NOVEMBER 2019-FEBRUARY 2020 - Chicago Symphony Orchestra
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NOVEMBER 2019–FEBRUARY 2020
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contents
NOVEMBER 2019–FEBRUARY 2020
25 Program 2
A Note from the Board Chair and President
A welcoming message from Board of Trustees Chair
I nformation about the Helen Zell and Chicago Symphony Orchestra Association
program and the performers President Jeff Alexander
for this concert
4 A Perfect Ten—Maestro’s Milestones
A presentation of highlights from Riccardo Muti’s tenure in
honor of his tenth season as music director of the CSO
c hicago symphony orchestra
association 10 Beethoven250 Rosenthal Archives
Program Book Production Highlighting materials from the collections of the CSO’s
Frances Atkins Content Director
Phillip Huscher Scholar-in-Residence & Rosenthal Archives
Program Annotator
14 Negaunee Music Institute at the Chicago
Gerald Virgil Senior Content Editor
Kristin Tobin Designer &
Print Production Manager
Landon Hegedus Editor & Copywriter Symphony Orchestra
A new work by Mason Bates blends music and digital
Bryan Dowling Advertising Sales
708-434-5869 animation in honor of the 100th anniversary of the founding
bryan@media8midwest.com of the CSO’s concert series for children.
P H OTOG R A PHY BY TO DD RO S E N BERG
© 2019 Chicago Symphony Orchestra
20Volunteer and Support Opportunities
All rights reserved. Recognition of our generous donors and volunteers
41 Chicago Symphony Orchestra Association
Board of Trustees
42 Chicago Symphony Orchestra Association
Governing Members
44 Our Donors and Volunteers
on th e cov e r : Illustration by
Tom Herzberg (tomherzberg.com), 1994
rig h t: Chinese New Year Celebration,
February 10, 2019
Symphony Center Presents celebrates
the Chinese New Year with a special
concert on January 26, 2020.
P H OTO BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 1
a note from the chair and the president
DEAR FRIENDS,
We are pleased to welcome you to Symphony Center
during this festive time of year, and delighted that so many
choose to celebrate the season with music. The Chicago
Symphony Orchestra and Chorus, the Civic Orchestra of
Chicago, and artists on the Symphony Center Presents
series give us the gift of music performed at the highest
level year round, and for this we are truly grateful.
In early January, Zell Music Director Riccardo Muti
leads the Orchestra on its sixty-second international
tour, this time to Cologne, Vienna, Luxembourg, Paris,
Naples, Florence, Milan, and Lugano to present works by
Mendelssohn, Dvořák, Prokofiev, and Hindemith. The
tour also includes two performances of Verdi’s Requiem
at the Musikverein in Vienna as part of a series of special
concerts honoring that venerable hall’s 150th anniversary.
It is a great pleasure to see our beloved orchestra greeted
with enthusiasm at home and abroad.
Thanks to the support of over 10,000 donors who contribute to the Chicago
Symphony Orchestra Association each season, the CSO continues to serve as a
cultural ambassador for the city of Chicago. We very much hope that you consider
supporting the CSOA by making a gift to the Annual Fund, enabling you to
become an integral part of our ongoing pursuit of artistic excellence, the devel-
opment of new audiences, innovative education and community programs, and
sharing music with audiences in Chicago and around the world. Your support also
ensures that the important work of the CSOA continues for generations to come.
On behalf of the Chicago Symphony Orchestra, Chicago Symphony Chorus,
Civic Orchestra of Chicago, Negaunee Music Institute, our trustees, volunteers,
administration, and above all, the many people whose lives are enriched each year
through music, we thank you for your support.
We send our warmest wishes for a music-filled, happy, and healthy new year
and look forward to seeing you at Symphony Center soon.
Helen Zell Chair, Chicago Symphony Jeff Alexander President, Chicago Symphony
Orchestra Association Board of Trustees Orchestra Association
To make a gift, visit cso.org/makeagift or call 312-294-3100.
2 CSO.ORG PHOTOS BY TODD ROS EN BERG
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10 a perfect
Bernard Rands’s Danza
Petrificada received its world
premiere on May 5, 2011. Muti
and the Orchestra took the
work on tour to Europe, to cities
a continuation of a series of
highlight s from riccardo mu ti’s
tenure in honor of his tenth
se a s on a s music director of the
chicago symphony orchestr a
No. 2: World Premieres
Introducing new music to CSO audiences has been
an important part of Riccardo Muti’s artistic legacy
as music director. With the Chicago Symphony
Orchestra, he has conducted twelve world premieres
including Lucerne, Salzburg,
Luxembourg, Paris, and Vienna, to date by CSO Mead Composers-in-Residence and
the following summer. distinguished American and international composers.
He will conduct two new CSO commissions during
the spring of 2020. Many of these commissions have
been concertos featuring members of the Orchestra,
reflecting Muti’s great confidence in their abilities
as soloists. Having studied
composition himself for ten
years, Muti has the utmost
respect for composers:
“I approach music of the
classical period—baroque,
modern, romantic,
contemporary—always in
the same way, with the same
seriousness,” he says. “The
moment of truth comes
when what the composer
has sought is coming to life in
the performance.”
The CSO’s music director position is endowed
in perpetuity by a generous gift from the
Zell Family Foundation.
The Chicago Symphony Orchestra is grateful to
Bank of America for its generous support as the
Maestro Residency Presenter.
4 CSO.ORG
On January 30, 2014,
Riccardo Muti conducted
Giovanni Sollima’s
Antidotum Tarantulae XXI,
Concerto for Two Cellos
and Orchestra, with the
then Judson and Joyce
Green Creative Consultant
Yo-Yo Ma and the composer
as soloists. The idea for the
commission came from
both Muti and Ma. Muti
was already familiar with
Sollima’s music, having commissioned and premiered
Pulitzer Prize–winning composer two earlier works by the composer: Tempeste e ritratti at
Jennifer Higdon recalled Muti’s con- the Teatro alla Scala in 2001, and Passiuni at the Ravenna
cise advice to her when she received Festival in 2008.
her commission for the CSO’s low
brass section: “ ‘Write these guys
a good concerto.’ I said, ‘Yes, sir!’ ”
Muti conducted the premiere of
Higdon’s Low Brass Concerto on
February 1, 2018, and then took the
work on tour, performing it in New
York at Carnegie Hall; in Naples
and West Palm Beach, Florida; and
Chapel Hill, North Carolina.
CSO Viola Max Raimi’s score, composed at the request of
Riccardo Muti, was specifically written for his colleagues
in the Orchestra. Raimi was acutely aware, as he was
composing the pages of his Three Lisel Mueller Settings,
of creating music for the people who sit around him day
after day in rehearsal and in concerts. Each movement
featured a different colleague, including Principal Clarinet
Stephen Williamson, Principal Bassoon Keith Bunke,
and Principal Bass Alexander Hanna. Muti conducted
the premiere with the CSO and mezzo-soprano soloist
Elizabeth DeShong on March 22, 2018.
