Program Book - Civic Orchestra of Chicago: Yashima Conducts Mahler 5 by Chicago Symphony Orchestra

YASHIMA CONDUCTS MAHLER 5

Erina Yashima CONDUCTOR

DEC 8 | 2:00

DEC 9 | 7:30

The 2024–25 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.

ONE HUNDRED SIXTH SEASON

CIVIC ORCHESTRA OF CHICAGO

KEN-DAVID MASUR Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

Sunday, December 8, 2024, at 2:00 Northside College Prep

Monday, December 9, 2024, at 7:30 Orchestra Hall

Erina Yashima Conductor

MAHLER Symphony No. 5

Part 1

Funeral March: With measured step. Strict. Like a cortege Stormily. With greatest vehemence Part 2

Scherzo: Vigorously, not too fast Part 3

Adagietto: Very slow Rondo-Finale: Allegro giocoso. Lively

The 2024–25 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.

Major support for the Civic Orchestra of Chicago is also provided by Robert and Joanne Crown Income Charitable Fund; Nancy Dehmlow; Leslie Fund, Inc.; Judy and Scott McCue; Leo and Catherine Miserendino; Barbara and Barre Seid Foundation; the George L. Shields Foundation, Inc.; the Maval Foundation; and Paul and Lisa Wiggin. The Chicago Symphony Orchestra Association acknowledges support from the Illinois Arts Council.

COMMENTS by Phillip

Huscher

GUSTAV MAHLER

Born July 7, 1860; Kalischt, Bohemia

Died May 18, 1911; Vienna, Austria

Symphony No. 5

COMPOSED

1901–02

FIRST PERFORMANCE

October 18, 1904; Cologne, Germany. The composer conducting

INSTRUMENTATION

4 flutes and 4 piccolos, 3 oboes and english horn, 3 clarinets, bass clarinet and E-flat clarinet, 3 bassoons and contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, harp, bass drum, cymbals, small bass drum, snare drum, glockenspiel, slapstick, tam-tam, triangle, strings

APPROXIMATE PERFORMANCE TIME

72 minutes

The lone trumpet call that opens this symphony launches a whole new chapter in Mahler’s music. Gone is the picturesque world of the first four symphonies—music inspired by folk tales and songs, music that calls on the human voice and is explained by the written word. With the Fifth Symphony, as the conductor Bruno Walter put it, Mahler “is now aiming to write music as a musician.”

Walter had nothing against the earlier works; in fact, he was one of the first serious musicians to understand and to conduct those pieces long before it was fashionable to champion the composer’s cause. Walter simply identified what other writers since have reemphasized: the unforeseen switch to an exclusively instrumental symphonic style, producing music, in symphonies nos. 5 through 7, which needs no programmatic discussion.

In fact, the break in Mahler’s compositional style is neither as clean nor as radical as we might at first think. The trumpet music that launches this symphony is a quotation from the climax of the first movement of the Fourth Symphony—a direct link, in other words, with the world Mahler has left behind. And Mahler has hardly given up song for symphony. The new focus on purely instrumental symphonies seems to have freed Mahler to produce an extraordinary outpouring of songs, including most of his finest. And, although they are not sung or even directly quoted in symphonies nos. 5 through 7, their presence and their immense importance to Mahler is continually felt. The great

this page: Gustav Mahler, etching by Emil Orlik (1870–1932), 1902 | opposite page: Mahler conducting. A caricature by Hans Schließmann (1852–1920), 1901, published in the humorous German magazine Fliegende Blätter (Flying Pages)

lumbering march that strides across the first movement of this symphony, for example, shares much in spirit, contour, and even detail with the first of the Kindertotenlieder and the last of his Des Knaben Wunderhorn settings, “Der Tamboursg’sell” (The Drummer Boy), both written while the symphony also was taking shape.

Mahler was a “summer composer,” as he put it, compressing a year’s pent-up musical work into the one holiday he enjoyed as a professional conductor. “His life during the summer months,” his wife, Alma, later recalled, “was stripped of all dross, almost inhuman in its purity.” He wrote night and day, and several projects took shape in his head at once. In June 1901, he settled in a villa at Maiernigg on the Wörthersee, where, before the summer was over, he wrote four of the Rückert-Lieder, three of the Kindertotenlieder (also to texts by Rückert), “Der Tamboursg’sell,” and drafted two movements of his Fifth Symphony. Each piece, dating from the same time, shares something with the others—the kind of cross-referencing that is at the heart of Mahler’s working method.

