A concert celebrating the immigrant experienceby CYSO’s Chamber Orchestra

Saturday, October 27, 2018The Peoples Church of Chicago

410 S. Michigan Ave, Ste 833 | Chicago, IL 60605312-939-2207 | www.cyso.org

CYSO's mission is to inspire and cultivate personal excellence through music

S P E C I A L T H A N K SThank you to our partners at

The People's Music School and Peoples Church of Chicagofor helping to support today's performance!

W E L C O M E

Dear friends,

Thank you for joining us this afternoon for CYSO Chamber Orchestra’s fall concert! Our Chamber Orchestra was born last season during a shortened spring pilot program that brought together a small group of Symphony Orchestra musicians under the baton of Maestro Allen Tinkham. The program is unique among CYSO ensembles because in addition to studying some of the most challenging repertoire, students are also inspired to develop leadership skills and expand their worldview as they engage with cur-rent issues facing our community.

After last year’s success, Chamber Orchestra has expanded to a full season through-out 2018-2019. Choosing the season’s theme is entirely student led. When asked which issue they wanted to explore most, they chose to focus on immigration as it relates to diverse communities here in Chicago and across the country, and to the composers whose works we perform.

The fall concert is held here at The Peoples Church of Chicago in Uptown, one of the most diverse communities in the United States. This space encourages peaceful exchange of ideas, and finding commonalities with one another while appreciating each other’s differences.

Today’s concert features Dvořák's Symphony no. 7, with Czech folk themes that Maestro Tinkham explores in his program notes. We’d like to take this opportunity to thank our partners for today’s performance—the Peoples Church of Chicago for the opportunity to perform in this beautiful space, and the People’s Music School for helping to promote the performance with their community.

Thank you again for joining us and enjoy the show!

Susan LapeCYSO Executive Director

P R O G R A M

Saturday, October 27th, 2018 | 4:00 p.m.People’s Church of Chicago

Allen Tinkham, conductor

Opening Remarks Susan Lape CYSO Executive Director

"Things We Carry on the Sea" by Wang Ping Read by Karen Ge

Chamber Orchestra Student Speakers

Symphony No. 7 D-minor, op. 70, B. 141 Antonin Dvořák (1841-1904) I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro

T h i n g s We C a r r y o n t h e S e aby Wang Ping

We carry tears in our eyes: good-bye father, good-bye mother

We carry soil in small bags: may home never fade in our hearts

We carry names, stories, memories of our villages, fields, boats

We carry scars from proxy wars of greed

We carry carnage of mining, droughts, floods, genocides

We carry dust of our families and neighbors incinerated in mushroom clouds

We carry our islands sinking under the sea

We carry our hands, feet, bones, hearts and best minds for a new life

We carry diplomas: medicine, engineer, nurse, education, math, poetry, even if they mean nothing to the other shore

We carry railroads, plantations, laundromats, bodegas, taco trucks, farms, factories, nursing homes, hospitals, schools, temples…built on our ancestors’ backs

We carry old homes along the spine, new dreams in our chests

We carry yesterday, today and tomorrow

We’re orphans of the wars forced upon us

We’re refugees of the sea rising from industrial wastes

And we carry our mother tongues爱(ai)，بح (hubb), עביל (libe), amor, love

平安 (ping’an), مالس ( salaam), shalom, paz, peace 希望（xi’wang), لمأ (’amal), hofenung, esperanza, hope, hope, hope

As we drift…in our rubber boats…from shore…to shore…to shore…

What does Antonín Dvořák's Symphony no. 7 in D-minor have to do with immigration? Dvořák believed that the most authentic music was influenced by the folk music of that composer’s Czech Republic homeland, and he professed this

idea during his long visit to the United States. Dvořák taught American composers that in order to create a great American style of music it must be based on the many folk traditions we have here, including those of Native-Americans and African-Americans. During his visit to the US, which stretched from 1892 to 1895, Dvořák composed his Symphony no. 9 as an example, keeping the broader strokes of his very personal Czech style, while also allowing himself to be influenced by music originating from North America, famously employing the spiritual “Goin’ Home” as the main theme of the slow movement. Symphony no. 9 remains among Dvořák‘s most popular pieces.

His Seventh Symphony, which you will hear today, has none of that American folk sound. In fact, it is probably the most German-sounding of all his pieces. The symphony reflects the identity crisis that Dvořák experienced at the height of his career. His innate style was so Czech that his name is now nearly synonymous with Czech music. However, he had big career goals. Dvořák wanted his music to be appreciated not just in Prague but all over the world, and especially in Germany where his friend and supporter Brahms was a musical kingmaker. He loved and respected Brahms’ music and wanted very much for Brahms to like and promote his. This desire can be heard most obviously in the comparison of Dvořák‘s Seventh with Brahms’s Symphony No. 3, composed shortly before Dvořák‘s.

