Focus 580; The Song and the Slogan

Good morning welcome back to the second hour of focus 580 This is our telephone talk program my name is David Ensor. Glad to have you with us the producers for our show here at Williamson and Jack bright and Jason Croft is at the controls this morning. A quick mention of some upcoming programs before we get started with this hour. Tomorrow morning we'll be talking with the photographer Jason Lindsey who is involved in a book that's just come out that's titled Windy City while Chicago's natural wonders and has a lot of really fine photographs in it so we'll talk about that. I'll also talk with Jack Barron from the Illinois chapter of the Sierra Club about some of the natural features of the state in places where well maybe you might not expect him certainly in the city of Chicago you don't think of that as being one of the wild places of the state. Also we'll talk about U.S. Flavia and what's happened there in the past couple of months. After the decline and fall of Slobodan Milosevic Jonathan Davidson will talk with us he's chief political officer of the Washington delegation of the European Commission who will be visiting the campus. That'll be tomorrow and then also coming up on Thursday we'll have another conversation with Rick Kaplan. He is former president of CNN

who will be visiting the campus as he does a couple times a year to work with journalism students. And we'll talk with him about news coverage of the election I'm sure among other things. We're here weekday mornings from 10:00 until noon we have 10 different topics for you each week and we always get the opportunity to call and ask questions of course were also on the web now 24 hours a day there's a lot of information available on our website you can also go there and listen as a program as you might have missed first time around. So check it out if you have not already. W i l l dot UIUC dot edu. Well tonight the University of Illinois will be hosting the premiere of a new work for Chamber Orchestra and voice called the song and the slogan inspired by the poetry of Carl Sandburg featuring music by Daniel Stephen crafts. The piece was commissioned by tenor Jerry Hadley who is a graduate of the University of Illinois went on to greater fame from here he'll be performing the work tonight. Also serving as reader David Hartman former host of

ABC Good Morning America he will be here. And there is also a documentary that will feature this work that's now in production here at W while television that will include a performance of the song and the slogan as well as some other material about the life and work of Carl Sandburg that's being produced by Tim Hartman. He's directing Allison Davis is writing and you can see that sometime probably next year it will be made available to PBS stations across the country. This morning we will be spending some time talking about this whole project about the song and the slogan. And with Jerry Hadley who is he has just arrived. The composer Daniel Stephen craft and David Hartman Well they're all here and we're pleased to have them as as we talk of course questions are welcome 3 3 3 W I L L toll free 800 1:58 W while we have some tickets to give away. So we'll do that later. Yes.

Thanks you're very morning all right here. Let me start with Jerry because the project really did start with you growing out of your interest I gather longtime interest in Carl Sandburg. You were first introduced to Sandburg poetry when you were a boy. Oh gosh I must have been about five or six years old my my Great Aunt Marion who lived in the family homestead farm in near Osco Illinois was one of those people who are more a product of the 19th century than of the 20th. And she was a great fan of of lots of American literature she introduced me to Carl Sandburg by actually taking me to the Carl Sandburg birthplace in Galesburg and. Somewhere I got tucked back into my my little unformed subconscious and you know then then over the course of my adolescence course Sandberg got revisited very often in school and what have you and I've loved Sandberg's poetry

throughout my adult life. The project came about quite simply I was looking around for four texts which I could commission to have set to music by living composers and I was in San Francisco Dan has to help me with this it was 94 95 96 something like that. It's been a long time ago three four five years ago Dan was living in in San Francisco. I had met Dan when he was in the Melissa Louis voice of what was that what we call letters Well actually this whole thing began as a radio interview. That's right most appropriately enough. Yeah. RCA called me and said Would you like to do an interview with Jerry Hadley. I said You better believe I want to do that you know Jerry Hadley. Then they said oh well you're not actually going to meet him. You're just going it's only going to be a telephone interview. So that's that's fine whatever they say. Oh also you have to get up at 6:00 on Sunday morning and do it.

