For the Common Man - Chicago Sinfonietta · works, Fanfare for the Common Man, was composed in...

1Chicago Sinfonietta

Sunday, October 3, 2010, 2:30 pm – Dominican UniversityMonday, October 4, 2010, 7:30 pm – Symphony Center

For the Common ManChicago Sinfonietta

Paul Freeman, Music Director and ConductorHarvey Felder, Guest Conductor

Fanfare for the Common Man ............................................................................Aaron Copland

Neue slavische Tänze (Slavonic Dances), op.72 no.7 (15) ........................ Antonín Dvořák 7. In C major - SrbskÈ Kolo

Fire and Blood, for Violin and Orchestra .............................................. Michael Daugherty 1. Volcano 2. River Rouge 3. Assembly Line

Tai Murray, violin

Intermission

Sundown’s Promise (for Taiko and Orchestra) ................................................. Renée Baker

JASC Tsukasa Taiko, Japanese drums and ShamisenNicole LeGette, butoh dancer

On the Waterfront: Symphonic Suite from the Film ............................ Leonard Bernstein

Please hold your applause for a brief silence after each work.This will help everyone to enjoy every note.

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I. Company Song II. Wa ( peace/balance) III. Wabi IV. SabiV. Pride VI. Enkai (Banquet Feast)

VII. Transcendence VIII. No Mi Kai (Drinking party)IX. Chant X. Sitting XI. Walking XII. Learning to see the InvisibleXIII. Shime (Ending of celebration)

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2 Chicago Sinfonietta

THE M AESTRO’S F INAL SEASON

These 2010 season-opening performances mark the beginning of a season of transition as our beloved Founder and Music Director Paul Freeman takes the podium for the final time. Throughout the year Maestro Freeman will be conduct-ing pieces that have become personal favorites of his, many of which he probably introduced to you, our audience. We will also be sharing some of his compelling life story and reprinting some amazing photos from the Sinfonietta archive. We hope you enjoy this season-long look at Maestro’s career, and encourage every-one you know to join us in celebrating his many accomplishments.

The Early Days

Paul Douglas Freeman was born in Richmond, Virgin-ia, on January 2, 1936. His father ran a produce shop. He grew up in modest circumstances in the American South in the middle of the twentieth century--diffi-cult beginnings for any African American. “Growing up in segregation in Richmond ... to have fulfilled my personal dreams and to have helped to found an entity [the Chicago Sinfonietta] that brings dreams to others, even I sometimes can’t believe what we’ve done,” Freeman told the Chicago Sun-Times.

The dream began with Freeman’s music-loving family. Symphony orchestra concerts on the radio

and weekly broadcasts from New York’s Metropolitan Opera, the New York Philharmonic, and the NBC Orchestra were required listening for all twelve Freeman siblings as were music lessons when they grew old enough to handle them. Freeman started piano lessons at age five, and he soon took up the clarinet as well. He took clarinet lessons at Richmond’s Armstrong High School while still in elementary school and took lessons at Virginia State College in Petersburg while in high school. One of the stories Paul shares is about the first time he ever heard an orchestra perform as a child in his hometown of Richmond. He and his mother were directed to sit in the colored section of the theater, or as he likes to refer to it, the “peanut gallery”.

His conducting debut came at age 14 or 15, when his clarinet teacher fell ill and was unable to conduct the Armstrong school band for its scheduled performance at a PTA meeting. Freeman stepped in as a substitute. “Although the ministry was an earlier career interest, a maestro was born that evening,” Freeman wrote in a letter quoted in the book Black Conductors.

More about Paul in the next program book.

Eleanor roosevelt with a young Maestro Freeman-1955

4 Chicago Sinfonietta 5Chicago Sinfonietta

PROGR A M NOTES

“You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down... some sort of permanent statement about the way it feels to live now, today.”

— Aaron Copland

It would be unthinkable not to include Aaron Copland on a concert dedicated to the experience of the Common Man. Through his orchestral, ballet, and film scores he pioneered what is commonly agreed to be the American sound in clas-sical music. One of his most memorable works, Fanfare for the Common Man, was composed in response to a commission from conductor of the Cincinnati Sym-phony Eugene Goossens. In 1942, with the US entangled in the Second World War, Goossens engaged 18 composers to create fanfares to galvanize the public and to give them hope. All of them were premiered during the 1942-43 season, but only Copland’s has remained in the standard repertory.

The fanfare is so familiar, even the most uninitiated classical music listener has heard it at least once. This makes it dif-ficult to analyze the piece to understand why it is so memorable. What is striking is the leanness of his musical materials. Opening with several strikes from the per-cussion, the silences are as crucial to the work as any of the notes. The unforgetta-ble melody appears first in the trumpets, soaring above the timpani and bass drum. Through the next two minutes the work alternates between percussion and brass, carefully developing the theme in the most gradual and seemingly inevitable ways. The Fanfare for the Common Man is one of those works of art that is so clear, so moving, and so direct that it seems to have always existed, as if Copland tran-scribed a deeper musical truth rather than creating it from scratch.

Dvořák’s Slavonic Dances, op. 72 were widely popular and, along with the first set of dances, largely responsible for his gain in notoriety as a composer. Born in 1841, Antonín Dvořák was the son of a working class family; his father was a butcher, innkeeper, and professional zither player. His musical talents were clear from a young age and he was encouraged to pursue them, developing

PROGR A M NOTES (c o n t.)

into a talented violin and viola player and gaining a position with the Bohe-mian Provisional Theater Orchestra for most of the 1860s.

Originally written for piano 4-hands, and modeled after Johannes Brahms’s Hungarian Dances, it was Brahms himself who recommended Dvořák to the music publisher Fritz Simrock. With the first set of dances published in 1878, Dvořák became a household name and Simrock’s publishing house earned a great deal of money. This prompted the composition of the second set (op. 72) in 1886 and a full orchestral version of all of the dances, with orchestrations by Dvořák himself. Unlike the Brahms’s Hunarian Dances, Dvořák did not literally quote any folk tunes. Rather, he used the harmonies and rhythms in the folk tunes of his native Czechoslovakia to craft his own original pieces. Instantly appealing in their tunes and dazzling in their bold orchestration, the deft craftsmanship of these pieces almost slips by unnoticed.

Michael Daugherty, drawing much of his inspiration from popular culture, has written a vast number of works for the orchestra that refuses the elitisms and exclusivity often associated with clas-sical music. With pieces including the Superman-themed Metropolis Symphony, an opera about Jackie O, and Dead Elvis for a bassoon playing Elvis-impersonator, Daugherty has created works that engage the “common man”. Written in 2003, Fire and Blood, a concerto for violin and orchestra, is no exception.

In 1932, Edsel Ford commissioned the Mexican modernist artist Diego Rivera (1886-1957) to paint a mural representing the automobile industry of Detroit. Rivera came to Detroit and worked over the next two years to paint four large walls of the inner courtyard at the Detroit Institute of Arts. Considered among his best work, Rivera’s extraordinary “Detroit Industry” murals have inspired me to create my own musical fresco for violin and orches-tra. It was Rivera himself who predicted the possibility of turning his murals into music, after returning from a tour of the Ford factories: “In my ears, I heard the wonderful symphony which came from his factories where metals were shaped

into tools for men’s service. It was a new music, waiting for the composer . . . to give it communicable form.”

I. VolcanoBefore coming to Detroit, Rivera lived in Mexico City, surrounded by volcanoes. Fire is an important element in his murals, which depict the blaze of factory furnaces like erupting volcanoes. Volcanic fire was also associated with revolution by Rivera, an ardent member of the Mexican Communist party. He saw the creation of the Detroit murals as a way to further his revolutionary ideas. The music of the first movement responds to the fiery furnaces of Rivera’s imagination. The violinist plays

virtuosic triple stops, while the orches-tra explodes with pulsating energy. The composition alternates between repeated patterns in 7/4 time and polytonal pas-sages that occur simultaneously in different tempos. It concludes with an extended violin cadenza accompanied by marimba and maracas.

II. River RougeAt the Ford River Rouge Automobile Complex, located next to the Detroit River, Rivera spent many months creating sketches of workers and machinery in action. He was accompanied by his young wife, the remarkable Mexican painter Frida Kahlo (1906-1954). She lived in constant



pain as a result of polio in childhood and a serious bus accident at age 18 in Mexico City. Many of her self-portraits depict the suffering of her body. During her time with Rivera in Detroit, Kahlo nearly died from a miscarriage, as depicted in paintings such as “Henry Ford Hospital” and “My Birth.” The color of blood is everywhere in these works. She also had a passionate and playful side: she loved wearing colorful traditional Mexican dresses and jewelry, drinking tequila and singing at parties. Kahlo’s labors, grief, and zeal for life added another perspective to Rivera’s industry. This movement is dedicated to Frida Kahlo’s spirit. The solo violin introduces two main themes. The first theme is disso-nant and chromatic, flowing like a red river of blood. The second is a haunting melody that Kahlo herself might have sung, long-ing to return to her native Mexico. The or-chestra resonates with floating marimbas and string tremolo, echoing like a mariachi band in the distance. The orchestration is colorful, like the bright tapestries of her dress. While death and suffering haunt the music, there is an echo of hope.