Although Mahler left no scenario to follow for this symphony—no outward sign that this is explicit, programmatic music—it is so obviously dramatic music. For Donald Mitchell, among the most insightful of Mahler scholars, the Fifth Symphony “initiates a new concept of an interior drama.” The idea of a programmatic symphony has not vanished; “it has gone underground, rather, or inside.”

Mahler has even left us a few clues, not dictating what the music should mean to us but suggesting what it meant to him. The central scherzo is “a human being in the full light of day, in the prime of his life.” And the famous Adagietto is, if we believe Willem Mengelberg’s assertion, Gustav Mahler’s declaration of his love for Alma, presented to his wife without a word of explanation.

As in the later Seventh Symphony and the projected Tenth, the Fifth Symphony is divided into five movements. But more important are the numbers defining three basic parts, with the weighty scherzo standing alone in the middle. Part 1 views life as tragedy, moving from the bleak funeral march of the first movement to the deflated climax of the second. The third part approaches and ultimately achieves

triumph. Part 2, the lively scherzo, is the hinge upon which the music shifts.

The first movement caused Mahler considerable trouble. He continued to retouch the orchestration until 1907, three years after the first performance, and as late as 1911, the last year of his life, he said,

I cannot understand how I could have written so much like a beginner. . . . Clearly, the routine I had acquired in the first four symphonies had deserted me altogether, as though a totally new message demanded a new technique.

Mahler had written funeral marches before—the first three symphonies all include them—but this is a new kind of funeral music: tough as nails, lean, scrubbed clean of simple pictorial touches. It is a much more concise movement than the tremendous march that opens the Resurrection Symphony. Here, the march gives way to a defiant trio—a terrible outburst of grief; then the cortege returns, followed by the trio, now dragged down to the march’s slow, lumbering pace. Near the end, a new idea full of yearning—a rising minor ninth falling to the octave—will find fulfillment in the second movement, just as that movement will echo things already developed here. The trumpet calls the first movement to a close, in utter desolation.

The second movement is both a companion to and a commentary on the first. It is predominately angry

and savage music with periodic lapses into the quieter, despairing music we have left behind. There is one jarring moment, so characteristic of Mahler, when all the grief and anger spills over into sheer giddiness—a momentary indiscretion, like laughter at the graveside. The music quickly regains its composure but seems even more disturbed. Near the end, the trumpets and trombones begin a noble brass chorale, brave and affirmative. For a moment, it soars. And then, suddenly, almost inexplicably, it loses steam, falters, and falls flat. It is one of Mahler’s cruelest jokes. The great central scherzo caused problems at the first rehearsal. From Cologne, Mahler wrote to Alma:

The scherzo is the very devil of a movement. I see it is in for a peck of troubles! Conductors for the next fifty years will all take it too fast and make nonsense of it; and the public—oh, heavens, what are they to make of this chaos of which new worlds are forever being engendered?

It is hard to know just how fast Mahler felt this music should go—it is marked “vigorously, not too fast”—and today, his peculiar mixture of ländler (a nice country dance) and waltz (more upscale) seems neither chaotic nor nonsensical, although it is still provocative. The whole is an ebullient dance of life, with moments of simple nostalgia and, when the horns seem to call across mountain valleys, an almost childlike wonder.

The much-loved Adagietto is really the introduction to the finale, incomplete on its own, not so much musically as psychologically. Ironically, for many years, this was one of the few Mahler excerpts ever played at concerts; it was later borrowed, carelessly, as movie music for Luchino Visconti’s Death in Venice and won still more new converts. Here, Mahler finds a fresh kind of lyricism that he gives not to the winds, which so often sang in the earlier symphonies, but to the strings alone, over the gentle, hesitant, almost improvisatory strumming of the harp.

