Annual Spring ConcertWednesday, May 18, 2016

DePaul Symphony OrchestraCliff Colnot, conductor

Orchestra Hall at Symphony Center220 S. Michigan Ave. Chicago

It is my great pleasure to welcome you to DePaul’s Annual Spring Concert at Orchestra Hall – the 40th consecutive year that our students have had the privilege of performing in this magnificent and historic concert hall. DePaul students and faculty are committed to excellence in music teaching and learning, and you, the audience, are now able to witness our orchestral students’ “final exam” of the year. Together we will be able to experience memorable and thought-provoking musical works by Rossini and Shostakovich.

Thank you for joining us this evening, and we invite you to visit our Lincoln Park campus to attend the over 300 performances by students and faculty throughout the year. If you visit, you will also see that we are under construction, building a world-class music facility

to be completed in the spring of 2018. We are grateful for this exciting opportunity, thanks to the generous support of the University and our many donors.

As my term as interim dean comes to a close, I want to express my deepest gratitude to the DePaul community and especially to the School of Music faculty, students, and staff. DePaul University is an extraordinary place, and I am honored to have served as a part of the leadership team. I hope you will join me in welcoming Ronald Caltabiano, the newly-appointed dean—we have so much to celebrate!

Warm regards,

Dear Friends,

Judy A. Bundra

Interim Dean

DePaul Symphony Orchestra Cliff Colnot, conductor

Overture to The Barber of Seville Gioachino Rossini

( 1792-1868 )

Symphony No. 5 in D Minor, Op. 47 Dmitri Shostakovich

( 1906-1975 )

Moderato — Allegro non troppo

Allegretto

Largo

Allegro non troppo

Program

The DePaul Symphony Orchestra’s Annual Spring Concert and Gala is sponsored by the Crain-Maling Foundation.

First Violin

Arianne Urban,

concertmaster

Kiyoe Matsuura,

assistant concertmaster

Arthur Masyuk

Matthew Hannau

Elina Rubio

Danielle Simandl

Anne-Sophie Paquet

Alina Kobialka

Kuan-I He

Irine Røsnes

Carmen Abelson

Elizabeth Weitnauer

Alexandra Khaimovich

Anna Piotrowski

Kseniya Khvashchynskaya

Kelsey Ferguson

Second Violin

Alexandria Conrad, principal

Ashlyn Olson,

assistant principal

Michelle Wynton

Erica Jacobs-Perkins

Kyle Dickson

Graham Emberton

Alison Tatum

Andrea Ferguson

Samantha Spena

Emily McClean

Fan Zhang

Olivia Breidenthal

Claire Watkins

Konrad Kowal

Viola

Samuel Pedersen, principal

Sarah Vosper,

assistant principal

Hilary Butler

Violet Deal

Aleksa Kuzma

Kelly Larson

Cierra Asmond

Jonathan Walters

Kevin Lin

Seth Pae

Mercedes Quintana

Catherine Sliva

Jia Zeng

Cello

Sonia Mantell, principal

Tobin Schindler,

assistant principal

Morgan Little

Aaron Brancato

Benjamin Rogers

Meghan Lyda

Seth Trimble

Margaret Madsen

Joshua Dema

Francisco Malespin

Bass

Fernando de la Fuente,

principal

Teddy Gabrielides,

assistant principal

Daniel Meyers

Carl Anderson

Elias Broxham

Evan Hillis

Flute

Emily DePalma

Christy Kim

Ali Parra

Piccolo

Rachael Dobosz

Oboe

Laura Adkins

Erik Andrusyak

English Horn

Amy Luegering

Clarinet

Emily Dobmeier

J.J. Milakovich

Brandon Sheppard

Chaz Sonoda

E-flat Clarinet

Dan Hickey

Bassoon

Sandra Bailey

Quinn Delaney

Robert Franken

Contrabassoon

Quinn Delaney

Horn

Sarah Burgstahler

Stephanie Diebel

Parker Nelson

Cliff Colnot, conductor

DePaul Symphony Orchestra

Trumpet

Brian Bean

Mark Haworth

Bryan Kraak

Alex Szasz

Andrew Szymanek

Trombone

Charles Dieterle

Lucas Steidinger

Bass Trombone

Sean Yeung

Tuba

Chris Smith

Timpani

Paul Brumleve

Percussion

Alex Adduci

Becca Hook

Becca Laurito

Sarah Pugh

Harp

Michael Maganuco*

Piano / Celesta

Ilya Vanichkin

*denotes Guest

In the past decade Cliff Colnot has emerged as a distinguished conductor and a musician of uncommon range.

One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West-Eastern Divan Workshops for young musicians from Israel, Egypt, Syria, and other Middle Eastern countries. Colnot has also worked extensively with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble ( ICE ), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble eighth blackbird. Colnot has been principal conductor of the Chicago Symphony

Orchestra’s contemporary MusicNOW ensemble since its inception and was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years. Colnot also conducts Contempo at the University of Chicago, and the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Composers Orchestra, the Saint Paul Chamber Orchestra, the Utah Symphony, and the Chicago Philharmonic.

Colnot is also a master arranger. His orchestration of Shulamit Ran’s Three Fantasy Pieces for Cello and Piano was recorded by the English Chamber Orchestra. For the chamber orchestra of the Jerusalem International Chamber Music Festival, Colnot has arranged the Adagio from Mahler’s Symphony No. 10, Schoenberg’s Pelleas and Melisande ( both published by Universal ) and Manuel De Falla’s Three Cornered Hat. For ICE, Colnot arranged Olivier Messiaen’s Chants de Terre et de Ciel for chamber orchestra and mezzo-soprano, also published by Universal. For members of the Yellow Barn Music Festival, Colnot arranged Shulamit Ran’s Soliloquy for Violin, Cello, and Piano, to be published by Theodore Presser. Colnot re-orchestrated the Bottesini Concerto No. 2 in B Minor for Double Bass, correcting many errors in existing editions and providing a more viable performance version. He has also been commissioned to write works for the Chicago Symphony Orchestra Percussion Scholarship Group. His orchestration of Duke Ellington’s New World Coming was

Cliff ColnotConductor

premiered by the Chicago Symphony Orchestra with Daniel Barenboim as piano soloist in 2000, and Colnot also arranged, conducted, and co-produced the CD Tribute to Ellington featuring Barenboim at the piano. He has also written for rock-and-roll, pop, and jazz artists Richard Marx, Phil Ramone, Hugh Jackman, Leann Rimes, SheDaisy, Patricia Barber, Emerson Drive, and Brian Culbertson.