III. Assembly LineRivera described his murals as a depiction of “towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembly rooms; and all the men who worked them all.” Rather than pitting man against machine, Rivera thought the collaboration of man and machine would bring liberation for the worker. The violin soloist in this final move-ment is like the worker, surrounded by a mechanical orchestra. The music is a roller coaster ride on a conveyor belt, moving rapidly in 7/8 time. This perpetual motion is punctuated by pizzicato strings, percussive whips, and brassy cluster chords. The percus-sion section plays factory noises on metal instruments like break drums and triangles, and a ratchet turns like the wheels of the machinery. In addi-tion to this acceleration of multiple mechanical rhythms, the musical phrasing recalls the undulating wave pattern that moves from panel to panel in Rivera’s mural.



The film, an intense drama set amongst the docks in post-WWII Hoboken New Jersey, received eight Oscars and in 1955 Bernstein went through his film score to craft a symphonic suite. Rather than assembling several scenes of the film as individual movements, Bernstein selected the strongest musical themes from the score and created a single cohesive work that, according to him, “follow as much as possible the chronological flow of the film itself.” The result is closer to the symphonic poems of Liszt rather than a simple hit-parade of favorite tunes. Opening with the mournful horn melody, originally used as the main title sequence for the film, which recurs throughout as a way to hold the piece together, the piece explodes into both violent sections for percussion and tender lyrical strains. Most notable is Bernstein’s refusal to pander to his audience. Freed from the constraints of Hollywood, he avoids the obligatory happy ending of a big-budget picture with an outburst of rough and dissonant chords from the orchestra. The Suite far exceeds the obligatory collage of tunes

from a hit film and is, instead, a symphonic ode to the struggles of the working class in the 1950s. A fitting close to a concert dedicated to the Common Man.

“I believe in people. I feel, love, need and re-spect people above all else, including natural scenery, organized piety and nationalistic superstructures. One human figure on the slope of a mountain can make the mountain disappear for me, one person fighting for truth can disqualify for me the entire system which had dispensed it.” - Leonard Bernstein

Composer and writer John Glover writes notes, articles, and online courses for organizations such as the Los Angeles Philharmonic, Glimmerglass Opera, the Chicago Sinfonietta, Carnegie Hall, and Opera America. He has received grants and commissions from organizations including Meet The Composer, Glim-merglass Opera, violist Liuh-Wen Ting, and the American Conservatory Theater. He currently lives in New York City and is developing a new opera ‘Our Basic Nature’ with American Opera Projects.


Renée Baker, who should be no stranger to the Sinfonietta audience having per-formed with the orchestra for twenty-four years, has created a work for her home-team orchestra combining Japanese Taiko drumming with the Western orchestra. Renée speaks about the process of creat-ing Sundown’s Promise:

“I used what appeared to be integral com-ponents of traditional Japanese harvest festivities. Harvest time is an important milestone in many lands. It can last for months depending on the crop but the success of the harvest can determine the quality of life, often for months to come. Hard labor and a rewarding harvest is cer-tainly reason to celebrate ... imagine a vil-lage celebrating the end of the harvesting season and the promise of sundown, with its’ repose until the next harvest. Imagine the anticipation of the soon to come celebration and its festivities. Traditionally in Japan the harvest festival surrounds the rice harvest. However, none of the rice from the harvest can be consumed until the dances, and processionals take place. These festivals usually involve musicians with drums, flutes and bells.

Sundown’s Promise is comprised of the following sections, some of which are momentary, but all sections segue into the next, continuing the festivities.

I. Company Song II. Wa ( peace/balance) III. Wabi IV. Sabi V. Pride VI. Enkai (Banquet Feast) VII. Transcendence VIII. No Mi Kai (Drinking party) IX. Chant X. Sitting XI. Walking XII. Learning to see the InvisibleXIII. Shime (Ending of celebration)

As in Haiku tradition, I wish the title(s) to invoke and suggest....Gratitude to the Creator of the harvest...In my music, I hope you find strength, hard-ship and humor…All necessary realms of labor, resulting in the solidarity of shared community effort to bring in a life-giving harvest.”

As conductor, educator, and composer for stage, screen, and the concert hall, Leonard Bernstein was one of the most charismatic and communicative advocates for classical music in America. Both consummate musi-cian and showman, at the heart of all of his activities was a commitment to engaging and inspiring his audience. However, his score for the Oscar-winning film On the Waterfront, and the resulting Symphonic Suite from On the Waterfront almost did not exist. When Hollywood producer Sam Spiegel asked Bernstein to compose the score for the film, Bernstein was already in high demand. He had served as Associate Conductor of the New York Philharmonic, received accolades for his “Jeremiah” Sym-phony, and written the scores the popular Broadway shows Wonderful Town and On the Town. He was very resistant to writing for film, since the composer tends to take a back seat in the process.

Spiegel was able to court Bernstein out to California to see a rough cut of the film, which Bernstein documents in the essay “Up-per Dubbing, Calif.” from The Joy of Music:

“When I was first shown a rough cut of the picture I thought it a masterpiece of direction; and Marlon Brando seemed to me to give the greatest performance I had ever seen him give... I was swept away by my enthusiasm into accepting the commission to write the score, although I had thereto resisted all such offers on the grounds that it is a musically unsatisfac-tory experience for a composer to write a score whose chief merit ought to be its unobtrusiveness....” He set to work immediately, fell in love with the film, and became increasingly attached to the de-tailed and nuanced score he was crafting for it. Again from his essay, Bernstein re-calls: “I had to keep reminding myself that it is really the least important part, that a spoken line covered by music is a line lost, and by that much a loss to the picture, while a bar of music completely obliter-ated by speech is only a bar of music lost and not necessarily a loss to the picture.... And so the composer sits by, protesting as he can, but ultimately accepting, be it with a heavy heart, the inevitable loss of a good part of his score. Everyone tries to comfort him. ‘You can always use it in a suite.’ Cold comfort. But after all is said and done, the others are right.”

11Chicago Sinfonietta

PROFILES

Maestro Paul Freeman, Music DirectorMaestro Paul Free-man is in his 24th season as Music Di-rector of the Chicago Sinfonietta, a post he

has held since his founding of the or-chestra in 1987.

Born in Richmond, Virginia, Maestro Freeman has established himself as one of America’s leading conductors. In 1996, he was appointed music director and chief conductor of the Czech Na-tional Symphony Orchestra in Prague, a position he held simultaneously with his Chicago Sinfonietta till 2009. From 1979 to 1989, he served as music director of the Victoria Symphony in Canada, principal guest conductor of the Helsinki Philharmonic in Finland, associate conductor of the Dallas and Detroit Symphony Orchestras, and music director of the Opera Theatre of Rochester, New York.

A recipient of the Mahler Award from the European Union of Arts, Free-man as a guest conductor has led more than 100 orchestras in over 30 countries. As one of America’s most successful recording conductors, he has approximately 200 releases to his credit. Freeman has been involved in more than a dozen televised orchestra productions in North American and Europe. He has been nominated for two Emmy Awards and constantly receives rave reviews for his record-ings. The December 2000 issue of Fanfare magazine proclaimed Maestro Freeman “one of the finest conductors which our nation has produced.”

Dr. Freeman received his Ph.D. from Eastman School of Music. He studied on a U.S. Fulbright Grant in Berlin, and holds honorary doctorate degrees from Dominican and Loyola Universities. In 2005, Maestro Freeman was designated a HistoryMaker, having been nominated by the DuSable Museum of African American History, for his outstanding

contributions to African American life, history, and culture.

Maestro Freeman’s talent was summa-rized in the following quotation from Robert Marsh, longtime music critic for the Chicago Sun-Times: “Free-man conducts performances which are remarkable for their beauty and communicative force. He brings the sound of the Chicago Sinfonietta to the heights of angels.”

Harvey Felder, Guest Conductor Described by The Milwaukee Sentinel as “a thoughtful and sincere musician, with a stylish, poised podium presence,”

Harvey Felder is currently the Music Director of the Tacoma Symphony.

Also active as a guest conductor, Harvey Felder made his Carnegie Hall debut during the 1991 Carnegie Hall at 100 celebration, leading the Ameri-can Symphony Orchestra in a series of young people’s concerts. These appear-ances launched a guest conducting ca-reer which has included engagements with the National, Omaha, Baltimore, Seattle, American, Delaware, Honolulu, New Jersey, Baton Rouge, Santa Fe, North Carolina, Indianapolis, Madison, Missouri and Grant Park Symphony Orchestras, as well as the Kansas City, Rochester, Dayton, Orange County and Boulder Philharmonics, the Concord Chamber Orchestra, the Concerto Solo-ists of Philadelphia and the Pro Musica Chamber Orchestra. He conducted the Atlanta Symphony Orchestra in out-reach, education and family concerts, as well as a holiday concert that was nationally televised on PBS. With the Chicago Symphony, Mr. Felder has led family and education concerts, as well as a nationally televised concerto competition concert on PBS. Outside of the U.S. Mr. Felder has appeared with the Osaka Telemann Chamber Orches-tra (on two occasions), the Orquesta Sinfonica del Estados de Mexico, the


PROFILES (c o n t.)PROFILES (c o n t.)