P H OTOS BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 5
10 a perfect
Two CSO Resound releases
feature CSO-commissioned
mead composers-in-residence
In October 2009, Riccardo Muti, then music director
designate, outlined several initiatives for his tenure.
One of them was to appoint CSO Mead Composers-
in-Residence who would act as advocates within the
Chicago community to further the understanding
and appreciation of all music. He named Mason Bates
works by Mead Composers-in-
Residence Anna Clyne and and Anna Clyne to two-year terms beginning in 2010,
Mason Bates conducted by which were later extended through the 2014–15
Muti and performed live by the season. In 2015, he appointed Samuel Adams and
CSO. The first includes Bates’s Elizabeth Ogonek to three-year residencies. During
Alternative Energy and Clyne’s
Night Ferry. The second record- their time with the CSO, each of the composers had
ing is of Bates’s Anthology of multiple works conducted by Muti, including CSO
Fantastic Zoology, which was commissions, bringing these emerging composers
dedicated to Muti at the conclu- to international attention. In 2018, Muti appointed
sion of the composer’s residency.
Missy Mazzoli, whose CSO-commissioned work
Orpheus Undone receives its world premiere with Muti
and the Orchestra in April 2020.
Samuel Adams shakes the hand of Riccardo Muti following
the February 10, 2018, performance of his CSO-commissioned
work, many words of love, at Carnegie Hall. Muti and Principal
Bass Alexander Hanna congratulate Elizabeth Ogonek back-
stage following the October 11, 2017, performance of her CSO-
commissioned work, All These Lighted Things, at the Kauffman
Center for the Performing Arts in Kansas City. Muti has often
chosen to feature CSO-commissioned works on tour to rein-
force the Orchestra’s commitment to contemporary music and
living composers.
In addition to writing her CSO commission, Missy Mazzoli curates the CSO’s MusicNOW series. She
is seen here performing her arrangement of music by Meredith Monk, entitled Passage, What Does It
Mean?, with CSO musicians at the May 20, 2019, MusicNOW concert.
6 CSO.ORG PHOTOS BY TODD ROS EN BERG
10 a perfect
No. 3: Concertos with Orchestra Members
Riccardo Muti has an exceptional bond with the
Chicago Symphony Orchestra. In an interview
with Scholar-in-Residence and Program Annotator
Phillip Huscher last season, Muti noted that when he
returned to conduct the CSO in 2007, “the way they
responded to my musical ideas and the sense of family
that we immediately created together pushed me to
accept this very prestigious commitment.” One way
of showing his great respect for their talents has been
to invite members of the Orchestra to perform con-
certos at Orchestra Hall and on tour. Moreover, as was
noted earlier, many of these concertos have been CSO
commissions. Here are some highlights from the nearly
twenty works featuring CSO members as soloists that
Muti has conducted during his tenure.
“We’re the luckiest musicians on the planet to be
in the CSO and to have him as the music director.
There’s nothing like it anywhere; there’s nothing like
him anywhere. With this unit, everything is at the
Concertmaster Robert Chen highest possible level. I’m confident that, with him, this
performed Hindemith’s Violin piece is going to be a hit,” said CSO Bass Trombone
Concerto with Muti and the Charles Vernon in preparation for the world premiere of
CSO on October 11, 2013.
Higdon’s Low Brass Concerto on February 1, 2018.
Muti conducted Principal Cello John Sharp Principal Clarinet Stephen Williamson per-
in Elgar’s Cello Concerto in E minor on formed Mozart’s Clarinet Concerto in A major
March 26, 2014. on the CSO’s West Coast Tour and is pic-
tured here at Zellerbach Hall at University of
California, Berkeley, on October 14, 2017.
8 CSO.ORG PHOTOS BY TODD ROS EN BERGJennifer Gunn performed the CSO premiere of Ken Benshoof ’s Concerto in Three Movements for
Piccolo and Orchestra and Vivaldi’s Piccolo Concerto in C major, RV 444, with Muti and the CSO
on June 13, 2019. On the same program, Charles Vernon gave the world-premiere performance of
James Stephenson’s Bass Trombone Concerto.
Muti conducted Associate Concertmaster Muti congratulated Principal Harp
Stephanie Jeong and Assistant Principal Cello Sarah Bullen after her performance of
Kenneth Olsen in Brahms’s Double Concerto, Debussy’s Sacred and Profane Dances on
pictured here on November 7, 2019. April 19, 2018.
Riccardo Muti joined CSO
soloists backstage following the
premiere of Jennifer Higdon’s
Low Brass Concerto on
February 1, 2018. (From left)
Principal Tuba Gene Pokorny,
Riccardo Muti, Trombone
Michael Mulcahy, Bass
Trombone Charles Vernon,
and Principal Trombone
Jay Friedman
P H OTOS BY TO DD RO S E NB E RG, ANN E RYAN (P H OTO AT C ENTER LEFT) NOVEMBER 2019–FEBRUARY 2020 9Commemorating
the 250th anniversary
of the birth of
Ludwig van Beethoven
HI G HL I G H T IN G M AT ER I A L S FR O M T HE C O L L E CT I O N S O F T HE
RO S E N T H A L A RC H I V E S O F T H E C H I CAG O SY M P H O N Y O RC H E S T R A
PHOTO BY M ATZ EN E C HI CAGO
During the 1926–27 season, second
music director Frederick Stock
led the Chicago Symphony
Orchestra’s first season-long survey
of Beethoven’s nine symphonies,
in addition to the Coriolan, The
Creatures of Prometheus, Egmont,
and Leonore no. 3 overtures. He also
led the Third Piano Concerto with
Mischa Levitzki, the Fourth with
Alfred Cortot, and the Fifth with both
Harold Samuel and Elly Ney; the Violin
Concerto with both Joseph Szigeti
and Albert Spalding; as well as
the Triple Concerto with pianist
Alfred Blumen, Concertmaster
Jacques Gordon, and Principal Cello
Alfred Wallenstein.
10 CSO.ORGPHOTO BY JIM STEER E
Third music director Désiré
Defauw led all nine of
Beethoven’s symphonies
during the 1944–45 season,
Ninth music director Daniel Barenboim curated a festival
along with the Coriolan, Fidelio,
of the composer’s works during the 1997–98 season that
Leonore no. 3, and Ruins of
included the Orchestra and Chorus in the nine sympho-
Athens overtures; the Third
nies (no. 2 was led by assistant conductor William Eddins).
and Fourth piano concertos
Barenboim also conducted a fully staged Fidelio with
with Alexander Brailowsky and
Waltraud Meier as Leonora, Ah! perfido with Jane Eaglen, and
Rudolf Serkin; and the Violin
the five piano concertos from the keyboard. Guest conductor
Concerto with Yehudi Menuhin.
Michael Gielen also led Leonore overtures nos. 2 and 3, and
Pinchas Zukerman was soloist and conductor in the two violin
romances along with Mahler’s arrangement of the Serioso
String Quartet in F minor.