Colnot graduated with honors from Florida State University and in 1995 received the Ernst von Dohnányi Certificate of Excellence. He has also received the prestigious Alumni Merit Award from Northwestern University, where he earned his doctorate. In 2001 the Chicago Tribune named Cliff Colnot a “Chicagoan of the Year” in music, and in 2005 he received the William Hall Sherwood Award for Outstanding Contributions to the Arts. Most recently, Colnot has been awarded the 2016 Alice M. Ditson Conductor’s Award of Columbia University in recognition for his excellent commitment to the performance of works by American composers. He has studied with master jazz teacher David Bloom, has taught jazz arranging at DePaul University, film scoring at Columbia College, and advanced orchestration at the University of Chicago. As a bassoonist, he was a member of the Lyric Opera Orchestra of Chicago, Music of the Baroque, and the Contemporary Chamber Players.

“Cliff Colnot conducted the excellent International Contemporary Ensemble in an alluring performance.”

Anthony Tommasini

New York Times

“To every score, conductor Cliff Colnot brought a dedication, virtuosity, and intensity of feeling new music needs but doesn’t often receive.”

John von Rhein

Chicago Tribune

“Everywhere [in Beethoven’s Symphony No. 1] were signs of meticulous preparation and keen stylistic acuity.”

Michael Cameron

Chicago Tribune

Overture to The Barber of SevilleGioachino Rossini ( 1792-1868 )

Duration: 8 minutes

Opening night for Gioachino Rossini’s Il barbiere di Siviglia proved to be the culmination of various struggles endured by the composer in the process of producing the opera. The first performance — given on February 20, 1816 at the Teatro Argentina in Rome —was anything but a total success. The opening “ta-da” from the overture began what would become one of the most iconic operas in history, though this particular overture had already premiered three years earlier.

Audacious and headstrong, the young Rossini — days short of his 24th birthday upon presenting the opera to the public —chose an oft-used source for his libretto: Pierre Beaumarchais’ Le barbier de Séville. Italian composer Giovanni Paisiello had already adapted this play to produce his Il barbiere di Siviglia, immensely popular since its 1783 premier. In an attempt to avoid comparison, Rossini originally titled his opera Almaviva, though Paisiello and his adoring supporters still took this as an affront to his masterpiece.

Several events threatened to derail Rossini’s more modern take on Beaumarchais’ play even before the final curtain of the first performance. Two months prior to the premiere, the opera’s contract was still in dispute. Once resolved, Rossini composed the opera in less than three weeks’ time; the composer himself boasted that the work was completed in as few as nine days. As the premiere approached, disaster struck: Rossini’s

patron and owner of the Teatro Argentina, Duke Francesco Sforza-Cesarini, died just as the orchestra was set to begin rehearsing the first act. However, his successor, Nicola Ratti, realized the need to see the opera through to its completion. On the night of the premiere, several of Paisiello’s loyal fans attended with the intention of disrupting the performance by way of whistles, catcalls, boos, and the like. The noise successfully distracted members of the cast, resulting in some injuries, including those to Zenobio Vitarelli (Basilio), who tripped on stage and nearly broke his nose.

Vitarelli and the rest of the cast continued to perform admirably, despite the onslaught of noise from the crowd. After conducting the premiere, Rossini immediately left the theater and feigned sickness for days, convinced of his opera’s monumental failure. It didn’t take long for public opinion to change in the composer’s absence; a more respectful audience decided to give the opera a chance at its second production. This time, the curtain dropped to thunderous applause. The young Rossini heard of this newfound success second-hand. Soon, Almaviva was staged across Europe and experienced unprecedented success. By the time Paisiello died just months after the premiere, Rossini’s opera was so popular that no one thought to fault him when he finally renamed it Il barbiere di Siviglia. The Barber of Seville stands today not only as one of the greatest in the Italian opera buffa genre of the 19th century but also one of the greatest and most performed operas of all time.

Program Notes

In his own time, Rossini came to be known as the most popular opera composer in history and became instrumental in the transition to a more progressive form of opera seria in the bel canto style.

Of course, Rossini’s overtures are just as celebrated as his operas and contain some of the more recognizable melodies in opera’s vast history amongst popular audiences, such as the waltz theme in the overture to The Thieving Magpie, or the unmistakable overture to William Tell, which has cemented itself in pop culture through its appearances in movies, television shows, and cartoons. Interestingly, this overture, which contains no thematic material from The Barber of Seville, needed three operas to gain widespread popularity as Rossini recycled it from two earlier works — Aureliano in Palmira and Elisabetta, regina d ’Inghilterra. It appears that Rossini originally composed an overture specifically for Il barbiere di Siviglia, but it was either never used or replaced with this one soon after the first performance.

The overture follows something of a pattern for Rossini’s overtures: it begins with a slow introductory section, mostly slow and sweet but framed by the jolting chordal “ta-da” motif. The main section of the overture features two themes that return following a short transition: a strong dance-like first theme in the strings and a softer, sighing theme presented by the winds. It ends with another hallmark of Rossini’s compositional style — a speedy concluding crescendo, with cascading strings and pronounced dotted rhythms in the winds. Such flashes of virtuosity at fast tempi became such a feature of Rossini’s that he was given another nickname — the “Paladin of Velocity.”

