

all-lawyer ensemble has performed more than one hundred 

times, in repertoire ranging from Gilbert and Sullivan’s Trial By Jury to 

Beethoven’s Symphony No. 9 and Carmina Burana. 

David Katz has led more than sixty orchestras and opera companies throughout 

the U.S., Canada and Mexico as guest conductor, including concerts with 

the Detroit Symphony Orchestra, the Mississippi Symphony and Corpus Christi 

Symphony. Former associate conductor of the Elgin Symphony Orchestra 

under Margaret Hillis, and for twelve years music director of the Adrian 

Symphony Orchestra and co-founder of Opera!Lenawee in Michigan, Katz 

is currently artistic director of Hat City Music Theater and the Candlewood 

Symphony in Connecticut. 

In addition to David Katz’s busy career as conductor and composer (Chicago 

Symphony principal horn Dale Clevenger premiered his A Baccahanal for 

horn and orchestra with the Elgin Symphony) David is also a professional 

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

FIRE, about the secrets of the conductor’s art, from Chicago to Halifax, Baltimore 

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

SEE” by WFMT, a “one-man epic,” and hailed by the Chicago Sun-Times for its 

“unique depth and humor, tremendous verve and palpable passion,” MUSE of 

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

www.museoffireplay.squarespace.com. 

David Katz is also the Chief Judge and U.S. spokesperson for The American 

Prize national competitions in the performing arts, a unique series of nonprofit 

contests that provide feedback, reward, and recognition to classically 

trained conductors, composers, vocalists, pianists, actors and performing arts 

ensembles nationwide. First held in 2010, the competitions have already provided 

hundreds of professional evaluations to artists and awarded thousands 

of dollars in prizes. www.theamericanprize.org. 

David Katz holds baccalaureate and master’s degrees in composition and conducting 

from the Hartt School of Music of the University of Hartford. He was a 

student of the great Lithuanian maestro, Vytautas Marijosius, and was the first 

in the school’s history to be awarded an Artist’s Diploma in Conducting. Katz 

also studied for five years under Maestro Charles Bruck at the Pierre Monteux 

School for Conductors in Maine, and later founded Opera Maine, the Monteux 

Opera Festival, and the Chamber Orchestra of Maine. He has partnered such 

artists as Itzhak Perlman and Misha Dichter in concert and has worked with 

some of the greatest composers of the age, including William Schuman, Hans 

Werner Henze, Milton Babbitt and Elliott Carter. Katz’s own compositions are 

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

Seyfarth Shaw 

is proud to support the 


Symphony Orchestra and Chorus. 

www.seyfarth.com


angie Johnson, 

artistic Director 

Young naperville Singers 

Angie Johnson received 

a Bachelor of Arts Degree 

in music education with 

honors from Nor thern 

Illinois University in 1991 

where she studied piano with Donald Walker. 

Upon graduating, she taught choral/general music 

for Circle Center Middle School (Yorkville, IL) and 

Gregory Middle School (Naperville, IL). Conducting 

choral programs of up to 350 singers, she was named 

a “Most Influential Educator.” 

Mrs. Johnson is an active clinician, adjudicator, 

accompanist and festival conductor. She has conducted 

for several junior high festivals and loves to 

work with choirs in their school setting. Passionate 

about sharing her love for teaching, she has led panel 

discussions, workshops and teacher institutes for 

both future and current teachers. In her 12th season 

as a director and 4th season as the Artistic Director, 

she is honored to serve with a talented artistic team 

of directors and accompanists. 


Jeordano martínez, music Director 


Launching his twentieth season as the highly acclaimed 

director of the Naperville Chorus, Jeordano Martínez 

brings an extraordinary talent, boundless energy, and a 

true love of the major choral and orchestral repertoire 

to the audiences of Naperville and DuPage County. 

His reputation for excellence in choral music has been 

noted in concerts throughout the United States and Europe, where 

he has conducted concerts in Poland, Austria, Spain, Portugal, and 

the Czech Republic. 

Under his leadership the Chorus has more than doubled in membership 

and has made guest appearances with the Elgin Symphony 

Orchestra, DuPage Symphony, Downers Grove Oratorio Society, East 

Meets West Orchestra, and the Naperville Municipal Band. 

A graduate of Baylor University and Southern Illinois University, Martínez 

studied orchestral conducting with Irwin Hoffmann and James 

Dixon, choral conducting with Donald Moses and Margaret Hillis, 

and operatic direction with the late Metropolitan Opera star Marjorie 

Lawrence. He is a full professor at North Central College where he has 

been honored twice with the Dissinger Award for outstanding teaching, 

in 1992 and 2002. 

He is a former musical director of the Hinsdale Opera Chorus, Elgin 

Youth Orchestra, Elgin Summer Music Theater, Miss Illinois State Pageant, 

and the Liberty-Fremont Concert Society. He has also served as 

conductor and adjudicator throughout the Midwest and also in Canada 

and Costa Rica. Presently he also serves as director of the North Central 

College Concert Choir and Opera Workshop and directs the Chancel 

Choir at the First United Methodist Church of Glen Ellyn. 

Janet Eckhardt, rehearsal accompanist 

The Chicago Bar association Chorus 

Pianist Janet Eckhardt is well known among Chicago singers. A faculty 

member at North Park University and staff accompanist at the Moody Bible 

Institute, Janet also serves as accompanist for churches and synagogues 

in the Chicago area. Ms. Eckhardt received her Master of Music degree 

from the Hartt School of Music at the University of Hartford. 

Barbara Vanderwall, rehearsal accompanist 


Barbara Vanderwall is an Instructor of Piano at North Central College and 

also serves as the Piano Studies Coordinator for the Music Department. 

She has been the accompanist for the North Central College Women’s 

Chorale directed by Dr. Ramona Wis since its inception. Mrs. Vanderwall 

frequently appears as a vocal and instrumental accompanist in the Chicago 

area and has experience as a chamber musician.

DOriS KEarnS GOODWin


ian mcEuen, 

Tenor 

I a n M c E u e n 

m ost rece ntly 

appeared as the 

Marquis in Corigliano’s 

Ghosts 

of Versailles with 

the Aspen Opera 

Theatre Center. 

Last summer, he 

graduated with 

honors from Carnegie Mellon University, where he 

performed the roles of Nanki-Poo in the Mikado, 

the Chevalier de la Force in Dialogues of the Carmelites, 

Sam Kaplan in Street Scene, and Amore in 

L’incoronazione di Poppea. His previous oratorio 

experience includes Uriel in Haydn’s Creation and 

the Tenor Soloist in Handel’s Messiah, both with 

the Carnegie Mellon choirs. 

An avid recitalist and proponent of 20th and 21st 

century music, Ian recently performed Britten’s 

Seven Sonnets of Michelangelo and the world 

premiere of Kate Pukinskis’s A Game of Glass. He 

has also performed multiple times in Pittsburgh 

Opera’s Brown Bag Concert Series with pianist 

James Lesniak. 

Ian is the recipient of numerous awards and 

honors, including most recently the third place 

and Seagle Colony awards in the Charles A. Lynam 

Vocal Competition, a Shirley Rabb Winston Scholarship, 

and Second Place in the Sue Goetz Ross 

Memorial Competition. He is currently working 

towards his masters in voice at the University 

of Cincinnati’s College-Conservatory of Music, 

where he will be performing as Romboïdal in 

Offenbach’s L’ile de Tulipatan. 

Patrice michaels, Soprano 

“Like the Romantic ideal of art, Patrice Michaels’ 

voice is both natural and passionate,” says Classical 

CD Digest. “A formidable interpretative talent” 

(The New Yorker), Ms. Michaels receives raves for 

her “poise, musicianship and impressive fioratura” 

(Los Angeles Times), “a voice that is light, rich and 

flexible” (Opera News). 