This must have been very persuasive to audiences not yet ready for Mahler’s tougher, more complex movements. But it is by no means simple music, and although there are fewer notes on the page than usual, Mahler is no less precise in demanding how they should be played. (The first three notes of the melody, for example, are marked pianissimo, molto ritardando, espressivo, and crescendo.) And, if this is a song without words, it is intimately related to perhaps the greatest of all Mahler songs, Rückert’s setting “Ich bin der Welt abhanden gekommen” (I Am Lost to the World), written that same summer.

A single note from the horn—so fresh and unexpected, with the sound of strings still in our ears—calls us back to earth. The finale begins at once with the

suggestion of one of the Wunderhorn melodies and then changes direction. This is radiant music, so infectious that part of the Adagietto even turns up, virtually unrecognizable in these up-tempo surroundings. Mahler’s Fifth is his Eroica, moving from tragedy to triumph, and his triumph could not be more sweeping. Ultimately, the same brass chorale that fell to defeat in the second movement enters and carries the finale to a proper, rollicking conclusion.

Finally, a word about Mahler’s choice of key. The Fifth Symphony begins in C-sharp minor and ends five movements later in D major. Until Mahler’s time, it was customary to begin and end in the same key (or to finish in the relative major if the piece started in the minor), and some of Mahler’s symphonies do that. But many do not, and this kind of progressive tonality, as it is often called, is an essential part of his musical language, an example of how he helped stretch the boundaries and the meaning of tonality. In the Fifth Symphony, it underlines the “inner drama” of the music: the struggle to rise from C-sharp to D and from minor to major underlines the music’s quest to rise from tragedy to victory.

Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.

PROFILES

Erina Yashima Conductor

German-born conductor Erina Yashima was lead conductor at the Komische Oper Berlin from 2022 to 2024. She has worked with many renowned and opera companies worldwide.

In the 2024–25 season, she makes her debut with the Frankfurt Radio Symphony, Royal Liverpool Philharmonic Orchestra, Staatsphilharmonie Nürnberg, Stuttgarter Philharmoniker, Münchner Symphoniker, and Japan’s Nagoya Philharmonic Orchestra and Kobe City Chamber Orchestra. This season, she also returns to the Orchestra della Toscana.

On the opera stage, Yashima will debut with the Lyric Opera of Chicago with a production of The Marriage of Figaro, Opera Australia with La bohème, and the Irish National Opera with The Elixir of Love.

Recent highlights include performances with the Bavarian Radio Symphony Orchestra, NDR Elbphilharmonie Orchester, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Houston Symphony Orchestra, Orchestre Philharmonique Royal de Liège, Seoul Philharmonic Orchestra, NDR Radiophilharmonie Hannover, Orchestre Métropolitain de Montréal, Royal Scottish National Orchestra, Arena di Verona, WDR Funkhausorchester, North Carolina Symphony, Charlotte Symphony, Nürnberger Symphoniker, and the Tonkünstler-Orchester.

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

Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire and transform lives through music.

PHOTO BY TODD ROSENBERG

Civic Orchestra of Chicago

The Civic Orchestra of Chicago is a training program of the Chicago Symphony Orchestra’s Negaunee Music Institute that prepares young professionals for careers in orchestral music. It was founded during the 1919–20 season by Frederick Stock, the CSO’s second music director, as the Civic Music Student Orchestra, and for over a century, its members have gone on to secure positions in orchestras across the world, including over 160 Civic players who have joined the CSO. Each season, Civic members are given numerous performance opportunities and participate in rigorous orchestral training with its principal conductor, Ken-David Masur, distinguished guest conductors, and a faculty of coaches comprised of CSO members. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving music world.

The Civic Orchestra serves the community through its commitment to present free or low-cost concerts of the highest quality at Symphony

Center and in venues across Greater Chicago, including annual concerts at the South Shore Cultural Center and Fourth Presbyterian Church. The Civic Orchestra also performs at the annual Crain-Maling Foundation CSO Young Artists Competition and Chicago Youth in Music Festival. Many Civic concerts can be heard locally on WFMT (98.7 FM), in addition to concert clips and smaller ensemble performances available on CSOtv and YouTube. Civic musicians 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.

To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Each year, up to twelve Civic members are designated as Civic Fellows and participate in intensive leadership training designed to build and diversify their creative and professional skills. The program’s curriculum has four modules: artistic planning, music education, social justice, and project management.

