The 2023–24 Civic Orchestra season is generously sponsored by
Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
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ONE H U NDR ED FI FT H SEAS ON
CIVIC ORCHESTRA OF CHICAGO KEN-DAVID MASUR Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
Monday, October 23, 2023, at 7:30
James Gaffigan Conductor ADAMS
Short Ride in a Fast Machine
OGONEK
All These Lighted Things
RACHMANINOV
Symphonic Dances, Op. 45
(three little dances for orchestra) exuberant, playful, bright gently drifting, hazy buoyant
Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace
There will be no intermission.
The 2023–24 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program. This program is partially supported by a grant from the Illinois Arts Council Agency. C SO.ORG/INSTITUTE
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COMMENTS by Michael Steinberg and Phillip Huscher JOHN ADAMS Born February 15, 1947; Worcester, Massachusetts
Short Ride in a Fast Machine Short Ride in a Fast Machine is a joyfully exuberant piece, brilliantly scored for a large orchestra. The steady marking of a beat is typical of Adams’s music. Short Ride begins with a marking of quarter notes (woodblock, soon joined by the four trumpets) and eighths (clarinets and synthesizers); the woodblock plays fortissimo, and the other instruments play forte. Adams sees the rest of the orchestra as running the gauntlet through that rhythmic tunnel. About the title: “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t.” Short Ride in a Fast Machine features the usual minimalist earmarks: repetition, steady beat, and, perhaps most crucially, a harmonic language with an emphasis on consonance unlike anything in Western art music in the last five hundred years. Adams is not a simple—or simple-minded—artist. His concern has been to invent music at once familiar and subtle. For all their minimalist features, works such as Harmonium, Harmonielehre, and El Dorado are full of surprises, always enchanting in the glow and gleam of their sonority and bursting with the energy generated by their harmonic movement.
COMPOSED
1986
FIRST PERFORMANCE
June 13, 1986; Mansfield, Massachusetts. Pittsburgh Symphony Orchestra; Michael Tilson Thomas conducting I N S T R U M E N TAT I O N
two flutes and two piccolos, two oboes, english horn, four clarinets, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion (woodblocks, triangle, xylophone, crotales, glockenspiel, suspended cymbals, snare drum, bass drums, tam-tam, tambourine), synthesizers, strings A P P R OX I M AT E PERFORMANCE TIME
4 minutes
— Michael Steinberg (from The John Adams Reader); Reprinted with kind permission of earbox.com
a b o v e : John Adams, portrait by Christine Alicino
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ELIZABETH OGONEK Born May 26, 1989; Anoka, Minnesota
All These Lighted Things “As soon as I wrote my first piece,” Elizabeth Ogonek told a reporter in 2015, the year she was appointed as the Chicago Symphony Orchestra’s Mead composerin-residence, “I knew instantly that I would spend the rest of my life composing.” It is that kind of commitment, coupled with an early sense of her life’s purpose, that carried Ogonek from her characteristically searching student days, when she first thought that she would pursue a career as a concert pianist, to having her music premiered by the Chicago Symphony Orchestra. Once she fixed on a path, her focus didn’t falter: she holds degrees from the Indiana University Jacobs School of Music and the University of Southern California Thornton School of Music, and in 2015, she completed doctoral studies at the Guildhall School of Music and Drama in London. All These Lighted Things, her piece for the CSO, took nearly five months “and many, many sleepless nights” to write. Ogonek used to compose “in order,” that is, from the first page to the last. But that process has already changed in her still-young career, and this new score was written in fits and starts, hopping between its three dance-like movements. It was composed mostly in her home studio and her campus office in Oberlin, Ohio, where she is assistant professor of composition at the Oberlin Conservatory. She started the score in Santa Fe, New Mexico, at the Women’s International Study Center (based in a home originally built by members of Sibelius’s extended family). During her ten days there, she defended her dissertation; finished In Silence, which was commissioned by MusicNOW (the CSO’s contemporary music concert series); and put onto paper her first ideas for the Chicago Symphony piece. Months later, she finished the score only minutes before heading out to teach her freshman composition class at Oberlin. “That particular class saw a very human Elizabeth: weary, relieved but uncertain, excited but nervous.” All These Lighted Things began with a deceptively simple yet deeply earnest desire to compose something happy and melodic. She had come to realize, partly through writing but even more through teaching, that when she whittles down her musical values to the most fundamental ones, she is always left
COMPOSED
2017
Commissioned by the Chicago Symphony Orchestra FIRST PERFORMANCE
September 28, 2017, Chicago Symphony Orchestra. Riccardo Muti conducting I N S T R U M E N TAT I O N
two flutes and two piccolos, two oboes, two clarinets and E-flat clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (crotales, marimba, slapstick, piccolo woodblock, rainsticks, triangles, burma bells, chinese opera gongs, vibraphone, vibraslap, tubular bells, glockenspiel, japanese singing bowls, suspended cymbals, sizzle cymbal, egg shakers, bass drum), strings A P P R OX I M AT E PERFORMANCE TIME
15 minutes
a b o v e : Elizabeth Ogonek, portrait by Todd Rosenberg