I said well you know. Not even for him. But we did have a long conversation as I recall and you know hit it off and then Dan sent me some of the music that he had composed. It was quite a prolific composer already to make a long story short I called Dan when I was in San Francisco three for you or four five years ago and said Come on over for lunch. I want to show you something. And I showed him the texts which he subsequently set and fashioned the song on the slogan it was that simple. And Dan's also has a dark secret because he's also a Midwesterner by all the earth. I'm glad you brought that up. I want to say I'm not somebody imported from somewhere else to write about the Midwest. Indeed I grew up in Michigan so I'm one of you folks. Well then let me ask you then when you approached writing music to go with with this poetry how did you

how did you even begin. With the feeling. I read the poetry actually Jerry read the poetry to me. He selected Jerry selected the poetry and he did a wonderful job of picking out from many many points by Carl Sandburg that declaim beautifully but don't really sing. He picked out a text that really does sing and when he read it to me I was very moved by it and essentially a composing. That's what I do. I feel something in emotion and I mean emotion in the most liberal sense of the word most in compassing sense of the word and feel it and feel it and get into it and get into it and eventually it starts to come out as notes. The thing that I love about dance music is I mean just so that nobody mistakes that Dan is a is a profoundly gifted musical craftsman who manages to. Trust His intellect enough and trust his training enough to allow his heart to be fully engaged at all times.

And that's a pretty unbeatable combination. Well it's hard not to do with it with a text like that it's really hard not to you know I could I inject something at this point that listening to what the two of you just said they both do that. Jerry Handley does that with his voice. I thought in the past I've never told him this. But in terms of classical music classical singing in operatic singing or sometimes quasi operatic where that when he's not singing grand opera but Jerry to me is a kind of Tony Bennett and Frank Sinatra of classical music and when I say that as a compliment in that he so trusts his musical ability and his capacity as a singer and has the intellect and the heart to allow what what the music means what the words mean in the music. That's what comes out of Jerry Hadley. And that's that's part of Jerry's

gift. And what you hear simultaneously what Daniel just said about how he feels music and tries to write it down. The same thing comes from him. And when I heard this music for the first time what I felt not what I intellectually discerned what I felt from the opening chords of this was a perception of Sandburg and Sandberg's perception of the Midwest and what the Midwest is all about and not I don't mean now Midwest I'm talking about traditional you know decades you know not only decades but you know centuries of Middle West and what's here. What they've done you know even though he's not talking about the Midwest of today though I think he's talking about it. I don't know a set of values in a spirit that that still permeates the lives of all the people that live here. Look for anybody who might just have tuned in I should introduce you all again for

the listening audience here in the studio with us. Singer Jerry Hadley David Hartman and composer Daniel Steven crafts they are all here for a while. This is the world premier right. First time anywhere world premiere of our song the song of the song the slogan This is a work with music by Daniel Stephen crafts inspired by including poetry of Carl Sandburg Gerri's going to be performing and David will be here as reader. Happening on the UVA campus tonight we do have some tickets that we will give away in a little while. So do stay with us. And we also have some music to play. Let me just I understand that Jerry I know because you've got to perform tonight right. That I'm only with you for just you going to be there. Well we don't want to wear you out so I just want to make sure that we get maximum mileage out of you before you have to go. I'm I'm one thing that I think is is true I think the reason that I think a lot of people in this country don't. Don't relate to poetry is that they have only seen it on a printed page. And poetry is meant to be

spoken out so it's not surprising that we hear a work of poetry set to music. A lot of composers have always done that said poetry to music. But I'm not here sort of also interested in how David approaches this because here now you're also performing the poetry you're not you're not singing like Jerry has but you're also having to use it to use your voice to put something across to how do you how do you approach doing that. My hope is that the listener will just feel and hear Sandberg's perceptions of the Midwest of his experience that's all. Likewise the music what Jerry sings and what Daniel wrote I mean this whole evening should evoke Sandburg in the Midwest and all of us need to get past our you know our experience and our technique and all of that stuff so that whoever comes to hear this program tonight will sit there and

literally be absorbed or absorb Sandberg in the Midwest that's what we hope happens. But I mean you're selling yourself a little short though because not only that a lot of people know you as a as the. The great loss of Good Morning America but let me know don't let us don't let us forget that he was also he was also an actor. And you also have a dark secret that you started out as a story to write. I know I know when someone's Gerry goes you can you can do it. I can do it just like the boys that always know it was that little tune you were in was called Hello Dolly. It was it was after that I Broadway Arthur Miller with that was when was that. Well it was really it was about a very well endowed country western singer who goes on to big things. Oh yes yes I I think I do recall. Yeah yeah. Well at some point here we we want to play some music you think now would be a good time to. Probably a good idea since we've been blowing smoke for a while we might as