Alex Blomarz and Anna Kathryn Grau

Program Notes

Symphony Number 5, in D minor Op. 47Dmitri Shostakovich ( 1906-1975 )

Duration: 50 minutes

Moderato—Allegro non troppo

Allegretto

Largo

Allegro non troppo

The circumstances surrounding the creation of and artistic motivation for Shostakovich’s Fifth Symphony are a reflection of the troubled life of the composer, and his difficult relationship with the oppressive communist regime of Soviet Russia. Prior to 1935, Shostakovich was free to compose music without substantial ideological interference, despite the official state doctrine that emphasized that art had primarily a political function, and should “educate the masses” and “lead them.” As one of the most prominent Soviet composers, his work was even admired by Marshal Tukachevski, a prominent leader of the Red Army. In 1935, both his opera, The Lady Macbeth of the Mtsensk District, and his ballet, The Limpid Stream, were produced in Moscow and in Leningrad to great public acclaim.

Historians often date the beginning of the Great Terror to December 1934. Stalin used mock trials, massive executions, and deportations to the concentration camps of the Gulag to consolidate his unassailable power. The arts, like the whole society, were subject to total party control. On January 26, 1936 a group of senior Party members (purportedly including Stalin himself ) came to the performance of Lady Macbeth and left, disgusted. The work did not conform to the dictates of “socialist

realism.” Days later, Pravda, the official party newspaper, published an editorial “Muddle instead of Music,” the first of two scathing criticisms of the opera and of the composer. He was accused of levaskoye urdódstvo (leftist deviation) – being too extreme, too anarchic, and not following the Party doctrine on composing music. People could be executed or sent to the Gulag for such “offenses.”

Shostakovich’s music suddenly disappeared from performance schedules. He was denounced as counterrevolutionary by most of his colleagues, and feared for his life. Shostakovich sought a way to rehabilitate himself; he interrupted his compositional projects, and decided to create a work that would be acceptable to the dictatorship —his Fifth Symphony. Even before his downfall, his musical style had become less acerbic, and his satirical outbursts less aggressive. Writers suggested that he had developed an unexpected affinity with Mahler’s Fourth Symphony, which also hides complexity behind a simple, apparently unsophisticated surface presentation.

After humiliating public apologies about his past transgressions, the new symphony was presented as, “A Soviet Artist’s Response to Just Criticism.” The Leningrad Philharmonic Orchestra premiered the work on November 21, 1937 and Shostakovich regained – at least temporarily – Stalin’s trust.

Does the Fifth Symphony conform to Communist precepts on art, or does it have a hidden agenda of resistance to the Stalinist dictatorship? There are arguments

for both interpretations. The music is accessible, and an article in Pravda — possibly written by the composer, or by a friend — presented the work as proof that Shostakovich understood what it means to write “Soviet music.” This is also the view of the renowned musicologist Richard Taruskin, who interprets it as “obedient submission to discipline,” and argues that if there was any hint of subversive intent, it would have been suppressed. Other critics argue that Shostakovich only complied on the surface, hiding symbols of defiance within the work. There are indeed several instances, in other Shostakovich compositions, where such resistance is unequivocally documented.

The outward structure of the symphony is standard. The first movement makes use of a two-note dotted rhythm that starts in the strings, and then makes its way to the brass. This is followed by march-like passages both severe and solemn at times. After a high violin solo the second movement (a scherzo) starts with a quick waltz that toes the line between playful and joyous with regular interjections by the French horns. The Largo uses harp and celeste with a string-heavy orchestration to shift the mood back to somber. Shostakovich wrote long melodic lines, which give the movement a mournful quality. Adepts of the “hidden messages” school hear it as a funeral song for the many victims of the great Stalinist purges that were happening at the time, and claim to hear allusions to music for the Eastern Orthodox Requiem service in the chorus-like passages for the strings within it.

The brass, silent through the Largo, return in force in the fourth movement, an energetic — and ideologically correct —ending to the symphony. Again, there are differing interpretations. Is it a triumphal march of the “new Soviet man?” Or, as musicologist Solomon Volkov suggests: “The rejoicing is forced, created under threat… It’s as if someone were beating you with a stick and saying, ’Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ’Our business is rejoicing, our business is rejoicing’.”

The audience at the first performance was enthusiastic. Perhaps, as the musician Juri Jelagin commented, “The educated Russians who had gathered in the auditorium that night had staged a demonstration expressing their love for his music, as well as their indignation at the pressure that had been exerted in the field of art and their sympathy and understanding for the victim.” Our role tonight is easier: we only have to listen and enjoy the musical artistry of one of the great composers of the 20th century.

Notes by Wm Riley Leitch and Cathy Ann Elias

PerformanceJulie DeRoche, Chair,

Department of Music Performance; Clarinet

David Alt, VoiceMarta Aznavoorian,

Chamber MusicSusanne Baker, Piano

PedagogyStephen Balderston, CelloBrandi Berry, Baroque

EnsembleAlban “Kit” Bridges, Jr.,

Vocal Literature and Coach

William Buchman, BassoonElizabeth Byrne, VoiceWagner Campos, ClarinetOto Carrillo, HornClif f Colnot, Director of

Orchestral ActivitiesLarry Combs, ClarinetMatthew Comerford,

TrumpetFloyd Cooley, Tuba & Brass

CoordinatorMarc Damoulakis,

PercussionJohn Dee, OboeWilliam Denton, TrumpetIan Ding, PercussionChristine Due, ViolaEric Esparza, Director of

Choral Activities & Vocal Area Coordinator

Julia Faulkner, VoiceMark Fisher, TromboneKathryn Flum,

Flute & Woodwind Area Coordinator

Michael Green, Percussion Area Coordinator

Alexander Hanna, BassJason Heath, BassJohn Henes,

Alexander TechniqueDavid Herbert, PercussionJulian Hersh,

Chamber Music

Linda Hirt, Vocal Diction and Coach

Grace Hong, OboeNicholas Hutchinson,

DictionAlyce Johnson, FluteIlya Kaler, ViolinOlga Dubossarskaya Kaler,

ViolinRobert Kassinger, BassNeil Kimel, HornVakhtang Kodanashvili,

PianoPaula Kosower,

String PedagogyMichael Kozakis,

PercussionTage Larsen, TrumpetMatthew Lee, TrumpetMichael Lewanski, Concert

Orchestra & Ensemble 20+ Conductor

Miles Maner, BassoonMark Maxwell, GuitarEric Millstein, PercussionSteven Mosteller,

