We began the celebratory season with a “Brassy Christmas,” presenting some traditional favorites dressed up with brass, percussion, and organ: Ovid Young’s “A Christmas Intrada”; the David Willcocks arrangement of “O Come All Ye Faithful”; Ferris’s “The Lord Said to Me”; and the Teolis arrangements of “The Sussex Carol (On Christmas Night)”; “Joy to the World”; and “We Wish You a Merry Christmas.” The Daniel Pinkham “Christmas Cantata” added a wonderful centerpiece to the Holiday musical festivities.
As with all of our concerts, we like to add the “hidden gems.” For this concert, they included Teolis arrangements of “A Christmas Carol” by Charles Ives, and the world premiere of an “Ave Maria” constructed from sketches by 3-time Academy Award winner, Harry Warren. Adding to the fun, was the jazzy arrangement by Ray Charles (the choral director/composer/arranger for the Perry Como Show, not the R&B artist) of “Jingle Bells.”
To cap off the regular season, we presented “An Evening of Irreverence.” As the title suggests, the programming for this concert was never intended to be anything less than fun and, at times, madcap. The King’s Singers version of the “Barber of Seville” set the tone for the rest of the concert. Among the selections were Jonathan Willcocks’ “Drunken Sailor”; Randy Newman’s “Short People”; and Robert Russell Bennett’s “Crazy Cantata #1 Three Blind Mice,” which we reprised from an earlier season. The men of the ensemble presented the Teolis arrangement of Steve Goodman’s “The Lincoln Park Pirates” and PDQ Bach’s “Art of the Ground Round,” while the women brought down the house with their renditions of Frank Bridge’s “Peter Piper” and “The Cat Duet.”
As always, we try to include premiers and special presentations. For this concert, there were arrangements that were presented for the first time, including the Midwest premier of H. Leslie Adams’ “There Was an Old Man” and an arrangement of Allan Sherman’s “Hello Mudduh, Hello Faddah,” as arranged by yours truly. Fun fact: we were able to procure permission from Robert Sherman, the son of Allan Sherman. I was only able to track down the copyright owner after going to the ASCAP site and typing in “Hello Mother, Hello Father,” after several tries of typing in “Hello Mudduh, Hello Faddah.” Allan Sherman, by the way, was a Chicago boy, born on the near north side of the City.
The full ensemble presented arrangements of Tom Lehrer’s “Poisoning Pigeons in the Park” and “Pollution,” among many others, including a rollicking version of “Zombie Jamboree,” which closed the program.
There was sort of a coda to the season, as MTS was specially invited to perform at the annual Thomas A. Dorsey Commemoration, which was held at Pilgrim Baptist Church, 3300 S. Indiana, on Chicago’s south side. Pilgrim Baptist Church is the birth place of Gospel Music. This style of music was introduced and developed by Thomas A. Dorsey, author of the well-known hymn “Precious Lord, Take My Hand, which, by the way, was the favorite hymn of Dr. Martin Luther King, Jr. It was also performed at King’s funeral. This was the second time in the past three years MTS was invited to the Dorsey Celebration.
What will the next ten years hold for us? Please check our website for our plans for the coming season and for any special events or announcements.
“Irreverence” is a theme I’ve had in mind almost since the inception of the ensemble. A founding member and friend, Mark Peterson, suggested the concept to me after our first concert. With this being the 10th anniversary, I thought the timing was right to “loosen our ties” a bit and explore some silliness in music.
Nothing on this program is serious – this is intentional.
There is so much artistic material out there that is intelligent, well constructed, and fun. At the same time, there is literature that is all of that and just plain silly. Comedic pieces can be just as challenging to prepare and perform as serious, legitimate works, and just as entertaining for the audience. There will not be a lot of visual gags at this concert, but there will be some. The idea is to have the music pretty much speak for itself.
One can’t plan a program like this without including certain pieces or certain composers. Composers/song writers Allan Sherman (Chicago-born), Tom Lehrer, and PDQ Bach will be featured. Along with their music, there will be reprises of pieces we’ve performed over the last 9 seasons. Among them are Robert Russell Bennett’s “Crazy Cantata – Three Blind Mice,” and my arrangements of “Lincoln Park Pirates,” “The Typewriter,” and “If You’ve Only Got a Moustache.” Rounding off the program will be some other unique, witty, and sometimes zany selections – some written by legitimate composers.
If you’re looking to get away from all of the insanity in the world, come to this concert for some madcap musical entertainment. I’m sure this performance will put a smile on your face, no matter what your age. You might even walk away humming a few of the tunes!