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with the idea of a melodic line. “So that’s where I chose to start.” Although she rarely begins to work with a title already in mind, All These Lighted Things, a line from a poem by Thomas Merton, came to her before she wrote a note, and in many ways, it guided the direction of the piece. She had been thinking about the liturgy of the hours and how, as a ritual, it marks the progress of light throughout the day. She knew Merton’s A Book of Hours, with its poems about dawn, day, dusk, and dark, and was especially taken by his evocation of dawn—“By ceasing to question the sun/I have become light.” To Ogonek, the message was clear: “I have chosen to trust that light will appear, and it has. All These Lighted Things explores the various ways in which musical objects are made visible by this metaphorical light.” Poetry has regularly played an important role in Ogonek’s music. (Falling Up used the writings of Arthur Rimbaud and Shel Silverstein as a starting point.) The way words are an “expressive and freeing medium” for poets became a lens through which she tried to make sense of her own work as a composer. She began turning to poetry as a way of structuring her musical ideas—“of holding me accountable for the decisions I would eventually make”—and to provide a framework to work within. She likes to quote Stravinsky: “The more constraints one imposes, the more one frees one’s self. And the arbitrariness of the constraint serves only to obtain precision of execution.” All These Lighted Things brings together many strands in Ogonek’s life, from her early love for playing the piano and her Polish heritage (she is also a quarter Croatian and half Indian) to her role as the Chicago Symphony’s Mead Composer-in-Residence from 2015 to 2018. With All These Lighted Things, she was thinking not only about writing for the musicians of the Chicago Symphony Orchestra but also about the kinds of things Riccardo Muti brings to music— the drama that he elicits from the Orchestra, his natural physical connection to the music-making process (she recalls the excitement of seeing
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him leap into the air at the very end of La mer at a concert he led in Geneva, Switzerland), and “how his musical rapport with the Orchestra results in this incredibly flexible, almost caramel-like sound.” Although the score is one of Ogonek’s few works for full orchestra, she says she’s always felt an affinity for orchestral music—an attraction to the spectrum of sounds and colors you can get out of a vast community of musicians. “The orchestra,” she says, “is an environment in which my imagination really has the ability to run free.” But writing for orchestra is also the most challenging thing she has done: “Not only does it take me forever to write music but it can also be overwhelming to know that you are responsible for every single musician on stage.”
Elizabeth Ogonek on All These Lighted Things
W
hen I began working on All These Lighted Things, I set out to write a set of mazurkas based on musical fragments from the other two works on the program (Rossini’s William Tell and Bruckner’s Fourth Symphony). I would get up every day and scavenge for material that I could transform into something I thought would be interesting. Every day, despite my efforts, I would fail miserably. I quickly gave up on that plan. Something inside of me was fervently committed to the mazurka: perhaps my Polish heritage, perhaps the joyful abandon with which Polish people dance the mazurka, or perhaps my unabashed love of Chopin. Chopin has been a preoccupation of mine lately. I think it’s because piano music is some of the first music I really fell in love with as a kid. When I think back to my earliest memories as a musician, I’m reminded of Chopin’s F minor ballade or the D-flat major nocturne or the A minor mazurka (op. 17, no. 4) and how my heart would leap out of my chest as I listened to those pieces and to so much other of Chopin’s piano music. There’s something about the unapologetic lyricism, the manipulation of time, the burgeoning
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intensity, and range of expression—as Chopin returned again and again to the same forms—that gets me every single time. Eventually, the mazurka plan fell by the wayside as well. But what stuck was a collection of little dance-like figures that I had composed as I tried to make each iteration of my initial compositional plan work. As I thought about how time transformed the bones of the mazurka for Chopin, it occurred to me that I could take my dance figures and cast them through imaginary filters to see how they might bend and warp. For example, the first dance explores the ways in which a tune possessing several qualities characteristic of the mazurka (triplet and dotted rhythms, second beat emphasis, in three) might fluidly transition between contentedness, ecstasy, and irrational danger. The second dance presupposes that a sarabande has been
stretched out and submerged in water. Elements of the slow, stately dance surface only occasionally. Lastly, the third dance is, in my mind, more communal than the other two. Each section begins with a small grouping of instruments and, like a fly strip, begins to attract more and more members of the orchestra doing their own thing until the independent lines become indistinguishable. The result is a composite sound made up of all the kinks and quirks that give way to individual personalities. The title, All These Lighted Things, comes from a line in a poem about dawn written by Thomas Merton. At the heart of the piece is celebration and reverence for the things that bring joy. It comes on the heels of several very dark works and, thus, is a kind of first morning light. —Phillip Huscher
SERGEI RACHMANINOV
COMPOSED
Born April 1, 1873; Semyonovo, Russia Died March 28, 1943; Beverly Hills, California
1940
FIRST PERFORMANCE
Symphonic Dances, Op. 45
January 3, 1941; Philadelphia, Pennsylvania. The Philadelphia Orchestra; Eugene Ormandy conducting.