Music Director, DePaul Opera Theatre

Jason Moy, Baroque Ensemble & Keyboards Area Coordinator

Erica Neidlinger, Wind Symphony Conductor

Drew Pattison, BassoonAlbert Payson, PercussionJ. Patrick Rafferty,

Orchestral RepertoireJeff Ray, VoiceJo Rodenburg, VoiceJeremy Ruthrauff,

SaxophoneHarry Silverstein, Director,

DePaul Opera TheatreJames Smelser, HornRami Solomonow, ViolaMark Sparks, FluteKyomi Sugimura, PianoJanet Sung, Violin & Strings

Area Coordinator

Michael Sylvester, VoiceBrant Taylor, CelloScott Tegge,

Tuba & Chamber MusicGeorge Vatchnadze, PianoCharles Vernon,

Bass TromboneJill Williamson, Chamber

MusicStephen Williamson,

Clarinet

Composition and MusicianshipKurt Westerberg,

Director of Musicianship and Composition

Susanne Baker, Musicianship

Natasha Bogojevich, Musicianship

Marita Bolles , CompositionKatherine Brucher,

MusicianshipJoe Clark, MusicianshipCathy Ann Elias,

MusicianshipNomi Epstein, MusicianshipGeoff Farina, MusicianshipFredrick Gif ford,

Musicianship and Composition

David Grant, MusicianshipAnna Grau Schmidt,

MusicianshipGregory J. Hutter,

MusicianshipJae Hwang-Hoesley,

MusicianshipChristopher Jones,

Musicianship and Composition

Jeffrey Kowalkowski, Musicianship

Christopher Lemons, Musicianship

Seung-Won Oh, Musicianship and Composition

School of Music Faculty

Junichi Steven Sato, Musicianship

Michael Staron, Musicianship

Mischa Zupko, Musicianship

Jazz StudiesDana Hall, Director of Jazz

Studies, Jazz Percussion and World Music

Scott Burns, Jazz Saxophone

Dennis Carroll, Jazz BassTimothy Coffman,

Jazz Trombone Bob Lark, Jazz Trumpet Thomas Matta, Jazz

Arranging and Composition, Jazz Bass Trombone

Chad McCullough, Jazz Trumpet

Bob Palmieri, Jazz Guitar Ron Perrillo, Jazz Piano Bob Rummage,

Jazz Percussion Bradley Williams,

Jazz History

Sound Recording TechnologyThomas Miller,

Director of Sound Recording Technology

Dan Steinman

Performing Arts ManagementAlan Salzenstein,

Director of Performing Arts Management

Shawn MurphyNicolas SincagliaSteve SmithMelissa SnozaEric Soderstrom

Music EducationJacqueline Kelly-McHale,

Director of Music Education

Gregory BimmMeeghan BinderMeret BitticksAnthony BrunoJudy Bundra, Interim DeanBrian GierJason Heath Dava Kondiles Kelly LangenbergTina LaughlinFrank LestinaStevi MarksBen McMunnShirley MostellerErica NeidlingerDeborah PeotAvo RandruutNicole RiveraKarl Rzasa

School of Music Administration and Staff

Judy Bundra, Interim Dean

Kurt Westerberg,

Interim Associate Dean

Susanne Baker, Community

Music Division Director

Ross Beacraft,

Director of Admission

Stephanie Carper,

Director of Development

Ana Christian, Receptionist

Gwen Fullenkamp,

Coordinator of Admission

Brian Gier,

Technology Manager

Sarah Kaufman,

Coordinator of

Academic Services

Rita Mannelli,

Director of Marketing

and Communications

Ben Rusch, Facilities

Manager

Rachael Smith,

Coordinator of Career and

Performance Services

Elizabeth J. Soete, Assistant

Vice President of

Development for the Arts

Phil Verpil, Staff Advisor

Mara Yurasek, Executive

Assistant to the Dean

Advisory Board

Rich Daniels, Chair

Mark Mroz, Vice Chair

Jason Arends

Russell Bach

Samantha D. Cohen

Patricia O. Ewers

Victor D. Faraci

Graham V. Fuguitt

Sasha Gerritson

Scott Golinkin

Anastasia Graven

Mary Pat Gannon Hay

Geoffrey Hirt

James E. Hurley

Jen Kentos

Sidney C. Kleinman

John M. Kohlmeier

Jacqueline M. Krump

Carlotta L. Lucchesi

Daniel R. Lyons

Samuel Magad

Florence M. Miller

Anthony Peluso

Nancy Petrillo

James Quinn

James F. Shaddle

Amy Soudan

Lawrence Sullivan

Ed Ward

Elizabeth Ware

Cathy C. Williams

Mimi Wish

William Young

School of Music Staff and Advisory Board

$50,000 + Fr. McCabe CircleEdward & Lois Brennan

Family Fdn.

John Brennan (Trustee) &

Jean Brennan *Kimberly Brennan &

Donald Brennan

Lois Brennan (dec.) * +

Philip H. Corboy Foundation

The Crown Family

Mary Dempsey, JD ’82

(Trustee)

Fidelity Charitable Gift Fund *Sasha Gerritson, MUS ’99

(Trustee) & Eugene Jarvis *John Herklotz, BUS ’49 * +

Geoffrey Hirt, PhD &

Linda Hirt #

Elizabeth Morse Genius

Charitable Trust

James Schaefer, BUS ’59 &

Mary Schaefer *

$25,000-$49,999 Fr. Levan CircleBeatrice G. Crain

Crain-Maling Foundation

Dr. Michael S. Maling

James O’Connor, BUS ’72 &

Laura O’Connor +

PNC Financial Services

Group, Inc. * +

Claire Rosen & Samuel Edes

Foundation

Ernest Wish, BUS ’57; LLD ’91

(Life Trustee) & Mimi Wish *

$10,000-$24,999

Fr. Corcoran CircleAntunovich Associates, Inc.