It’s hard to believe that it all started with a few friends chatting “what if…?”, then sitting down in a living room for more chatting; making some phone calls, and then an assembled ensemble. Many of us had sung together for many years. Others were coming with experience with other ensembles in the area, including the Chicago Symphony and with ensembles as afar away as the Dallas Symphony Chorus. Our membership has evolved. We have lost some dear friends and added new ones. I’m proud to say that a third of our membership is made up of the original 24 Singers from that first season: Louise Brueggemann, Nancy Greco, Peg McMahon, Susan Wolz, Sidni Kiely, Julie Zeller, Ben Beach, Kim Lyons, Carl Janus, Erik Johnson, Mark Peterson, Walter Shalda, and Rebecca Lake, who joined us later in the first season. Thank you so much for your continued dedication and friendship.
Over the years, the ensemble has introduced and re-introduced to the public literature that was or should be part of the standard repertoire. Our programming is unique and enterprising. Our concerts are entertaining, enlightening, and historic. In the past nine seasons, MTS has presented many world, Mid-West, and Chicago premiers. We have shown sides of composers that no one knew existed: Catholic mass settings written by award-winning songwriters Harry Warren (“Chattanooga Choo-Choo,” “I Only Have Eyes for You,” “At Last”) and Meredith Willson (Music Man); a psalm setting written by Charles Strouse (Annie, Bye Bye Birdie), and a “Te Deum” written by a young John Philip Sousa, the “March King.” We reintroduced Margaret Bonds’ amazing “The Ballad of the Brown King” and film composer Alex North’s cantata, Negro Mother, which hadn’t been heard since 1947. We have presented concerts of Broadway composers, of Chicago composers, of all-black composers, and of all-women composers. We will continue to present the music of these important and talented composers, and we will remain true to our mission throughout the coming season and seasons thereafter.
My thanks to the singers who sing with us now, who have sung with us over the years, and to the many faithful audiences members who have joined us at each concert. We look forward to presenting more “undiscovered gems” created by gifted composers whose names are familiar and unfamiliar, and who represent many diverse backgrounds and styles.
Wow, what a concert!
The evening was truly historic. We presented the choral music of 17 women composers. We were fortunate and most grateful to have present as our guests some composers whose works we performed: Lita Grier, Lena McLin, and Regina Harris Baiocchi.
We were also thrilled to have as our guest, Mr. Aaron Gandy, who is the Artistic Advisor for the Kay Swift Memorial Trust and who flew in specially to join us for the concert. Our performance of “God Is Our Refuge,” which was written by Kay Swift, was the world premiere. We feel honored to have been given the opportunity by Katharine Weber and Mr. Gandy to introduce the work.
The program included a variety of sounds and styles that demonstrated the versatility and range of our organization. What a wonderful end to an amazing season that included magnificent performances of more uncovered gems, more world premieres, and rediscoveries of some remarkable composers.
There is more to come as we plan for our astonishing 10th season.
Our next concert, Saturday, May 7th, will be a special experience. It features the music of 17 women composers from the United States. Each composer in our program has had an effect on musical life in America, music education, and on other prominent composers – male and female.
This music is touching, beautiful, and well crafted. This concert is for everyone. Our selections are sure to educate and open your eyes and ears. Contemporary composers include Lita Grier, Regina Harris Baiocchi, Gwyneth Walker, Diane Bish, and Lena McLin. We will also honor women from the past: Dana Suesse, Kay Swift, Marion Bauer, and Katherine K. Davis, among others.
You’ll hear music from composers who are connected to other famous names in the history of music, including George Gershwin, Aaron Copland, and Nadia Boulanger.
Come join us as we reveal our feminine side on Saturday, May 7th at 7:30 PM at the first United Methodist Church of Oak Park. View ticket information.
This event should not be missed!
The Michael Teolis Singers is pleased to present an hour-long recital at the historic Pleasant Home, 217 Home Avenue, Oak Park , on February 28th at 4pm. (Click here for ticket information.)
Over the years, wonderful and familiar tunes have been set chorally by talented arrangers; some of them very well known to the musical world. Among those composers are Samuel Barber, Sir David Willcocks, Aaron Copland, W.C. Handy, and Duke Ellington.
Among others, featured selections will include a collaboration between Ira Gershwin and Aaron Copland – “Younger Generation”; Samuel Barber’s own choral version of his “Sure on This Shining Night”; the legendary W.C. Handy’s arrangement for double chorus of James P Johnson’s “Aintcha Got Music”; and Alice Parker’s arrangement of Duke Ellington’s “Come Sunday.”