P H OTO BY TOD D ROSE N BE RG
In June 2010, Bernard
Haitink—in his final season
as principal conductor—led
all nine symphonies, along
with the Fidelio and Leonore
nos. 2 and 3 overtures. With
the Orchestra and Chorus, he
concluded his tenure and the
119th season with Calm Sea
and Prosperous Voyage and
the Ninth Symphony, fea-
turing soloists Jessica Rivera,
Kelley O’Connor, Clifton
Forbis, and Eric Owens.2019-2020 SEASON: FAMILY 30 years
HOLIDAYS: MARCUS ROBERTS TRIO + ORCHESTRA
Scott Speck conducts the Chicago Philharmonic
Featuring Marcus Roberts Trio
Sunday December 8, 3pm • Harris Theater, Chicago
PROMISE: MOZART, PÄRT, BACEWICZ, DVOŘÁK
Scott Speck conducts the Chicago Philharmonic
Featuring Visceral Dance Chicago
Sunday March 1, 3pm • North Shore Center, Skokie
UNITY: AMJAD ALI KHAN, SHOSTAKOVICH
Lidiya Yankovskaya conducts the Chicago Philharmonic
With Amjad Ali Khan and family of sarod musicians
Sunday April 5, 3pm • Harris Theater, Chicago
HOME: BRAHMS 3
Scott Speck conducts the Chicago Philharmonic
With violin soloist Phillippe Quint
Sunday May 10, 3pm • Pick-Staiger Hall, Evanston
ARETHA: A TRIBUTE
Scott Speck conducts the Chicago Philharmonic
Featuring the vocal artistry of Capathia Jenkins
and Ryan Shaw
Saturday May 23, 7:30pm • Harris Theater, Chicago
Enjoy live, classical music throughout Chicago and the North Shore starting at $25.
Discounts available for seniors and students with symphonic subscriptions for as low as $44.
chicagophilharmonic.org | 312.957.0000CELEBRATE BEETHOVEN’S 250TH
BIRTHDAY AT SYMPHONY CENTER!
During the 2019/20 season celebration, Riccardo Muti
conducts Beethoven’s nine symphonies with the
Chicago Symphony Orchestra, and celebrated virtuosos
perform a cycle of Beethoven’s 32 piano sonatas on
the Symphony Center Presents Piano series.
Join us for these remaining performances:
RICCARDO MUTI
CONDUCTS BEETHOVEN
feb 20–23 Symphonies Nos. 2 & 5
apr 30–may 3 Symphonies Nos. 4 & 7
jun 11–13 Symphonies Nos. 6 & 8,
Overture to The Ruins of Athens
jun 18–21 Symphony No. 9
THE PIANO SONATAS
mar 29 & 31 Sir András Schiff
apr 5 Mitsuko Uchida
may 10 Evgeny Kissin
may 20 Igor Levit
may 24 Maurizio Pollini
See all of Beethoven’s works
being performed in 2019/20 at
CSO.ORG/BEETHOVENnegaunee music institute at the cso
World Premiere by Mason Bates Blends Music and
Digital Animation
I
t has been more than twenty years since the animator Jim Capobianco. This program will run
Chicago Symphony Orchestra teamed up as part of the CSO School and Family Concerts
with Mickey, Minnie, Donald, and the gang series, March 26–28, 2020, under the direction
to provide the soundtrack to Walt Disney’s of Edwin Outwater.
Fantasia 2000, for which the CSO earned a The commission is in celebration of the 100th
Grammy Award nomination. The CSO will anniversary of the founding of the CSO’s series
again cross paths with cutting-edge technology for children that began during the 1919–20
in the world premiere and CSO co-commission season, established by the Orchestra’s second
of Mason Bates’s Philharmonia Fantastique: The music director, Frederick Stock. This program-
Making of the Orchestra. Bates, the CSO’s Mead ming continues today along with other exten-
Composer-in-Residence from 2010 to 2015, sive educational and community-engagement
cocreated the piece with award-winning writer programming produced by the Negaunee
and director Gary Rydstrom and story artist and Music Institute.
c loc kw i s e from lef t: Images from a live-action photo shoot for the
forthcoming Philharmonia Fantastique. Left to right: composer Mason Bates,
writer and director Gary Rydstrom, story artist and animator Jim Capobianco
Photos by Marko Bajzer
14 CSO.ORG19/20
Photo by Chris Chistodoulou
Sir John Eliot Gardiner +
Orchestre Révolutionnaire et Romantique
The Complete Beethoven Symphonies
February 27, 2020 / 7:30PM Symphonies 8 + 9
February 28, 2020 / 7:30PM Symphony 1, Prometheus + Leonore Excerpts
February 29, 2020 / 7:30PM Symphonies 2 + 3
March 2, 2020 / 7:30PM Symphonies 4 + 5
March 3, 2020 / 7:30PM Symphonies 6 + 7
312.334.7777 | harristheaterchicago.org | 205 East Randolph Drive
Alexandra C. and
John D. Nichols
Sir John Eliot Gardiner Harris Theater Presents Mainstage Corporate Opening Night Sponsor
Lead Benefactor Music Presenting Sponsor
Corporate Closing Night Sponsor Season SponsorNEGAUNEE MUSIC INSTITUTE AT THE CSO
Philharmonia Fantastique is a concerto for
orchestra and animation with kinetic, cutting-
edge, multimedia work that integrates film and
prerecorded sound with live performance. The
collaboration between the piece’s creators—
innovators in the worlds of music, storytelling,
and animation, respectively—similarly demon-
strates this groundbreaking intersection of artistic
disciplines. Bates’s work “flies inside musical
instruments to explore the age-old connection
of creativity and technology,” said the composer,
“and the centennial of the Chicago Symphony
Orchestra’s education programs is the perfect
launching point for this multimedia work.”
In the new piece, an energetic, colorful sprite
leads the audience on a tour through the music,
taking listeners inside the instruments of the
orchestra, exploring how individual instruments
produce a sound, and how they work together in
an ensemble. The story unfolds through music
and visuals alone, creating a piece free of language
barriers, accessible, and entertaining for audi- top to bot to m : A trio of students gets ready to enter
Orchestra Hall for a CSO School Concert. Maestro
ences of all ages. Prestissimo B. Sharpenflat, aka Dan Kerr-Hobert from The
“The CSOA is very pleased to continue our Second City, attempts to steal the spotlight from the CSO
relationship with Mason Bates through this musicians and (actual) conductor Edwin Outwater during a
Family Matinee performance. Photos by Todd Rosenberg
new commission,” said CSOA President Jeff
Alexander. “Mason is one of the most singular Mason Bates currently serves as the first
and creative voices in orchestral music today, and composer-in-residence of the Kennedy Center for
he is gifted with a collaborative spirit and a pas- the Performing Arts. His opera The (R)evolution of
sion for education and innovation. Philharmonia Steve Jobs premiered at the Santa Fe Opera in 2017;
Fantastique presents a wonderful opportunity to the live recording of that production was recognized
with Best Opera Recording at the 2019 Grammy
welcome a new generation of listeners into the Awards telecast.
inspiring world of orchestral music, and we look
Writer and director Gary Rydstrom has been nomi-
forward to sharing this music with our audiences.” nated for eighteen Academy awards, winning seven
“Discovering the music of Mason Bates during for his work in sound and sound editing in films,
his time with the CSO was so joyful,” said Helen including Jurassic Park, Titanic, and Saving Private
Zell, CSOA Board Chair and sponsor of the CSO Ryan. Story artist and animator Jim Capobianco has
commission. “His music takes audiences on jour- worked on many major animated films, including The
Lion King, Fantasia 2000, Finding Nemo, and Inside
neys of the imagination, and I look forward to the Out. He received an Academy Award nomination for
ways that his new work will engage listeners.” Best Original Screenplay for Ratatouille.