Leslie Antunovich &

Joseph Antunovich

Rosemarie Buntrock &

Dean Buntrock

Dean L. & Rosemarie

Buntrock Foundation

Donald Casey Jr. #

& Christine Casey

Samantha Cohen &

Joel Cohen

James M. Denny (Life Trustee)

& Catherine Denny *Gina Gaudio, LAS ’99 &

Robert D’Addario, MUS ’11

John Graven, BUS ’49; MBA

’50 (dec.) & Anastasia

Graven, MA ’64

William Hay, MBA ’66; DHL

’06 (Trustee) & Mary Pat

Gannon Hay, DHL ’06 *David Herro & Jay Franke

Dr. Jacqueline Krump

PricewaterhouseCoopers, LLP

J. Christopher Reyes &

Anne N. Reyes

J. Christopher Reyes &

Anne N. Reyes Foundation

John G. Searle Family Trust

Dia Weil (Trustee) &

Edward S. Weil Jr.

Steven Weiss

Listings in the honor roll reflect contributions and pledge payments made between

January 1, 2015 and December 31, 2015 to DePaul University’s School of Music.

Gifts of $1,000 and above annually qualify for membership in the President’s Club, DePaul

University’s honor society of donors.

$1,000,000+ lifetime giving to DePaul University

Donor has made a special philanthropic pledge of $25,000 or greater

to DePaul University between January 1, 2015 and December 31, 2015

School of Music Faculty/Staff, current and retired

Alumni & Friends

*+

#

$5,000-$9,999 Fr. O’Connell CircleRochelle Abramson, MED ’89

& Elliott Abramson

Craig J. Anderson, MUS ’96 &

Kathryn K. Anderson, LAS

’92 +

Russ Bach, MUS ’58; MM ’60

& Mary Ellen Brumbach

Baird

Baird Foundation, Inc.

Susanne Baker # &

David Baker

Melissa Behr

William Buchman #

Bulley & Andrews, LLC

Stephen Bundra, MD &

Judy Bundra #

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Julie DeRoche #

Dr. Patricia Ewers, DHL ’98 &

John Ewers (dec.)

Shelley Farley &

William Farley

Henry Frank, JD ’57 &

Rhoda Frank

Geico

David Harpest, MUS ’00

James Jenness, BUS ’69;

MBA ’71; DHL ’06 (Trustee)

& Sharon Jenness *Kenneth A. Lattman

Foundation, Inc.

Liam Ventures, Inc.

Carlotta Lucchesi &

Ronald Lucchesi

Miriam Magad, MUS ’74 &

Samuel Magad, MUS ’55;

DHL ’10

Colleen Mayes &

Edward Mayes

Anne Michuda, MM ’75 &

Leo Michuda (dec.)

Brenda Michuda, MBA ’92 &

Mark Michuda

Kristin Michuda &

Josef Michuda

Marie Michuda, MUS ’89

Cathleen Osborn &

William Osborn

PNC Foundation +

Isabel Polsky &

Charles Polsky

Father John Richardson, C.M.

(Life Trustee)

Nancy Rick-Janis, MBA ’93

& Robert Janis, SNL ’82;

MS ’86 +

Rosetta W. Harris Charitable

Lead Trust

James Shaddle

Rev. Charles Shelby, C.M.,

MS ’72 *Cathy Williams

$2,500-$4,999

Fr. O’Malley CircleDaniel Corrigan, MUS ’59

Raymond Daly, MS ’65

Mary C. Finger, PhD &

David Paris, PhD

Stephanie Flynn &

John F. Flynn

Edgar Jannotta

Sidney Kleinman

Mary Kohlmeier &

John Kohlmeier

Irene McDunn

William McIntosh

Florence Miller

Dr. Arnold Weber

James Zartman &

Katherine Zartman

$1,000-$2,499

Vincentian CircleAnonymous (3)

Jason Arends

Jacqueline Bishop &

Bernard Bishop

Cherylee Bridges

William Brodsky

Linda Buonanno &

Vincent Buonanno

Mary Burns & Joseph Burns

Doralu Chanen &

Franklin Chanen

Valerie Chang & Ian Jacobs

Chicago Board Options

Exchange

The Gertrude Wachtler Cohen

Memorial Foundation

Patricia Danielsen & Dr.

Bartley Danielsen

Beverly Felisian, MUS ’57 &

Robert Felisian, MUS ’59

Graham Fuguitt, MM ’82 &

Margaret Fuguitt

Barbara Giambalvo

Scott Golinkin, JD ’84

Sally Hagan

Janice Honigberg &

John Hedges

IBM International Foundation

Marilyn Kelly &

Dr. John Markese

Dagmara Kokonas &

Nicholas Kokonas

Bob & Linda Kozoman

Bertha Lebus Charitable

Trust

Daniel & Julie Love

The John D. & Catherine T.

MacArthur Foundation * +

Mary Marshall &

Cesare Ugianskis

Erin Minné

Mark Mroz

Raymond Niwa, MUS ’43;

MM ’49

Peggy Notebaert &

Richard Notebaert

Beatrice Orzac

Anthony Peluso, MUS ’73 &

Julie Peluso

Joseph Ponsetto, EDU ’78;

JD ’82 & Jeanne Lenti

Ponsetto, EDU ’78

Earl Richardson Jr., MS ’05

Father John Rybolt, C.M., MA

’67 (Life Trustee)

Rosemary Sanchez

Schewe Photography

Rebecca Schewe &

Jeff Schewe

Seigle Family Foundation

Susan Seigle & Harry Seigle

Janice Shipley, EDU ’70; MS

’79 & Dr. Frederic Shipley II

Caroline Shoenberger, JD ’77

Paul Skowronski, BUS ’86;

MBA ’92 &

Sue Skowronski

Elizabeth Soete # &

Raymond Narducy

Amy Soudan

The Stelnicki Family

Lawrence Sullivan, BUS ’57 &

Geraldine Sullivan

Chester Wilczak, BUS ’58;

MBA ’62

Joan Yohanan &

Robert Yohanan

Kenneth Zak, BUS ’52; JD ’54

John Zielinski, MUS ’79 &

Laura Zielinski

$500-$999

Bank of America Foundation,

Inc.