Her concert engagements include appearances 

with the Shanghai, Czech National, St. Louis, 

Omaha, Atlanta, Phoenix, Milwaukee, and Minnesota 

Orchestras, the Maryland Handel Festival, Dallas Bach Society and Charlotte, 

Kansas City and Virginia Symphonies, as well as New York’s Concert Royal 

and Chicago’s Music of the Baroque. Ms. Michaels has sung the Great Mass in C 

Minor with Skrowaczewski, Christmas Oratorio with Shaw, Mahler 4 with Zdenek 

Macal, Mozart Arias with Andrew Parrott and Nicolas McGegan, Carmina Burana 

with Joanne Falletta and Beethoven 9 with Andreas Delfs and Victor Yampolsky. 

Ms. Michaels includes in her operatic credits the Hal Prince production of Candide 

at the Lyric Opera of Chicago. She made her debut with the Cleveland Opera as 

Marzelline in Fidelio and has sung with Central City Opera, Tacoma Opera, The 

Banff Centre, Canada and Chicago Opera Theater. Her recording as Monica in 

Menotti’s The Medium (Cedille Records) continues to receive international critical 

acclaim. 

Recital appearances for Ms. Michaels include three consecutive seasons at the 

Festival of Contemporary Music in Havana, Cuba and tours of Mexico, Japan, 

Venezuela, Barbados, and Belize. She performs frequently in the United States and 

Canada, has sung with pianist John Browning for Music at the Supreme Court, as 

guest artist with the Chicago Chamber Musicians, for the Schubert Club of St. Paul 

and for many academic institutions, including her alma mater Pomona College, 

Northwestern University, and Harvard. 

www.patricemichaels.com 

Jacob Lassetter, Baritone 

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

characterizations, unique range of high notes, and richness of tone quality. 

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

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

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

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

Philharmonic in Beethoven’s Symphony No. 9 and Orff’s Carmina Burana. 

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

Don Alfonso in Così fan tutte, and Griswold in The Voyage of Edgar Allan Poe. He performed the 

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

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

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

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

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. 

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

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


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TEXT 


Carmina Burana: Cantiones profanæ cantoribus 

et choris cantandæ comitantibus 

instrumentis atque imaginibus magicis 

Translations by Terry Kennedy, Louis Michael Bell, 

Joseph Marren, and Catherine Masters 

Fortuna Imperatrix Mundi 

1. O Fortuna 

(choir) 

O Fortuna, velut Luna 

statu variabilis, 

Semper crescis, aut decrescis: 

vita detestabilis 

Nunc obdurat et tunc curat 

ludo mentis aciem, 

Egestatem, potestatem 

dissolvit ut glaciem. 

Sors immanis et inanis, 

rota tu volubilis, 

Status malus, vana salus 

semper dissolubilis, 

Obumbrata et velata 

michi quoque niteris; 

Nunc per ludum dorsum nudum 

fero tui sceleris. 

Sors salutis et virtutis 

michi nunc contraria, 

Est affectus et defectus 

semper in angaria. 

Hac in hora sine mora 

corde pulsum tangite; 

Quod per sortem sternit fortem, 

mecum omnes plangite! 

Songs of Beuern: Secular songs for singers 

and choruses to be sung together with 

instruments and magic images 

Translations by Terry Kennedy, Louis Michael Bell, 

Joseph Marren, and Catherine Masters 

Fortune, Empress of the World 

1. O Fortune 

(choir) 

Oh, Fortune, like the moon, 

constantly changing, 

you always wax or wane; 

Life is hateful, 

Now in jest it hardens, then eases 

the mind’s keenness. 

Poverty, power --it 

dissolves like ice. 

Fate monstrous and meaningless, 

you are a turning wheel, 

Status is unlucky, health unreliable, 

always on the point of vanishing, 

Obscured and veiled, 

you press on me. 

Now in jest, a naked back 

I offer to your villainy. 

A fate of health and strength 

is now denied me. 

There is always both good will 

and weakness in [Fortune’s] service. 

In this hour, without delay, 

strike a beat on the strings; 

Since by chance [Fortune] strikes down the strong, 

all join me in this sad song.


TEXT 

2. Fortune Plango Vulnera 

(choir) 

Fortune plango vulnera 

stillantibus ocellis, 

Quod sua michi munera 

subtrahit rebellis. 

Verum est, quod legitur 

fronte capillata, 

Sed plerumque sequitur, 

Occasio calvata. 

In Fortune solio 

sederam elatus, 

Prosperitatis vario 

flore coronatus; 

Quicquid enim florui 

felix et beatus, 

Nunc a summo corrui, 

gloria privatus. 

Fortune rota volvitur: 

descendo minoratus; 

Alter in altum tollitur, 

nimis exaltatus. 

Rex sedet in vertice 

caveat ruinam! 

Nam sub axe legimus 

Hecubam reginam. 

2. I lament the wounds that Fortune deals 

(choir) 

I lament Fortune’s wounds 

with dripping eyes, 

because her gifts to me 

she takes away, rebellious. 

It is true, as written, 

that Opportunity has gorgeous hair in front, 

but it generally follows 

that it is bald in back. 

On Fortune’s throne 

I proudly sat, 

crowned with Prosperity’s 

many colored flowers; 

Yet however much I flourished then, 

happy and blessed, 

now I have fallen from the top, 

deprived of glory. 

The wheel of Fortune turns: 

I sink down, reduced to nothing; 

another is raised aloft, 

lifted far too high. 

The king sits at the pinnacle, 

let him beware of ruin! 

For under Fate’s axle we read the name 

of Hecuba the queen [of fallen Troy]. 



TEXT 


Part I Primo vere 

3. Veris Leta Facies 

(choir) 

Veris leta facies 

mundo propinatur, 

Hiemalis acies 

victa iam fugatur, 

In vestitu vario 

Flora principatur, 

Nemorum dulcisonoque 

cantu celebratur. 

Flore fusus gremio 

Phebus novo more 

Risum dat, hoc vario 

iam stipata flore. 

Zephyrus nectareo 

spirans in odore; 

Certatim pro bravio 

curramus in amore. 

Cytharizat cantico 

dulcis Philomena, 

Flore rident vario 

prata iam serena, 

Salit cetus avium 

silve per amena, 

Chorus promit virginum 

iam gaudia millena. 

The Founders of the CBASO–Susan Chernoff Huvard and 

Julia M. Nowicki 

Part I In Spring 

3. The joyous face of Spring 

(choir) 

The happy face of Spring 

is turned to the world, 

The forces of Winter 

now flee in defeat, 

In colorful garments, 

Flora [goddess of spring] rules, 

and in the woods’ sweet songs 

she is celebrated. 

Spread on Flora’s lap 

in a new way, Phoebus [the sun god] 

smiles, that she is now 

crowded with many-colored flowers. 

Zephyrus [the west wind] exhales 

a fragrance of nectar; 

let us run eagerly 

for the prize of love. 

Sweet Philomena [the nightingale] 

plays the lyre in song; 

the bright fields now laugh 

with many-colored flowers, 

Flocks of birds dart 

through pleasant woodland glades; 

a band of dancing girls 

now brings a thousand pleasures.


TEXT 

4. Omnia Sol Temperat 

(Baritone) 

Omnia sol temperat 

Purus et subtilis, 

Nova mundo reserat 

Faciem Aprilis, 

Ad Amorem properat 

Animus herilis 

Et iocundis imperat 

Deus puerilis. 

Rerum tanta novitas 

In solemni vere 

Et veris auctoritas 

Jubet nos gaudere, 

Vias prebet solitas, 

Et in tuo vere 

Fides est et probitas 

Tuum retinere. 

Ama me fideliter! 

Fidem meam nota: 

De corde totaliter 

Et ex mente tota 

Sum presentialiter 

Absens in remota, 

Quisquis amat taliter 

Volvitur in rota. 

5. Ecce Gratum 

(Choir) 

Ecce gratum et optatum 

Ver reducit gaudia, 

Purpuratum floret pratum, 

Sol serenat omnia. 

Iamiam cedant tristia! 

Estas redit, nunc recedit 

Hyemis sevitia. 