CSO School and Family Concerts, presented by the
Philharmonia Fantastique: The Making of the Negaunee Music Institute, engage approximately
Orchestra is co-commissioned by the Chicago 40,000 audience members each season. These
Symphony Orchestra, San Francisco Symphony, affordable and age-appropriate concerts feature the
Dallas Symphony Orchestra, Pittsburgh Symphony extraordinary musicians of the Chicago Symphony
Orchestra, and National Symphony Orchestra. Orchestra to inspire the next generation of audience
The CSO commission is made possible through the members and music lovers.
generous support of Helen Zell.
16 CSO.ORGevent spotlight
CSOA’s Annual Symphony Ball Presented by the
September 21, 2019 Women’s Board of the
O
Chicago Symphony
n the evening of September 21, Zell Music Director Orchestra Association
Riccardo Muti conducted the Chicago Symphony
Orchestra’s annual Symphony Ball concert. The program, SYMPHONY BAL L CO - CHAIR S
WOME N’S BOARD
supported by presenting sponsor Northern Trust, included a BOARD OF TRU STE E S
rousing program featuring music by Verdi and Suppé, as well Mimi Murley
as Tchaikovsky’s Romeo and Juliet, Fantasy-Overture after Leslie Henner Burns
Shakespeare. “A pianist of magisterial elegance, power and
SYMPHONY BAL L CO - CHAIR
insight” (The New York Times), Leif Ove Andsnes performed
BOARD OF TRU STE E S
Grieg’s magnificent Piano Concerto in A minor. Terrence J. Truax
Gala patrons enjoyed a bustling preconcert reception, with full
bar and hors d’oeuvres in Buntrock Hall. Red-carpet experience, WOME N’S BOARD PRE SIDE NT
photo wall, and performances by members of the Civic Orchestra Elizabeth A. Parker
of Chicago were presented on Michigan Avenue to welcome all PRE SE NTING SPONSOR
concert attendees to Orchestra Hall. Northern Trust
The Women’s Board of the Chicago Symphony Orchestra
OFFICIAL AIRL INE
Association proudly presented this year’s ball, “An Evening of
United Airlines
Romance, Revelry, and Artistry,” utilizing the style of the Italian
Renaissance. The event, co-chaired by Mimi Murley and Leslie ME DIA SPONSOR S
Henner Burns and Trustee co-chair Terrence Truax, raised nearly WBBM Newsradio 780
$1.5 million for the organization. and 105.9 FM
Chicago Magazine
below, l e f t to r ig h t : Co-chairs Mimi Murley and Leslie Henner Burns
celebrate at the Four Seasons with Zell Music Director Riccardo Muti. Photo by
Todd Rosenberg
Herald trumpets welcome guests to the Four Seasons Hotel Chicago. Photo by Anne Ryan
op p os i te pag e , c lo c kw is e from top : Pianist Leif Ove Andsnes performed Grieg’s Piano Concerto in A minor, Op. 16. Photo by
Todd Rosenberg
A brass quintet of musicians from the Civic Orchestra of Chicago welcomed arriving guests on Michigan Avenue. Photo by
Todd Rosenberg
l e f t t o r i g h t: CSOA Trustee Keith Crow, Women’s Board President Elizabeth Parker, Women’s Board member Mia Martich, and
Zoren Lazarevic. Photo by Bob Carl
l e f t t o r i g h t: Women’s Board members Kim Shepherd and Shelley Ochab, CSOA Life Trustee Cindy Sargent, Women’s Board
member Cheryl Sturm, and CSOA Life Trustee Mary Lou Gorno. Photo by Bob Carl
18 CSO.ORGEVENT SPOTLIGHT NOVEMBER 2019–FEBRUARY 2020 19
volunteer and support opportunities
The programs of the Chicago Symphony Orchestra Association are made possible
each season thanks in part to our dedicated volunteers and donors. Support the music
you love by getting involved in the following ways.
GOVERNING MEMBERS are business, cultural, and civic leaders GOVERNING MEMBERS
EXECUTIVE COMMITTEE
who serve as essential advocates for the CSO, both in Chicago Michael Perlstein Chair & Vice Chair of
and around the world, and participate in many significant activi- Nominations & Membership
Jared Kaplan Immediate Past Chair
ties at Symphony Center. Email governingmembers@cso.org for Charles Emmons, Jr. Vice Chair of the
more information. Annual Fund
Sally Feder Vice Chair of
Member Engagement
The LE AGUE works on fundraising events, educational pro-
grams, and social activities to support the CSO while building
LEAGUE EXECUTIVE COMMIT TEE
camaraderie with fellow members. Email wardw@cso.org for Sue Bridge President
William Ward Vice President
further information. of Administration
Kathy Solaro Vice President of Areas
The WOMEN’S BOARD promotes the CSO’s artistic excellence Nancy Friedman Vice President
of Education
and exemplary educational programming by engaging women Marcia Lewis Vice President of Events
Earle Cromer III Vice President of Finance
leaders in advocacy and fundraising efforts, including the CSO’s Eileen Conaghan Vice President
annual Symphony Ball. Email Kim Duffy at duffyk@cso.org for of Fundraising
Jessica Erickson Vice President
further information. of Membership
Bonnie McGrath Secretary
Denise Stauder Strategic Planning Chair
The OVERTURE COUNCIL is a dynamic group of Chicago Fred Garzon, Lee Ori Members-at-Large
young professionals aged 21–45 who have a love of music and
a desire to learn more about how to support the CSO. Email WOMEN’S BOARD
overturecouncil@cso.org for more information. Elizabeth A. Parker President
Elisabeth Adams Immediate Past President
Jennifer Luby, Claudine Tambuatco
AUXILIARY VOLUNTEERS provide invaluable administrative Communications/Governance Chairs
Juli Crabtree Community
support in a variety of ways and work in the administrative offices. Engagement Chair
Email Ariana Strahl at strahla@cso.org for further information. Katie Barber Membership Chair
The CSO L ATINO ALLIANCE encourages individuals and their OVERTURE COUNCIL
families to discover and experience timeless music with other EXECUTIVE COMMITTEE
John Dunson President
enthusiasts in concerts, receptions, and educational events. To Hank Bell Cultural Outreach Chair
learn more, please visit cso.org/latinoalliance or connect with us Kathryn Davies Activities Chair
Amy Fallon Communications Chair
on Facebook and LinkedIn. David Greene Social Media Chair
Michelle Kittleson Audience
Development Chair
The CSO AFRICAN AMERICAN NET WORK’ s mission is to Ben Levy, Taylor Poulin Soundpost
engage Chicago’s culturally rich African American community Co-chairs
Nick McWilliams Secretary
through the sharing and exchanging of unforgettable classical
music experiences while building relationships for generations to
L AT I N O A L L I A N C E L E A D E R S H I P
come. To learn more and join the Network, please call Sheila Jones Ramiro J. Atristaín-Carrión, Rina Magarici
at 312-294-3045, email africanamericannetwork@cso.org, or Co-chairs
visit cso.org/AAN.