Nancy Bason, BUS ’98 &

Bill Colman

Cynthia Bennett, MUS ’85;

MM ’90

Lauretta Berg, MUS ’60

Christina Berry, CMN ’01;

MED ’09 & Dr. Thomas

Berry, MBA ’78

Robert Berry

Dale Breidenthal

Marvin Brustin, JD ’61

Russell Bruzek, GSD ’64

Friends of Edward M. Burke

Justice Anne Burke, SNL

’76; DHL ’05 & Alderman

Edward Burke Sr., LAS ’65;

JD ’68

Dolores Curns

Cheryl Cutinho &

Sunil Cutinho

Joan Darneille

Marcia Deck & Warren Deck

Joan Ferrill & Jeffrey Ferrill

Marshall Field

First Bank & Trust

Donna Gritton &

Steve Gritton

Wendy Irvine #

Robert Krueger II, MBA ’88 #

Frank Kuhlmann, MED ’99 &

Erica Kuhlmann

William Lear

Norman Malone, MUS ’68;

MM ’73

Herbert Marros, BUS ’81

Marvin A. & Ben Brustin

Charitable Foundation

Joan Meister &

Dr. Richard Meister +

Richard Mesirow

Mesirow Charitable

Foundation

Jeanne Montgomery &

Robert Montgomery

Annmarie Neumeier

Bradley & Jennifer Norris

Mary O’Brien &

Peter O’Brien

Kathryn Palmer &

John Palmer

Peoples Gas

Nancy Petrillo, BUS ’79

Charles Price

Rosemary Schnell

Harry Silverstein # &

JoBeth D’Agostino, Ph.D

Dr. Kevin Stevens, MST ’86 &

Marietta Stevens

Augusta Thomas &

Bernard Rands

Edward Ward, MUS ’63; DHL

’07 & Dale Ward

Elizabeth Ware, MA ’98

Hilary Zankel & Jay Gottfried

$250-$499

Stephen Balderston #

Martha Garcia Barragan &

David Oskandy

Steven Behnke

Donna Branson

Kay Bryce

Floyd Cooley #

Rosemary Corrigan, CSH ’69

Marie Culjak-McGuckin (dec.),

MM ’64

Carol Dammrich, CSH ’76 &

Thomas Dammrich, LAS

’74; MBA ’78; MS ’85

Patty Delony

Eric Esparza #

Felicia Filbin, LAS ’81

Mary Goldberg

Allison Hahr &

Jon Spanbauer

Elizabeth Hansen &

Michael Hansen

Jacqueline Kelly-McHale #

Vladimir Leyetchkiss

Katherine Lisec &

W. Michael Lisec

Adam Marshall, MUS ’01 &

Tiffany Marshall, CMN ’01

Katherine McConville,

MUS ’07

Katie McMenamin

Emily Merritt

Thomas Miller, MM ’96 #

Kathleen Murtaugh, BUS ’86;

MST ’93

Deane Myers, MM ’88 & Layni

Myers, THE ’86; CMN ’89

Father William Piletic, C.M.

David Ponsot, BUS ’95

Lois Raedeke &

Ronald Raedeke

Penny Russel

Susan Soler

Debra Stanton &

Gary Stanton

Sun Belle, Inc.

Regina Syrkina

United Way of Metropolitan

Chicago

Stephanie Woodson

$100-$249

Nick Abbamonte

Laura Adkins, MUS ’12

Betty Ahlmann &

Bruce Ahlmann Sr.

Aileen S. Andrew Foundation

Sandra Boafoa Anim, MS ’13

Joseph Antonelli, MUS ’69

Michelle Bene Bain

Kelley Baldwin

Neil Ballentine, MBA ’15

Maria Batten & Roger Batten

Dr. Shirley Beaver

Sandra Benedict

Sarah Benham, BUS ’04 &

Jeremiah Benham, MUS

’00; MM ’02

Theodore Berg, MUS ’49

Jill Beuter, MUS ’59

Elka Block

Sania Bonnard &

Pierric Bonnard

Dr. H. Woods Bowman (dec.)

Jay Braatz, EdD

Giovanna Breu

Julia Bright

Dr. Katherine Brucher #

Elizabeth Byrne Asher #

Margaret Caraher, MUS ’85

Peggy Casey-Friedman &

Martin Friedman

Linda Cerabona, MUS ’78;

MA ’93

Sarah Chambers &

Eugene Ozasky

Elsa Charlston #

Chicago Tribune Foundation

Elaine Clancy, MM ’92

Larry Combs #

Cor Creative, Inc.

Christine Corrigan

Sharon Cortelyou

Ryan Coward, MUS ’04

David Csuk Jr., MS ’14

John Culbert &

Katherine Culbert, MED ’04

Jessica Cummings, MUS ’03

Sally Czapar &

George Czapar

Darnton & Hersh Fine Violins

Susan Day

Cynthia Deitrick

Bradley Dineen, MED ’99

Bernard Dobroski

Alexander Domanskis

Carole Doris, JD ’76 &

Dr. Peter Doris

Nina Drew

Anne Duggan &

Jaime Garcia Anoveros

Earths Flame, Inc.

Dr. Cathy Elias # &

Janos Simon

Marsha Etzkorn &

Shawn Etzkorn

James Fahey, MUS ’83

Joyce Fecske, LAS ’69; MA

’71 & Stephen Fecske

Dr. Barry Feldman &

Sui Huang

Patrice Fletcher

Crispin Fornoff

Helene Gabelnick &

Stephen Gabelnick

Mark Gatz, CSH ’97 &

Monica Gatz

Lucy Gaven &

Richard Gaven

Margaret Gentilcore

Matthew Geraldi, MUS ’56 &

Kenlyn Geraldi

Sheila Gideon & Vern Gideon

Paul Glick

Denise Goodman

Chester Gougis (Trustee) &

Shelley Ochab +

David Grabacki, MBA ’12 &

Janet Grabacki

Paul Greenawalt, BUS ’65;