After finishing his Third Symphony in 1936, Rachmaninov quit composing, discouraged by the lukewarm reception several of his recent scores had met. Rachmaninov was tired of trying to juggle his careers as a composer, conductor, and pianist. Perhaps he also had grown weary of having his music dismissed as old-fashioned and irrelevant—invariably pitted against the radical work of Stravinsky and Schoenberg, the two giants of the day. With the outbreak of war in 1939, Rachmaninov and his wife, Natalya, left Europe for the last time and settled in Orchard Point, an estate he had rented on Long Island, near his friends Vladimir and Wanda Horowitz; his former secretary, Evgeny Somov; and choreographer Michel Fokine, who recently had made a popular ballet of the Paganini Variations. Throughout the summer of 1940, Rachmaninov was busy preparing for his
I N S T R U M E N TAT I O N
two flutes with piccolo, two oboes and english horn, two clarinets and bass clarinet, alto saxophone, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, cymbals, bass drum, tam-tam, glockenspiel, xylophone, snare drum, chimes, harp, piano, strings A P P R OX I M AT E PERFORMANCE TIME
35 minutes
a b o v e : Sergei Rachmaninov, oil portrait by Konstantin Somov (1869–1939), 1925. The State Russian Museum
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upcoming concert tour and, for the first time in years, he found that he couldn’t resist the urge to compose. On August 21, he wrote to Eugene Ormandy, who had conducted some of Rachmaninov’s greatest successes with the Philadelphia Orchestra, “Last week, I finished a new symphonic piece, which I naturally want to give first to you and your orchestra. It is called Fantastic Dances. I shall now begin the orchestration.” Even with his impending tour, Rachmaninov managed to complete the scoring that October. By then, the dances had become “Symphonic” rather than “Fantastic,” and he also had given up his original idea to identify the three movements as midday, twilight, and midnight. “It should have been called just Dances,” he told a newspaper reporter, “but I was afraid people would think I had written dance music for jazz orchestra.” Before Ormandy even had a chance to see the score, Rachmaninov played through parts of it at the piano for Fokine, hoping that he would want to collaborate on another ballet—this was a set of dances, after all—and repeat the international success of their Paganini project. Fokine was enthusiastic, “It seemed to me appropriate and beautiful,” he wrote to Rachmaninov after hearing the music. But his death in August 1942 robbed the composer of both a friend and another hit ballet. The Philadelphia premiere was well received, but a subsequent performance in New York was panned. Rachmaninov was hurt that Ormandy didn’t appear interested in recording the new work, even though he had made best-selling recordings of practically all his previous orchestral pieces. The Symphonic Dances turned out to be his last score, and Rachmaninov died believing it would never find the popularity his earlier music had so easily won. (Although Rachmaninov had spent long periods of time in the United States since 1918, the Symphonic Dances is the only score he composed in this country—earlier, he regularly wrote on breaks from concert tours in his villa near Lucerne.) But in recent years, the score has become a favorite of orchestras and audiences alike— Rachmaninov’s star is once again on the rise.