Orquesta Sinfonica Nacional de Costa Rica, and the New Japan Philharmonic.

He received his B.M. from the Univer-sity of Wisconsin at Madison and his M.M. from the University of Michigan. Well known for his music education programs, Mr. Felder was appointed to an ad hoc commission jointly as-sembled by the Kennedy and Getty Centers to develop recommendations for the inclusion of an arts curriculum in educational reform legislation. The commission’s findings were used by the Secretary of Education in the plan-ning of the Educate America program and the congressional act Improving America’s Schools. He is the recipient of numerous awards, including Tacoma’s Arts Fund Outstanding Achievement in the Arts Award, a Citation of Excellence from the Wisconsin State Assembly, a Distinguished Citizen Award from the Wisconsin Civic Music Association, and the Distinguished Alumni Award from the University of Wisconsin-Madison.

Tai Murray, ViolinAcclaimed as “su-perb” by The New York Times, twenty-seven year old violinist Tai Murray is a rising star of her generation increas-

ingly in demand for both recitals and orchestral engagements. She has performed on the stages of Berlin’s Konzerthaus, Chicago’s Orchestra Hall, Copenhagen’s Tivoli Gardens, Shang-hai’s Concert Hall and New York’s Carn-egie Hall and has collaborated with a wide range of conductors and instru-mentalists including Marin Alsop, Alan Gilbert, Richard Goode, Jaime Laredo, Hannu Lintu, Dmitry Sitkovetsky and Mitsuko Uchida. During the 2009/10 season, she will make her Wigmore Hall recital debut as well as debuts with the Houston Symphony and the Detusche Oper am Rhein Orchestra. She will also return to the Atlanta Sym-phony Orchestra, among others.

Other recent debuts include those with the Cincinnati and Dallas sym-phony orchestras, Shanghai Sym-phony, London’s BBC Symphony, BBC Scottish Symphony, BBC Proms, the National Youth Orchestra of Venezuela and the Danish National Symphony Orchestra, as well as re-engagements with the Chicago, St. Louis, and Balti-more symphony orchestras.

An avid recitalist, Ms. Murray has per-formed in Boston, Chicago, La Jolla, Los Angeles, New Orleans, and Philadelphia with pianist Gilles Vonsattel, in addition to a critically acclaimed return to the Philadelphia Chamber Music Society (Winter ‘09) in a performance with pia-nist Lambert Orkis.

A dedicated chamber musician, Ms. Murray is a member of the conductor-less East Coast Chamber Orchestra (ECCO). She has been on tour numerous times with Musicians from Marlboro and was a member of Lincoln Center’s Chamber Music Society II (2004-2006).

A native of Chicago, Ms. Murray studied with Yuval Yaron and Franco Gulli at Indiana University and Joel Smirnoff at The Juilliard School. Winner of an Avery Fisher Career Grant in 2004, Ms. Murray is currently a BBC New Genera-tion Artist (2008-2010). She performs on a violin made for her in 2007 by distinguished and extraordinary luthier Mario Miralles.

JASC Tsukasa Taiko

JASC Tsukasa Taiko, one of the leading taiko (Japanese drum) ensembles in the Chicago area, was established as a

resident arts program of the Japanese American Service Committee of Chi-cago (JASC) in 2004. JASC Tsukasa Taiko’s mission is to pre-serve and pass on the traditional con-cepts of taiko as a cultural legacy and to utilize these concepts in expanding and evolving the taiko form. Dedicated to strengthening the Chicago Japanese American/Asian American communi-ties and being a leader in the taiko drumming culture of the Midwest, JASC Tsukasa Taiko maintains an interna-tional profile by performing around the world throughout the year while remaining an active, positive presence in the metropolitan Chicago area. In addition to presenting high-quality performance programs, JASC Tsukasa Taiko also offers classes, workshops, lectures, and demonstrations designed to teach people how to play taiko, as well as to advance the understanding of how the cultural arts are a reflection of a community’s heritage and legacy. JASC Tsukasa Taiko has appeared at the Asian American Jazz Festival: Poland/Malta International Theatre Festival, the Smithsonian, San Fran-cisco’s Yerba Buena Center for the Arts, Chicago’s Museum of Contemporary Art, the Chicago Cultural Center and Millennium Park. Quarterly taiko class sessions and special workshops are offered throughout the year for students at all levels of experience. It is recom-mended that children be at least 5 years of age to begin classes. The Toyoaki Shamisen Project, under the direction of prominent musician Tatsu Aoki, is a branch program of JASC Tsukasa Taiko, and offers instruc-tion in the distinctive Zashiki tradition of shamisen (3-stringed lute) perfor-mance. Individual and group lessons in this unique, Tokyo-based style of performance are available.

Drummers: Eigen Aoki, Miyumi Aoki, Kioto Aoki, Kiyomi Negi Tran, Kenji Negi Tran, Koji Negi Tran, Warren Hidaka, Christine Nitahara, Michelle Nitahara, Justin MarkShamisen: Lori Ashikawa, Amy HommaHead instructor: Amy Homma Instructor: Noriko SugiyamaExecutive Producer:Tatsu Aoki

Nicole LeGette, Butoh DancerNicole LeGette, Blushing Poppy Pro-ductions, is the only Midwestern artist dedicated to performing, producing, and teaching butoh; an expressive form of dance-theater that originated in 1959 Japan. She has traveled the world to study with masters of the form and has invited many of them to share their gifts with Chicago. For more information please visit, www.blushingpoppy.org.

Throughout the world, most cultures incorporate dance as part of the cel-ebration of life cycles and significant moments within nature, community, and the individual. Butoh is a contemporary form of dance-theater from Japan (1959) that incorporates specific traditional arts with modern western influences in order to create new rituals for personal and communal deep expression.

Mankwe Ndosi, Vocalist Mankwe Ndosi (Twin Cities, MN) works in voice, word and improvisation, expanding vocabularies of song and collaborating with musicians, dancers, MC’s, and artists of all kinds. She has been performing in the Twin Cities and in Chicago for more than a decade, in-cluding national and international appearances with Nicole Mitchell, At-mosphere, Laurie Carlos, Ananya Dance Theater and Douglas R. Ewart. She has received support in Minnesota from the American Composer’s Forum/McKnight Foundation, The Jerome Foundation, and the Minnesota State Arts Board.


REFLECTIONS ON THE H ISTORY OF L ABOR IN CHICAGO

By Les Orear, President Emeritus, Illinois Labor History Society

From its inception, Chicago was assured of its future as a mighty industrial and commercial engine by virtue of its geographic location and growing com-mand of essential transportation networks. Chicago’s future as the leading manufacturing and distribution center of the nation emerged in the post-Civil War period. At that time, industries vital to the national economy blossomed here -- agricultural processing such as livestock slaughter and meat packing, iron and steel production, railroading and other forms of transportation, printing, communication equipment, warehousing, farm equipment, and the manufacture of machinery.

The ability of the area to develop its favorable situations was enhanced by the abundance of labor (historically drawn chiefly from European immigration), the availability of open land, and access to capital in the East where thriving markets for consumption existed.

As industry developed its demand for labor, the urge on the part of labor to organize into unions intensified, particularly in the building trades, where the growth of the city was most immediately felt in the need for housing and commercial structures. For example, the number of carpenters in Chicago shot up from 6,712 in 1880 to over 20,000 only ten years later in 1890. Within those years, the percentage of carpenters who were unionized also rose rapidly, doubling from 15% in 1880 to 30% in 1890.

As the city’s industries and labor force grew, Chicago became a battleground over the distribution of profits and the political direction that the forces of Capital and Labor would take.

Within this arena of struggle existed a variety of groups and political perspec-tives. While government sometimes assisted business interests in the suppression of labor activism, at other times it proved to be a legislative force to mitigate the harmful effects of corporate greed and provide for the public good. On labor’s side, this period was marked by the popularity of a number of distinct political currents, including Populism; Socialism, as exemplified by such figures as American Railway Union leader Eugene V. Debs; and the more controversial ideas of Anarchism, including the IWW (Industrial Workers of the World), which held its founding convention in Chicago in 1905. The standard attitude within the Ameri-can Federation of Labor was one of “pure-and-simple” trade unionism.

As the years passed, Chicago’s industrial base continued to expand, with the growth at the turn of the 20th century of the needle-craft industries, all of which became the focus of union organizing efforts by the employees. At the same time, public school teacher unionism in Chicago had taken hold and by mid-century, union growth among other public employees was well under way.

With the failure of the IWW to maintain a foothold in American industry, success-ful organization on an industry-wide basis lagged until the Great Depression and the election of Franklin Delano Roosevelt. As a part of his New Deal program, Pres-ident Roosevelt urged the Congress to declare its support of collective bargaining

PROFILES (c o n t.)