Iam liquescit et decrescit 

grando nix et cetera, 

Bruma fugit, et iam sugit 

Ver Estatis ubera; 

Illi mens est misera, 

qui nec vivit, nec lascivit 

sub Estatis dextera; 

Gloriantur et letantur 

in melle dulcedinis, 

Qui conantur, ut utantur 

premio Cupidinis; 

Simus iussu Cypridis, 

gloriantes et letantes 

pares esse Paridis. 

4. All things are tempered by the Sun 

(Baritone) 

The sun, pure and fine, 

Brings mildness to all; 

It shows anew to the world 

The face of April; 

The spirit of the young man 

Hastens to love, 

And the boy-god 

Rules over all pleasures. 

There is a renewal of all things 

In spring’s annual rites 

And spring’s power 

Bids us rejoice; 

It presents its familiar paths, 

Yet in your own springtime 

Faith and virtue demand 

That you hold fast your own. 

Love me faithfully! 

Mark my faithfulness: 

With all my heart 

And with all my mind, 

I am here with you 

Even when I am far away. 

Whoever loves so much 

Is turned on the wheel. 

5. Behold the welcome 

(Choir) 

Behold how pleasing and longed for 

Spring brings back joy, 

The fields bloom in violet, 

the Sun brightens all. 

Now let sadness cease! 

Summer returns, now disappears 

winter’s savagery. 

Now melt and dissipate 

ice and snow and all of that. 

Winter flees, and now Spring 

suckles at Summer’s breast. 

That man has a pitiable mind 

who does not embrace life, who does not revel 

under Summer’s right hand. 

They glory and delight 

in the honey of sweetness; 

who strive for and enjoy 

Cupid’s prize. 

Let us be subject to Venus, 

glorying and delighting 

to be like Paris [favorite of the Goddess of Love]. 



TEXT 


Uf dem Anger 

6. Tanz 

(instrumental) 

7. Floret Silva 

(choir) 

Floret silva nobilis 

floribus et foliis, 

Ubi est antiquus 

meus amicus? 

Hinc, hinc, hinc equitavit, 

Eia, quis me amabit? 

Floret silva undique 

Nah mime gesellen ist mir we. 

Gruonet der walt allent halben, 

Wa ist min gesellen alse lange? 

Der ist geriten hinnen. 

O wi, wer sol mich minnen? 

8. Chramer, gip die varwe mir 

(children’s choir) 

Chramer, Gip die varve mir, 

Die min wengel roete, 

Damit ich die jungen man 

An ir dank der minnen liebe noete. 

Seht mich an, jungen man! 

Lat mich iu gevallen. 

Minnet, tugentliche man, 

Minnecliche frouwen! 

Minne tuot iu hoch gemuot 

Unde lat iuch in hohen eren schouwen. 



Wol dir, Werlt, daz du bist 

Also freudenriche! 

Ich will dir sin undertan 

Durch din liebe immer sicherliche. 



In the Meadow 

6. Dance 


7. The forest flowers 

(choir) 

The noble forest blooms 

with flowers and leaves, 

Where is my long ago 

boyfriend? 

Away, away, he has ridden away. 

Oh, who will love me? 

The forest blooms everywhere. 

I pine for my companion. 

The woods are green on all sides. 

Why is my companion gone so long? 

He has ridden away. 

Oh, who will love me? 

8. Monger, give me coloured paint 

(children’s choir) 

Shopkeeper, give me the color, 

That reddens my cheek, 

So that I can make young men 

Love me, thanks to you. 

Look at me, young man! 

Let me please you. 

Love, o man of virtue, 

Women worthy of love. 

Love puts you in a high mood 

And makes you appear in high honors. 


Let me please you. 

Well for you, World, that you are 

Thus rich in joys! 

I will owe you allegiance 

For your always constant love. 


Let me please you.


TEXT 

9a. Reie 


9b. Swaz Hie Gat Umbe 

(choir) 

Swaz hie gat umbe, 

Daz sint allez megede, 

Die wellent an man 

Alle disen sumer gan. Sla! 

9c. Chume, chum, geselle min 

(choir) 

Chume, chum, geselle min, 

Ih enbite harte din, 

Ih enbite harte din, 

Chume, chum, geselle min. 

Suozer Rosenvarwer munt, 

Chum unde mache mich gesunt, 

Chum unde mache mich gesunt, 

Suozer Rosenvarwer munt. 

9b. Swaz Hie Gat Umbe 

(choir) 

Swaz hie gat umbe, 

Daz sint allez megede, 

Die wellent an man 

Alle disen sumer gan. Sla! 

10. Were Diu Werlt Alle Min 

(choir) 

Were diu werlt alle min 

Von deme mere unse an den Rin, 

Des wolt ih mih darben 

Daz diu chunegin von Engellant 

Lege an minin armen. Hei! 

9a. Round Dance 


9b. They who here go dancing around 

(choir) 

Those dancing in the circle here 

Are all young maidens 

Who want to do without men 

All this summer long. Hah! 

9c. Come, come, my dear companion 

(choir) 

Come, come, my beloved, 

I am waiting for you tenderly, 

I am waiting for you tenderly, 

Come, come, my beloved. 

Sweet rose-colored mouth, 

Come and heal me, 

Come and heal me, 

Sweet rose-colored mouth. 

9b. They who here go dancing around 

(choir) 

Those dancing in the circle here 

Are all young maidens 

Who want to do without men 

All this summer long. Hah! 

10. If the whole world were but mine 

(choir) 

If the world were all mine 

From the sea to the Rhine, 

I would give it up 

That the Queen of England 

Might lie in my arms. Hey! 



TEXT 


Part II In Taberna 

11. Estuans Interius 

(baritone) 

Estuans interius 

ira vehementi 

In amaritudine 

loquor mee menti: 

Factus de materia, 

Cinis elementi 

Similis sum folio, 

De quo ludunt venti. 

Cum sit enim proprium 

Viro sapienti 

Supra petram ponere 

Sedem fundamenti, 

Stultus ego comparor 

Fluvio labenti, 

Sub eodem tramite 

Nunquam permanenti. 

Feror ego veluti 

Sine nauta navis, 

Ut per vias aeris 

Vaga fertur avis; 

Non me tenent vincula, 

Non me tenet clavis, 

Quero mihi similes 

Et adiungor pravis. 

Mihi cordis gravitas 

Res videtur gravis; 

Iocus est amabilis 

Dulciorque favis; 

Quicquid Venus imperat, 

Labor est suavis, 

Que nunquam in cordibus 

Habitat ignavis. 

Via lata gradior 

More iuventutis 

Inplicor et vitiis 

Immemor virtutis 

Voluptatis avidus 

Magis quam salutis, 

Mortuus in anima 

Curam gero cutis. 

Part II In the Tavern 

11. Seething inside 

(baritone) 

Burning inside 

With violent anger, 

In bitterness 

I speak to my heart: 

Made of stuff, 

Of simple ashes, 

I am like a leaf 

The winds play with. 

Though it be surely right 

For a wise man 

To place upon stone 

His house’s foundation 

I, a fool, am like 

A flowing river, 

In the same course 

Never staying the same. 

I am carried along like 

a ship without a sailor, 

As through the paths of the air 

A roving bird is carried; 

No chains restrain me, 

No key restrains me, 

I seek those like myself 

And I join the corrupt. 

To me, heaviness of heart 

Seems a heavy thing; 

Jesting is delightful 

And sweeter than honeycomb 

Whatever Venus commands, 

The work is pleasant -she 

who never dwells 

In faint hearts. 

I walk the broad path 

In the style of youth, 

I wrap myself in vices 

Forgetful of virtue, 

Avid for sensual pleasure 

More than for salvation, 

Dead in my soul, 

I watch out for my flesh.


TEXT 

12. Olim Lacus Colueram 

(tenor, male choir) 

Solo: 

Olim lacus colueram, 

Olim pulcher extiteram, 

Dum cignus ego fueram. 

Chorus: 

Miser, miser, 

Modo niger, 

Et ustus fortiter. 

Solo: 

Girat, regirat garcifer 

Me rogus urit fortiter 

Propinat me nunc dapifer. 

Chorus: 

Miser, miser, 

Modo niger, 


Solo: 

Nunc in scutella iaceo 

Et volitare nequeo 

Dentes frendentes video. 