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he first dance has an extended solo for saxophone, an instrument for which Rachmaninov had never before written. (He consulted with his friend, the Broadway orchestrator Robert Russell Bennett, who was amazed that when the composer played the score for him, “he sang, whistled, stamped, rolled his chords and otherwise conducted himself not as one would expect of so great and impeccable a piano virtuoso.”) He also got advice on string bowings from no less an artist than Fritz Kreisler. In the coda of the first dance, Rachmaninov privately quotes the opening theme of his First Symphony, which was the greatest failure of his career (after its disastrous premiere in 1897, Rachmaninov wrote nothing for three years). Rachmaninov knew that only he would catch the reference because he had long since destroyed the score, hoping to erase painful memories along with the music itself. But shortly after his death, a copy of a two-piano arrangement and a set of orchestra parts turned up in Leningrad, bringing Rachmaninov’s secret quotation to light. The second movement is a melancholy waltz (in 6/8 time) that only turns more anxious and wistful as it progresses. The finale quotes the chant of the Russian Orthodox liturgy and the Gregorian melody of the Dies irae from the Mass for the Dead. It also recycles part of his All-Night Vigil, an a cappella choral work dating from 1915, but this is no secret quotation, for Rachmaninov writes the original text, “Alliluya,” in the score at that point. Perhaps guessing that this would be his final work—“It must have been my last spark,” he said at the time—Rachmaninov wrote at the end of his manuscript, “I thank Thee, Lord.” —Phillip Huscher
Michael Steinberg was an American music critic who worked for the Boston Globe and the Boston and San Francisco symphonies, among others. Phillip Huscher has been the program annotator for the Chicago Symphony Orchestra since 1987.
PROFILES James Gaffigan Conductor Recognized worldwide for his natural ease and extraordinary collaborative spirit, American conductor James Gaffigan has attracted international attention for his prowess as a conductor of both symphony orchestras and opera. The mutual trust he builds with artists empowers them to cultivate the highest art possible. Gaffigan is uniquely positioned with music directorships at two international opera houses. He is the general music director of Komische Oper Berlin, a post that commences this 2023–24 season, and is in his third season as music director of the Palau de les Arts Reina Sofía in Valencia, where he led widely acclaimed productions of Wozzeck, La bohème, and Tristan and Isolde. In addition, he serves as music director of the Verbier Festival Junior Orchestra. The 2022–23 season marked Gaffigan’s final season as principal guest conductor of the Netherlands Radio Philharmonic Orchestra and the Trondheim Symphony Orchestra & Opera. In 2021 Gaffigan finished his tenure as chief conductor of the Luzerner Sinfonieorchester, a position he held for ten years, raising the orchestra’s international profile with highly successful recordings and tours abroad. In the 2023–24 season, Gaffigan returns to the Cincinnati, Pittsburgh, St. Louis, and Chicago symphony orchestras. In the summer of 2023, he led the Metropolitan Opera in La bohème, the Orchestra de Paris with the Jazz at Lincoln Center Orchestra, and Verbier Festival Junior Orchestra. In his first season as general music director of the Komische Oper Berlin, Gaffigan will lead productions of Eugene Onegin, The Golden Cockerel, Der fliegende Holländer, and Le nozze di Figaro. Committed to building and investing in young audiences and presenting relevant and inclusive programming, Gaffigan will also lead
P H OTO BY © M I G U E L LO R E N ZO
Komische Oper in special programming for children throughout the season. Recent orchestral appearances include the London Symphony Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, Wiener Symphoniker, Münchner Philharmoniker, Bavarian Radio Symphony Orchestra, Norske Opera and Ballet, Deutsches Symphonie-Orchester Berlin, Staatskapelle Berlin, Czech Philharmonic, and Lucerne Symphony Orchestra. In North America, Gaffigan regularly works with the New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Philharmonic, Detroit Symphony Orchestra, and Toronto Symphony Orchestra, among others. A regular at the Metropolitan Opera, Bayerische Staatsoper, and Opéra National de Paris, Gaffigan has also conducted the Zürich Opera, Vienna Staatsoper, Staatsoper Hamburg, Dutch National Opera, Glyndebourne Festival, Lyric Opera of Chicago, and Santa Fe Opera. Gaffigan was first-prize winner of the 2004 Sir Georg Solti International Conducting Competition, which opened Europe’s doors to him as a young American. In 2009 he completed a three-year tenure as associate conductor of the San Francisco Symphony, a position created for him by Michael Tilson Thomas. Prior to that, he was assistant conductor of the Cleveland Orchestra, where he worked with Music Director Franz Welser-Möst. Gaffigan is an alumnus of the Aspen Music Festival’s Aspen Conducting Academy and the Tanglewood Music Center. Passionate about music education and a product of the New York City public school system, Gaffigan grew up in New York City and studied at the LaGuardia High School of Music and Art before pursuing his conducting studies. He believes that access to music education is the method by which America’s concert halls will finally begin to reflect our community and shrink the racial and gender gaps that exist in performing arts today.