We always like to uncover hidden vocal gems too, so expect a unique offering from Sir David Willcocks’ “You Bring Me Happiness.” Willcocks is better known as a composer and conductor of serious compositions and his work at King’s College Cambridge; however, he wrote this song while serving for the British Army during World War II. It is quite a different statement by such a highly-revered musician, as it was written in a rather English-music hall vein.
Rounding out the program will be Clay Warnick’s brilliant medley arrangement of Gershwin’s “Porgy and Bess.”
To audiences familiar with our ensemble, this is a wonderful opportunity to experience reprises of your favorite pieces from some of our past concerts. For those who have yet to discover the Michael Teolis Singers, this might be the perfect occasion to be introduced to a truly special voice in Chicagoland’s music scene.
Music for musicians? Or music for the masses? Programming concerts for this time of year can present special challenges for yours truly.
It’s a perennial challenge creating a pleasing balance of newer and more familiar works — but a challenge I welcome and truly enjoy.
Ring in both new and familiar Dec 5th and 13th. Both upcoming concerts will feature a blend of hidden gems you may have missed, and old familiar musical friends you can’t get enough of, and more.
Our opening works will set the evening’s glitzy “Holiday Table.” We will begin the concert with “A Joyous Noel” by Gordon Young and “Hodie Christus Natus Est” by Healy Willan. Prolific church musicians of exceptional organ playing abilities created both works.
Every family seems to have a seasonal ritual — maybe because we find these traditions so comforting, reassuring and familiar.
In keeping with the true “reason for the season,” I always try to incorporate an “Ave Maria.” Carl Czerny was a student of Beethoven and I think you can hear a little of the Master’s sounds in this musical prayer.
The “Alma Redemptoris Mater” of Marcel Duprè is next. It started out as a portion of a larger work for organ, while “Joys Seven” is an English carol arranged by Steve Cleobury, music director at King’s College.
Have you heard the “Bird’s Noel?” Most people know the composer, Katherine K. Davis, better than they think. For all of the music Ms. Davis wrote in her lifetime, she is best remembered for “The Carol of the Drum,” aka “The Little Drummer Boy.”
Afterwards, one might just feel inspired to look into the prolific output of cantatas, piano and organ works, and seven operas of Katherine K. Davis.
Be ready to experience the amazing “Cum Novo Cantico” of Gerald Near. This piece is full of familiar Christmas tunes and chants, all treated with a variety of variations, and with a virtuosic accompaniment.
After a brief intermission… the entire second half of our performance is made up of arrangements of familiar tunes. You’ll hear “Fum, Fum, Fum,” “Pat-A-Pan,” “Rockin’ Jerusalem,” and “The Virgin Mary Had a Baby Boy.”
Closing the concert is Vaughan Williams’ “Fantasia on Christmas Carols.” His arrangement features familiar English Christmas Carols, which he envelopes in lush orchestrations. We will be performing the piece with strings, organ and percussion.
Warm up your vocal chords! As you can see, our program offers something for everyone. We even give the audience a chance to sing, as we close the concert with a reprise from last year’s concert: “We Wish You a Merry Christmas.”
Just as you love to experience both the familiar and the new, I look forward to seeing our faithful MTS fans and generous patrons, as well as newcomers. So…
Bring a friend to one of our performances soon — December 5th or December 13th. Give the gift of holiday music. What a wonderful way to get into the spirit of the season!
We are heading into our final preparations for the December 5th program.
For Christmas, I always try to find material that is familiar to all audiences, but I also like to uncover those hidden gems that are accessible, fun to hear, and could or should be part of the mainstream repertoire.
Expect both at our concert on December 5th. Here are some of the selections we’ll be performing:
Gerald Near’s Cum Novo Cantico for organ and chorus. This piece is in three movements and uses popular carol tunes and Gregorian Chants of the season as its structure. The organ part is virtuosic, but still compliments the chorus, which, on occasion will perform the tunes a cappella and in different permutations.
“Bird’s Noel” by Katherine K. Davis. Davis is best remembered for her composition “The Carol of the Drum,” commonly referred to as “The Little Drummer Boy.” A couple of seasons ago, we performed her Christmas cantata This is Noel, which featured the Lyons family Kim, tenor; Susie, soprano; and their daughter Abby on oboe.
You’ll hear familiar carols too. Like the Shaw/Parker “Fum Fum, Fum,” Kinsman’s “Pat-A-Pan,” Mack Wilberg’s “The Virgin Mary had a Baby Boy,” and a Christmas spiritual, “Rockin’ Jerusalem,” by John W. Work III.
A few other fun selections will round out the program. There might even be a chance for the audience to join in at one point. What a great way to get in the spirit of the season!