Renée Baker, ComposerRenée Baker is found-er/leader of thirteen contemporary music performance entities-- Chicago Modern Orchestra

Project, FAQ tet, Mantra Blue Free Orchestra, Red Chai, Project 6, Wrinkled Linen, Connoisseur Musica String Ensemble (classical), Poemusici (spoken word group), Mimetic Cast (new music performance ensemble and publisher), Blanché (experimental orchestra ), Baker Artet, Tuntui (experimental piano quartet) and the Renée Baker Trio. She has created eclectic chamber festivals for Adler Planetarium, Shedd Aquarium, Joffrey Ballet Chamber Series, Norris Cultural Arts Center and Classical Symphony Hall.As a composer, Ms. Baker has penned creative compositions for her own groups, as well as the Chicago

Sinfonietta Chamber Ensemble and Great Black Music Ensemble/AACM. In 2009, Ms. Baker’s compositions have premiered in Umbria, Italy and also have been performed at Suoni Per Il Popolo in Montreal. Ms. Baker has presented over twenty concerts including her compositions for the Chicago State University Student Afternoon recital Series, from 2002-2007. She has premiered over ten works on the Chicago Sinfonietta Chamber Series 2008-2010. Ms Baker was accepted into the cutting-edge Jazz Composers Orchestra Institute at Columbia University in July 2010. She is currently working on music score for a film sponsored by the Chicago Architecture Foundation and is also composing scores for the Museum of Contemporary Art (Chicago), a program entitled Brass Epiphany, part of the 45th Anniver-sary celebration of the AACM to be presented in November 2010.

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CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH

Audience Matters is the Chicago Sinfonietta’s core educational program. This pro-gram provides an immersive introduction to classical music for elementary school students in the Chicago Public School system. Through the program, students learn about the families of instruments in the orchestra from teaching artists – Sinfonietta musicians – who also relate composers, history, art, and architecture to the various periods of classical music. On multiple visits, musicians from different sections of the orchestra demonstrate their instruments through experiential tools, integrating visual, audio, and tactile elements to help the students learn. In addition, students and their families are invited to all Sinfonietta performances for the season. Over 1,000 students are participating in Audience Matters this year thanks to our generous donors.

SEED (Student Ensembles with Excellence and Diversity) provides mentor-ing for young musicians. The SEED Program identifies talented high school musicians and offers them a series of workshops and master classes taught by Chicago Sinfonietta teacher-musicians in small ensemble settings. The program concludes with a concert performed by the ensembles. The goal of this program is to both inspire and mentor these young artists, and encourage their profes-sional growth for the future.

Project Inclusion: Musicians of Color Fellowship Program

The Chicago Sinfonietta is delighted to introduce the 2010 Class of Fellows for Project Inclusion. This program, begun in 2007, provides professional development opportunities for talented minority musicians funded through the generous sup-port of Aon Cornerstone Innovative Solutions, the Chicago Community Trust, and Hewitt. Project Inclusion addresses the Sinfonietta’s long-term goal of increasing the number of minority musicians playing in orchestras across the U.S. by provid-ing fellowships and ensemble experience for promising young musicians. Recent data shows that less than 3% of orchestral musicians performing with the top 1,000 orchestras are people of color.

Project Inclusion provides 2 year fellowships for young musicians of color that include rehearsing and performing with the orchestra, receiving one-on-one mentoring from senior members of the Sinfonietta, attending master classes and mock auditions, and assistance in job placement after completion of the program. We are delighted to introduce the 2010 class of Project Inclusion Orchestra Fellows. They are:

NameElizabeth DiazTamara GonzalezTasha Lawson

InstrumentFluteViolinHorn

CollegeLoyolaDePaulLSU

NameRicardo FerreiraKevin LinShawnita Tyus

InstrumentViolinViolaViolin

CollegeDePaulRooseveltDePaul

We are also delighted to introduce the 2010 Project Inclusion Ensemble Fellows who will be performing in smaller ensembles at various locations throughout the year. They are:

REFLECTIONS ON THE HISTORY OF LABOR IN CHICAGO (c o n t.)

and the role of organized labor. A tidal change took place with the passage of the National Labor Relations Act in 1935. Commonly referred to as the Wagner Act, it soon became known as labor’s Magna Carta.

Sensing an opportunity, John L. Lewis, President of the United Mine Workers (for many years an industrial union itself ), gathered together a committee of other industrial-style unions already in the American Federation of Labor. Primary among these members of the Committee on Industrial Organization (CIO) were the clothing workers. The committee proceeded to press the AFL to launch a major industrial union organizing campaign. The Lewis forces were rejected, whereupon the committee accepted its expulsion and created a rival central body in 1937, which it called the Congress of Industrial Organization (CIO).

The new CIO moved immediately to organize industrial workers, beginning with the steel and auto industries. Total union membership in the U.S. nearly doubled from 1935 to 1937, going from 3.5 to more than 7.5 million in that short time. This included a gain for the AFL of around one million new members. The CIO expanded from the original nine internationals to 32 affiliates by 1937. Its ranks grew from 900,000 to 3.5 million. This growth was well reflected in Cahicago. In December 1953 the two federations merged into the AFL-CIO, thus becoming the largest body of organized workers in the world.

Tragically, the deindustrialization era, which began in the late 20th century with the emergence of widespread technological developments, saw significant decline of traditional industries. That is a trend which continues to this day. All of this has placed the service sector of the economy, such as teachers and govern-ment employees, into their current prominence within Chicago’s labor landscape.


CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH

Project Inclusion Orchestra and Ensemble Fellows Program is managed by Renée Baker. Our mentors include orchestra members Renée Baker, Principal Viola, John Fairfield, Principal French Horn, Janice McDonald, Principal Flute, and Karen Nel-son, Principal Second Violin.

Maestro Freeman notes, “We look forward to working with these talented musi-cians and aiding in their professional development. This program addresses the core of our mission and is a wonderful continuation of our past work. We sin-cerely thank all who have contributed to the development and implementation of Project Inclusion.”

We also wish to acknowledge some very important partners whose assistance has been invaluable in developing and implementing Project Inclusion:

Chicago College of the Performing Arts at Roosevelt University – Henry Fogel, DeanDePaul School of Music – Donald E. Casey, DeanNorthwestern University School of Music – Toni-Marie Montgomery, Dean

We thank Aon Cornerstone Innovative Solutions, the Lead Sponsor of Project Inclusion. Thanks also to Supporting Spon-sors Chicago Community Trust and Hewitt & Associates LLC.

CHICAGO S INFONIET TA MISS ION

The Mission of the Chicago Sinfonietta is to serve as a national model for inclu-siveness and innovation in classical music through the presentation of the highest quality orchestral concerts and related programs. The Chicago Sinfonietta aspires to remove the barriers to participation in, and appreciation of classical music through its educational and outreach programs that expose children and their families to classical music, and by providing professional development oppor-tunities for young musicians and composers of diverse backgrounds enabling new, important voices to be heard. This will help America become a true cultural democracy, in which everyone can share fully in its cultural resources and in which all can contribute to its cultural richness.

CHICAGO S INFONIET TA H ISTORY

Maestro Paul Freeman founded the Chicago Sinfonietta in 1987 in response to the lack of opportunity for minority classical musicians, composers, and soloists. Twenty-four season later, the Chicago Sinfonietta remains as the national model and true trailblazer for promoting diversity and inclusiveness in orchestral music.

The Chicago Sinfonietta has a proud history of having enriched the cultural, edu-cational, and social quality of life in Chicago, while gaining significant recognition on the national and international stage. Committed to promoting diversity and inclusiveness in classical music, the Sinfonietta performs at Chicago’s Symphony Center, Lund Auditorium at Dominican University, Wentz Concert Hall in Naper-ville, and the Harris Theater for Music and Dance at Millennium Park. The Sinfoniet-ta presents a full season of symphonic concerts as well as a Chamber Series which for the 2010/2011 season will be held at Brookfield Zoo. The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

Under the guidance of founding Music Director Paul Freeman, the orchestra performs at the highest artistic level and has achieved an outstanding reputation for its innovative programs. The Sinfonietta is dedicated to the authentic perfor-mance of Classical, Romantic and Contemporary repertoire and excels at present-ing imaginative new works by composers and soloists of color.

Chicago Sinfonietta musicians truly represent the city’s rich cultural landscape and continue to fulfill the orchestra’s mission of Musical Excellence through Diver-sity™. A 2007 survey of major orchestras revealed that the Chicago Sinfonietta is the most diverse professional orchestra in the United States. Through this distinction, the Chicago Sinfonietta serves as a national model for inclusiveness in classical music.

During the first ten years, the orchestra embarked on six international tours performing concerts in Germany, Austria, Italy, Switzerland and the Canary Islands. The Chicago Sinfonietta has produced fourteen compact discs, including the much heralded three-disc African Heritage Symphonic Series released on Cedille Records in 2002 and a live recording of the 2007 Tribute to Dr. Martin Luther King, Jr. concert. The orchestra has performed twice at the John F. Kennedy Center in Washington D.C. In August of 2008, the Chicago Sinfonietta made its debut per-formance at the Jay Pritzker Pavilion in Millennium Park to over 11,000 people and performed for over 90,000 people during 2009-2010.