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PROFILES
Civic Orchestra of Chicago Founded in 1919 by Frederick Stock, second music director of the Chicago Symphony Orchestra (CSO), the Civic Orchestra of Chicago prepares emerging professional musicians for lives in music. Civic members participate in rigorous orchestral training, September through June each season, with the Robert Kohl and Clark Pellett Principal Conductor Ken-David Masur, musicians of the CSO, and some of today’s most luminary conductors, including Riccardo Muti, the CSO’s music director emeritus for life. The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commitment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM). Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational performances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city, including Chicago Park District fieldhouses and the National Museum of Mexican Art. To further expand its musician training, the Civic Orchestra launched the Civic Fellowship
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program in the 2013–14 season. Each year, ten to fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversify their creative and professional skills. From 2010 to 2019, Yo-Yo Ma was a leading mentor to Civic musicians and staff in his role as CSO Judson and Joyce Green Creative Consultant, and the programs and initiatives he established are integral to the Civic Orchestra curriculum today. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving world of music in the twenty-first century. The Civic Orchestra’s long history of presenting full orchestra performances free to the public includes annual concerts at the South Shore Cultural Center (in partnership with the South Shore Advisory Council) as well as numerous Chicago Public Schools. The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra, which offers a wide range of education and community programs that engage more than 200,000 people of diverse ages, incomes, and backgrounds each year in Chicago and around the world. For more on the Civic Orchestra of Chicago and its Principal Conductor Ken-David Masur, please visit cso.org/civic.
P ROF I L ES
Civic Orchestra of Chicago
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
VIOLINS
Matthew Weinberg Subin Shin Jonah Kartman Polina Borisova Ran (Ryan) Huo Marian Antonette Mayuga* Hsuan Chen Justine Teo Annie Pham Sean Hsi Mona Munire Mierxiati Megan Pollon Heewoo Seo Valentina Guillen Menesello Elise Maas Kristian Brusubardis Janani Sivakumar Julianne Oh Hobart Shi Isabelle Chin Nelson Mendoza Darren Carter Hojung Christina Lee Lina Yamin* J. Andrés Robuschi Freya Liu Matthew Musachio* Danira Rodríguez-Purcell Karino Wada VIOLAS
Derrick Ware Michael Ayala Amanda Kellman Sava Velkoff Megan Yeung Rebecca Miller Siyang Calvin Dai Cordelia Brand Jason Butler*
CELLOS
Miles Link Lidanys Graterol Francisco Lopez Malespin* David Caplan Abigail Monroe Buianto Lkhasaranov Cameron Slaugh Brandon Xu J Holzen* Chad Polk BASSES
Olivia Reyes Hannah Novak Ben Foerster* Broner McCoy Daniel W. Meyer Zacherie Small J.T. O’Toole Walker Dean FLUTES
Katarina Ignatovich Henry Woolf Laura Watson Jungah Yoon PICCOLO
BASSOONS
Seo Young (Michelle) Min Ian Arthur Schneiderman William George Nina Laube* CONTRABASSOON
Nina Laube HORNS
Jacob Medina Ryan Williamson Fiona Chisholm Loren Ho Asunción Martínez TRUMPETS
Sean-David Whitworth Richard Francisco Quincy Erickson Kai-Chun Chang TROMBONES
Felix Regalado Hugo Saavedra* BASS TROMBONE
Alexander Mullins
Laura Watson Jungah Yoon
TUBA
OBOES
T I M PA N I
Andrew Port* James Kim Jonathan Kronheimer
Nick Collins* Tomas Leivestad PERCUSSION
ENGLISH HORN
Jonathan Kronheimer
Charley Gillette Sehee Park Alex Chao
CLARINETS
HARP
Elizabeth Kapitaniuk Tyler Baillie Amy Hur* Emily Hancock E - F L AT C L A R I N E T
Tyler Baillie
Janna Young KEYBOARD
Wenlin Cheng A LT O S A XO P H O N E
Blake Adams
BASS CLARINET
Elizabeth Kapitaniuk
* Civic Orchestra Fellow + Civic Orchestra Alumni
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NEGAUNEE MUSIC INSTITUTE AT THE CSO the board of the negaunee music institute Leslie Burns Chair Liisa Thomas Vice Chair John Aalbregtse David Arch James Borkman Jacqui Cheng Ricardo Cifuentes Richard Colburn Charles Emmons Judy Feldman Lori Julian Rumi Morales Mimi Murley Margo Oberman Gerald Pauling Harper Reed Veronica Reyes Steve Shebik Marlon Smith Eugene Stark Ex-officio Members Jeff Alexander Jonathan McCormick Vanessa Moss