THEODORE THOMAS SOCIETY
Mary Lou Gorno Chair
The THEODORE THOMAS SOCIET Y recognizes those who
make financial plans, usually through a will, trust or gift annu-
ity, to benefit the CSO in the future. Email Al Andreychuk at The Volunteer Programs office is located at
andreychuka@cso.org for more information. 67 East Adams, 6th floor. 312-294-3160
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The Chicago Symphony Orchestra Association
is grateful for the generous support of this
season’s major corporate sponsors.
ma e st ro res i den c y p res en t er
offi cia l a irline o f the cso
NOVEMBER 2019–FEBRUARY 2020 21executive spotlight
r e né e metca l f, ma rket ex ecu t i ve, o s ca r m u n oz , c h i e f e xe c u t i v e o f f i c e r
i llinois glo ba l co mmerci a l ba n ki n g United Airlines
Bank of America Merrill Lynch United is pleased to serve
Bank of America is proud to the CSO as its official airline
continue its long-standing and proudly supports its
support of the Chicago remarkable contributions to
Symphony Orchestra. the performing arts commu-
Our partnership not only nity here in Chicago and
delivers artistic quality beyond. With the CSO, we
but also helps to create celebrate the energy that
meaningful connections performers and audiences alike bring to our
with a diverse audience base in Chicago and hometown and to the global stage.
around the world.
mae st ro r e s i den c y p r es en t er
st e ve shebik , v ice cha i r e. s c ot t s a n t i , c h a i rm a n a n d
The Allstate Corporation ch i e f e xe c u t i v e o f f i c e r
Allstate applauds the CSO ITW
for its commitment to enrich I TW is proud to support
community and educational the Chicago Symphony
programs in our hometown Orchestra and its long
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as we believe that good mances for audiences here
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At Exelon, we believe that At PNC, we recognize the
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We are proud to serve as contributing to a dynamic,
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Through our corporate citizenship program, local arts community, and look forward to another
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based nonprofits to deliver cutting-edge ideas
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22 CSO.ORGEXECUTIVE SPOTLIGHT
ch ar le s w. dougl a s, pa rt n er ch ri sto p h e r l . c u l p, m a n ag i n g d i re c to r
Sidley Austin LLP Financial Economics Consulting, Inc.
From one Chicago tradition The CSO commands
to another, Sidley Austin respect both locally and
LLP congratulates the worldwide and is an
Chicago Symphony important ambassador of
Orchestra on a successful our city to the rest of the
2019–20 season. We are world. We are proud to
proud to support an support this amazing and
organization that has unparalleled symphony
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city. May the music continue to transform and
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BMO Financial Group Jenner & Block LLP
The Chicago Symphony Jenner & Block is proud to
Orchestra commands the share the CSO’s passion for
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worldwide. Its reputation the pursuit of excellence. As
across the world brings a longtime CSO supporter,
acclaim to our great city, the firm looks forward to
and its programming and continuing to participate in
outreach connect audiences the symphony’s rich tradi-
through the bond of music. As a proud admirer tion of musical excitement and unfolding artistry
and supporter, BMO is pleased to help play a role in Chicago and the many communities it touches
in strengthening the CSO, in the United States and around the world.
one of our city’s greatest
cultural legacies.
ji m kol ar, centra l mar ket ed w e h m e r, p re s i d e n t & c e o
manag i n g pa rtner Wintrust Financial
PwC Chicago has become a
PwC is proud to support cultural touchstone for some
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Orchestra, a vital and musical acts in the world.
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tion that has enhanced honored to support the
Chicago’s cultural commu- Chicago Symphony
nity since 1891. The CSO’s Orchestra and its dedication
long-standing tradition of to inspiring musicians in our community with
excellence is legendary, and we applaud its efforts educational programs that instill hard work,
during another exciting season. discipline, and creativity and through the power
of music. Their work demonstrates that we can
all play a unique part to
produce something magical.
NOVEMBER 2019–FEBRUARY 2020 23EIGHT Y-NINTH SE ASON
SYMPHONY CENTER PRESENTS
Tuesday, December 3, 2019, at 7:30
Wednesday, December 4, 2019, at 7:30
Fourth Presbyterian Church, 126 East Chestnut Street
Special Concert
CHANTICLEER
Cortez Mitchell, Gerrod Pagenkopf, Kory Reid, Alan Reinhardt, Logan S. Shields,
Adam Ward Countertenor
Brian Hinman, Matthew Mazzola, Andrew Van Allsburg Tenor
Andy Berry, Zachary Burgess, Matthew Knickman Baritone and Bass
William Fred Scott Music Director
A CHANTICLEER CHRISTMAS
i. plainsong Quem terra, pontus aethera
josquin Missus est Gabriel angelus
handl Canite tuba in Sion*
bolton Verse from A Carol in the Pastures
al an reinhardt
ii. victoria Ne timeas Maria
hassler Dixit Maria ad Angelum
philips Gaudens gaudebo
iii. byrd Ecce virgo concipiet
niles I Wonder as I Wander (arr. Rutter)
andre w van allsburg
clemens non papa O Maria vernans rosa
lópez capillas Cui luna, sol et omnia
iv. saboly Touro-louro-louro! (arr. Shaw/Parker)
morales Pastores dicite, quidnam vidistis
praetorius Quem pastores laudavere
(arr. Christophers)
manchicourt Reges terrae
praetorius In dulci jubilo*
NOVEMBER 2019–FEBRUARY 2020 25v. walker The Babe of Bethlehem
guerrero A un niño llorando
kory reid
kverno Corpus Christi Carol
corte z mitchell, andy berry
sametz Gaudete! from Two Medieval Lyrics
intermis sion
vi. biebl Ave Maria*
howells A Spotless Rose
z achary burges s
vii. a selection of traditional and popular carols
Repertoire to be selected from the following:
parry I Sing the Birth
traditional english carol I Saw Three Ships* (arr. Willcocks)
traditional bavarian carol Schlaf wohl, du Himmelsknabe du
(arr. Keyte and Parrott)
traditional german carol Susanni (arr. Shaw/Parker)
paget How Sweet Is Love
logan shields
traditional french carol Quelle est cette odeur agréable*
(arr. Ramsay and Willcocks)
mat the w ma z zol a
nordqvist Jul, jul, strålande jul
traditional czech carol Rocking Carol (arr. Shaw)
traditional spanish carol La Virgen lava pañales (arr. Shaw/Parker)
adam ward
traditional american carol Away in a Manger (arr. Shaw/Parker)
powell A Christmas Medley
mat the w ma z zol a, corte z mitchell,
brian hinman
The program is subject to change.