CHICAGO S INFONIET TA BOARD OF D IRECTORS

Cheri Chappelle........................................................................................................................ ChairTara Dowd Gurber ................................................................................... Immediate Past ChairAnita Wilson ......................................................................................................................Secretary Mark J. Williams ................................................................................................................ TreasurerDean R. Nelson .............................................................................Marketing Committee ChairNazneen Razi ................................................................................... Program Committee ChairVirginia Clarke .......................................................................... Nominating Committee ChairPatrick Cermak .....................................................................Development Committee ChairDr. Paul Freeman .............................................................................. Founding Music DirectorMei-Ann Chen ................................................................................... Music Director DesignateJim Hirsch ......................................................................................................... Executive Director

Dr. Neelum AggarwalKarim AhamedAnne Barlow-JohnstonLinda BoasmondPhil EngelMargarete EvanoffPhil Gant IIIDan GrossmanSteven HunterGregory P. JacobsonBetty JohnsonNicole Johnson-ScalesKevin A. Krakora

John LuceStephanie SpringsMichelle VanderlaanKimberly WallerGreta Weathersby

Chairs of Friends OrganizationsDr. Lascelles Anderson – West Side FriendsLinda Tuggle – South Side FriendsBarbara Harper Norman – North Side FriendsKathleen Tannyhill – North Side Friends

CHICAGO S INFONIET TA ADMINISTR ATIVE PERSONNEL

Jim Hirsch ........................................................................................................... Executive DirectorRenée Baker .................................................................................................... Personnel ManagerParis Braxton ..............................................................................Box Office/Database ManagerJeanetta Hampton ...........................................................................................Financial DirectorJeff Handley .................................................................Education Outreach Program DirectorChristina Harris ........................................................................Production Manager/LibrarianDon Macica .................................................................................................Marketing ConsultantCourtney Perkins ................................................................................ Director of DevelopmentWilliam Porter ..................................................................................................Assistant LibrarianRyan Smith ...................................................................... Administrative/Website Coordinator

We Need You! Volunteer for the Chicago Sinfonietta, meet great people, and make a real difference. For information on how you can become a Sinfonietta volunteer, call Ryan Smith at 312-236-3681 x1552.

Classical music for your special event! The Chicago Sinfonietta’s wonderful and talented musicians are available to perform at parties, weddings, corporate meetings, or special events. For more information, call 312-236-3681 x 1553.

The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.


CHICAGO S INFONIET TA PERSONNEL

Paul Freeman, Music Director and ConductorHarvey Felder, Guest Conductor

VIOLINCarol Lahti, concertmasterDavid Katz, asst. concertmaster Karen Nelson, principal secondNina Saito, asst. principalMark AgnorLucinda AliCharles BontragerElizabeth Brausa-BrathwaiteMelanie Clevert-Sarapa Tamara Gonzalez* Terrance Gray Carmen Llop-KassingerDomnica LunguTodd MatthewsJames SandersPhyllis SandersGretchen SherrellEdith Yokley

VIOLABecky Coffman, principalAndrew Dowd IIIScott DowdRobert Fisher Carl JohnstonVannia Phillips CELLOEdward Moore, principalMark AndersonDonald MeadWilliam PorterTeddy Rankin-ParkerAndrew Snow BASSJohn Floeter, principalChristian DillinghamBrenda DonatiKarl E.H. SeigfriedAlan Steiner

HARPFaye Seeman

PIANODonald Mead

FLUTEJanice MacDonald, principalClaudia CryerNicole MitchellElizabeth Diaz*

OBOERicardo Castaneda, principalJune Matayoshi

CLARINETLeslie Grimm, acting principalDileep GangolliDaniel Won

BASSOONRobert Barris, principalPeter BrusenRachael Young

SAXOPHONEChip Gdalman FRENCH HORNJohn Fairfield, principalLaura FairfieldBeth Mazur-JohnsonJohn SchreckengostTasha Lawson*

TRUMPETEdgar Campos, principal John BursonCharles FintonKevin Wood

TROMBONEKatherine Stubbins, principalRobert Hoffhines John McAllister

TUBASean Whitaker TIMPANIRobert Everson, principal Joel Cohen PERCUSSIONJeff Handley, principalJon JohnsonTina Laughlin

Names of players are listed in alphabetical order, as the Chicago Sinfonietta uses seat rotation except for principals.

* Project Inclusion Fellow

BR IO

Brio, the Chicago Sinfonietta’s Network for Young Profession-als, is an affinity group for the culturally adventurous between the ages of 21 and 44 who embrace the universal language of music. The mission of Brio is to extend the base of support for the Chicago

Sinfonietta and its goals by engaging the next generation of culturally adventurous and philanthropically inclined audiences through access to behind-the-scenes experi-ences and volunteer opportunities.

To learn more about Brio, visit www.chicagosinfonietta.org/brio, or call Courtney Perkins at 312.284.1559.

BRIO LEADERSHIP COUNCILStanley Hill ................................................................................................................................. ChairJasmin French ............................................................................................ Immediate Past ChairDalida Jongsma .................................................................................................................SecretaryMackenzie Phillips ............................................................................................................Treasurer

Dana AustinMatthew BraunMichelle Crisanti

Steven HunterMicaeh Johnson

Kameron MatthewsJacqueline N’Namdi

Ashley AmayaJoseph Besch William BibyBarbara Dael Stacey Devore Francine EisnerJennifer FarkasKelly Flowers Marcus GemoetsEda GjergoMegan GoeringJon GrosshansShelby Harris Don HodgesSelina Hood-Freshnock Dongyan Huang

Danielle LeRoyDavid LeRoy Christopher Lloyd Lauren LoewDomingo Lugo Denise MatyasJennifer MelsheimerAlyson MillerBrandi Mobley Natalie MooreCatherine MugeriaJumaane N’NamdiJay Parker Ilona PawlakBrittany Pedersen Yolanda Pena

Nicole PittmonRenauda RiddleDiane Robinson Ausra Rudaleviciute Samira Said Ruth SchlitzNicole Sims Tanya StanfieldKendra Thompson Lisa Ton Sacha UrbanDouglas WeissDavon WoodardKara WrightSherman WrightDavid Young

BRIO MEMBERS

Footlights Dining Guide offers great places to dine before the show,

after the show, or anytime!

For advertising opportunities, call 888.376.3700.

Special Occasions call for Special Treats.

W W W . F O O T L I G H T S . C O M


INDIV IDUAL AND INSTITU IONAL SUPPORTERS

Concert Circle ($50,000+)AnonymousAon CornerstoneChicago Community TrustThe Joyce FoundationNational Endowment for the

Arts Recovery ActThe Wallace Foundation

Premier Circle ($25,000-$49,999)Alphawood FoundationAnonymousABC7Blue Cross Blue Shield of

IllinoisThe Boeing Company

Charitable TrustMrs. Bettiann GardnerExelonJP Morgan Chase FoundationKraft Foods Global, Inc.Prince Charitable TrustPolk Bros. FoundationLloyd A. Fry FoundationSouthside Friends of the

Chicago Sinfonietta

Crescendo Circle ($10,000-$24,999)BaxterThe Collins Family FundGaylord and Dorothy

Donnelley FoundationMs. Tara Dowd Gurber HewittIllinois Tool Works, Inc.Jenner and Block LLPMr. and Mrs. William JohnsonJohn MathiasElizabeth Morse Genius

Charitable TrustNational Endowment for the

ArtsNorthern Trust Charitable

TrustNorthside Friends of the

Chicago SinfoniettaPeople’s EnergyThe Albert Pick, Jr. FundPricewaterhouseCoopersWight & Company

Presto Circle ($5,000-$9,999)AnonymousMs. Renée Baker

Cedar Concepts CorporationChicago Tribune FoundationDLA Piper US LLP Richard H. Driehaus

FoundationFifth Third Bank – Jacob G.

Schmidlapp TrustsMrs. Jill FitzgeraldAnn and Gordon Getty

FoundationGraingerJohn R. Halligan Charitable

FundJim and Michelle HirschDrs. Peyton and Betty

HutchisonIllinois Arts CouncilIllinois Tool Works FoundationIrving Harris Foundation The Jacobson GroupMacy’sMr. and Mrs. Salhuddin and

Nazneen RaziReed Smith LLPMr. Mark Williams

The Chicago Sinfonietta gratefully acknowledges the following contributors (as of 9-7-10):

MEET OUR L I FETIME TRUSTEES

We are honored to introduce five people who have made a huge difference for the Chicago Sinfonietta since our founding in 1987. Michelle Collins, Bettiann Gardner, Weldon Rougeau, Audrey Tuggle, and Roger Wilson were elected by the Chicago Sinfonietta Board of Directors as members of the first class of Lifetime Trustees in recognition of their contributions and leadership.

Michelle Collins Michelle joined the Chicago Sinfonietta Board of Directors in 1995 and became the chair in 2001. She served as chair until 2007. Michelle has

been, and continues to be one of the orchestra’s most creative thought leaders and consistent and generous supporters. She hired current Executive Director Jim Hirsch in 2004. The Sinfonietta launched some of its most important initiatives under Michelle’s leadership including Project Inclusion, the chamber music series, and the SEED Program that serves high-school age student-musicians. Mi-chelle is the Principal of Cambium LLC.