Dvořák‘s identity crisis was rooted in his competing interests in writing music that celebrated his own people and culture, and writing music that was appreci-ated and loved in the world’s most cosmopolitan social circles. In those days, to sound cosmopolitan as a European composer meant to sound more German. Even the publication of his Symphony no. 7 forced Dvořák to confront this question, as his publisher insisted the work be printed not under his Czech name Antonín, but under the German version, Anton.

This question of identity is an experience shared by every immigrant, and many Americans have ancestors who also faced this challenge of balancing a desire to remain connected to their homeland while to some degree assimilating into this new culture. In fact, this may be the most universal aspect of the American-immigrant experience.

- Allen Tinkham

P R O G R A M N O T E S

VIOLINRachel Hsu Concertmaster Grace Kim Principal Second ViolinRicky ChenKaren GeSamia KhanAmelia KorbitzNoah KublankAudrey ShadleSabrina Shih

VIOLAElena Galentas PrincipalLucile BoydKimberly LaFranzoOlive LoentzDerek Song

CELLORowena Bakke PrincipalJack Boettcher Charlie MuellerElijah ParkMaxwell SchultzCamille Toubol

BASSJason Soto PrincipalAlexander Carroll

FLUTENicolas Quero PrincipalEmma Krause

OBOEOliver Talukder PrincipalChester James

CLARINETEric Butler Principal Ethan Montgomery

BASSOONQuincey Trojanowski Principal Miles Magnini

FRENCH HORNMiles Teague Principal Jaila CarrSean FordColin Lundy

TRUMPETPayton Borich PrincipalLogan Melville

TROMBONEWilliam Ao Principal Megan Martin

BASS TROMBONEJoseph Sullivan

TIMPANIBenjamin Blaesing

C H A M B E R O R C H E S T R A R O S T E R

Unless otherwise noted, all names listed in alphabetical order

Allen Tinkham is increasingly recognized as one of the most inspiring and exciting conductors and teachers of his generation. He is hailed by the Chicago Tribune as both a conductor and teacher, described as working “wonders” con-ducting with “uncanny control” and as one of Chicago’s most important “educators, mentors and inspirational guides in the training of tomorrow’s orchestral professionals.”

As CYSO Music Director, Tinkham oversees artistic programming and faculty and leads the Symphony Orchestra each season including appearances at Symphony Center's Orchestra Hall and Millennium Park's Jay Pritzker

Pavilion. Tinkham led the orchestra in its Carnegie Hall debut, first live broadcast, first recording release, and six international tours on four continents.

Since Tinkham joined CYSO, programs have tripled and the budget has doubled. CYSO’s Symphony Orchestra is regularly broadcast by WFMT and has received numerous Illinois Council of Orchestras Youth Orchestra of the Year and Program-ming of the Year awards. The orchestra is internationally acclaimed as “one of the country’s most famous youth outfits” (Muso Magazine). The Chicago Tribune's John von Rhein said of their recent performance of Varèse’s Amériques, the first ever by an American youth orchestra, “the performance would have done credit to an adult professional orchestra.”

As an advocate and champion of contemporary music, Tinkham has won nine Amer-ican Society of Composers, Authors and Publishers (ASCAP) National Awards for Ad-venturous Programming of Contemporary Music. Tinkham is also the Music Director of the Chicago Composers Orchestra, Chicago’s only professional orchestra perform-ing exclusively the works of living composers.

In high demand as a guest conductor and educator, Tinkham has conducted sum-mer festivals and NAfME All-State Orchestras throughout the U.S. including the All-Eastern and All-Northwest Orchestras. He was the Assistant Conductor for the Chicago Symphony Orchestra’s holiday concerts for six seasons, and has guest con-ducted the Colorado Symphony, Kansas City Symphony, and the Members of Chicago Symphony Orchestra.

Tinkham attended the Eastman School of Music, University of Michigan School of Music, and American Academy of Conducting of the Aspen Music Festival. He was invited to the 14th International Nicolai Malko Competition and the 4th International Conductors Competition Sir Georg Solti and is a laureate of the League of American Orchestras Bruno Walter Conductor Preview.

Tinkham began his career as Apprentice Conductor at the Oregon Symphony and be-fore the end of his apprenticeship was appointed Music Director of CYSO—the young-est to win the post in its history.