*These works have been recorded by Chanticleer and are available at tonight’s performance or online at chanticleer.org.
Symphony Center Presents is grateful to WBEZ 91.5 FM for its generous support of this performance.
26 EIGHT Y-NINTH SE ASONcomments by gerrod pagenkopf | william fred scott
pl ainsong
Quem terra, pontus aethera
Gregorian Chant, named after Pope Gregory I each day of the Roman Catholic Church’s liturgi-
(ca. 540–604), is the term applied to the vast rep- cal year. The chant “Quem terra, pontus aethera”
ertoire of liturgical plainsong assembled over the was composed by Venantius Fortunatus (530–
course of several hundred years, roughly 700– 609), bishop of Poitiers, and has been an import-
1300 a.d. There are almost 3,000 existing chants ant part of devotions to the Blessed Virgin Mary
in the Gregorian repertoire, with texts specific to since the early middle ages.
QUEM TERRA, PONTUS, AETHERA THE GOD WHOM EARTH, SEA,
AND SKY
Quem terra, pontus, aethera The God whom earth, sea, and sky
Colunt, adorant, praedicant, Honor, adore, and proclaim,
Trinam regentem machinam Who over their threefold fabric reigns,
Claustrum Mariae baiulat. The Virgin’s spotless womb contains.
Cui luna, sol, et omnia The God whose will by moon, and sun,
Deserviunt per tempora, And all things in due course is done,
Perfusa caeli gratia, Is borne upon a Maiden’s breast,
Gestant puellae viscera. By fullest heavenly grace possessed.
Beata Mater munere, How blest that Mother, in whose shrine
Cujus, supernus Artifex, The great Artificer Divine,
Mundum pugillo continens, Whose hand contains the earth and sky,
Ventris sub arca clausus est. Vouchsafed, as in His ark, to lie.
Beata coeli nuntio, Blest, in the message Gabriel brought;
Foecunda sancto Spiritu, Blest, by the work the Spirit wrought;
Desideratus Gentibus, From whom the great Desire of earth
Cujus per alvum fusus est. Took human flesh and human birth.
Gloria tibi, Domine, All honor, laud, and glory be,
Qui natus es de Virgine, O Jesu Virgin-born, to Thee,
Cum Patre, et sancto Spiritu, Whom with the Father we adore,
In sempiterna saecula. Amen. And Holy Ghost for evermore. Amen.
NOVEMBER 2019–FEBRUARY 2020 27COMMENTS josquin des prez Born ca. 1450–55; near San Quentin, France Died August 27, 1521; Condé-sur-l’Escaut, France Missus est Gabriel angelus Josquin des Prez is considered one of the great- any other saint, including a substantial amount est composers of the Renaissance, though many of Marian polyphony by Josquin. His “Missus details of his life remain a mystery for present-day est Gabriel angelus” most likely dates from his scholars. Despite the lack of historical evidence time in Rome, and compresses the text of the surrounding Josquin’s life, the fact that he was well Annunciation to its essential elements. Although respected by his contemporaries is certain. The not based on any single chant, Marian plainsong great sixteenth-century printer of music, Petrucci, is suggested throughout; indeed the opening devoted as many as three books to the works of thematic material, imitated in all four voices, Josquin. No other composer was allotted more recalls the tune of “Ave maris stella,” while the text than one volume by Petrucci, and publications “Ave Maria” provides an obvious opportunity for devoted to a single composer were extremely rare the use of a slightly altered version of the well- at the time. known antiphon. Surviving choirbooks in the Vatican Library contain more music in honor of Mary than of MISSUS EST GABRIEL ANGELUS THE ANGEL GABRIEL WAS SENT Missus est Gabriel Angelus The angel Gabriel was sent Ad Mariam Virginem, To the Virgin Mary, Nuntians ei verbum: Announcing to her the Word: Ave Maria, gratia plena: Hail Mary, full of grace: Dominus tecum: The Lord is with you, Benedicta tu in mulieribus. You are blessed among women. Alleluia. Alleluia. 28 EIGHT Y-NINTH SE ASON
COMMENTS
jacob handl
Born ca. April 15–July 31, 1550; Ribnica, Bohemia
Died July 18, 1591; Prague, Bohemia
Canite tuba in Sion
Slovenian composer Jacob Handl (also known musici cantionum (1589), “Canite tuba in Sion” is
as Jacobus Gallus) was one of the most skilled the responsory for the fourth Sunday in Advent,
contrapuntalists of the High Renaissance. His the Sunday immediately preceding Christmas.
professional life was centered primarily in Austria The motet does not use liturgical melody, but
and what is now the Czech Republic. Although rather sets the principal idea of the text “Canite
he was criticized in his day for the complexity of tuba” (Blow the trumpet) in a series of ebullient
his writing—particularly in the number of voice trumpet-like fanfares. In keeping with the respon-
parts he employed (he was a prime exponent of sory form of the text, “Ecce Deus” (Behold, God)
the Venetian polychoral style)—his music has is repeated in a refrain-like fashion. Although
enjoyed a consistently high reputation throughout scored for five-part men’s voices, the dense texture
history. Originally published in Handl’s Operis is at once solemn and festive.
CANITE TUBA IN SION BLOW THE TRUMPET IN SION
Canite tuba in Sion, Blow the trumpet in Sion,
Vocate gentes annuntiate populis et dicite: Address the nations, declare to the people and say:
Ecce Deus salvator noster adveniet. Behold, God our Savior draws nigh.
Annuntiate et auditum facite loquimini et clamate: Declare, make heard by speaking and shout:
Ecce Deus salvator noster adveniet. Behold, God our Savior draws nigh.
edward bolton
VERSE FROM A CAROL IN THE PASTURES
Sweet music, sweeter far
Than any song is sweet:
Sweet music, heavenly rare,
Mine ears, O peers, doth greet.
You gentle flocks, whose fleeces, pearled with dew,
Resemble heaven, whom golden drops make bright,
Listen, O listen, now, O not to you
Our pipes make sport to shorten weary night;
But voices most divine
Make blissful harmony:
Voices that seem to shine,
For what else clears the sky?
Tunes can we hear, but not the singers see,
The tunes divine, and so the singers be.
NOVEMBER 2019–FEBRUARY 2020 29COMMENTS
tomás luis de victoria
Born 1548; Ávila, Spain
Died August 20, 1611; Madrid, Spain
Ne timeas Maria
Unquestionably the most famous composer of setting of the Angel Gabriel’s message to Mary.
the Spanish Renaissance, Tomás Luis de Victoria The strict voice leading and almost mathemati-
spent most of his career in Rome as a singer, cal canonic entrances employed are secondary to
organist, teacher, and composer before returning the rich expressiveness of the music, displaying
to Spain in 1587. Victoria’s many compositions, a sophistication that sets Victoria apart from his
comprised exclusively of sacred works, brought contemporaries. Although primarily polyphonic,
him a great deal of fame during his lifetime—due few moments of homophony create stark textural
in no small part to his ability to publish lavish contrasts, as at “et vocabitur” (and he shall be
volumes of his music in Venice. Among the ear- called), quite possibly the most sublime moment
liest of his compositions, “Ne timeas Maria” is a in the motet.
