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
Sunday, November 19, 2023, at 2:00 Senn High School Monday, November 20, 2023, at 7:30 Orchestra Hall
Tito Muñoz Conductor SMITH
Tumblebird Contrails
HOVHANESS
Symphony No. 2, Op. 132 (Mysterious Mountain) Andante con moto Double Fugue: Moderato maestoso—Allegro vivo Andante espressivo—Con moto
INTERMISSION
BEETHOVEN
Symphony No. 6 in F Major, Op. 68 (Pastoral)
Awakening of Cheerful Feelings on Arriving in the Country: Allegro ma non troppo Scene by the Brook: Andante molto mosso Merry Assembly of Country Folk: Allegro— Thunderstorm: Allegro— Shepherd’s Song—Happy and Grateful Feelings after the Storm: Allegretto
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 Gabriella Smith, Richard E. Rodda, and Phillip Huscher GABRIELLA SMITH Born December 26, 1991; Berkley, California
Tumblebird Contrails Gabriella Smith is a composer whose work comes from a love of play, exploring new sounds on instruments, building compelling musical arcs, and connecting listeners with the natural world in an invitation to find joy in climate action. Smith’s cello concerto, Lost Coast, written for her longtime collaborator Gabriel Cabezas, received its world premiere in May 2023 with the Los Angeles Philharmonic. Her first fulllength album, also titled Lost Coast, was recorded with Cabezas in Iceland and named one of NPR Music’s 26 Favorite Albums Of 2021 (So Far) and a Classical Album to Hear Right Now by the New York Times. Smith and Cabezas have performed around the world as a cello-violin-voice-electronics duo. Gabriella Smith’s current projects include a large-scale work for Kronos Quartet about climate solutions; an album-length work for yMusic; underwater field recordings; and performances of her organ concerto, Breathing Forests, by James McVinnie and San Francisco Symphony as part of the inaugural California Festival. In December 2023, her work Tumblebird Contrails will be performed at the Nobel Prize Concert by the Royal Stockholm Philharmonic Orchestra, conducted by EsaPekka Salonen. Gabriella grew up in the San Francisco Bay Area playing and writing music, hiking, backpacking, and volunteering on a songbird research project.
composed 2014 FIRST PERFORMANCE
August 9, 2014, the Cabrillo Festival Orchestra. Marin Alsop conducting I N S T R U M E N TAT I O N
three flutes, three oboes, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (drum set, snare drum, bass drum, suspended cymbal, assorted metal objects, tam-tam), strings A P P R OX I M AT E PERFORMANCE TIME
12 minutes
Gabriella Smith on Tumblebird Contrails
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umblebird Contrails is inspired by a single moment I experienced while backpacking in Point Reyes, sitting in the sand at the edge of the ocean, listening to the hallucinatory sounds of the Pacific, the constant ebb and flow of pitch to pitchless, tune to texture, grooving to free-flowing; watching a pair of ravens playing in the wind, rolling, swooping, diving, and soaring. The title, Tumblebird Contrails, is a Kerouac-inspired nonsense phrase I invented to evoke the sound and feel of the piece. —Gabriella Smith; courtesy of gabriellasmith.com
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a b o v e : Gabriella Smith, photo by Kate Smith
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ALAN HOVHANESS Born March 8, 1911; Somerville, Massachusetts Died June 21, 2000; Seattle, Washington
Symphony No. 2, Op. 132 (Mysterious Mountain) Alan Hovhaness, one of the most intriguing and prolific figures in American music, was born Alan Vaness Chakmakjian in Somerville, Massachusetts. His Armenianborn father was a chemistry professor, and his mother was of Scottish ancestry. Hovhaness began improvising and composing at an early age and studied at the New England Conservatory in the 1930s with Frederick Converse. In 1940 he was appointed organist at an Armenian church near Boston, from which post he investigated the music of his father’s native land. Two years later, he attended the Berkshire Music Center at Tanglewood on scholarship, but criticism there of his music by Copland and Foss, his intensive study of Eastern music, philosophy, and religion, and his increasingly mystical attitude left him dissatisfied with his earlier work, so he summarily destroyed most of what he had written before 1940, said to have consisted of seven symphonies, five string quartets, a number of operas and several hundred other compositions. The influence of Armenian and Eastern music on Hovhaness’s work became pervasive after 1945. In style, his works are primarily melodic, often melismatic and incantatory, with a harmonic vocabulary dependent on various modal formulas. There are frequent excursions into fugue and imitative textures, testimony to his long interest in the music of the European Middle Ages and