Bettiann GardnerBettiann has been a stalwart supporter and leader for the Chicago Sinfonietta since the very begin-ning. She served on the Board of Directors

early in the orchestra’s history and as chair of various committees and initia-tives throughout her long and ongoing association with the Sinfonietta. Bet-tiann, and her husband Ed, have been instrumental in supporting our concerts, recordings, tours, and educational pro-grams. We would not be here without their generous and ongoing support.

Weldon RougeauWeldon served as a founding member of the Sinfonietta’s board and as an officer and president of the organization during his long tenure. He

and his wife Shirley have been long-time supporters of the Sinfonietta, even after

his work took him to Washington, DC a number of years ago. Weldon served as the president and chief executive officer of the Congressional Black Caucus Foundation and is currently a Principal at Blank Rome in Washington, DC.

Audrey Tuggle Audrey was recruited to the South Side Friends by its founder Betty Wilkens and began her work on behalf of the orches-tra as a member and

leader of this critical support group. She founded the Magical Holiday Breakfast ten years ago, the delightful fundrais-ing event presented every December by the Friends at Navy Pier which has raised well over $250,000 in support of the orchestra’s educational and concert programs since its inception. Audrey chaired the Sinfonietta’s 20th Anniversary celebration in 2007 at the Civic Opera House and turned it into the elegant Ball that it has now become. She continues to support the orchestra through her leadership and volunteering.

Roger Wilson Roger began his work on behalf of the Chicago Sinfonietta in 1987 as one of the original members of the Board of Directors, a position he held

until 2005. During his tenure he served as a member of the Executive Committee as both Secretary and Treasurer. Roger also served as chair of the Gala and both raised and personally contributed sig-nificant funds that enabled the orchestra to grow and flourish. He is Senior Vice President, General Counsel and Corpo-rate Secretary for Blue Cross Blue Shield Association.


INDIV IDUAL AND INSTITU IONAL SUPPORTERS (c o n t.)

Ms. Mary Lou Bacon***

Mr. Jeff BaddeleyMs. Zita BaltramonasMr. Peter BarrettMr. Walter Becky IIMr. Perry BerkeMs. Michelle BibbsMr. Arthur BoddieMs. Barbara BowlesMs. Laurie BradyMs. Pauline Spicer BrownMs. Ina BurdMs. J.C. CampbellMr. Ruben CannonMs. Kimberly Chase HardingMs. Aimee ChristMr. and Mrs. John ClarkMr. Michael CleavengerMr. Lawrence CohnMr. and Mrs. Lewis and Marge

CollensMs. Kevann CookeWilliam R. Crozier and Judy

ChrismanMs. Barbara Cress LawrenceMr. Joseph DanahyMs. Marsha DavisMs. Bertha DePriestMs. Gloria DillardMr. Patrick DorseyJoanne and Bob DulskiMs. Maxine DusterMs. Murrell Higgins DusterMs. Sarah EbnerMs. Sylvia EdwardsMr. Paul M. EmbreeMs. Emelda L. EstellMs. Margarete EvanoffMs. Marcia FlickMs. Roshni FlynnFranczek Radelet Attorneys

and CounselorsSue and Paul FreehlingMr. Dennis FruinGabriel FuentesMs. Denise GardnerMs. Randilyn GilliamMs. Jean GrantMr. Brian GurberMs. Janice HamasakiMs. Alyce HammonsMs. Murrell Higgins DusterC. M. GoviaMr. Scott HargadonHarris Bank FoundationMs. Marilyn HeckmyerMr. Jay HeymanMr. Stan HillIBM International FoundationI-Stats Med Inc.The Janotta-Pearsall Family

FundMs. Carol B. JohnsonMr. and Mrs. George E.

JohnsonMs. Joyce Johnson MillerMr. Todd Much

Ms. Mary JamesMs. Paula K. JonesMr. William JonesKatten Temple LLCMr. Steve KingMr. Fred LabedMr. and Mrs. Richard and

Roberta LarsonMs. Louise Lee ReidDr. and Mrs. Edwin J. LiebnerMr. and Mrs. Arnie LentersMs. Vivian LosethMrs. Christine LovingMr. Craig Jeffery and Ms. Barua

ManaliMr. Matthew MantellMs. Janis MarleyMr. Hasan MerchantMs. Irene MeyerMs. Doris MerrityMs. Carole C. Miller –WoodMr. Scott MillerMs. Constance MontgomeryMs. Helen MooreMs. Nailah D. MuttalibDrs. Donald E. and Mary Ellen

NewsomMs. Dorothy NisbethMs. Alison E. Nelson Ms. Joyce NormanMs. Deidra Ann NorrisJeff and Susan Pearsall FundMr. Gary PelzMs. Dolores PettittMr. and Mrs. Joe and Naomi

PettyMs. Mackenzie PhillipsMs. Harriet PiccirilliMr. James W. RankinMr. and Mrs. Cordell ReedAndre and Dana RiceMs. Marion RobertsMs. Penelope RobinsonSusan RogersMs. Helen RosalesMs. Jagriti RuparelMs. Nisha Ruparel-SenMs. Gloria SilvermanMr. Robert Smith Dr. Glenda SmithMs. Mary Ann SpiegelMs. Joyce StricklinMs. Sheila TuckerMs. Audrey TuggleMs. Linda S. TuggleDavid Hirschman and

Morrison TorreyMr. David J. VarnerinMr. Darwin WaltonMs. Thelma WestmorelandMs. Dorothy WhiteMs. Regina Allen WilsonMs. Gladys WoodsMrs. Ruth O. WooldridgeNicala R. Carter-WoolfolkMs. Aline O. Young

Sustainer’s Circle ($100-$249)Mr. Finis AbernathyMs. Ruth A. AllinMs. Arlene AlpertDr. Anna Anthony… Ms. Rita BakewellMs. Karen BealMr. David BeedyMs. Janice BellMs. Melanie BergMs. Geneva BishopMr. Stephen BlessmanMs. Diana Frances BlitzerJohn Paul BlosserMr. Darryl BoggsMs. Joyce BowlesRuby and Romural BradleyW. G. and Joann BramanMs. Martha BrummittBob Bujak In Honor of Dorothy WhiteIrving and Ragina L. BuntonDr. Rose Butler HayesMs. Karen CallawayMs. Debra O. CallenMr. Greg CameronIn Honor of Audrey TuggleM. J. CannizzoMr. David CarnerinRichard and Nancy CarriganMs. Julia CartwrightCertified Tax ServiceMr. and Mrs. Richard and

Jeanne ChaneyMr. Thomas ChesrownMr. and Mrs. Robert and Vivian

ChurchMichael and Peg ClearyIra and Nancy CohenMr. William Cousins, Jr.Ms. Mary-Terese CozzolaBob and Mary Ellen CreightonMs. Geraldine CunninghamMs. Gwendolyn CurrinMr. and Mrs. Tapas and Judy

Das GuptaMs. Donna Davies Mr. and Mrs. Charles and

Rosalie DavisThomas and Linda DavisJoseph and Susanna DavisonMr. and Mrs. Kenneth H.

DawsonTom and Samantha DeKovenMs. Shirley DillardJoann and Bob DulskiMr. and Mrs. Goodwin W.

DuncanClarice DurhamMs. Patricia EichenoldRobert Elston and Patricia

SloanBarbara and Charlotte FantaMr. and Mrs. Paul and

LaVergne FantaMs. Susan Fiore


Vivace Circle ($2,500-$4,999)Dr. Neelum AggarwalAnonymousMr. Karim AhamedMs. Karen BealMs. Anne Barlow JohnstonChallenger, Gray and

ChristmasCity Arts - Department of

Cultural AffairsMs. Virginia ClarkeColumbia College Chicago,

Institute for the Study of Women and Gender in the Arts and Media

Deloitte Consulting LLPMs. Diane DowdMr. and Mrs. Philip L. EngelMr. and Mrs. Phil and LaJule

GantMr. Dan GrossmanMs. Susan IrionJack & Jill of America

FoundationJones Lang LaSalleMr. Kevin KrakoraMotorola, Inc.Mr. and Mrs. Dean NelsonQuarles & Brady LLPMr. and Mrs. Weldon RougeauSage FoundationMr. and Mrs. John and

Margaret SaphirMs. Stephanie S. SpringsMs. Michelle VanderlaanMs. Anita WilsonThe Farny R. Wurlitzer

Foundation

Allegro Circle ($1,000-$2,499)Ms. Kathy AbelsonIn Honor of Maestro FreemanMr. Richard AndersonMr. and Mrs. James and Susan

AnnableIn Memory of William

JohnstonAriel Capital Management, LLCLinda and Eric BoasmondMs. Elena BradieHon. Roland Burris R. M. Chin & AssociatesMr. and Mrs. William and

Arlene ConnellMs. Jennifer ConnellyMs. Frances DixonMs. Catherine DowdMr. Jamal EdwardsBarbara J. Farnandis, Ph.DMr. Doug FreemanMs. Sharon HatchettMr. Prentiss Jackson and Dr.