Chorus: 

Miser, miser, 

Modo niger, 


13. Ego Sum Abbas 


Ego sum abbas Cucaniensis 

Et consilium meum est cum bibulis, 

Et in secta Decii voluntas mea est, 

Et qui mane me quesierit in taberna, 

Post vesperam nudus egredietur 

Et sic denudatus veste clamabit, 

Wafna, wafna! 

Quid fecisti sors turpissima? 

Nostre vite gaudia 

Abstulisti omnia! 

Wafna, wafna! 

12. Once I swam in lakes 


Solo: 

Once I inhabited lakes, 

Once I appeared beautiful, 

While I was a swan. 

Chorus: 

Wretched, wretched thing! 

But now blackened, 

And well roasted. 

Solo: 

The cook turns and turns me again; 

A funeral pyre roasts me well; 

Now the steward brings me forth. 

Chorus: 




Solo: 

Now I lie on a platter, 

And I cannot fly. 

I see teeth grinding. 

Chorus: 




13. I am the abbot of Cockaigne 


I am abbot of Cockayne* 

And my counsel is with drinkers, 

And my wish is to be in the cult of Decius, 

And he who will seek me in the tavern in the morning, 

will leave naked after Vespers, 

And so stripped of clothing, will cry out: 

Alas, alas! 

What have you done, most vile Fate? 

The delights of our life, 

You have taken all of them away! 

Alas, alas! 

*Cockaigne is a medieval mythical land of plenty, 

extreme luxury and ease where physical comforts and 

pleasures are always immediately at hand. A medieval 

Utopia or Never-never-land. 



TEXT 


14. In Taberna Quando Sumus 

(male choir) 

In taberna quando sumus, 

Non curamus quid sit humus, 

Sed ad ludum properamus, 

Cui semper insudamus. 

Quid agatur in taberna 

Ubi nummus est pincerna, 

Hoc est opus ut quaeratur; 

Si quid loquar, audiatur. 

Quidam ludunt, quidam bibunt, 

Quidam indiscrete vivunt. 

Sed in ludo qui morantur, 

Ex his quidam denudantur, 

Quidam ibi vestiuntur, 

Quidam saccis induuntur; 

Ibi nullus timet mortem, 

Sed pro Baccho mittunt sortem. 

Primo pro nummata vini, 

Ex hac bibunt libertini; 

Semel bibunt pro captivis, 

Post haec bibunt ter pro vivis, 

Quater pro Christianis cunctis, 

Quinquies pro fidelibus defunctis, 

Sexies pro sororibus vanis, 

Septies pro militibus silvanis, 

Octies pro fratribus perversis 

Nonies pro monachis dispersis, 

Decies pro navigantibus, 

Undecies pro discordantibus, 

Duodecies pro penitentibus, 

Tredecies pro iter agentibus, 

Tam pro papa quam pro rege 

Bibunt omnes sine lege. 

Bibit hera, bibit herus, 

Bibit miles, bibit clerus, 

Bibit ille, bibit illa, 

Bibit servus cum ancilla, 

Bibit velox, bibit piger, 

Bibit albus, bibit niger, 

Bibit constans, bibit vagus, 

Bibit rudis, bibit magus, 

Bibit pauper et egrotus, 

Bibit exul et ignotus, 

Bibit puer, bibit canus, 

Bibit presul et decanus, 

Bibit soror, bibit frater, 

Bibit anus, bibit mater, 

Bibit iste, bibit ille, 

Bibunt centum, bibunt mille. 

Parum sexcente nummate 

Durant cum immoderate, 

Bibunt omnes sine meta, 

Quamvis bibant mente leta, 

Sic nos rodunt omnes gentes, 

Et sic erimus egentes. 

Qui nos rodunt confundantur 

Et cum iustis non scribantur. 

Io, io, io, io! 

14. When we are in the tavern 

(male choir) 

When we are in the tavern, 

We care about nothing, not even the grave, 

But hurry to the gambling, 

Where we always work up a sweat. 

What goes on in the tavern, 

Where money is bartender?, 

That’s a good question! 

Well, if I tell you, listen up! 

Some men gamble, some men drink, 

Some live indiscreetly, 

But those who linger in the games, 

Some are stripped bare, 

Some there become well-dressed, 

And some are clothed in sacks. 

There no one fears death, 

But they throw the dice for Bacchus. 

First for the rich lady who likes wine, 

The commoners drink off her. 

Next they drink for captives, 

Third, they drink for the living, 

Fourth, for all Christians, 

Fifth, for the faithful departed, 

Sixth, for women of loose virtue, 

Seventh, for the forest militia, 

Eighth, for corrupted brothers, 

Ninth, for scattered monks, 

Tenth, for those at sea, 

Eleventh, for bickering lawyers, 

Twelfth, for the penitent, 

Thirteenth, for those on the road; 

As much for the pope as for the king, 

They all drink without restraint. 

The mistress drinks, the master drinks, 

The soldier drinks, the cleric drinks, 

This man drinks, this woman drinks, 

The servant drinks with the maid, 

The quick man drinks, the dull man drinks, 

The white man drinks, the black man drinks, 

The steady man drinks, the rover drinks, 

The oaf drinks, the scholar drinks, 

The poor man and the sick man drink, 

The exile and the stranger drink, 

The boy drinks, the old man drinks, 

The bishop and the deacon drink, 

The sister drinks, the brother drinks, 

The old woman drinks, the mother drinks, 

This man drinks, that man drinks, 

One hundred drink, one thousand drink. 

Hardly do six hundred coins 

last long enough without moderation. 

They all drink without measure, 

Although they drink with a cheerful mind. 

Still all of them sponge off us, 

And so we will be destitute. 

Let those who sponge off us be confounded, 

And not be listed in the book of the just. 

Io, io, io, io!


TEXT 

Part III Cour d’amours 

15. Amor Volat Undique 

(soprano, children’s choir) 

Amor volat undique, 

Captus est libidine 

Iuvenes, iuvencule 

Coniunguntur merito. 

Si qua sine socio, 

Caret omni gaudio, 

Tenet noctis infima 

Sub intimo cordis in custodia: 

Fit res amarissima. 

16. Dies Nox et Omnia 

(baritone) 

Dies, nox et omnia 

Michi sunt contraria; 

Virginum colloquia 

Me fay planszer 

Oy suvenz suspirer 

Plu me fay temer. 

O sodales, ludite, 

Vos qui scitis dicite 

Michi mesto parcite, 

Grand ey dolur, 

Attamen consulite 

Per voster honur. 

Tua pulchra facies 

Me fay planszer milies, 

Pectus habet glacies 

A remender 

Statim vivus fierem 

Per un baser. 

17. Stetit Puella 

(soprano) 

Stetit puella 

Rufa tunica; 

Si quis eam tetigit, 

Tunica crepuit. 

Eia. 

Stetit puella 

Tamquam rosula; 

Facie splenduit, 

Os eius floruit. 

Eia. 

Part III Court of Love 

15. Love flies everywhere 

(soprano, children’s choir) 

Love flies everywhere, 

Captured by desire. 

Young men, young women 

Rightly join themselves together. 

If any woman has no lover, 

She lacks every joy, 

She holds the depth of night 

Deep down, in the prison of her heart; 

It is the bitterest fate. 

16. Day, night and everything 

(baritone) 

Day, night, and all things 

Are against me; 

Maidens’ conversations 

Make me weep 

Or often sigh – 

Even more, make me afraid. 

O friends, go ahead and laugh, 

You who know, speak out, 

But yet spare poor me 

For my sorrow is great; 

Even so, counsel me, 

By your honor. 

Your beautiful face 

Makes me weep a thousand times, 

There is ice in your heart. 

As a cure, 

I would instantly be revived 

With one kiss. 

17. There stood a girl 

(soprano) 

There stood a girl 

In a red slip; 

If anyone touched, 

The slip rustled. 

Oh! 

There stood a girl 

Like a little rose; 

Her face was radiant, 

Her mouth blossomed. 

Oh! 