well actually hear some of the music. All right. Let him do it. Maybe I should say goodbye now. And you can play the music and I hope everybody turns out tonight and I will certainly do my best not to screw up. And I know that David will do the same. Feel so so you know we will know that we're defensive referred OH NO NO NO NO NO NO NO NO. Well I'm about to observe it you know with someone who says he just says I'll do my best not to screw up that's you know is it really going to get the people out of the well but I mean that's very Sandberg and you know I mean it's a very common man sort. Right sort of thing of humility appropriate Yeah. I mean you got to get out with the people is my attitude. Yes. Well Jerry Hadley thank you thanks David for being here and folks here in and around Champaign-Urbana will have the opportunity to hear him in this work tonight and as I said little a little bit. We have six pair of tickets that we're going to give away but at this point perhaps we should give people an opportunity to hear some of the music that we're they'll be performing tonight. And I was

once married. I did. Pitch you. Do the same. That is a portion of the song and the slogan it is a new chamber work inspired by the poetry of Carl Sandburg. Music by Daniel Stephen crafts performed by Jerry Hadley. The piece will have its world

premiere on the University of Illinois campus tonight. This is a benefit for the School of Music. By the way and that I know there are tickets available and in a little while here maybe about five minutes or so we'll be giving some away. Jerry was just with us but he's going to have to take it easy on The Voice because he's got to perform tonight so he split. But still here in the studio we have Daniel Stephen craft he's the composer and also David Hartman who'll be serving as a reader for the performers. I did want to mention the players. Yes. You heard on that recording particularly our second soloist who which is cellist Barbara headland who played those. Marvelously played this cello solos that that you just hear that you just heard Barbara has also been the organizational genius behind this whole project and it would not have happened without her. Also the players on this of the flute player is Dr. James Scotts the clarinetist Solomon bear OBO Allison

Roebuck the French horn player is Kaz McCollough Jordan K. is the banjo player Ricardo Flores the percussionist and the amazing Eric Dahl hime is our pianist. And Paul Vermeil is conducting. We're very fortunate here on this campus to have a lot of very talented musicians indeed to do indeed the. You know I think some people you know when they hear that this is a new piece of music might get a little scared. So people do have some difficulties sometimes with it with contemporary music because sometimes I think composers are or are interested perhaps a little bit more interest in the technical challenges of composition than they are in how people are going to respond to it. And this I think this work well it's it's modern is seems to me to be quite accessible. I have been fighting against modernism my whole career.

The poetry of Carl Sandburg to my mind is feet are more influenced by folk poetry than it is by the new technical developments of the time. And indeed he did follow many of the new things that were happening. He doesn't use regular meters he doesn't use rhyme schemes but still and all the flavor of it always struck me as far more like folk poetry that's a genre that really has disappeared from from contemporary life although we still have remnants of it. There was a time when everybody could recites a poem or two at gatherings. We have a couple of them that still stay with us. Twas the Night before Christmas when all through the house and so on and so forth. And there is no joy in Mudville the Mighty Casey has struck out and there were thousands of these these poems folk poems that everybody knew at the time that that Sandberg was writing and that I think is a great deal of the influence of his

writing and I have tried very much to mirror that in the music so that these aren't folk tunes but. I'm hoping that they will sound like they could could have been folk too. ZAHN how much is this is I'm going my normal mode which is you know you were told yeah right it's OK but how much of this is is writing melody something that we lay folks can perhaps not only hear but perhaps understand in our own way something that we can perhaps hum if we heard enough times hum as opposed to just hearing what might sound like squeaking noise to us. I mean it may be I don't know I'm being unfair here but you know what I think you know what I mean. Well I've tried very much to my idea of writing a vocal piece or particularly an opera is that you have a number of. Outstanding melodies that gives

singers an opportunity to do all the wonderful things that they can do. People come to the opera. I certainly come to the opera to hear the beautiful voices. And if you don't provide a vehicle that allows those voices to show you all the marvelous things that they can do then to me it's a kind of a wasted experience. And the same certainly goes for instrumentalists Barber is such a magnificent cello player. I want to hear what she can do I want to hear those marvelous tones that she can produce so I did my best to give her the opportunity to let us hear that she reached us last night in rehearsal David. Emotionally it wasn't just hearing a cello well played. What this piece is all about that then wrote on The Jerry sings I felt from her cello I didn't just hear it from the cello I felt from the cello was that the sense you have a really big I mean that's what I got you know last night. Well I'm sure that also one of the maybe one of the advantages of writing for a small group