Cynthia HendersonMr. John JanowiakMs. Carol B. Johnson

Ms. Jetta JonesCatherine and Jack KotenMr. Joe LernerLiberty MutualMr. and Mrs. Richard McKinlayMesirow FinancialMr. Michael MorrisDr. John D. MorrisonMr. Walter NelsonOak Park Area Arts CouncilMr. Quintin E. Primo IIIMs. Brenda PulliamRuzicka and Associates, LTD.Mr. and Mrs. R.E. SargentMr. Michael SawyierMr. James StoneMr. Alexander TerrasMs. Almarie WagnerMs. Cheri Wilson-ChappelleRoger G. Wilson and Hon.

Giovinella GonthieuMr. and Mrs. Patrick

WooldridgeMr. and Mrs. Joseph Yokley

Forte Circle ($500-$999)Ms. Rochelle AllenAnonymousMr. Stephen C. BakerMr. Dennis BartolucciMs. Yasmin BatesMr. and Mrs. Lerone Bennett, Jr.Dr. Vanice (Van) Billups, Ph.D.Mr. Raymond BisanzDr. and Mrs. Simon BoydMs. Teri Boyd and Mr.

Aleksandar HemonDr. and Mrs. Arthur BrazierMr. Rich BreyMs. Beulah R. BrooksMr. Brady BrownleeMr. Paul BujakMs. Luz ChavezThe Chicago Classical

Recording SocietyChicago Federation of

MusiciansMr. and Mrs. John T. ClarkMr. Wheeler ColemanDr. Roosevelt Collins and Jean

CollinsMs. Rita CurryMr. and Mrs. Michael DamskyMs. Marsha DavisMarilyn and Robert DayMs. Karen DeLauMr. Michael de SantiagoMr. William DeWoskinMs. Tatiana K. DixonMs. Toni DunningMr. Alan EaksDr. Gloria Elam-NorrisDeborah and David Epstein

FoundationEpstein GlobalCarmen and Earnest FairMs. Deb Kerr

Mr. Michael FalboMr. James FoleyRosalind and Gilbert FryeMr. Stanley HiltonMr. Richard GambleMs. Alice GreenhouseMr. and Mrs. Timothy GreeningMs. Joyce GreyBoston Consulting GroupMrs. Ann E. GrubeMs. Gwendolyn Hatten ButlerDr. and Mrs. James HaughtonMr. Stanley Hill, Sr.Mr. Pran JhaMs. Phyllis JamesMs. Micaeh JohnsonMs. Nicole Johnson ScalesMr. Drew KentMr. Eric KingMr. Thomas KirschbraunLa Rabida Children’s HospitalMs. Natalie LewisDr. John and Doug LuceChuck and Jan Mackie Mr. George MansourMs. Toya MarionneauxMs. Janis E. MarleyMr. and Mrs. Walter and Shirley

MasseyMs. Beatrice W. MillerMr. and Mrs. Stephen and

Cindy MitchellMs. Constance MontgomeryMs. Isobel NealMs. Judy PettyMrs. Marion RobertsJohn and Gwendolyn RogersMr. Al SharpMr. and Mrs. William ScottSidley Austin FoundationRuth and Frederick Spiegel

FoundationMs. Alisa Starks Mrs. Tammy SteeleMr. and Mrs. James W. StoneMs. Kathleen TannyhillMs. Jacqueline TaylorMs. Dana Thomas AustinThe Rise GroupMs. Lonnette Tuggle

AlexanderMr. and Mrs. Peter and Pooja

VukosavichMr. and Mrs. David WintonDr. and Mrs. Roland WaryjasMs. Thelma WestmorelandMr. Tramayne WhitneyMr. Hugh WilliamsMs. Elizabeth S. WilkinsMr. and Mrs. Bruce and Rita

WilsonMs. Beatrice Young

Patron’s Circle ($250-$499)Advisor Charitable Gift FundMs. Iris AtkinsDr. Lascelles Anderson



Ms. Rosemary PietrzakMr. and Mrs. Larry and Judy

PittsMs. Katherine RagnarMr. Brian RayMs. Elizabeth RayMs. Lois Wells ReedMr. and Mrs. Jack RogersMs. Marcia L. RogersMs. Susan RogersMs. Ida L. ScottMr. Howard J. SellerMs. Elizabeth SelmierHoward S. ShapiroMr. and Mrs. Martin SilvermanMr. Craig SokolSouth Shore Cultural CenterIn Memory of Anna AnthonyMs. Jeanne SparrowDoris and Herman SmithMs. Hope D. SmithFranklin St. LawrenceMr. and Mrs. Joan and Charles

StaplesMs. Betty J. M. StarksMs. Marie StauchMr. Frankie StephensMr. Brian StintonMr. James StoneMs. Lisa SullivanMs. Peggy SullivanMr. Michael SutkoMr. and Mrs. Steven and

Astrida TantilloJanet and Samme ThompsonMs. Bradena ThomasCordelia D. Twitty Ms. Gloria Cecilia ValentinoMr. John J. VieraMs. Carol R. ViethMs. Audrey WalkerMr. John WallaceAnita M. WardMs. Jean E. WebsterKen and Marie WesterMr. Jay N. Whipple, Jr.Ms. Melissa A. WhitsonMs. Vera WilkinsMr. Brian WilliamsMr. Harold WingfieldMs. Gladys WoodsMr. and Mrs. Eric YondorfMr. Clyde A. Young IIIMs. Milicent YoungYvonne L. Young

Friend’s Circle (To $99)AnonymousMr. Howard AckermanMs. Carolyn S. AustinMr. Charles A. BakerMs. Barbara BallingerMs. Gail BanksCrotaluer BarnettMs. Jann BeauchampMs. Judith BeisserMr. Tomas G. Bissonnette

Ms. Mary BlomquistBruce and Faith BonecutterDonald and Irma BravinMs. Cynthia BrownMs. Laura BuntingMs. Trina BurrussMs. Anne CanaparyMr. William CassinDr. and Mrs. Roque CorderoReverend Robert CrossWilliam and Arlene ConnellMr. Andrew CutlerMs. Kassie DavisMr. Thomas DavisMr. and Mrs. Ted and Joanne

DespotesMs. Alison DonnMs. Joan Doss AndersonMarshall Keltz and Bill DrewryMr. Marvin DysonMr. and Mrs. John and Pamela

EggumMs. Delores EllisonMs. Sondra L. FewMs. Annette FordMs. Diana FrancesMs. Laura Dean FriedrichMartha GarrettMs. Ellen GaryMr. and Mrs. James and

Annleola GervasioMs. Phyllis J. GilfoyleMs. Marcella E. GillieMr. James GinsburgMs. Julia GolnickMs. Ophelia GoodrumMs. Barbara GreenleeMs. Doris M. GruskinMs. Phyllis HandelMs. Harriet HausmanMs. Lori Hayes ShawMarilyn HeckmyerMr. William HeelanMs. Mia HenryMs. Rhonda HillMs. Florence L. HirschAlsencia Warren HodoIn Honor of Patricia Bournique

HollowayMs. Holly HughesMs. Rosemary JackMs. Doris JacksonMs. Vera Curry JamesMs. Argie JohnsonMs. Beulah JohnsonMr. Ray JohnsonMr. and Mrs. Kenneth and

Charlotte KenzelCarol KippermanGeorge & Velna KolodziejMr. Robert LardnerMrs. Willie E. LegardyMs. Pearl MadlockPearl MalkAlefiyah MasterJune MatayoshiMr. John M. McDonald

Ms. Yvonne D. McElroyMr. and Mrs. Dick and Peg

McKinlay Mr. and Mrs. Thomas and

Sharon McLeanIrene M. MeyerBarbara MillarMs. Vivian MitchelMs. Madeline MoonKathryn and Fred NirdeMs. Earnestine NorwoodMs. Sally NusinsonJewell K. OatesDelano and Bonita O’BanionMs. Irma OlmedoMs. Gertrude O’ReillyMr. Gary C. PelzNoel and Bella PerlmanJoan and Robert Pope Mr. Clyde ProctorMs. Jennifer ReedE. Dolores RegisterMs. Janice E. RhodesJ. Dennis and Eli RichMs. Gloria RigoniMr. Arnold RobinsonMs. Michele RobinsonIn Memory of Ethel SparrowMs. Marguerite L. SaeckerMs. Mary Rose SarnoRev. and Mrs. Don SchillingMr. Jeff Scurry In Honor of Josephine ScurryMs. June ShiversMr. Herbert SiegelMr. Brian SikoyskiGloria P. Silverman Living TrustTomas Bissonnette and Rita

SimoMs. Anna Cooper StantonMs. Lydia Smutny SterbaCaesar and Patricia Tabet In Honor of Jacquié Taylor

from Claire Laton-Taylor Ms. Shelby TennantMr. Melvin ThomasAlbert and Glennette TurnerMs. Dorothy V. WadleyMs. Georgene WaltersMs. Erika WaltonMr. and Mrs. Bruce and Rita

WatsonMr. Jay WilcoxenMs. Consuelo WilliamsIn Memory of George WilliamsMs. Ruth Teena WilliamsMs. Lynn WinikatesDavid and Nancy WintonKionne Annette WyndewickeMichele Sutton Yeadon