TEXT 


18. Circa Mea Pectora 

(baritone, choir) 

Circa mea pectora 

multa sunt suspiria 

De tua pulchritudine 

quae me laedunt misere. 

Manda liet, manda liet, 

Min geselle chumet niet. 

Tui lucent oculi 

sicut solis radii, 

Sicut splendor fulguris 

lucem donat tenebris. 



Vellet Deus, vellent dii, 

quod mente proposui, 

Ut eius virginea 

reserassem vincula. 



19. Si Puer Cum Puellula 

(male choir) 

Si puer cum puellula 

Moraretur in cellula, 

Felix coniunctio. 

Amore suscrescente, 

Pariter e medio 

avulso procul taedio, 

Fit ludus ineffabilis 

Membris, lacertis, labiis, 

Si puer cum puellula 

Moraretur in cellula, 

Felix coniunctio. 

20. Veni, Veni, Venias 

(choir) 

Veni, veni, venias 

Ne me mori facias 

Hyrca, hyrce, nazaza. 

Trillirivos, trillirivos. 

Pulchra tibi facies, 

Oculorum acies, 

Capillorum series, 

O quam clara species, 

Rosa rubicundior, 

Lilio candidior 

Omnibus formosior 

Semper in te glorior. 

18. In my breast 

(baritone, choir) 

Around my heart 

are many sighs, 

Because of your beauty, 

which wounds me sorely. 

Moonlight, moonlight, 

My lover doesn’t come. 

Your eyes shine 

like the rays of the sun, 

Just as the flash of lightning 

gives light to the shadows. 



May God, may the gods, 

grant what I’ve had in mind, 

That I will unfasten 

her virginal chains. 



19. If a boy with a girl 

(male choir) 

If a young man with a young woman, 

Dally in a little room, 

It is a happy union. 

With love overflowing, 

And equally with boredom 

plucked far from their midst, 

There arises an indescribable game 

Of limbs and arms and lips, 

If a young man with a young woman, 

Dally in a little room. 

It is a happy union. 

20. Come, come, pray come 

(choir) 

Come, come, may you come, 

Lest you make me die. 

Hyrca, hyrce, nazaza. 

Trillirivos, trillirivos. 

Beautiful is your face, 

The gleam of your eyes, 

The braids of your hair, 

O how bright your beauty! 

Redder than the rose, 

Whiter than the lily, 

More beautiful than all, 

Always I glory in you.


TEXT 

21. In Trutina 

(soprano) 

In trutina mentis dubia 

Fluctuant contraria 

Lascivus amor et pudicitia. 

Sed eligo quod video, 

Collum iugo prebeo: 

Ad iugum tamen suave, suave transeo. 

22. Tempus Est Iocundum 

(soprano, baritone, choir, children’s choir) 

Tempus est iocundum, o virgines, 

Modo congaudete, vos juvenes. 

Oh, oh, oh, totus floreo, 

Iam amore virginali totus ardeo, 

Novus, novus amor est quo pereo. 

Mea me confortat promissio, 

Mea me deportat negatio. 




Tempore brumali vir patiens, 

Animo vernali lasciviens. 




Mea mecum ludit virginitas, 

Mea me detrudit simplicitas. 




Veni, domicella, cum gaudio, 

Veni, veni, pulchra, iam pereo. 




23. Dulcissime 

(soprano) 

Dulcissime, 

Totam tibi subdo me! 

21. On the scales 

(soprano) 

In the doubtful balance of my mind 

Contrary things weigh: 

Wanton love and chastity. 

But I choose what I see, 

I offer my neck to the yoke; 

To the yoke, yet sweetly, sweetly, I submit. 

22. Time to jest 

(soprano, baritone, choir, children’s choir) 

It is the season for enjoyment, oh maidens, 

Now rejoice together, you young men. 

Oh, I am all abloom, 

Now I burn in virginal love, 

New, new is this love from which I’m dying. 

My promise comforts me. 

My denial sweeps me away. 




In wintertime, a man simply endures, 

In the revival of spring, a man can have fun. 




My virginity teases me, 

My innocence pushes me back. 




Come, little mistress, with joy, 

Come, come, beautiful one, I’m dying. 




23. Sweetest boy 

(soprano) 

Sweetest one, 

Wholly to you I give myself! 



TEXT 


Blanziflor et Helena 

24. Ave Formosissima 

(choir) 

Ave Formosissima, 

Gemma pretiosa, 

Ave, decus virginum, 

Virgo gloriosa, 

Ave, mundi luminar, 

Ave mundi rosa, 

Blanziflor et Helena, 

Venus generosa. 

Fortuna Imperatrix Mundi 

25. O Fortuna 

(choir) 

O Fortuna, velut Luna 

statu variabilis, 

Semper crescis, aut decrescis: 

vita detestabilis 

Nunc obdurat et tunc curat 

ludo mentis aciem, 

Egestatem, potestatem 

dissolvit ut glaciem. 

Sors immanis et inanis, 

rota tu volubilis, 

Status malus, vana salus 

semper dissolubilis, 

Obumbrata et velata 

michi quoque niteris; 

Nunc per ludum dorsum nudum 

fero tui sceleris. 

Sors salutis et virtutis 

michi nunc contraria, 

Est affectus et defectus 

semper in angaria. 

Hac in hora sine mora 

corde pulsum tangite; 

Quod per sortem sternit fortem, 

mecum omnes plangite! 

Blanchefleur and Helen 

24. Hail to the most lovely 

(choir) 

Hail, most beautiful one, 

Precious jewel, 

Hail, epitome of maidens, 

Glorious maiden, 

Hail, light to the world, 

Hail, rose of the world, 

Blanziflor and Helen 

Noble Venus 

Fortune, Empress of the World 

25. O Fortune 

(choir) 

Oh, Fortune, like the moon, 

constantly changing, 

you always wax or wane; 

Life is hateful, 

Now in jest it hardens, then eases 

the mind’s keenness. 

Poverty, power --it 

dissolves like ice. 

Fate monstrous and meaningless, 

you are a turning wheel, 

Status is unlucky, health unreliable, 

always on the point of vanishing, 

Obscured and veiled, 

you press on me. 

Now in jest, a naked back 

I offer to your villainy. 

A fate of health and strength 

is now denied me. 

There is always both good will 

and weakness in [Fortune’s] service. 

In this hour, without delay, 

strike a beat on the strings; 

Since by chance [Fortune] strikes down the strong, 

all join me in this sad song.

CHICAGO BAR ASSOCIATION 

ORCHESTRA & CHORUS 

Thank you for creating such wonderful musical memories. 

You bring together mind, body and spirit! 

The CBA legal community does indeed use both sides of the brain. 