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civic orchestra artistic leadership Ken-David Masur Principal Conductor The Robert Kohl and Clark Pellett Principal Conductor Chair Coaches from the Chicago Symphony Orchestra Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Baird Dodge Principal Second Violin Danny Lai Viola Max Raimi Viola John Sharp Principal Cello The Eloise W. Martin Chair Kenneth Olsen Assistant Principal Cello The Adele Gidwitz Chair Richard Hirschl Cello Daniel Katz Cello Brant Taylor Cello Alexander Hanna Principal Bass The David and Mary Winton Green Principal Bass Chair Stefán Ragnar Höskuldsson Principal Flute The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Flute Jennifer Gunn Flute and Piccolo The Dora and John Aalbregtse Piccolo Chair William Welter Principal Oboe The Nancy and Larry Fuller Principal Oboe Chair Stephen Williamson Principal Clarinet John Bruce Yeh Assistant Principal Clarinet and E-flat Clarinet Keith Buncke Principal Bassoon William Buchman Assistant Principal Bassoon Mark Almond Principal Horn Daniel Gingrich Horn Esteban Batallán Principal Trumpet The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor Mark Ridenour Assistant Principal Trumpet John Hagstrom Trumpet The Bleck Family Chair Tage Larsen Trumpet The Pritzker Military Museum & Library Chair Michael Mulcahy Trombone Charles Vernon Bass Trombone Gene Pokorny Principal Tuba The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld David Herbert Principal Timpani The Clinton Family Fund Chair Vadim Karpinos Assistant Principal Timpani, Percussion Cynthia Yeh Principal Percussion Sarah Bullen Former Principal Harp Mary Sauer Former Principal Keyboard Justin Vibbard Principal Librarian
negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute Katy Clusen Associate Director, CSO for Kids Antonio Padilla Denis Manager, Civic Orchestra of Chicago Rachael Cohen Manager, Institute Programs Emory Freeman Operations Coordinator, Civic Orchestra of Chicago Katie Eaton Coordinator, School Partnerships Jackson Brown Programs Assistant Frances Atkins Content Director Kristin Tobin Designer & Print Production Manager Petya Kaltchev Editor
HONOR ROLL OF DONORS Negaunee Music Institute at the Chicago Symphony Orchestra
The Negaunee Music Institute connects individuals and communities to the extraordinary musical resources of the Chicago Symphony Orchestra. The following donors are gratefully acknowledged for making a gift in support of these educational and engagement programs. To make a gift or learn more, please contact Kevin Gupana, Associate Director of Giving, Educational and Engagement Programs, 312-294-3156. $ 15 0,000 A N D A B OV E
Lori Julian for The Julian Family Foundation The Negaunee Foundation $ 10 0,0 0 0 – $ 1 4 9,9 9 9
Anonymous Allstate Insurance Company $ 75,0 0 0 – $ 9 9,9 9 9
The Elizabeth F. Cheney Foundation John Hart and Carol Prins Megan and Steve Shebik $ 5 0 , 0 0 0 – $ 74 , 9 9 9
Anonymous Robert and Joanne Crown Income Charitable Fund Lloyd A. Fry Foundation Judy and Scott McCue Polk Bros. Foundation Barbara and Barre Seid Foundation Michael and Linda Simon $ 3 5,0 0 0 – $ 4 9,9 9 9
Bowman C. Lingle Trust National Endowment for the Arts The George L. Shields Foundation, Inc. Lisa and Paul Wiggin $25,000 –$ 3 4,999
Anonymous Abbott Fund Carey and Brett August Crain-Maling Foundation Kinder Morgan Margo and Michael Oberman Shure Charitable Trust Dr. & Mrs. Eugene and Jean Stark $ 2 0,000 – $ 2 4,9 9 9
Anonymous Mary Winton Green Illinois Arts Council Agency PNC Charles and M. R. Shapiro Foundation
$ 15,0 0 0 – $ 19,9 9 9
Nancy A. Abshire Robert & Isabelle Bass Foundation, Inc. The Buchanan Family Foundation John D. and Leslie Henner Burns Bruce and Martha Clinton for The Clinton Family Fund Sue and Jim Colletti Mr. Philip Lumpkin The Maval Foundation Sandra and Earl Rusnak, Jr. Dr. Marylou Witz $11,500–$14,999
Mr. † & Mrs. David A. Donovan Mrs. Carol Evans, in memory of Henry Evans Ksenia A. and Peter Turula $ 7, 5 0 0 – $ 1 1 , 4 9 9