and I think one of the things that makes a chamber piece different than a piece for a large orchestra is that the. It's possible to concentrate on what individual members are playing at the same time that you're seeing it as a whole piece of so I'm sure that for performers it would be something that they would like because it's it's close to being a soloist and yet you're playing in in collaboration with other other musicians. Well I hope very much to give everybody in the group something interesting to play something where they can they can really shine which in the large orchestral work is probably for the most part not possible. But but in this I really hope everybody enjoys playing at least certain certain parts of the poetry aspect in the second half of the program. Act Two if you will. Where Jerry sings of variety of folk songs music by Kurt Vile

words by Walt Whitman in some cases Charles Ives Aaron Copeland and a lot of spiritual songs and folk that we remember are waters wide black black black is the color of true love's here Billy Boy and even more modern things I Can't Give You Anything But Love the interspersed with Sandberg's poems as Dan mentioned the sense of Sandburg not being you know all rhyming couplets and that kind of thing that it's free verse and that's part of my job reading Sandburg it doesn't necessarily always sound like poetry because Sandburg didn't always write like that. He wrote this free form. And I hope that we're going to get a sense of that free form tonight that maybe doesn't sound like poetry at the time or what people expect poetry is exactly right. Well at this point I have been promising here we're going to give away some tickets and now we're going to do that we have six pair of tickets for the performance tonight. This will be at the Credit Center

for the Performing Arts at 8:00 o'clock. The world premiere of the song and the slogan what you need to do if you'd like to get in on this is give us a call at 3 3 3 0 8 5 2. And we'll take the first six people and as soon as they're gone we'll let you know that they're gone and then what you'll need to do is pick up the tickets at the box office tonight that's where they will be so you don't have to come to the radio station you can just go right to granite. 3 3 3 0 8 5 2. We have a dozen. Six pair. And then I think that there still are tickets I think anybody who is interested in attending certainly can can go in and and what they're going for. It's like OK Dave I know that you have done documentary narration before and you're going to be the narrator for this documentary that's being produced and that will include a performance and some of the stuff that Sandberg had. Have you done things like this before that has to be you know on a live performance like this. Never. This you know this is the first time is Jerry Hadley mentioned earlier

back in the early mid 60s. I did some musical theater in New York and started doing a little bit of singing so I had that. But that's been you know 35 years ago and for the last 25 to 30 years most of what I've done besides Good Morning America is writing produce and host documentaries mostly about American history and public affairs and national defense and the Constitution and you know a variety of subjects. But when Jerry asked if I would do this he and I have talked about trying to present the history of American musical theater on television to a broader audience than than the you know the small target audience that you might present say operative. We haven't solved that one yet. But then when he created this whole idea of the Sandburg and said you know maybe we should do this together in the TV show and then what evolved from that was to also do to the concert tonight so to answer your question more briefly. No I've never done this before. And it is very exciting. It really is. And to work with Jerry is just

fabulous and now to meet Daniel and work with him. It's really it's just a great experience for him. And I wanted just to say at least something about the documentary that people will have a chance to see next year. I think that the concept is is is an interesting way in because in a sense what we have here is a performance of the piece. And what what they've done is that they have recorded gone into the concert hall and recorded it. But the visuals that you will see are outside and what on the prairie on the prairie and what Tim Miller's Karlsson I said that he you know he's hoping that what you get is you get the you get the prairie the performance of the poetry. All together. And the reason I'm I'm part of that drill is to do the quote documentary The biography. You know it's a brief biography but we cover the main you know the main story of Sandberg's life and his meeting his wife Lily and the development is life so. And that's the you know the whole journey of his life. And so we'll learn about Sandburg

and hear his poetry and this wonderful music that in it was written. And it's certainly appropriate for the University of Illinois to be involved in this because you have my library has the Sandburg archives. It's sort of a great base of material here to do research about Sandburg. And we indeed did shoot part of the documentary In the rare book area of the library which Kell who is the curator of that part of the library and and we see a lot of his handwritten work and hear some of his work. It's very exciting. It I mean it was for me to be up there it's wonderful. You want Daniel would you like to play some more music. Well we probably should shouldn't we have been talking so much a little bit. I have a couple of CDs that are out from from past years and you might want to look at some of the some of the titles of these and have a little bit of fun with looking at just the earlier that for example here.