200 West Adams Street, Suite 2850 • Chicago, IL 60606 

(312) 236-8500 • www.CookAlex.com


CBa SYmPHOnY 


Flute 

Judith Grubner, principal 

Julie Howie 

Lisa Devlin 

Piccolo 

Lisa Devlin 

oboe 

Mary Callaghan, principal* 

Beth Lodal* 

Jerry Kaplan 

english horn 

Jerry Kaplan 

clarinet 

John S. Vishneski, III, 

principal* 

Tom Lichten 

Christine Rhode 

bass clarinet 

Blanche Manning 

bassoon 

Katherine Erwin, principal* 

Nyketa Marshall 

horn 

Gretchen Zook, principal 

Molly Eastman 

David VanOverloop 

Michael Neal 

Christian Arizmendi 

DaViD KaTZ, FOunDinG muSiC DirECTOr 

trumPet 

Michael Poulos, principal* 

Mark Hellner* 

Arthur Carvajal* 

David Coronna 

Peter Maltese 

Christopher Kantas 

Ryan Black 

trombone 

Lia Corinth, principal 

Christopher Boehm 

Phyllis Steinhauser 

tuba 

Andrew Pigott 

timPani 

Jon Duncan, principal* 

Percussion 

Jon Duncan, principal* 

Barry Kozak 

Susan Macaulay 

Edward Voci 

Ed Harrison 

Piano/celesta 

Janet Eckhardt 

Jennifer Zlotow 

Suzanne Poulos † 

Violin i 

Sara Su Jones, concertmaster 

Alexandra Newman 

Joe Chervin 

Desiree Grode 

John Tangren** 

Pat Bronte 

Kate Starshak 

Gail Margolis* 

Carlin Metzger 

Molly Thompson 

Kathy Marshall 

Shawn Liu 

Henry Criz 

Violin ii 

Emily Chen, principal* 

Leslie Bertagnolli* 

Ellen Douglass* 

Alan Jedlicka** 

Christina Liu 

Michael Gallo 

Erin Maher 

Liisa Thomas** 

Sacha Nelson 

Jaime Walsh 

Joe Hilden 

Harry Porterfield 

Jolianne Walters 

Barbara Wald 

Viola 

Alexander Weaver, principal* 

Jamie Davidson 

Candice DeBray 

Catherine Hennessy 

Robin Karkowski-Schelar 

Johanne Jean 

Heather Neaveill* 

Greg Zinkl* 

cello 

Andrew Sajdak, principal 

Natasha White 

Ethel Leichti 

Scott Beller 

Judith Sawyier 

Jessica Park 

David Perlman 

Howard Miller 

Linda Kaplan 

bass 

Dirk VanKoughnett, principal 

Bob Hodge 

Jay Broutman 

assistant conductor 

Michael Poulos* 

librarian 

Ellen Douglass* 

transPortation 

Jon Duncan* 

reFreshment tzarina 

Kathy Marshall 

cba liaisons 

Emily Riojas 

John S. Vishneski, III* 

** current CBASO co-chair 

* past CBASO co-chair 

† principal, singing in chorus 

for this performance


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

Navy Pier, September 16, 2006. Photo by Bill Richert. 

The Chicago Bar Association Symphony Orchestra and Chorus perform in honor of retiring Supreme Court 

Justice John Paul Stevens. 

Members of the CBA Chorus perform at Navy Pier. 



CBa CHOruS 


SOPranO 

Kathryn S. Beard 

Rebecca Burlingham † 

Jeannine Cordero 

Candace Davis* 

Stefania Dion 

Alice E. Dolan* 

Felicia Duque 

Marilou C. Gervacio* 

Amy Harvey 

Marilyn Heraty 

Socorro Hernandez 

Paula K. Jacobi 

Lucy Kennedy* 

Maureen Kennedy* 

Dolores T. Kenney 

Nancy Klein* 

Laura Liekis 

Kathleen D. Loos* 

Catherine Masters * 

Patricia Mehler* 

Maribel Meisel 

Carissa J. Meyer 

Nicolle Neulist 

Diane Panozzo 

Suzanne M. Poulos* 

Susan M. Pudelek 

Reneé Elise Roffle* 

Nicole Schall-Plotner 

Gilda Small 

Teri Firmiss Thompson* 

Jennifer Widmer † 

Andrea Wood 

Margaret Wood* 

rEBECCa PaTTErSOn, CHOruS DirECTOr 

aLTO 

Michele Brenner 

Alice Brown 

Anna Chapman 

Carole Corns 

Severina Dimaranan 

Ami Gandhi 

Allison Gans 

Rene Girardi 

Barbra Goering 

Linda Harris 

Carole Hays 

Alicia Hill 

Carolyn J. Jones* 

Ruth Kaufman* 

Carolyn Kitty* 

Carol A. Langer 

Jennifer LoGiudice 

Barbara Long 

Penny Lukens 

Nina Mariano 

Joan Merchán 

Sandra D. Mertens 

Anita T. Molano 

Becky Jo Morgan 

Darka Papushkewych 

Jeanah Park 

Kathryn Raysses 

Ann Siena 

Anne Skrodski 

Dorothy A. Voigt 

Linda Westin 

TEnOr 

Paige Barnett 

Joan E. Behrens 

Eric Boyd* 

Daniel Buck* 

Martha A. Garcia* 

Jannis Goodnow 

Manoj Govindaiah 

Malcolm Harsch 

Vester T. Holman, Jr. 

Dan Malone 

William Nichols* 

Allyn Wilcox Rawling* 

Gina Reynolds 

Hanna Stotland 

Donna H. Weaver* 

BaSS 

Jerry Bauer 

Eugene W. Beeler, Jr. 

Louis Michael Bell* 

Michael Berman 

Kevin E. Bry 

Frank E. Cargle, II* 

Douglas Davidson 

Samuel F. Hohmann 

Robert Jaydos 

Terrence Kennedy, Jr. † 

Robert Kernan 

Stephan J. Metzger 

Dale K. Nichols 

John Peters 

Thomas D. Rafter 

† CBA Chorus Co-Chairs 

*Volunteers


naPErViLLE CHOruS 

SOPranO 

Pamela Andrews 

Kerry Ayres 

Jen Berosek 

Katie Brandonisio 

Mary Jane Bressier 

Grace Bryer 

Elizabeth Case 

Sharon Clark 

Janet Dee 

Celeste Doyle 

Michelle Hatcher 

Jillian Hentschel 

Deborah Houston 

Bea Jaynes 

Margaret Jonah 

Carol Keyes 

Kimberly Lynn 

Kathleen Macko 

Gail Nelson 

Kathy Owen 

Heather Reusz 

Jennifer Reusz 

Kathy Roberts 

Bonnie Ryder 

Sarah Sippy 

Sarah Stanfield 

Liz Stefanski 

Crae Tate 

Tammra Villarreal- 

Prochaska 

Jane Warfel 

Lucy Yester 

JEOrDanO marTÍnEZ, muSiC DirECTOr 

aLTO 

Lindsey Barba 

Darlene Belmore 

Jennifer Brockman 

Marsha Buffington 

Micki Casey 

Jane Crabtree 

Dianne David 

Carolyn Drake 

Joanne Fries 

Charlotte Gallagher 

Chandra Gioiello 

Jen Harris 

Brenda Hockberger 

Wilma Hunter 

Linda Leinweber 

Nancy Leventry 

Inger Marohn 

Rita Mathern 

Courtney Nash 

Mary Ann Nelson 

Nancy Rench 

Emily Schuler 

Nancy Sigel 

Deborah Solarski 

Pamela Stevenson 

Dorothy Strening 

Kelly Trombly-Freytag 

Barb Wendel 

Barbara Yahnke 

Jennifer Yosenick 

TEnOr 

Wes Ague 

Ed Fleming 

Paul Fries 

John Gerlach 

Charles Jonah 

Elizabeth Langan 

Bill Morris 

Lamar Owings 

Marco Peña 

Gary Prochaska 

John Ranos 

Tim Royer 

Lori Rueffer 

Robert Stehman 

SOPranO 1 

Sarah Bond 

Katelyn Casey 

Molly Durava 

Sydney Fabbri 

Isabelle Glimco 

Shannon Keegan 

Monika Martinek 

Carolyn Suther 

Serena Upadhyay 

Elena Wiesner 

Kate Williams 

SOPranO 2 

Irene Chang 

Jennifer Ding 

Claudia Dockery 

Christopher 

Gamble 

Tiffany Jeung 

BaSS 

Keith Anderson 

Bruce Bell 

Jeff David 

Jim Fancher 

Tom Jaynes 

Jim Kaduk 

Gary Kovener 

Jeremy Kropf 

Keith Landis 

Charles Lipkin 

Larry Lipskie 

Tom Mathern 

Tom Roberts 

John Ruby 

Dennis Schuett 

Jon Warfel 

Cliff Whall 

John Zelman 

YOunG naPErViLLE SinGErS 

anGiE JOHnSOn, arTiSTiC DirECTOr 

Celina Kobetitsch 

Grace Mertens 

Breanna Metry 

Rachel Nesti 

Lauren Rupert 

Lexi Sanders 

Irina Stolic 

Shelbey Vandenbroucke 

Amanda Wenger 

Claire Wiesner 

Katie Zalabak 

aLTO 1 

Elizabeth Bebel 

Melissa Bebel 

Ali Bettuzzi 

Maggie 

Blackledge 

Laurel Fischer 

Luke Frees 

Amanda Garvey 

Emily Hill 

Evan Hill 

Anna Holden 

Dianna Leigh 

Alexander Linder 

Catherine Malone 

Kaitlyn Morris 

Sherine Mostafa 

Angel Musaazi 

Kate Randall 

Austin Rupert 

Becky Thomas 

Audrey 

Timberlake 

aLTO 2 

Gretchen 

Andsager 

Kirsten Asensio 

Alexis Bishop 

Micaela Bratland 

Stephanie Gerace 

Katie Giddings 

Lily Hislop 

Elizabeth Musaazi 

Meredith Olson 

Asura Osborne 

Ally Piepho 

Myna Sharma 

Stephanie Smick 

Rachel Tinker 



It Was 20 Years Ago Today … 

(How It All Began) 