A L L E N T I N K H A MCYSO Music Director

A B O U T C H A M B E R O R C H E S T R A

CYSO’s Chamber Orchestra seeks to enrich Chicago’s cultural landscape through chamber orchestra performances focused on social impact. In the more intimate environment of a 40-member ensemble led by CYSO Music Director Allen Tinkham, Chamber Orchestra serves as a leadership development incubator focused on developing empathetic and informed student citizens.

In its inaugural season last spring, Chamber Orchestra musicians explored mental health and well-being, specifically how creativity and resilience go hand in hand. CYSO engaged guest speakers to lead student discussions about mental health stigma and awareness, developing a growth mindset, and the importance of community.

This year, Chamber Orchestra is exploring immigration, as it relates to our diverse community here in Chicago and the lives of the composers whose work we perform. This theme was selected based on student feedback and the Chamber Orchestra will present free community performances in the fall and spring to share their learning with the greater Chicago community.

C Y S O B O A R D, S T A F F, & F A C U LT Y

ARTISTIC STAFF

Allen Tinkham Music Director

Terrance Malone Gray Associate Conductor

Daniella Valdez Director of String Ensembles

Donald DeRoche Director of Chamber Music

Malika Green Director of Steel Orchestras

Pharez Whitted Jazz Orchestra Director

Michael Mascari Concert Orchestra Conductor

Dana Green Debut Orchestra Conductor

Anne McTighe Overture Strings Conductor, Preparatory Strings Asst. Conductor

Steven Gooden Debut Orchestra Asst. Conductor

Scott McConnell Interim Steel Orchestras Director

ADMINISTRATIVE STAFF

Susan Lape Executive Director

Martha Nolin Director of Finance

Madalyne Tregellas Maxwell Director of Operations

Rachel Cantzler Development Manager

Abbey Hambright Marketing Manager

Kaytie Faries Operations Coordinator

Kevin Gupana Development Coordinator

Malika Green Community Engagement Coordinator

Scott McConnell Steel Orchestras Assistant

Nicolas ChonaOperations Assistant

Colin MarusekOperations Assistant

Rebecca Shepro Administrative Assistant

Alex Hinand Temporary Operations Manager

Michael McSweeney Interim Steel Orchestras Assistant

BOARD OF DIRECTORS

CHAIRHenry E. Turner, Jr.

OFFICERSSaurab Bhargava Ross BrickerRob HanlonChris HensleyAngela O’Banion

DIRECTORSW. Douglas CarrollAlison DonnellyJames M. FranklinKevin HeaneyKelly Howe Yasuko Metcalf Bryan MillerDelano O’BanionJohn SandwickStephen L. SchwartzKathy TichoBrittany L. Viola

PARENT PARTNERS REPRESENTATIVEPamella Der

BOARD OF TRUSTEESJ. Laurence CostinFred MarguliesJennifer Myerberg

FACULTY

CHAMBER MUSICAimee BiasielloDonald DeRocheTerrance GrayPaula KosowerAlex MonroeScott Tegge

Elliot ClessComposition Seminar Instructor

Gaudete Brass QuintetEnsemble-In-Residence

SECTIONAL COACHESEmanuele AndrizziJim BarbickAimee BiasielloTanya CareyTim CoffmanDon DeRocheKyle DicksonBJ EngravIgor FedotovJohn FloeterSimon Gomez GallegoSteven GoodenLiz GosmaTerrance Gray

Dana GreenTimothy HagerJarrard HarrisJean HatmakerStefan HershMichael HiningKevin KosnikPaula KosowerMichael KozakisSteve LesterMichael MascariJon McCollough- BennerJohn McFarlane

Anne McTigheJeremy MoellerMatthew NixKyra SaltmanChristie SolaHanna SterbaScott TeggeAllen TinkhamDaniella ValdezKatie VenturaMingHuan XuRebecca Zimmerman

CYSO is investing in the future of music and the next generation of leaders. We provide music education to more than 650 young musicians ages 6-18 through full and string orchestras, jazz, steel, chamber music, masterclasses, and music composition. Students learn from Chicago’s most respected professional musicians, perform in the world’s great concert halls, and gain skills necessary for a successful future.

CYSO Community Partnership Programs support music training and access for more than 8,500 young people each year. We work with youth in diverse Chicago neighborhoods through after-school ensembles and our Ambassadors Program, which brings student musicians into CPS elementary schools to perform interactive concerts. CYSO orchestras also present free community and educa-tion concerts throughout the season.

CYSO alumni go on to play in the world’s finest orchestras and ensembles, and are also found working as doctors, lawyers, teachers, community leaders, and business professionals. Whether or not a graduate continues music studies after their time in CYSO, young people leave with increased self-confidence, a strong sense of discipline, and a deep appreciation for music and the arts.

Find out more at CYSO.ORG