Renaissance. During the 1950s, he traveled widely, notably to India, Japan, and Korea, where his music was well received and where he discovered new stylistic elements that soon appeared in his compositions. Like Olivier Messiaen of France, Hovhaness sought to reconcile mystical and mundane, Western and Eastern, ancient and modern, in music of distinctive personality. Hovhaness’s musical output is diverse in content and vast in quantity. There are nearly 400 separate pieces, including nine operas, two ballets, sixty-seven symphonies, several dozen independent works for orchestra and wind band, a hundred chamber pieces, an almost equal number for voices, and many compositions for solo piano. Most of his works have evocative titles. Among the symphonies, for example, are ones called
composed 1955 FIRST PERFORMANCE
1955, Houston Symphony Orchestra. Leopold Stokowski conducting First recorded in 1958 for the RCA Victor label by the Chicago Symphony Orchestra under Fritz Reiner I N S T R U M E N TAT I O N
three flutes, two oboes, english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, five horns, three trumpets, three trombones, tuba, celesta, harp, timpani, strings A P P R OX I M AT E PERFORMANCE TIME
17 minutes
a b o v e : Alan Hovhaness, photo by William Gedney
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Mysterious Mountain, Nanga Parvat (one of the world’s most remote mountains, in Kashmir), Silver Pilgrimage (after a novel by the Indian writer M. Ananthanarayan), Fra Angelico (the fifteenth-century Florentine painter), St. Vartan (an Armenian folk hero martyred in a.d. 451), Ararat, Odysseus, and Mount St. Helens; one of his symphonies was written for string orchestra and Korean percussion instruments. The composer spoke of his music in almost metaphysical terms: To me, atonality is against nature. There is a center to everything that exists. The planets have the sun, the moon, the earth. The reason I like Oriental music is that everything has a firm center. All music with a center is tonal. Music without a center is fine for a minute or two, but it soon sounds all the same. . . . Things that are very complicated tend to disappear and get lost. Simplicity is difficult, not easy. Beauty is simple. All unnecessary elements are removed—only essence remains. Hovhaness wrote the Symphony no. 2 (Mysterious Mountain) in 1955 for Leopold Stokowski’s first concert as music director of the Houston Symphony Orchestra. Of its title, Hovhaness noted, Mountains are symbols, like pyramids, of man’s attempt to know God. Mountains are symbolic meeting places between the mundane and the spiritual worlds. To some, the mysterious mountain may be the phantom peak, unmeasured, thought to be higher
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than Everest, as seen from great distances by fliers in Tibet. To some, it may be the solitary mountain, the tower of strength over a countryside—Fujiyama, Ararat, Monadnock, Shasta, or Grand Teton. The composer went on to explain the musical structure of the work: The first and last movements are hymn-like and lyrical, using irregular metrical forms. The first subject of the second movement, a double fugue, is developed in a slow vocal style. The rapid second subject is played by the strings with its own countersubject and with strict four-voice canonic episodes and triple counterpoint episodes. . . . In the last movement, a chant in 7/4 is played softly by muted horns and trombones. A giant wave in a thirteen-beat meter rises to a climax and recedes. . . . A middle melody is sung by the oboes and clarinets in a quintuple beat. Muted violins return with the earlier chant, which is gradually given to the full orchestra. Following the premiere of Mysterious Mountain, Hubert Roussel, critic of the Houston Post, wrote, “Hovhaness produces a texture of the utmost beauty, gentleness, distinction, and expressive potential. The real mystery of Mysterious Mountain is that it should be so simply, sweetly, innocently lovely in an age that has tried so terribly hard to avoid those impressions in music.” —Richard E. Rodda
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LUDWIG VAN BEETHOVEN Born December 16, 1770; Bonn, Germany Died March 26, 1827; Vienna, Austria
Symphony No. 6 in F Major, Op. 68 (Pastoral) Even by nineteenth-century standards, the historic concert on December 22, 1808, was something of an endurance test. That night, Beethoven conducted the premieres of both his Fifth and Sixth symphonies; played his Fourth Piano Concerto (conducting from the keyboard); and rounded out the program with the Gloria and the Sanctus from the Mass in C, the concert aria Ah! perfido, improvisations at the keyboard, and the Choral Fantasy. If concertgoers that evening read their printed program—the luxury of program notes still many decades in the future—they would have found the following brief guide to the Sixth Symphony, in Beethoven’s own words:
composed 1807–08 FIRST PERFORMANCE
December 22, 1808; Vienna, Austria. The composer conducting I N S T R U M E N TAT I O N
two flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, strings A P P R OX I M AT E PERFORMANCE TIME
40 minutes
Pastoral Symphony, more an expression of feeling than painting. 1st piece: pleasant feelings that awaken in men on arriving in the countryside. 2nd piece: scene by the brook. 3rd piece: merry gathering of country people, interrupted by 4th piece: thunder and storm, into which breaks 5th piece: salutary feelings combined with thanks to the Deity. Although Beethoven wasn’t by nature a man of words (spelling and punctuation led a perilous existence in his hands), he normally said what he meant. We must then take him at his word, believing that he had good reason (for the only time in his career) to preface his music with a few well-chosen words and that curious disclaimer “more an expression of feeling than painting.” Perhaps Beethoven was anticipating the controversy to follow, for in 1808, symphonies weren’t supposed to depict postcard scenes or bad weather. Beethoven’s idea itself was neither novel nor his own. In 1784, an obscure composer named Justin Heinrich Knecht advertised his newest symphonic creation: Le portrait musical de la nature (A Musical Portrait of Nature) in five movements, including a depiction of the peaceful countryside, the approach of a storm, and a general thanksgiving to the Creator once the clouds had passed. It would take hearing no more than a measure or two of music to explain why Knecht has remained obscure while Beethoven turned the music world upside down. The
f r o m t o p : Ludwig van Beethoven, oil portrait by Joseph Willibrod Mähler (1778–1860), 1804–05 Beethoven, seated beside a brook, composing the Pastoral Symphony. Lithograph by Franz Hegi (1774–1850), from the Zurich Music Society Almanac of 1834. Hans Conrad Bodmer Collection, Beethoven-Haus Bonn
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descriptive writing and pastoral subject matter of Beethoven’s symphony are a throwback to the baroque era—think of Vivaldi’s Four Seasons or the Pastoral Symphony in Handel’s Messiah—or at least to Haydn’s two oratorios, The Creation and The Seasons, the latter written only half a dozen years earlier. History books are right, of course, to point out the work’s novelties: the “extra” movement, the descriptive titles, the programmatic element, and pictorial details like the birdcalls in the slow movement and the village band in the scherzo. Our familiar picture of Beethoven, cross and deaf, slumped in total absorption over his sketches, doesn’t easily allow for Beethoven the nature lover. But he liked nothing more than a walk in the woods, where he could wander undisturbed, stopping from time to time to scribble a new idea on the folded sheets of music paper he always carried in his pocket. “No one,” he wrote to Therese Malfatti two years after the premiere of the Pastoral Symphony, “can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”
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hey’re all here in his Sixth Symphony. The most surprising thing about the opening Allegro is how quiet it is: seldom in 500 measures of music (well over ten minutes) does Beethoven raise his voice. Surely no composer— including the so-called minimalists—has so clearly understood the impact of repeating a simple idea unaltered, or slowing the rate of harmonic change to a standstill. When, near the beginning of the development section, Beethoven changes the harmony only once in the course of fifty measures, the effect of that shift from B-flat to D is breathtaking. Perhaps the most remarkable aspect of this spacious, relaxed, blissfully untroubled movement is that it comes from the same pen that gave us—at the same time, no less—that firecracker of a symphony, his Fifth, in C minor. Not even the once-powerful British critic Donald Tovey, despite his love for highbrow language, could find a better word to describe Beethoven’s slow movement than “lazy.” We
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can be sure that the laziness is intentional, and it’s amazing how much this least restful of composers seems to enjoy the drowsy pace and the self-indulgent repetitions of favorite sections. Beethoven begins with a gentle babbling brook (one of those undulating accompaniment figures that Schubert would later do to perfection) and ends with notorious birdcalls. The only problem with the birds is that Beethoven calls so much attention to them, bringing the music—and the brook—to a halt, and then specifying first the nightingale (flute), then the quail (oboe), and finally the cuckoo (clarinet). But as many a writer has pointed out, the birds are no more out of place here than