Here as a piece that's titled a meter maid attempts to give a parking ticket to an aggressive alcoholic who's just arrived with three more dimes or the ever popular on discovering the joys of designer latex. Once a man overhearing a real estate deal while talking on a cordless phone on the fast track to a questionable destination that has a story of my life. I think there are composers who are dealing with our contemporary challenges. Well actually there's a very long tradition of keyboard works with satirical intents. Certainly music historians you know they are all pieces that have have wonderful titles to them but I think it actually goes back to the origin of the of the instruments in the Renaissance. So I had hoped to maybe extend that tradition a little bit. And many of the titles came from my friend a wonderful poet by the name of Adam Cornford. Some of them just came straight out of the newspaper. And in fact that's the case you can pick up a newspaper and you can find satire everywhere you look. Someone said I

did I don't know who it was but someone said the modern satirist is redundant because the encroachment insanity of reality has said it was so supersedes any attempt at satire that it's unnecessary. Well what would you like to pick something from this. This particular this is I think Jason Croft is also getting a caller lined up now he's he's in position. We might as well just play the first track of contemporaries about that and that is when I mention this is indeed this is a piece for flute and piano and it's titled a meter maid attempts to give a parking ticket to an aggressive alcoholic who's just arrived with three more dimes. That is music of Daniel Stephen crafts. Tell us again with the title.

Well this was a title given to me by my friend poet Adam Cornford a meter maid attempts to give a parking ticket to an aggressive alcoholic who has just arrived with three more dimes and I guess I should also mention again at this point that the reason that Daniel Steven Kraft is here is that here on the campus tonight they'll be the world premiere of a piece that he composed with with his music and words by Carl Sandburg Jerry Hadley will be singing. He was here a little earlier than he had to to go. We're going to give him a rest. He's going to rest his voice because he's performing but also here in studio David Hartman who you voice certainly should be familiar to you. He was host of ABC Good Morning America and since he has been doing a lot of work producing documentaries he will be a reader for the performance tonight and also he will be the narrator of a documentary about Sandburg that will include a performance of the work that's in production now here and should be available for viewing sometime next year. I think David you

wanted to. Say a little bit more about some other features of the performance tonight because it will be more than just song and song and love and the second the second part of the program is is Sandberg's poetry which I read but it's bits and pieces of many of his poems prairie of course river moons. The people yes fire logs and we get to Lincoln of course. God is no gentleman and a moving poem called Meg. And it kind of runs the gamut to give people a feel for you know the breadth of Sandberg. But these poems pieces of poems interspersed with Jerry singing a lot of traditional folk tunes music by Copeland and Kurt Vile but also folk things. Black black black is the color of true love sear and so forth. So you get a feel for Americano if you will put that in quotation

marks. But again we hope that what is evoked here for the people in the audience is a feel for not only Sandburg but the human spirit. It's an affirmation of the human spirit of America. For me this is what it is. And I hope that tonight people will get that sense from what we're doing. And I think probably most people don't really know much about Sandberg and aren't familiar with much of his writing and would be surprised at just how edgy. A lot of it is very Indeed indeed in facts. Sandberg is part of that great American radical tradition out of which people like Woody Guthrie and Pete Seeger and Laura lives in his in his early days. I want to know how many people are aware that it was Sandberg who wrote the line. Brother Can You Spare A Dime. So there is a lot familiar about Sam or we just don't know. You know what some of those things you need it is very rich and very very diverse. Since since Daniel's here we thought we'd take the opportunity to get you know perhaps introduce

you to a little bit more of his music because people here they can certainly hear the hear the work tonight. But we thought since he probably will be new to you we'll give you the opportunity to maybe hear something else and tell us now what we have planned. Well this is from an aria from a CD that I have a called Arias and it is eggs or PZ from the first three operas that I wrote. This one is a setting of the story the Pied Piper which everybody knows of course and very briefly the town of Howell and is besieged by rats. A mysterious stranger appears and says I can get rid of these rats. Pay me a thousand guilders. So the mayor agrees and the piper plays a song and the rats disappear. But then when he comes to collect his thousand guilders the mayor says Well as far as I can tell the rats are gone I think we'll give you a nice meal and send you on your way. Piper says well I'm sorry that's not good enough. And he begins to play another tune. And all the children leave the town marching into the side of a mountain that magically opens up. But at that

point there's a little lame boy who can't walk fast enough and can't make it into the mountain. Well for purposes of voice contrast in this version I changed the little boy to a little girl who is we find out at this point has been the old woman narrating the story that happened a hundred years ago and at this point she talks about all the wonderful things that the Piper promised that all the other children are experiencing but she was left all by herself alone. Well let's hear that. You're.