Civic Orchestra of Chicago

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

VIOLINS

Harin Kang

Yebeen Seo

Hobart Shi

Jonah Kartman

Sean Hsi

Anna Gabriel +

Mona Mierxiati

Isabelle Chin

Keshav Srinivasan

Matthew Weinberg +

Tricia Park

Matthew Musachio*

Kimberly Bill

Nelson Mendoza +

Annie Pham

Hsuan Chen +

Ran Huo

Marian Antonette Mayuga*

Elize Maas

Darren Carter

Naomi Powers

Tabitha Oh +

Adam Davis

Jenny Choi

Alec Tonno

Yi-Lin Lin

Hojung Christina Lee

Justine Jing Xin Teo

Hannah Zhao

Lina Yamin*

VIOLAS

Sam Sun

Sanfoud Whatley

August DuBeau

Jason Butler

Yat Chun Justin Pou

Xiaoxuan Liang

Sava Velkoff*

Derrick Ware

Carlos Lozano

Elena Galentas

Judy Yu-Ting Huang

Mason Spencer*

CELLOS

David Caplan

Brandon Xu

Dam Day

J Holzen*

Jiho Seo

Nick Reeves

Somyong Shin

Jocelyn Yeh

Buianto Lkhasaranov

Santiago Uribe-Cardona

BASSES

Tiffany Kung

Bennett Norris

Hannah Novak

Broner McCoy

Walker Dean

J.T. O’Toole*

Alexander Wallack

Daniel W. Meyer

HARP

Kari Novilla*

FLUTES AND PICCOLOS

Jungah Yoon

Daniel Fletcher

Cierra Hall

Katarina Ignatovich +

OBOES

Will Stevens

Jonathan Kronheimer

Kyungyeon Hong, english horn

CLARINETS

Elizabeth Kapitaniuk

Hae Sol Amy Hur*

Max Reese, + bass clarinet

BASSOONS

William George

Ian Schneiderman

Peter Ecklund, contrabassoon

* Civic Orchestra Fellow + Civic Orchestra Alumni

HORNS

Layan Atieh

Dena Levy

Mark Morris

Emily Whittaker

Loren Ho

Oscar Chung

Fiona Chisholm +

TRUMPETS

Hamed Barbarji

Abner Wong

Sean Whitworth

Sarah Heimberg

TROMBONES

Dustin Nguyen

Alex Ertl

Joe Maiocco

TUBA

Ben Poirot

TIMPANI

Tomas Leivestad

PERCUSSION

Charley Gillette

Cameron Marquez*

Alex Chao

Christian Santos

LIBRARIAN

Benjimen Neal

NEGAUNEE MUSIC INSTITUTE AT THE CSO

the board of the negaunee music institute

Leslie Burns Chair

Steve Shebik Vice Chair

John Aalbregtse

David Arch

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Dunni Cosey Gay

Charles Emmons

Judy Feldman

Lori Julian

Toni-Marie Montgomery

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Ex Officio Members

Jeff Alexander

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negaunee music institute administration

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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

Teng Li Principal Viola

The Paul Hindemith Principal Viola Chair

Brant Taylor Cello

The Blickensderfer Family Chair

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

William Welter Principal Oboe

Stephen Williamson Principal Clarinet

Keith Buncke Principal Bassoon

William Buchman Assistant Principal Bassoon

Mark Almond Principal Horn

Esteban Batallán Principal Trumpet

The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor

Tage Larsen Trumpet

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

Justin Vibbard Principal Librarian

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.

$150,000 AND ABOVE

Lori Julian for The Julian Family Foundation

The Negaunee Foundation

$100,000–$149,999

Abbott Fund

Allstate Insurance Company

Megan and Steve Shebik

$75,000–$99,999

John Hart and Carol Prins

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$50,000–$74,999

Anonymous

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Robert and Joanne Crown Income Charitable Fund

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$35,000–$49,999

Bowman C. Lingle Trust

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$25,000–$34,999

Anonymous

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Charitable Trust

Ayana Tomeka

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ENDOWED FUNDS

Anonymous (5)