NE TIMEAS MARIA FEAR NOT, MARY
Ne timeas Maria, Fear not, Mary,
Invenisti enim gratiam apud Dominum: For you have found favor with the Lord:
Ecce concipies in utero et paries filium, Behold, you shall conceive and bring forth a son,
Et vocabitur Altissimi Filius. And he shall be called the Son of the Most High.
hans leo hassler
Baptized October 26, 1564; Nuremberg, Germany
Died June 8, 1612; Frankfurt, Germany
Dixit Maria ad Angelum
Hans Leo Hassler received his first musical train- German composers, including Johann Staden and
ing from his father Isaak, a prominent organist. Johann Hermann Schein.
In his early twenties, the younger Hassler traveled “Dixit Maria ad Angelum” is a setting of Mary’s
to Venice to study composition and organ with response to the Angel Gabriel, as found in the
Andrea Gabrieli. A lifelong Protestant, Hassler Book of Luke. The structure of this short motet
won an appointment at the Catholic court of mimics the secular style of an Italian canzona:
Octavian Fugger II in Augsburg, Germany, for the opening head motive (with its characteristic
which he composed mass settings and sacred long–short–short rhythmic pattern), sung first by
motets. He also devoted a significant amount of the tenors, is imitated by all voices and repeated
time to composing traditional German lieder several times. Followed by a brief homophonic
and Italianate madrigals and canzonas. His lieder declamation at “Ecce ancilla Domini” (Behold, I
became important models for many younger am the handmaid of the Lord), the clear, simple
counterpoint returns to finish the motet.
30 EIGHT Y-NINTH SE ASONCOMMENTS
DIXIT MARIA AD ANGELUM MARY SAID TO THE ANGEL
Dixit Maria ad Angelum: Mary said to the Angel:
Ecce ancilla Domini. Behold, I am the handmaid of the Lord.
Fiat mihi secundum verbum tuum. Let it be done to me, according to your word.
peter philips
Born ca. 1560; London, England
Died 1628; Brussels, the Netherlands
Gaudens gaudebo
Second only to William Byrd, Peter Philips was a collection of eight-voice motets for major feast
the most published English composer of the days throughout the church year. This Advent
Elizabethan–Jacobean Age. Philips’s contemporar- motet is scored for two choirs and opens with
ies placed him among the greatest composers of ecstatic trumpet-like declamation, directly
the day. His music was known throughout Europe. imitated by the alternating choir. Several of the
Like his predecessor Byrd, Philips distinguished internal phrases are set individually for each choir,
himself in every genre of music he wrote, whether with little word repetition or exchange of musical
keyboard, instrumental, or vocal—both sacred ideas between the choirs. The ebullient imitative
and secular. Ostracized for being a Catholic in fanfares of the opening gradually return as the
Protestant-dominated England, Philips traveled text turns to the corporate praising of the Lord
from England to Rome and throughout the low among all the nations (“et laudens coram universis
countries before finally settling in Brussels as an gentibus”); this is the longest and most imitative
organist in the court of Archduke Albert, a posi- section of the motet, capping off an intensely joy-
tion which he held until his death. ful declamation of praise.
“Gaudens gaudebo” was first published in
Philips’s Cantiones sacrae octonis vocibus (1613),
GAUDENS GAUDEBO I WILL GREATLY REJOICE
Gaudens gaudebo in Dominum I will greatly rejoice in the Lord
Et exultabit anima mea in Deo meo, My soul shall be joyful in my God;
Qui induit me in vestimentis salutis, For He has clothed me with the garments
of salvation,
Et indumento iustitiae circumdedit me, He has covered me with the robe of righteousness,
Quasi sponsum decoratum corona, As a bridegroom decks himself with
ornaments,
Et quasi sponsam ornatam monilibus suis, And as a bride adorns herself with her jewels.
Sicut enim terra profert germen suum, For as the earth brings forth her bud,
Et sicut hortus semen suum germinat, And as the garden causes the things that are
sown in it,
Sic Dominus Deus germinabit iustitiam, To spring forth, so the Lord God will cause
righteousness,
Et laudem coram universis gentibus. And praise to spring forth before all the nations.
NOVEMBER 2019–FEBRUARY 2020 31COMMENTS
william byrd
Born ca. 1540; London, England
Died July 4, 1623; Stondon Massey, Essex, England
Ecce virgo concipiet
William Byrd, called the “Father of Musicke” aspects of Renaissance composition cannot be
by his contemporaries, was the most important overstated: he not only changed the face of church
composer of Elizabethan England. At the age of music, but he also resurrected the English song
twenty, Byrd received his first appointment as and virtually created the verse anthem.
organist and master of the choristers at Lincoln Published in 1605 in the first of two volumes
Cathedral. In 1570, he was appointed a gentleman known as Gradualia (a compilation of Byrd’s
of the Chapel Royal and quickly found his way motets for the major liturgical feast days), the sim-
into the graces of the court. A devout Catholic in ple text of “Ecce virgo concipiet” informs Byrd’s
England—then militantly Protestant—Byrd was restrained approach to polyphonic counterpoint.
forced to go underground for much of his sacred The polyphonic flow is interrupted by sweet
work, composing Latin masses and motets for suspensions and a myriad of phrase apexes from
services held in secret. Byrd’s influence over all other vocal lines.
ECCE VIRGO CONCIPIET BEHOLD, A VIRGIN SHALL CONCEIVE
Ecce virgo concipiet et pariet filium: Behold, a virgin shall conceive and bring forth
a son:
Et vocabitur nomen eius Emmanuel. And shall call his name Emmanuel.
john jacob niles
Born April 28, 1892; Louisville, Kentucky
Died March 1, 1980; near Lexington, Kentucky
I Wonder as I Wander (Arranged by John Rutter)
Once hailed as the “Dean of American ballad- the police after having camped in the town
eers” by Time magazine, composer and musical square for some little time, cooking, washing,
folklorist John Jacob Niles enjoyed an extensive hanging their wash from the Confederate
performance career spanning seventy years that monument. . . . Preacher Morgan and his
included concerts at the White House, Carnegie wife pled poverty; they had to hold one more
Hall, and the first Newport Folk Festival. It was [camp] meeting in order to buy enough gas
during an expedition through the Appalachians to get out of town. It was then that Annie
with photographer Doris Ulmann that Niles Morgan came out—a tousled, unwashed
found the inspiration for “I Wonder as I Wander.” blond, and very lovely. She sang the first three
Niles writes, lines of the verse of “I Wonder as I Wander.”