The 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 

It all began at the old Medina Temple on 

State Street at Christmas-Time in 1985. The 

annual Do-It-Yourself Messiah conducted by 

Margaret Hillis was being held there that year 

instead of the usual Orchestra Hall venue, due to 

construction, and two lawyer-cellists, Susan 

Chernoff (now Susan Chernoff Huvard) and 

Julia Nowicki, found themselves sharing a 

stand. During a break, Nowicki said “Wouldn’t 

this be fun to do more than once a year?” A 

light bulb went off in their heads and the idea 

for an all-lawyer orchestra was born. 

Nowicki recalls, “Susan and I talked. Got the 

hairbrained thing planned in our heads, took a 

deep breath, and hoped no one would laugh at us 

at the CBA. We were fairly young lawyers at the 

time. Taking a large dose of Imodium before the 

Board Meeting, we had no confidence at all that 

anyone would like it. Well, Esther Rothstein was 

on the Board. We barely got through our 

presentation, and she was taking it on as her 

cause. Of course, everyone in the room followed 


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

her lead. She said something like: ‘this is the best 

idea we have had presented to us in years---we 

MUST give it our full support.’” 

That board meeting took place early in 1986 and 

by March 1986 an ad appeared in “The 

Communicator” (the newsletter published by the 

CBA at that time) that read: 

Attention Music Lovers: Are you interested in 

getting together with other CBA musicians to 

play chamber music? We would like to start a 

chamber orchestra. Possibilities are unlimited, 

but include performing for Bar activities and 

receptions and participating in smaller 

ensembles (quartets, quintets, etc. – strings and 

winds). One rehearsal per week will be held 

beginning in the fall. If you are interested in 

playing or conducting, please call Susan 

Chernoff at 845-9249 by March 28. 

By the summer of 1986, the CBA’s “Chamber 

Music Committee” had been created. The

INVESTING IN THE COMMUNIT Y 

IS NOT MERELY OUR RESPONSIBILIT Y. 

IT IS OUR Promise. 

Harris is proud to support The Chicago Bar Association Symphony Orchestra and Chorus. 

Harris ® Harris is a trade name used by Harris N.A. and its affi liates. Member FDIC harrisbank.com 

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OR VISIT ANY OF OUR BRANCH LOCATIONS 

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CBA’s 1986-87 committee booklet listed it 

under service committees and stated: “The 

Chamber Music Committee is designed for all 

CBA members who are interested in forming a 

chamber orchestra and performing in smaller 

chamber ensembles. Rehearsals will be held 

every Monday evening at the CBA and 

performances at Association functions will be 

scheduled as requested. All instrumentalists are 

invited to join.” Sign-up applications were due 

by July 27, 1986. [It turned out that Wednesdays 

worked better.] 

Hiring A Conductor 

The orchestra still needed a conductor … and 

that would require money. On September 26, 

1986, Chernoff Huvard submitted a budget of 

$7,352, including a line item to pay a conductor 

for 35 rehearsals, for the CBA Board to approve 

at its October 2 nd meeting. The Board approved 

and agreed to advance funds. Armed with the 

tools to make an offer, Nowicki and Chernoff 

Huvard set out to hire a conductor. They 

contacted Evelyn Meine, director of special 

projects for the Chicago Symphony Orchestra 

for recommendations. “We wanted someone 

who could combine fun with professional 

playing” recalls Chernoff Huvard “and at the 

same time generate the right kind of 

enthusiasm.” Nowicki and Chernoff Huvard 

interviewed three conductors altogether, but 

according to Nowicki, “It was no contest as 

soon as we met David Katz. We had lunch at 

the old CBA dining room [at 29 S. LaSalle 

Street], and I remember Susan and I chuckling 

to each other after the first interview, who were 

we to be interviewing professional musicians? 

David was just so adorable, charming and 

personable, and well, you know.” 

David Katz also recalls that interview, “I was 

Margaret Hillis’s assistant conductor with the 

Elgin Symphony. She heard of the position 

somehow, asked me if I was interested and put 

me in touch with Evelyn Meine of the Chicago 

Symphony Orchestra. I met with Evelyn, who I 

knew from the Board of Directors of the Illinois 

Counsel of Orchestras (I was also a director). 


She had me set up a meeting with Julia and 

Susan in the dining room at the old CBA 

Headquarters on LaSalle. They essentially 

asked me ‘how do you start on orchestra?’ I told 

them; they hired me; then Beethoven’s 9 th at 

Navy Pier, just like that!” 

Rehearsals Begin 

The orchestra’s first rehearsal took place on 

November 5, 1986 in the dining room at CBA 

headquarters. Nine musicians showed up and 

several, including Nowicki and Leslie 

Bertagnoli (violin), remember playing Leroy 

Anderson’s “Syncopated Clock.” According to 

a November 6, 1986 letter from Katz to those 

musical pioneers, rehearsals thereafter moved to 

Room 1504 of the Daley Center – Judge Julia 

Nowicki’s courtroom. Katz prophetically 

wrote, “Thanks to all of you who were able to 

attend our first good rehearsal of the Chicago 

Bar Association Chamber Orchestra. I hope you 

share with me the belief that with the right 

attitude and some good recruiting we can keep 

our momentum and achieve something both 

lasting and unique. We have terrific potential.” 

An early rehearsal – the Illinois Revised Statutes make a fine podium

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Principal Trumpet & Assistant Conductor 

Suzanne M. Poulos 

Principal Celesta 

Jon A. Duncan 

Principal Percussionist 

C. Robert Black 

Saxophone Guest Soloist 

Ryan Black 

Trumpet 

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By the end of 1986, the orchestra was well on 

its way. On December 23 rd , the Law Bulletin 

reported: “CBA Symphony almost ready. The 

Chicago Bar Association’s new Chamber 

Symphony may not be entertaining this 

Christmas, but with a few good violinists, it 

could be ready by next year.” Chernoff Huvard 

was quoted: “We knew there was a lot of talent 

out there, and we knew it would provide a lot of 

goodwill to the bar and the community.” 

The Audition Concert 

It was soon decided that the orchestra would 

make its debut at the CBA’s annual meeting in 

June. However, the incoming CBA President, 

Jack Jiganti, and the CBA Executive Director, 

Terry Murphy, were not about to subject this 

well meaning group of musicians to the world’s 

most critical audience – 300 hundred lawyers – 

without at least checking them out. 

Consequently, with its first 1987 rehearsal on 

January 21 st , the orchestra members began 

preparing in earnest for their “audition.” They 

worked up the following program: 

Procession of the Sardar – Ippolitov-Ivanov 

Jesu Joy of Man’s Desiring – Bach 

Impresario Overture – Mozart 

Seventeen Come Sunday – Vaughan Williams 

After many Wednesdays, the day came. On the 

evening of March 25, 1987 in Room 2403 of the 

Daley Center, the fledgling orchestra’s 30 

members performed their very first concert – for 

three people: Terry Murphy, Jack Jiganti and 

Evelyn Meine. They were apparently 

impressed, and the CBA orchestra received its 

first official booking. 

The Sneak Preview Concert 

In route to its June 25 th official debut, the 

orchestra scheduled a sneak preview concert 

during the lunch hour on May 20, 1987 in Room 

2403 of the Daley Center. The Chicago Bar 

Association “Chamber” Orchestra added several 

new pieces to its repertoire between March 25 th 

and May 20 th (see image of the May 20, 1987 


program below) and packed the courthouse for 

its sneak preview performance (see picture 

below). 