I look forward to seeing you there.
Thank you to all who supported the Michael Teolis Singers during our 8th season! Our extraordinary musical year included amazing literature, highlighted talented young composers and featured the music of many familiar artists.
We broke new ground with “A Musical Fusion: Africa and the West,” our spring concert featuring the music of black composers of the Western hemisphere. Among the seldom-heard gems were a chorus from the opera “Treemonisha,” by Scott Joplin; a choral setting of Duke Ellington’s “Come Sunday”; a setting of “The 23rd Psalm” by Bobby McFerrin, and a rousing performance of “All the Earth Sing Unto the Lord,” by Chicago’s very own, Lena McLin. The concert closed with chorus, organ, brass, and percussion performing Adolphus Hailstork’s joyous “Break Forth.” This one-of-a-kind concert was presented with the assistance Columbia College’s Center for Black Music Research.
For the full concert listings, including the past season, view the programs here.
We happily welcome and extend our appreciation to our new friends, and we promise more fun and exciting programming ahead. Next year will include just as much fun and as many surprises, if not more.
Watch for special announcements regarding our amazing 9th season. You won’t want to miss a note!
The first half of this concert will be music of Haiti, Columbia, Brazil, Guadeloupe, Cuba, Canada, and Jamaica.
As I’ve mentioned, I looked for music written by black composers of the Western Hemisphere who wrote using western forms and styles, but who also infused elements of their particular cultures. I looked for composers who incorporated rhythms, language, and instruments. Each of the composers in our first half was celebrated and/or at least significantly recognized in his lifetime.
Some of the music I found by composers from the Caribbean incorporated similar rhythms and energy, so, for programming’s sake, I chose to limit what would represent that style of music from that area of the hemisphere. Initially, I was looking for pieces such as cantatas, masses, pieces making use of traditional sacred texts; thinking in terms of Afro-Classical, rather than just looking for popular songs or folk song arrangements. Some of the pieces I found through online searches. Some things I found with the help of my friends at the Center for Black Music Research (CBMR) at Columbia College. I feel badly that I could not include all of the composers that I wanted. Ultimately, it came down to style, geographic location, accessibility (could I get my hands on the piece), level of musical challenge, and preparation time available.
Our opening selection, “Twa Tanbou,” composer Sydney Guillaume mentions as being his most popular work. It has been performed by professional, school, and community organizations. The text comes down through his family and he set it at the suggestion of his mother. It’s lively, full of energy, and was probably one of our greatest challenges. Although some of the sounds we make imitate drums, we are singing mostly in Haitian Creole.
I recently learned that the “Arrurru” by Alfredo Mejia Navarro we are singing was never published. I’m thinking this should be a US premiere. Arrurru is a lullaby, very straightforward in style and mostly homophonic. Getting the piece involved going through CBMR to the University of Indiana, to an archive in Columbia.
The “Chantons Célébrons Notre Dame” from the opera L’Amant Anonyme by Joseph Bologne Chevalier de Saint-Georges was a fascinating find – an opera written by a black Guadeloupian/French composer. He was quite the soldier and fencing master, which makes me wonder when he had time to write music, practice the violin, and conduct. I learned that The Little Opera Theatre of New York is developing a project that will eventually involve a full presentation of the opera, and has already presented some excerpts.
Early on, I discovered Nuñes-Garcia’s Requiem, from which we will be doing the opening “Requiem” movement. Here was a person born in Brazil, who was a grandson of slaves, was highly educated, studied music seriously, eventually became a priest, (and married and had children, as was usual in Brazilian society), traveled, and wrote much music. His Requiem reflects the period and the musical influences he was exposed to in his lifetime.
The piece we are presenting by Cuban composer, Electo Silva, is rather nationalistic in character. It is his arrangement of a song by Pedro Gómez Rodríguez and comes from a collection of song arrangements Silva published in the mid-1990s. It is very dance-like in style, reflecting one of the musical styles popular in Cuba.
We are reprising R. Nathanial Dett’s “Ave Maria.” Dett was Canadian-born but spent much of his creative and formative musical life in the United States. The piece exhibits hints of some of the characteristics of the folk songs and spirituals he often incorporated into his compositions.
The piece closing the first half is by Jamaican composer, Andrew Marshall called “Mieri Sang.” The text comes from the Jamaican bible but is based on the verses of the Magnificat. It’s a lively celebration accompanied by piano and congas.
Although there are a lot of separate pieces on this program, none is overly long. I like to think there is a wonderful variety that will keep the attention of the audience from piece to piece throughout the concert.