Nazareth Academy - Alexine Yearbook (La Grange Park, IL)

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Nichols, E. Quinn, M. Barnickel, K. Farr, ROW THREE: J. Seyk, C. Schroeder, L. Batten, B. Kokaisl, L. Salikag TOP ROW: S.Petriek,D.Harvey, M.K0llmeyer, M. Austrevich, S. Grogan, C. Callahan, B.Dadich.Notpictured: F. Gerke,M.Kareckas, D.Parkins0n, A. Rogan, N. Zuncic Percussion: From top to b0t!0mf M- fflcklifl, C- Sophtanes: BOTTOM ROW: 1. Trinka, C. Welch, G. Barrett, M. Knox, ROW TWO: S. Rojek, M. Basha. Pazzali, P. Maney, P. Faust, K. Batten: TOP ROW: J. Crilly, N. Dearinger, A. Perry, M. Long, M. Hammer. Not picturezl: M. Gallagher Repertoire: BOTTOM ROW: 1. Payne, D. Manika, D. Haas, L. Batten, N. Pietrus, I. Wochoski, Sr. Ethna Marie, ROW TWO: L. Sullivan, K. Batten, C. Kudulis, D. Kaiser, M. McDonald, J. WlII1llI1C,' TOP ROW: M. Malloy, K. Arens, P. Tyrrcl, A. Curley, K. Crean, C. Yarmoski. Not pictured: M. Genis, M. Pospisil 54 Choral Club: BOTTOM ROW: D. Fishback, J. larmul, M. Fenclj ROW TWO: l.Robins0n, D.

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A... L. Strings: BOTTOM ROW: C. Barnas, S. Dufour, K. Zagorski, L. Molidor, L. Sullivan, M. Vlaclz, K. Rubeck: TOP ROW: A. Grayliack, N. Koutek, R. Paez, B. Grayhack, C. Brown, M. Roman, C. DiPirro, R. Poprawski, C. Mlot Strings: BOTTOM ROW: C. Huth, D. Dries, S. Harrigan, L. Chadwick, M. Casaletto: TOP ROW: M. Ward, K. Martin, M. Henz, I. LeBeau, 1. Ring, M. Malloy, K. Gates . V ng .... f . -was - 1 l m fab . Q 'f - -A 1 j . 2- .. - -.:1:?:i:l:l'1:- ' X -' - ' - '- . Q, v V if J L I C. .3 .N - 3 kk JJ Woodwinds: BOTTOM ROW: B. Flowers, J. Rachick, M. Ward, L. Thorson, TOP ROW: M. Kiley, K. LaBan, K. Quatrine, K. Hinman, C. Brown, K. Rockwood Brass: BOTTOM ROW: C. Mares, K. Thorson, P. Edmunds: TOP ROW: M. Lesch, D. Mueller, N. Mance, D. Ardizzone 55 Orchestra lived by breathing from the diaphragm, practicing volume, balance, intonations, and articulations. They rejoiced in harmony. Learning to play together was an exercise in self-control. Orchestra was a combination of various talents and maturities. It was an experiment of theatre-in-the-round, combos, string ensembles, and freshman quintets. Bazaarnival, like Orchestra, was a potpourri of efforts and characters. The result was equally delightful. MUSIC CLUBS Repertoire, in a victory over tense nerves and frozen fingers, performed in front of audiences. They created not only sound, but also an appreciation for the genius of man. To combine voice with mind and create something beautiful and unique was the object of Choral Club. Its members transformed themselves into native girls in South Pacific, Christmas carolers, and Olde English folk singers. They practiced the Halleluia Chorus for the Illinois State Contest, watching rhythm, volume, tone, crescendo, and decrescendo. A spring concert with St. Ignatius warranted additional work, but the reward was evident, even as the final vibration extinguished itself. The Sophtones learned the techniques of harmony, volume, rhythm, and balance. By applying this knowledge in South Pacific , they felt the satisfaction that comes from hard work and practice.