MBA ’68

Carolyn Carriere Grenchik

Renu Gupta &

Dr. Anand Goel

Ama-Dapa Gyabin &

Shamsiden Balogun

Richard Hansen, CDM ’85

Havas Impact, LLC

Beth Hebert

Edwin Hicks

Debra Hinze

Suzanne Olbrisch Hlotke,

BUS ’74

Lola Horsfall

Jane Jackman &

Steve Jackman

Amy Jacobs, MED ’00 & Cary

Jacobs, MUS ’87; MM ’89

Carla Jedlicka &

Alan Jedlicka

Sonja Johnson, JD ’81

M. Georgene Jones

Stephanie Joseph

Janet Karabas

Christopher Kendrick

Jen Kentos

Morris Kern

Yumy Kim & Jong Kim

Carol Kissel

Ronald Kloss, MUS ’55

Linda Koche, BUS ’84 & Gary

Koche, BUS ’83; MBA ’85

Mark Kohnle

Robert Kreisman, LLM ’81

Anna Kreynina

Renata Kuciemba &

Stanislaw Kuciemba

Margaret Kuhlow, LAS ’92

Kathleen Lahif f, LAS ’78

LaMetrice Lane &

Steven Lane

Veronica Larry-Smith

Sharon Lear

Michelle Lee, CDM ’02;

MS ’10

Edmond Leonard

Howard Levin

Michael Lewanski #

Mary Ellen Lewis

Dr. Eva Lichtenberg

Camille Licklider, J.D., MUS

’96 & James Licklider, LAS

’98; MS ’01; MS ’06

Constance Lilly, MUS ’70

James Lilly, MUS ’70

Little Flower Catholic

Grade School

Dr. Michael Locigno, MUS ’73

& Sandra Locigno

Dennis Lord

Ying Lu, MS ’02 &

Min Cheng

Ilene Lubell

Susan Lyons

Kevin Mahar

Carolyn Makk &

Christopher Makk

Donna Malaga & Joseph Lim

Marie Malm, MA ’50

Barbara Mandal, MUS ’62

Judith Marshall

William Martay, JD ’69 &

Margaret Martay

Priscilla Matli & Steve Matli

Christine May, MUS ’75 &

James May, MUS ’74;

MM ’75

Roberta McKeever &

Michael McKeever

Sandy McMillan &

Stu McMillan

Sean McNeely, MM ’97

Dianne Millard

Nancy Mocek, MA ’73

Diane Myhre, MM ’90 &

John Myhre

Taoufik Nadji

Anna Nardi & Ignacio Garin

New Horizons Band

Chau Nguyen

Luz Nicolas &

Dr. John Nicolas

Northern Trust Corporation

J.F. Nunez-Gornes

Seung-Won Oh #

Friends of Oscar Mayer

School

Kathy Paddor-Rotholz &

David Rotholz

Richard Pagliaro Sr., MUS ’67

Beverly Pendowski, BUS ’90

& James Pendowski,

MUS ’93

Dr. Robert Placek, MUS ’55

Paul Pliester

Lynn Powell

Glen Prezembel &

Beth Prezembel, MUS ’84;

MBA ’91

Ann Priest & Dr. Edwin Priest

Trish Quintenz

Louis Rapa

Katlyn Reichelt

Mark Ricco

Rochester Lions Club

Deborah Rosenberg

Elaine Roth

David Rubin

Rebecca Rudy, MUS ’12

Mary Rundell

Lisa Russ

Andrea Schafer, MUS ’83

Melissa Schwalbach

Nancy Scott-Rudnick &

Clif ford Scott-Rudnick

Brenda Sikorski

Judge John Simon, JD ’67;

DHL ’12 (Life Trustee) &

Millie Simon

Saraswathi Sista, MUS ’13

Yuki Solomon &

Jonathan Solomon

Patricia Stahlberg &

Donald Stahlberg

Gordon Stefenhagen,

BUS ’67

William Stoneburner

Howard Sulkin, DHL ’90 &

Connie Sulkin

Kristofer Swanson, CPA, CFE,

MS ’91 & Myrna Swanson

Leah Talmers &

Peter Talmers

Dr. Michele Thompson

Geraldine Timm, SNL ’92

Linda Tueth

Linda Tuke-Larkin

Cynthia Valukas, MD,

MUS ’75

Paul Wagner, MBA ’82 &

Susie Wagner

Margaret Walker, MM ’83

Dr. John H. Wallace, MUS ’83

& Mrs. Carol L. Wallace

Clif f Wallis, MUS ’96

Andrea Walsh

Lina Wei & Grant Wei

Dana Weinstein &

Steven Weinstein

Carol Weir

Dr. Kurt Westerberg # &

Renee Westerberg

William Harris Lee & Co., Inc.

Janice Williams Miller

Dr. Leslie Wilson

Kevin Wong

Yann Woolley

Wrigley Jr. Company

Foundation

James Zelhart

Yizhe Zhang &

John Fitzgerald

Janice Zimelis

Jerry Zitko, MUS ’83

Cortelyou Heritage Society DePaul gratefully acknowledges the Cortelyou Heritage Society members who provide support for the School of Music through a planned gift.

Endowments DePaul University thanks the many donors who have established the following endowed scholarships benefitting students in the School of Music.

Vittorio Angeli Enrichment

Endowed Scholarship

Nina I. DelMissier Bassiouni

Memorial Endowed

Scholarship

Thomas A. Brown Endowed

Scholarship for Classical

Piano

Mary Jane Krump Cascino &

Jerome Cascino Endowed

Scholarship

Chris and Don Casey

Endowed Fellowship

Shirley Chalmers Endowed

Scholarship in the School

of Music

Marie Culjak-McGuckin

& Charles McGuckin

Endowed Scholarship

Marie Culjak-McGuckin

Endowed Scholarship

The Three Culjak Sisters

Endowed Scholarship

in Honor of Katherine C.

Smith, Helen C. LeBlanc &

Marie C. McGuckin

Anonymous (2)

Michele Allen & Murray Allen

(dec.)