Anonymous Robert H. Baum and MaryBeth Kretz Mr. Lawrence Corry Mr. & Mrs. † Allan Drebin Nancy and Bernard Dunkel Ellen and Paul Gignilliat Mr. & Mrs. Joseph B. Glossberg Chet Gougis and Shelley Ochab Halasyamani/Davis Family JPMorgan Chase & Co. The League of the Chicago Symphony Orchestra Association Mr. Glen Madeja and Ms. Janet Steidl Ms. Susan Norvich Ms. Emilysue Pinnell D. Elizabeth Price COL (IL) Jennifer N. Pritzker, IL ARNG (Retired) Benjamin J. Rosenthal Foundation Ms. Courtney Shea Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Catherine M. and Frederick H. Waddell $ 4 , 5 0 0 – $ 7, 4 9 9
Anonymous Joseph Bartush Ann and Richard Carr Harry F. and Elaine Chaddick Foundation Constance M. Filling and Robert D. Hevey Jr. Dr. June Koizumi Dr. Lynda Lane Francine R. Manilow Jim and Ginger Meyer Drs. Robert and Marsha Mrtek The Osprey Foundation Theodore and Elisabeth Wachs $3,500–$4,499
Anonymous Arts Midwest Gig Fund Charles H. and Bertha L. Boothroyd Foundation Mr. & Mrs. Dwight Decker
Camillo and Arlene Ghiron Ms. Ethelle Katz Dr. Leo and Catherine Miserendino Mr. Peter Vale Ms. Mary Walsh $2,500–$3,499
Anonymous David and Suzanne Arch Mr. James Borkman Mr. Douglas Bragan † Mr. Ray Capitanini Patricia A. Clickener Mr. Clinton J. Ecker and Ms. Jacqui Cheng William B. Hinchliff Italian Village Restaurants Mrs. Frank Morrissey David † and Dolores Nelson Mr. & Mrs. Jeffery Piper Erik and Nelleke Roffelsen Mr. David Sandfort Gerald and Barbara Schultz Jessie Shih and Johnson Ho Dr. & Mrs. R. Solaro Carol S. Sonnenschein Mr. Kenneth Witkowski $1,500–$2,499
Dora J. and R. John Aalbregtse Ms. Marlene Bach Mr. Lawrence Belles Mr. & Mrs. William E. Bible Cassandra L. Book Adam Bossov Mr. Donald Bouseman Ms. Danolda Brennan Mr. Lee M. Brown and Ms. Pixie Newman Mr. Ricardo Cifuentes Bradley Cohn Charles and Carol Emmons Judith E. Feldman Dr. & Mrs. Sanford Finkel, in honor of the Civic horn section Mr. Conrad Fischer Ms. Lola Flamm David and Janet Fox Ronald and Diane Hamburger Mr. † & Mrs. Robert Heidrick Michael and Leigh Huston Thomas and Reseda Kalowski Mr. & Mrs. Norman Koglin Dona Le Blanc Adele Mayer Mr. Aaron Mills Mr. Alexander Ripley Mr. & Mrs. Thomas Scorza Jane A. Shapiro Michael and Salme Steinberg Walter and Caroline Sueske Charitable Trust Abby and Glen Weisberg M.L. Winburn Dr. & Mrs. Larry Zollinger
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H ONOR ROLL OF DONORS
$1,000 –$1,4 99
Anonymous (4) Ms. Margaret Amato Allen and Laura Ashley Howard and Donna Bass Daniel and Michele Becker Ann Blickensderfer Darren Cahr Mr. Rowland Chang Lisa Chessare David Colburn Mr. & Mrs. Bill Cottle Mr. & Mrs. Barnaby Dinges Tom Draski DS&P Insurance Services, Inc. Ms. Sharon Eiseman Richard Finegold, M.D. and Ms. Rita O’Laughlin Eunice and Perry Goldberg Enid Goubeaux Dr. Robert A. Harris Mr. David Helverson Clifford Hollander and Sharon Flynn Hollander Dr. Ronald L. Hullinger Cantor Aviva Katzman and Dr. Morris Mauer Mr. Randolph T. Kohler Ms. Foo Choo Lee Dr. & Mrs. Stuart Levin Mr. † & Mrs. Gerald F. Loftus Timothy Lubenow Sharon L. Manuel Mr. & Mrs. William McNally Robert O. Middleton Stephen W. and Kathleen J. Miller Mrs. MaryLouise Morrison Catherine Mouly and LeRoy T. Carlson, Jr. Lewis Nashner William H. Nichols Edward and Gayla Nieminen Mr. Bruce Oltman Ms. Joan Pantsios Kirsten Bedway and Simon Peebler Ms. Dona Perry James † and Sharon Phillips Quinlan & Fabish Mr. George Quinlan Susan Rabe Dr. Hilda Richards Dr. Edward Riley Mary K. Ring Christina Romero and Rama Kumanduri Mr. & Mrs. Jeffrey Ross Mr. David Samson Ms. Mary Sauer Peter Schauer Mr. David M. Schiffman Barbara and Lewis Schneider Mr. & Mrs. Steve Schuette Stephen A. and Marilyn Scott Mr. Rahul and Mrs. Shobha Shah Mr. & Mrs. James Shapiro Dr. Rebecca Sherrick
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Mr. Larry Simpson Ms. Denise Stauder Mr. & Mrs. Ronald Stepansky Donna Stroder Sharon Swanson Mr. & Mrs. Joel Weisman Joni Williams Irene Ziaya and Paul Chaitkin
CIVIC ORCHESTR A OF CHICAGO SCHOLARSHIPS
ENDOWED FUNDS
Eleven Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra. Major funding for this program is generously provided by Lori Julian for the Julian Family Foundation.