Getting a. Good thing. I'm going through with.

You. That's music of our guest here Daniel Stephen grab what you can tell us again who the who the performers the soprano is a wonderful San Francisco singer by the name of Karen Carl and the pianist is Charles worth. OK I

you know I think probably forever composers have been driving performers crazy because they wrote things that were difficult sometimes impossible to play and then the performance had to figure out how to play this. How do you approach writing for The Voice and would you say that you know that you understand what singers can and can't do or that sometimes you write something and then you just cross your fingers and hope that it can be sung. I can tell very easily from the expression on their faces when they sing something whether or not it works. Yes but I am blessed having a number of wonderful friends who are marvelous singers who definitely keep me on the straight and narrow in ever when ever I might write something that was less than vocally idiomatic and that's that's what I try to do. They are singers or any player want something

challenging but they want something idiomatically challenging not just difficult all what what does that mean exactly. Different things with different different singers different instrumentalists whatever. It's really just doing your best asking as many questions as possible to understand what people have to do in order to make the sounds and to do things that. Well make them sound good. A lot of them love to do wonderful things. For example for singers you certainly don't want them have them up at the top of their register constantly I mean it's extremely tiring and it's it's not all that interesting to listen to either you really as Jerry said to me one time when I asked him what what's the best way of writing for him he said take me all over everywhere give me a journey that takes me up and out and back and forth and in and out and that's what I like best now would you would you look at his range I mean would you discuss his range and the best of course his range is not only big He's solid all the way through it but with where the

singer would you ask him. Sit down with him at the piano and say what's your range where you feel most comfortable. You know one of the vowels you sing by consonants a particular you know a particular notes let's say at the top you're I mean to do well that kind of thing or not do you have to. I was certainly about to do that. And Jerry made it very easy for me. He said you can sing any syllable on any note. And he said anybody. As you know well to me it's just I mean we just you know hey that's what I do. I mean but welcome to the big time I want to. Well I'm sure. How do you feel about somebody a performer who would look at you would write a piece you would say Here you go. They look at it. They play through it they'd they'd they'd sing it and they would come back and say look you got to change this and this and this and this and this and I can't do this and I can't do that I change it so you'd say then I judge it. You're fine with it I have I have trust in those folks. I want to end up with something that is enjoyable to sing that as I say is an idiomatic challenge not not

just a ridiculous challenge. I want that to be. I want people to tell me if if I've gone wrong somewhere that's invaluable advice. We're coming down to the point here we have maybe three or so minutes left. We thought just to finish up we could play some more of the song and the slogans so maybe one more time I'll make sure that people know that the the world premiere of this work taking place tonight on the U of I campus of the granite Center for the Performing Arts at 8 o'clock. Jerry Hadley will be the singer. A lot of other very fine musicians from University of Illinois will be marred indeed and they're here with us in the studio the composer Daniel Steven craft and David Hartman is here too and he will be serving as reader tonight so he will also be performing. And then we also want you to look forward to sometime in 2001 this documentary that we've talked about looking at the life of Carl Sandburg and the last thing we'd like to like to leave with folks. Well I'll just tell you where we come in here. It's approximately the middle of

the piece and it's a rather quiet introspective part where we just hear Jerry and the pianist Eric Dahl Haim after we hear a wonderful cello solo by Barbara headland. All right. Let's hear. Need to do was. She gave herself to God and those you saw of Paris.

Was. Are you sure the food. Was. Was was. Was. Was was down to do with airsoft was. To reduce five. Fold to wards the sky was. God was was.

Raised to my will regroup. Theirs was feet. And again that's Jerry Hadley performing in the song in the slogan and you can hear a full performance of the work first time tonight at 8 o'clock on the U of I campus at the Credit Center for the Performing Arts.