The Honorable

James Bindenagel &

Jean Bindenagel

Donald Boroian, MUS ’55

Russell Bruzek, GSD ’64

Donald Casey Jr. # &

Christine Casey

Doralu Chanen &

Franklin Chanen

Dr. Clif ford Colnot * #Raymond Daly, MS ’65

James M. Denny (Life Trustee)

& Catherine Denny *Ernest D. DeSalvo, BUS ’62 &

Diane C. DeSalvo

Dr. Patricia Ewers, DHL ’98 &

John Ewers (dec.)

Beverly Felisian, MUS ’57 &

Robert Felisian, MUS ’59

Barbara Giambalvo

Scott Golinkin, JD ’84 +

John Graven, BUS ’49; MBA

’50 (dec.) & Anastasia

Graven, MA ’64

William Hay, MBA ’66; DHL

’06 (Trustee) & Mary Pat

Gannon Hay, DHL ’06 *John Herklotz, BUS ’49 * +

Drs. Nancy & Richard Hill

Ann Kerley & James Kerley

Sidney C. Kleinman +

Mary Kohlmeier &

John Kohlmeier

Dr. Jacqueline Krump

Norman Malone, MUS ’68;

MM ’73

Anne Michuda, MM ’75 # &

Leo Michuda (dec.)

Florence Miller

Shirley Perle & George Perle,

MUS ’38; DHL ’00 (dec.)

Marilyn Pierce +

Roger Plummer (Life Trustee)

& Joanne Plummer

Merle Reskin & Harold Reskin,

LLB ’53 (dec.)

James Schaefer, BUS ’59 &

Mary Schaefer *Glenn R. Scharfenorth

Rosemary Schnell

Brian Shannon

Rev. Charles Shelby, C.M.,

MS ’72 *Elizabeth Soete # &

Raymond Narducy +

Louis Stein, LAS ’65 &

Judith Stein

Lawrence Sullivan, BUS ’57 &

Geraldine Sullivan

Elizabeth Ware, MA ’98

Katherine Zartman &

James Zartman

Benjamin K. Darneille

Memorial Endowed Award

Dean’s Advisory Board

Endowed Scholarship

Rene Dosogne Memorial

Endowed Scholarship

George & Rita Flynn Endowed

Scholarship

Sasha Gerritson & Eugene

Jarvis Endowed

Scholarship

Annemarie Gerts Memorial

Endowed Scholarship in

Voice

Madeline & Marguerite

Graffy Memorial Endowed

Scholarship

John & Anastasia Graven

Endowed Scholarship in

the School for Music

Dale Melbourne Herklotz

Memorial Endowed

Scholarship

Arnold & Lydia Hirt Endowed

Scholarship

Linda L. & Geoffrey A.

Hirt Endowment for

International Student

Programs

Vic E. & Maureen J. Glowacki

Endowed Scholarship

Hutter Endowed Music

Scholarship

Terry Kath Memorial Endowed

Scholarship

Eva Lehman Krump & John

Mathias Krump Endowed

Scholarship

Jacqueline M. Krump

Endowed Scholarship

John M. Krump Family

Endowed Scholarship

John & Eva Krump Memorial

Endowed Scholarship

Rev. John Krump Endowed

Scholarship

Sue Joan Krump Memorial

Endowed Scholarship in

the School of Music

Douglas & Mary Lou Lamb

Endowed Scholarship

Norma Copello Marcucci

Endowed Scholarship

Dick Marx Endowed

Scholarship in the School

of Music

John & Gertrude McGuckin

& Robert & Antonia Culjak

Endowed Scholarship

Leo A. Michuda Endowed

Scholarship

Frederick Miller Endowed

Scholarship

Eve Mueller Endowed

Scholarship

Laura T. O’Connor Endowed

Scholarship in Music

Father O’Malley Paulist

Choir Graduate Memorial

Endowed Scholarship

Dr. Dominic G. & Helen T.

Parisi Scholarship in the

School of Music

Russell & Hallee Patterson

Endowed Scholarship

Donald Peck Endowed

Scholarship

Joanne Plummer Endowed

Scholarship in the School

of Music in Jazz Studies

Merle Reskin Endowed

Scholarship in the School

of Music

Clio Richardson Endowed

Scholarship in the School

of Music

Kate Richardson Endowed

Scholarship

Rev. John T. Richardson,

C.M., Endowed

Scholarship

Schaefer Family Endowed

Scholarship in the School

of Music

Herman & Edna Schell

Endowed Scholarship

School of Music Alumni

Endowed Scholarship

School of Music General

Endowed Scholarship

Rev. Charles F. Shelby

Endowed Scholarship in

the School of Music

Herbert & Pauline Silberstein

Endowed Scholarship

Eileen & Shirley Stack

Endowed Scholarship in

the School of Music

Lawrence & Geraldine

Sullivan Endowed

Scholarship

Joe Vito Memorial Endowed

Scholarship

Philip H. Walters Endowed

Scholarship

Ernest R. & Mimi D. Wish

Endowed Scholarship

Zewiske Family Endowed

Scholarship

Prior to tonight’s concert, more than 400 friends of the School of Music gathered for the 11th Annual Gala Dinner hosted by DePaul University President, Rev. Dennis H. Holtschneider, C.M., Interim Dean Judy A. Bundra, and the School of Music Dean’s Advisory Board. The event co-chairs included Leslie and Joseph Antunovich, Rosemarie and Dean L. Buntrock, Mary Pat and William Hay, David Herro, and Anne and J. Christopher Reyes.

The gala raises funds for the School of Music’s Scholarship Endowment Fund. More than ninety percent of the school’s students receive financial aid in some form, and many of our students would not be able to study at DePaul without substantial assistance.

Also this evening, we gathered to recognize extraordinary contributions to the Chicago arts community with the

2016 DePaul Pro Musica Award

We were pleased to present this award to

The Elizabeth F. Cheney Foundation

We thank everyone in attendance tonight for their generous contributions to our students and programs in pursuit of musical excellence.

2016 Spring Gala

In addition, we extend special thanks to our corporate sponsors:

We gratefully acknowledge the generous support of Beatrice G. Crain , Dr. Michael S. Maling, and our Premier Gala Sponsor:

Sponsors

804 W. Belden Ave.

Chicago, IL 60614

(773) 325-7260

music.depaul.edu