Anonymous (3) Cyrus H. Adams Memorial Youth Concert Fund Dr. & Mrs. Bernard H. Adelson Fund Marjorie Blum-Kovler Youth Concert Fund CNA The Davee Foundation Frank Family Fund Kelli Gardner Youth Education Endowment Fund Mary Winton Green William Randolph Hearst Foundation Fund for Community Engagement Richard A. Heise Peter Paul Herbert Endowment Fund Julian Family Foundation Fund The Kapnick Family Lester B. Knight Charitable Trust The Malott Family School Concerts Fund The Eloise W. Martin Endowed Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra The Negaunee Foundation Nancy Ranney and Family and Friends Shebik Community Engagement Programs Fund Toyota Endowed Fund The Wallace Foundation Zell Family Foundation
Members of the Civic Orchestra receive an annual stipend to help offset some of their living expenses during their training in Civic. The following donors have generously underwritten a Civic musician(s) for the 2023–24 season.
Nancy A. Abshire Amanda Kellman, viola Dr. & Mrs. Bernard H. Adelson Fund Megan Yeung, viola Sue and Jim Colletti Nina Laube,* bassoon Lawrence Corry Jonah Kartman, violin Robert and Joanne Crown Income Charitable Fund Charley Gillette, percussion James Kim, oboe Buianto Lkhasaranov, cello Daniel W. Meyer, bass Subin Shin, violin Abner Wong, trumpet Mr. † & Mrs. David A. Donovan Jacob Medina, horn Mr. & Mrs. Paul C. Gignilliat Janani Sivakumar, violin Mr. & Mrs. Joseph B. Glossberg Hannah Novak, bass Richard and Alice Godfrey Matthew Weinberg, violin Chet Gougis and Shelley Ochab Tomas Leivestad, timpani Mary Winton Green Victor Stahoviak, bass Jane Redmond Haliday Chair Mona Munire Mierxiati, violin Lori Julian for the Julian Family Foundation Nelson Mendoza, violin Lina Yamin, violin
H ON OR ROL L OF D ON ORS
Lester B. Knight Charitable Trust Brandon Xu, cello Valentina Guillen Menesello, violin Elizabeth Kapitaniuk, clarinet Elise Maas, violin Ryan Williamson, horn
Judy and Scott McCue and the Leslie Fund Inc. Aalia Hanif,* flute
League of the Chicago Symphony Orchestra Lindsey Sharpe, cello
Ms. Susan Norvich Nick Collins,* tuba Ben Poirot, tuba
Leslie Fund Inc. Francisco Lopez Malespin,* cello
Margo and Mike Oberman Ben Foerster,* bass
Phil Lumpkin Matthew Musachio,* violin
Sandra and Earl J. Rusnak, Jr. Quincy Erickson, trumpet
Glenn Madeja and Janet Steidl Abigail Monroe, cello
Barbara and Barre Seid Foundation Alexander Mullins, bass trombone Hugo Saavedra,* trombone
The Maval Foundation Mark Morris, horn Felix Regalado, trombone
Dr. Leo and Catherine Miserendino Sean-David Whitworth, trumpet
David W. and Lucille G. Stotter Chair Ran (Ryan) Huo, violin Ruth Miner Swislow Charitable Fund Kimberly Bill, violin Lois and James Vrhel Endowment Fund Broner McCoy, bass Dr. Marylou Witz Marian Antonette Mayuga, violin Anonymous Gabriela Lara, violin Anonymous Hojung Christina Lee, violin Anonymous J Holzen,* cello
The George L. Shields Foundation, Inc. Hsuan Chen, violin Carlos Lozano, viola Cameron Slaugh, cello
† Deceased * Civic Orchestra Fellow + Partial Sponsor Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of July 2023
C SO.ORG/INSTITUTE
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A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors. Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire and transform lives through music.
CSO.ORG/GIVETOCIVIC 312-294-3100 SCAN TO GIVE