Dr. & Mrs. Bernard H. Adelson Fund

Marjorie Blum-Kovler Youth Concert Fund

Civic Orchestra Chamber Access Fund

The Davee Foundation

Frank Family Fund

Kelli Gardner Youth Education Endowment Fund

Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein

Mary Winton Green

John Hart and Carol Prins Fund for Access

William Randolph Hearst Foundation Fund

Richard A. Heise

Julian Family Foundation Fund

The Kapnick Family

Lester B. Knight Charitable Trust

Robert Kohl and Clark Pellett Chair Fund

The Malott Family School Concerts Fund

Eloise W. Martin Endowed Funds

Murley Family Fund

The Negaunee Foundation

Margo and Michael Oberman Community Access Fund

Nancy Ranney and Family and Friends

Helen Regenstein Guest Conductor Fund

Edward F. Schmidt Family Fund

Shebik Community Engagement Programs Fund

The Wallace Foundation

Zell Family Foundation

CIVIC ORCHESTRA OF CHICAGO SCHOLARSHIPS

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 helped to support these stipends for the 2024–25 season.

Ten 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

Nancy A. Abshire

Mason Spencer,* viola

Dr. & Mrs. Bernard H. Adelson Fund

Elena Galentas, viola

Rosalind Britton^ Sam Day, cello

Robert and Joanne Crown Income Charitable Fund

Charley Gillette, percussion

Kyungyeon Hong, oboe

Buianto Lkhasaranov, cello

Daniel W. Meyer, bass

Matthew Musachio,* violin

Sam Sun, viola

Mr. † & Mrs. David Donovan

Bennett Norris, bass

Charles and Carol Emmons^ Will Stevens, oboe

David and Janet Fox^ Carlos Lozano Sanchez, viola

Ellen and Paul Gignilliat

Tiffany Kung, bass

Mr. & Mrs. Joseph B. Glossberg

Hannah Novak, bass

Richard and Alice Godfrey

Darren Carter, violin

Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein

Alex Chao, percussion

Chet Gougis and Shelley Ochab

Nick Reeves, cello

Mary Winton Green

Walker Dean, bass

Jane Redmond Haliday Chair

Munire Mona Mierxiati, violin

Lori Julian for the Julian Family Foundation

David Caplan, cello

Lina Yamin,* violin

League of the Chicago Symphony Orchestra Association

Kari Novilla, harp

Leslie Fund, Inc.

Cameron Marquez,* percussion

Lester B. Knight Charitable Trust

Daniel Fletcher, flute

Elise Maas, violin

Tricia Park, violin

Jocelyn Yeh, cello

Brandon Xu, cello

Mr. Philip Lumpkin

JT O’Toole,* bass

Mr. Glen Madeja and Ms. Janet Steidl

Herdis Gudmundsdottir, violin

Maval Foundation

Mark Morris, horn

Dustin Nguyen, trombone

Sean Whitworth, trumpet

Judy and Scott McCue

Cierra Hall, flute

Dr. Leo and Catherine Miserendino^

Lidanys Graterol, cello

Elizabeth Kapitaniuk, clarinet

Sava Velkoff,* viola

Ms. Susan Norvich

Nick Collins, tuba

Benjamin Poirot, tuba

Margo and Michael Oberman

Hamed Barbarji, trumpet

Bruce Oltman and Bonnie McGrath^

Alexander Wallack, bass

Sandra and Earl Rusnak, Jr. †

Loren Ho, horn

Barbara and Barre Seid Foundation

Alex Ertl, trombone

Joe Maiocco, bass trombone

The George L. Shields Foundation, Inc.

Asuncion Martinez, horn

Keshav Srinisvan, violin

Derrick Ware, viola

Dr. & Mrs. R. Solaro^

Sanford Whatley, viola

David W. and Lucille G. Stotter Chair

Ran Huo, violin

Ruth Miner Swislow Charitable Fund

Kimberly Bill, violin

Ksenia A. and Peter Turula

Abner Wong, trumpet

Lois and James Vrhel

Endowment Fund

Broner McCoy, bass

Dr. Marylou Witz

Marian Mayuga,* violin

Theodore and Elisabeth Wachs^ Amy Hur,* clarinet

Paul and Lisa Wiggin

Layan Atieh, horn

Tomas Leivestad, timpani

Anonymous Hojung Lee, violin

Anonymous J Holzen,* cello

Anonymous^

Carlos Chacon, violin

† 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 October 2024