*** In Loving Memory


Ms. Joan Y. FlemingMs. Pricilla FlorenceDr. Juliann Bluitt FosterMs. Victoria FrankMs. J. FriedmanMr. and Mrs. James GervasioMs. Barbara GilbertMs. Phyllis GlinkMr. and Mrs. Timothy GreeningMr. James GrisbyAnita & Warren HarderMs. Gwendolyn HudsonMs. Doric HullihanMr. Clifford HuntMs. Delores IveryMs. Pat EmmerMs. Carol GilbertsonMs. Irene GoldsteinMs. Andrea GreenMs. Flora Braxton GreenMr. and Mrs. Andrew and Mary

Lee GreenleeMs. Susan GrossmanIn Honor of Dan and Caroline

GrossmanMr. Calvin Hall, Sr.Ms. Alyce G. HammonsMs. Gwendolyn HardenDoris J. HarrisMr. Dolphin S. HarrisMr. Herbert C. Harris

Ms. Deborah Minor HarveyGloria O. HemphillMs. Barbara J. HerronMs. Ruth HorwichMs. Yvonne HuntleyMs. Delores IveryMr. and Mrs. John and Leola

JacksonMr. Prentiss JacksonMs. Kennie M. JamesMs. Mary L. JannottaMr. Dwayne JasperMr. James JohnsonMs. Sharon R. JohnstonMs. Constance J. JonesMs. Marion Jones Ms. Patricia KilduffMr. Bryant KimMarie C. KingMs. Patricia KoldykeJoan H. LawsonMr. Robert B. LiftonMr. and Mrs. J. Samuel

LoveringMs. Patricia LongMs. Corinne Allen McArdleMs. Sylvia McClendon Estelle McDougal LanierMs. Rosemary LevineNini and Tom Lyman IIIMs. Shirley Martin

Ms. Grace L. MathisMr. Ruben McClendon, Jr.Mr. and Mrs. Thomas McLeanMs. Joyce Merriwether Dr. Irene M. MeyerMs. Cindy MitchelRobert MoellerMary MomsenCalvin MorrisEdgar and Wilda MorrisMs. Peggy MontesMs. Catherine MugeriaMonica MurthaMr. James MyersMs. Myrna NolanMs. Joyce NormanMs. Karen NooraniMr. Dragic M. ObradovicMargaret O’HaraMr. Paul OppenheimMs. Dorris OveMr. Larry Owens Allen and Georga ParchemMs. Gail Harvey ParkerMs. Maude PattersonMs. Donna M. Perisee

McFarlaneMs. Anna M. PerkinsToussaint and Thelma PerkinsMartha B. PetersMs. Catherine Pickar


THE FR IENDS GROUPS OF THE CHICAGO S INFONIET TA

The Friends of the Chicago Sinfonietta is made up of three volunteer organiza-tions - the North, South, and West Side chapters - that promote the Sinfonietta and its mission. These groups introduce the Sinfonietta to new audiences and seek their involvement as subscribers, attendees, contributors, and volunteers. For more information about how you can become involved, contact the Chicago Sinfonietta at 312.236.3681.

North Side Chapter

Barbara Norman, Co-ChairKathleen Tannyhill, Co-Chair

Rochelle Allen Anna AnthonyRita CurryDr. Milton DraperStanley HiltonDrs. Betty and Peyton HutchisonCarol JohnsonConstance MontgomeryNailah MuttalibCharlz PayneBeverly Washington

South Side Chapter

Linda Tuggle, Chair

Lonnette AlexanderIris AtkinsJulie BargowskiBeulah R. BrooksPauline Spicer BrownChristine BrowneCarole H. ButlerAnna CannonCheri ChappelleBobbi Jo DonelsonElise Howard EdmondEmelda L. EstellEileen FoggieEllen GaryJoyce R. GreyJanice M. HamasakiSharon HatchettVeronica S. JeniferNekesa J. JoseyJanis E. MarleyDoris MerrityBeatrice W. Miller…Helen P. MooreJacqueline L. MooreJoyce M. NormanMarcia A. PrestonGwendolyn RitchieMarion E. Roberts

Antoinette ScottSharon E. ScottGlenda Smith, Ph.D.Joyce Occomy StricklinSheila TuckerAudrey Tuggle

Dorothy R. WhiteElizabeth WilkinsRita WilsonBarbara Wright-PryorAline O. Young

West Side Chapter

Dr. Lascelles Anderson, Chair

Barbara BallingerJann BeauchampAngela BillingsDrs. Ernest and Vanice (Van) Billups, Ph.D.Bruce and Faith BonecutterByron T. BroderickJudy ChrismanWilliam and Barbara CoatesBob and Mary Ellen CreightonWilliam CrozierEleanor M. DunnMr. and Mrs. Robert FreemanFlora GreenLaurie HeckmanCarole HohmeierLinda JacobsonMary JamesBob KohlFred and Barbara LarsonMr.& Mrs. Kweku Leighton-ArmahEverlean ManningDick and Peg McKinlayDr. John MorrisonAdekunle OnayemiRuth PeasleeJohn PutnamRichard and Roberta Raymond-LarsonLois ReedJanice RhodesJane ShirleyMabel Sims-BarnesJohn Troelstrup

The Chicago Sinfonietta is supported by grants from the Illinois Arts Council, a state agency; the Joyce Foundation; the Chicago Community Trust; the Chicago Department of Cultural Affairs CityArts Program; the National Endowment for the Arts, and other generous sponsors.

– Chicago Sinfonietta patrons are invited to enjoy a special $41 three-course pre-or post-concert dining menu at aria.

– The official hotel sponsor of the Chicago Sinfonietta.

– Parking partner of the Chicago Sinfonietta

The Chicago Sinfonietta is represented by the Silverman Group for public rela-tions services.

The Sinfonietta thanks Starbucks for the donation of coffee for our Lund Audito-rium concerts.

THANKS TO THE SAINTS, Volunteers for the Performing Arts. For information visit www.saintschicago.org or call 773-529-5510.

OTHER SUPPORTERS


CHICAGOCL ASS ICALMUSIC .ORG

Don’t miss out – visit chicagoclassicalmusic.org today! Highlighting an in-depth, behind-the-scenes look into Chicago’s world of classical music, the site features a comprehensive classical music events calendar, Hot Deal discounted tickets, a classical music news feed, forums to discuss the arts, blogs and articles written by musicians and leaders of top classical organizations in Chicago (including the Sinfonietta’s own Executive Director, Jim Hirsch),and much, much more. You can create your own user profile, post comments, articles and reviews! So get engaged and join Chicago’s classical music online community – www.chicagoclassicalmusic.org! Our 31 Participating organizations include Ars Antigua, Ars Viva, Avalon String Quartet, Baroque Band, Cedille Records, Chicago a cappella, Chicago Chamber Mu-sicians, Chicago Cultural Center – Department of Cultural Affairs, Chicago Opera Theater, Chicago Philharmonic, Chicago Sinfonietta, Chicago Symphony Orches-tra, CUBE, Dominican University Performing Arts Center, Elmhurst Choral Union, Fulcrum Point New Music Project, Grant Park Music Festival, Harris Theater for Music and Dance, Illinois Philharmonic Orchestra, Light Opera Works, Mostly Music Chicago, Music of the Baroque, Newberry Consort, Pacifica Quartet, Pick-Staiger Concert Hall, Northwestern University, Ravinia, Rembrandt Chamber Players, St. Charles Singers, The Chicago Ensemble, University of Chicago Presents, and WFMT. Generous support is provided by the MacArthur Foundation.

2010-11 SE

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7900 West Division StreetRiver Forest, IL 60305

BOX OFFICE(708) 488-5000 or dom.edu/pac

Billy BraggFriday, September 10, 2010 | 7:30 p.m.

PRESIDENT’S SIGNATURE CONCERT

Sara Evans Saturday, October 9, 2010 | 7:30 p.m.

The WizMusic and lyrics by Charlie Smalls, book by William F. Brown; Based on The Wonderful Wizard of Oz by L. Frank Baum November 12-14, 2010

Sérgio and Odair Assad Saturday, November 20, 2010 | 7:30 p.m.

HOLIDAY CONCERT

Sweet Honey in the Rock®

Saturday, December 4, 2010 | 7:30 p.m.

Ensemble Español Spanish Dance TheaterSaturday, January 29, 2011 | 7:30 p.m.

The Women of Lockerbieby Deborah Brevoort February 24–27, 2011

Circo Aereo Friday, March 4, 2011 | 7:30 p.m.

31ST ANNUAL TRUSTEE BENEFIT CONCERT

Camerata Ireland Saturday, March 12, 2011 | 5:00 p.m.

She Stoops to Conquerby Oliver GoldsmithApril 14–17, 2011

Garrison Keillor Sunday, May 1, 2011 | 7:30 p.m.

For the Common Man - Chicago Sinfonietta · works, Fanfare for the Common Man, was composed in...

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Transcript of For the Common Man - Chicago Sinfonietta · works, Fanfare for the Common Man, was composed in...