At twenty-five cents a performance, I tried to
The place was Murphy, North Carolina, and get her to sing all the song. After eight tries, I
the time was July 1933. The Morgan family, had only three lines of verse, a garbled frag-
revivalists all, were about to be ejected by ment of melodic material—and a magnificent
32 EIGHT Y-NINTH SE ASONCOMMENTS
idea. With the writing of additional verses John Rutter’s simple setting of this haunting
and the development of the original melodic ballad-like carol begins with a lone solo voice. The
material, “I Wonder as I Wander” came into lilting choral underpinning elicits an “outdoorsy”
being. I sang it for five years in my concerts lullaby-esque feeling, as if the Virgin Mary could
before it caught on. be singing to the newly born Christ Child.
I WONDER AS I WANDER
I wonder as I wander out under the sky,
How Jesus the Savior did come for to die.
For poor ornery people like you and like I,
I wonder as I wander out under the sky.
When Mary birthed Jesus ’twas in a cow’s stall,
With wise men and farmers and shepherds and all.
But high from God’s heaven a star’s light did fall,
And the promise of ages it then did recall.
If Jesus had wanted for any wee thing,
A star in the sky, or a bird on the wing,
Or all of God’s angels in heav’n to sing,
He surely could have it, ’cause he was the King.
jacobus clemens non papa
Born ca. 1510; Middleburg, the Netherlands
Died ca. 1556; Diksmuide, the Netherlands
O Maria vernans rosa
Jacobus Clemens non Papa was one of the most the Christ Child—is the subject of this beautiful
prolific composers of the early sixteenth century. motet. In “O Maria vernans rosa,” Clemens works
(He rendered his name as such to distinguish in long paragraphs of thirteen-, fourteen-, even
himself from Pope Clemens VII and the poet eighteen-bar phrases. Although he is schooled
Jacobus Papa, both of whom were contemporar- in the ways of Flemish counterpoint, the com-
ies.) Born in the Netherlands, Clemens centered poser relies less on the smaller building blocks
his musical career in modern-day Belgium and of imitation, canon, and fugue, and more on the
Holland, yet his output of nearly five hundred melodic and harmonic possibilities that arise. The
motets, masses, magnificats, Souterliedekens initiating melody resembles the Gregorian “Ave
(Dutch metrical psalms), and secular songs were Maria” chant but quickly develops its own expan-
widely published throughout Europe. sive curvature. Each section of the text creates its
The text of “O Maria vernans rosa” may seem own musical treatment; each leads inevitably and
strange for inclusion in a Christmas concert. After organically into the next. There is a good deal of
all, the opening phrase calls Mary a “spring rose.” subtle give-and-take as far as motion and dynam-
In the entire motet, there are no references to the ics occur, and even if the top soprano line looks
Baby Jesus or typical scenes of Advent; rather, operatic, even heroic, on the page, the result has
the simple handmaiden—gazing adoringly on the quality of enchanting serenity.
NOVEMBER 2019–FEBRUARY 2020 33COMMENTS
O MARIA VERNANS ROSA O MARY, ROSE OF SPRING
O Maria, vernans rosa, O Mary, rose of spring,
Porta coeli speciosa, Fair gate to Heaven,
Clarior sideribus, Brighter than the stars!
Me guberna, me supporta, Support and direct me,
Me defende, me conforta Sustain and protect me,
Ne vincar ab hostibus. Lest the foe vanquish me.
fr ancisco lópez capill as
Born ca. 1605–8; Mexico City, Mexico
Died January 18, 1674; Mexico City, Mexico
Cui luna, sol et omnia
Composer Francisco López Capillas was consid- numerous other religious works are composed
ered to be among the finest composers in New with extraordinary artfulness.
Spain, but his early years were not well docu- In “Quem terra, pontus, aethera” López Capillas
mented. Some sources contend he was born uses the second of five stanzas from the epon-
in Spain and was a pupil of Juan de Riscos, the ymous Marian hymn as the text for this short
kapellmeister of Jaén, in south-central Spain; it motet. (The full hymn was sung in plainsong at
is now widely believed he was native to Mexico the beginning of these concerts.) Although the
City. López Capillas traveled to Mexico City composer never resorts to outright picture-paint-
in 1648, where he was hired by the cathedral ing in “Cui luna, sol et omnia,” the piece is color-
organist Fabián Ximeno. He was later appointed ful and has great variety and contrast within its
choirmaster and organist of the cathedral in 1654; fifty-five measures. Structurally, the motet is in
as supervisor of the musical services, he presented A–B–A form, where the middle section is clearly
the cathedral with several excellently illumi- a one-to-the-bar dance. The outer portions have a
nated choirbooks. López Capillas’s compositions quiet grace that almost masks a sophisticated use
are considered among the best written in New of contrapuntal, imitative effects.
Spain; his eight masses, eight magnificats, and
CUI LUNA, SOL ET OMNIA THE GOD WHOSE WILL BY MOON
AND SUN
Cui luna, sol et omnia The god whose will by moon and sun
Deserviunt per tempora, And all things in due course is done,
Perfusa coeli gratia Is borne upon a Maiden’s breast,
Gestant puellae viscera. By fullest heavenly grace possessed.
34 EIGHT Y-NINTH SE ASONCOMMENTS
nicol as saboly
Born January 31, 1614; Monteux, France
Died June 25, 1675; Avignon, France
Touro-louro-louro! (Arranged by Robert Shaw and Alice Parker)
Born in Monteux, France, in 1614, Nicolas Saboly carols, all but seven of which are in the Provençal
joined the Congregation of the Annunciation dialect. “Touro-louro-louro” is sometimes called
at the Jesuit College at Carpentras at the age of “The Peasant’s Pilgrimage” and, like many a carol,
fourteen, and was received into the order two is rooted in folklore. Like another familiar French
years later, in 1630. He must have had some carol, “Bring a Torch, Jeannette, Isabella,” it deals
musical distinction (in addition to the law degree with a group of people scurrying to the manger.
which he was awarded in 1658), for he served The animated tempo indicates a rather fast pace,
as organist and kapellmeister at no fewer than although no one actually seems to be running.
five cathedral churches throughout France. The There is cajoling, hesitation, convincing, and
carol “Touro-louro-louro!” first appeared in a excitement as one traveler looks for company,
remarkable compilation called Recueils de Noëls another for his neighbor’s blessing.
Provençaux, which contained some sixty-nine
TOURO-LOURO-LOURO!
Touro louro louro! Cocks are crowing,
Though there is no dawning light,
For the stars are brightly glowing
In the Holy Land tonight.
“Who’ll walk with me?” (“Not I, not I!”)
Oh, come now.
Should I ne’er return a gain,
Say the sev’n Psalms in remembrance.
A lack a-day
Like a lonely, wayward child
Alone I go.
Touro louro louro! Winds are blowing,
Making fingers blue with cold,
Trudging wearily I’m going,
Suff ’ring miseries untold.
“I must find rest,” (“No rest for you.”)
Oh, come now, good farmer,
Let me in for just one night.
In the barn I would be sleeping.
And if you don’t, where can I go?
If you’re unkind, no rest I’ll find.
(Please turn the page quietly.)
NOVEMBER 2019–FEBRUARY 2020 35You can also read