The CBA Chamber Orchestra Sneak Preview Concert –May 20, 1987 

Debut At The CBA’s 114 th Annual Meeting 

After months of preparation, June 25, 1987 

finally arrived. The orchestra was to be 

officially unveiled. What else was happening 

that summer? The same Law Bulletin issue that 

reported on the CBA Annual Meeting also 

reported: that opponents of Robert Bork’s 

nomination to the Supreme Court planned to 

raise a $1 million war chest to fight his 

nomination; that Operation Greylord scored two 

more convictions, bringing the total to sixty; and 

that the Illinois Supreme Court had decided to 

review the only asbestos case that had ever gone

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to trial in Cook County. On that fateful night in 

June 1987, amid the chaos in Chicago’s legal 

community that is business as usual, the 

Chicago Bar Association Symphony Orchestra 

(as it was renamed in the Fall of 1987) arrived 

on the scene and began its mission of spreading 

goodwill through great music. Notwithstanding 

the clattering dishes, the orchestra brought 

Bach, Beethoven and Mozart to the occasion. A 

one-page program survives from that night and 

confirms that the orchestra played the same 

program it previewed in Judge Shields’ 

courtroom on May 20 th at the sneak preview 

concert. 

At great moments in history there are often 

interesting coincidences. June 25, 1987 was no 

exception. The same currents of time that 

brought the orchestra to that dinner at the Drake 

The Second Season 

With the arrival of September, and the 

beginning of its first full-year season, the 

orchestra began to set the pattern for its 

successful annual series of concerts. An early 

notice described the CBA Symphony Orchestra 

as follows: “The Orchestra rehearses in the 

Daley Center on Wednesday evenings from 

6:30-8:15 from September to May with a break 

for the holiday period to coincide with exams 


The second season begins – a 1987 CBA Symphony Orchestra rehearsal. 

also brought a young lawyer named Ellen 

Douglass to the same CBA Annual Meeting. 

Douglass, who was later to join the orchestra 

and become one of its leaders, had been honored 

earlier that day. She was a recipient of the 

Chicago Bar Foundation’s annual Weigle 

Award, recognizing an attorney under the age of 

36 who gave the most outstanding service to the 

legal profession and the organized bar during 

the preceding year. She won the award for her 

work re-opening the Chicago Volunteer Legal 

Services Liberty Baptist Church Legal Clinic on 

Chicago’s South Side. However, she missed the 

dinner portion of the meeting and remained 

unaware of the orchestra. Five years later, in 

the Spring of 1992, Douglass joined the 

orchestra as a member of the violin section and 

eventually became an orchestra co-chair and 

then its long-time music librarian. 

and holiday recess for our law student members. 

Our members range from sole practitioners to 

members of the city's largest law firms, from 

law students to attorneys with more than 25 

years at the bar, city corporation counsel, public 

defenders, and in-house attorneys. Our 

rehearsals are an enjoyable way to network with 

a diverse group of attorneys and judges. 

Gourmet cookies are an added benefit enjoyed 

by all at rehearsal breaks!”


Those Wednesday rehearsals, cookies and all, 

led inexorably to the orchestra’s first Fall 

concert in 1987, a concert focusing on serious 

and challenging works. On November 19, 1987, 

the orchestra performed its first symphony – 

Franz Joseph Haydn’s “Clock” Symphony – 

and, indeed, earned the right to change its name 

from the “Chicago Bar Association Chamber 

Orchestra” to the “Chicago Bar Association 

Symphony Orchestra.” 

The orchestra also hosted its first guest artist – 

the first of many artists, both guests and 

orchestra members, to be featured in orchestra 

concerts. On this occasion, Deborah Hanks, a 

tax attorney from Milwaukee, was featured on 

clarinet playing Carl Maria von Weber’s 

“Concertino.” At the time Hanks was also 

principal clarinet with the Milwaukee Ballet 

Orchestra and had previously been principal 

clarinet of the Toledo Symphony. Other works 

performed were Ravel’s “Pavane,” Rossini’s 

“Italian in Algiers Overture” and Liadov’s 

“Russian Folk Songs.” 


Also, David Katz’ podium constructed of the 

Illinois Revised Statutes was replaced by a 

beautiful inlaid wood podium made and donated 

by Theodore Shultz. Orchestra member 

Bernard Neistein, violinist and Illinois State 

Senator, persuaded Shultz to create the new 

podium. Unfortunately, the podium was so 

beautiful that it disappeared after a concert a 

few years later and had to be replaced. 

Nevertheless, it marked the end of the 

appearance of the Illinois Revised Statutes at 

orchestra concerts. 

The fall concert was followed by the first of 

many annual Holiday Favorites concerts. On 

December 17, 1987, the orchestra performed 

during the noon hour at Denning Hall in the old 

CBA building, including O Holy Night, 

featuring Jill Nicholson (soprano), Dance of the 

Blessed Spirits, featuring Tom Rosenwein 

(flute) and of course Leroy Anderson’s “A 

Christmas Festival.” 

Another milestone was reached that holiday 

season of 1987 – the familiar Chicago Bar 

Association Symphony Orchestra logo, created 

and donated to the orchestra by Roger Harvey, 

made its first appearance. 

The traditions started in 1987, of a fall concert 

featuring serious works and holiday concert, 

continue to this day. 

As winter turned into spring, the orchestra 

prepared for its spring concert of serious works. 

On April 7, 1988, it performed its second 

symphony, Schubert’ Symphony No. 8. in B

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Congratulations to the 


Symphony Orchestra 

on its 

25th Anniversary


Minor (the “Unfinished” symphony). Other 

pieces included Delibs’ “March and Procession 

of Bacchus,” and Kabalevsky’s “The 

Comedians.” But, the highlight of the evening 

was guest artist Robert Black’s rendition of 

Glazounov’s “Concerto for Saxophone.” Black, 

then a third-year law student at DePaul 

University College of Law, had the distinction 

of being the first classical saxophonist to win a 

Grammy Award – for his performance of 

“Walton’s Façade” with Chicago pro Musica. 

His performance that April night with CBA 

Symphony Orchestra was ample evidence of 

why he won that distinction. 

The Chicago Bar Association Symphony Orchestra in Rehearsal with Robert Black (spring 1988). 

Following its spring 1988 concert, the orchestra 

prepared lighter and more popular pieces for its 

very first appearance at the annual Law Day 

ceremonies on May 2 nd that year. And, after 

many fine speeches, presentation of the Liberty 

Bell Award and a rousing rendition of Stars and 

Stripes Forever, the orchestra’s second season 

came to a close. 

In later years, the orchestra added a second 

spring concert, typically playing pops and 

scheduled close to the Law Day performance, 

bringing its full regular schedule to five concerts 

annually. However, that second season 

established the basic performance and rehearsal 

schedule that has continued successfully for 20 

years. The rest, as they say, is history. ▄ 


Thank you CBA for supporting members and 

colleagues in their creative endeavors. 

Congratulations on 25 years of musical service 

to the members, profession and community by 

the CBA orchestra and chorus. 

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COnGraTuLaTiOnS TO THE CHiCaGO Bar aSSOCiaTiOn 

SYmPHOnY OrCHESTra anD CHOruS 

Rev. Daniel P. Buck 

Walker Wilcox Matousek LLP 

congratulates 

The CBA Symphony Orchestra 


on its first 25 years of 

great music 

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Happy 25th, CBASO! Glad to play a part. 

–Emily A. Chen, Violin II 

25 Years with the 

CBASO . . . It's been 

a great ride! 

Thanks to Fearless 

Leader Katz for his 

inspired dedication. 

Gail Margolis

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Carmina Burana at Wentz Hall in Naperville, May 7, 2011 

The trumpets sound. Mark Hellner, Peter Maltese, Arthur Carvajal, David Coronna, 

Michael Poulos. 


The CBASO performs on Halloween.

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CARMINA BURANA - The Chicago Bar Association

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