a cadenza in a concerto—the nightingale even provides the final obligatory trill. The third movement is dance music with a plain, homely, rustic peasant dance for a midsection trio. But the fun is cut short by dark clouds and the prospect of rain. There’s probably no more impressive storm in all music—the whole orchestra surges and shakes, trombones appear (for the first time) to emphasize the downpour, and the timpani shows up just to add the thunder. This is, of course, no “extra” movement at all, but merely a lengthy, rapid introduction to the finale. The clouds finally roll away, the oboe promises better things to come in a wonderfully heartfelt phrase, and the flute, with its staccato scale, raises the curtain on Elysium. And so, to the yodeling of the clarinet and horn, we willingly believe F major to be the most beautiful key on earth. The moment is parallel to the great triumphant sunburst that marks the arrival of the finale of Beethoven’s Fifth Symphony, and, although the means could hardly be less similar, the effect is just as wondrous. —Phillip Huscher Richard E. Rodda, a former faculty member at Case Western Reserve University and the Cleveland Institute of Music, provides program notes for many American orchestras, concert series, and festivals. Phillip Huscher has been the program annotator for the Chicago Symphony Orchestra since 1987.
PROFILES Tito Muñoz Conductor Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Now in his tenth season as the Virginia G. Piper Music Director of the Phoenix Symphony, he previously served as music director of the Opéra National de Lorraine and Orchestre Symphonique et Lyrique de Nancy in France. Other prior appointments include assistant conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra, and the Aspen Music Festival. Muñoz has appeared with the most prominent orchestras in North America, including those of Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Milwaukee, New York, and Utah, as well as the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, and the National Symphony Orchestra. He maintains a strong international conducting presence, appearing with the Frankfurt Radio Symphony, SWR Synphonieorchester, Deutsche Radio Philharmonie Saarbrücken, Mahler Chamber Orchestra, Lucerne Festival Contemporary Orchestra, Lausanne Chamber Orchestra, BBC Symphony Orchestra, BBC Scottish Symphony, and Royal Philharmonic (London), among others. As a proponent of new music, Tito Muñoz champions the composers of our time through expanded programming, commissions, premieres, and recordings. He has conducted premieres of works by Christopher Cerrone, Kenneth Fuchs, Dai Fujikura, Michael Hersch, Adam Schoenberg, and Mauricio Sotelo. A great advocate of the music of Michael Hersch, he led the world premiere of his monodrama On the Threshold of Winter at the Brooklyn Academy of Music in 2014, followed by the premiere of his violin concerto with Patricia Kopatchinskaja and the Saint Paul Chamber Orchestra in 2015, a P H OTO BY D A R I O A C O STA
piece they also recorded with the International Contemporary Ensemble on the New Focus label. A passionate educator, Muñoz regularly visits North America’s top educational institutions, summer music festivals, and youth orchestras. He has led performances at the Aspen Music Festival, Boston University Tanglewood Institute, Cleveland Institute of Music, Indiana University, Kent/Blossom Music Festival, Music Academy of the West, New England Conservatory, New World Symphony, Oberlin Conservatory, Royal Conservatory of Music in Toronto, University of Texas at Austin, National Repertory Orchestra, and St. Olaf College Orchestra. Muñoz maintains a close relationship with the Kinhaven Music School, which he attended as a young musician, and now guest conducts there annually. Muñoz also enjoys a regular partnership with Arizona State University, where he has held a faculty position and is a frequent guest teacher and conductor. Born in Queens, New York, Tito Muñoz began his musical training as a violinist in New York City public schools. He attended the LaGuardia High School of the Performing Arts, the Juilliard School’s Music Advancement Program, and the Manhattan School of Music Pre-College Division. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips. Muñoz received conducting training at the American Academy of Conducting at Aspen, where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize. Tito Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited by Leonard Slatkin as a participant of the National Conducting Institute. That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. He was awarded the 2009 Mendelssohn Scholarship, sponsored by Kurt Masur and the Felix Mendelssohn-Bartholdy Foundation in Leipzig, and was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition in Frankfurt. C SO.ORG/INSTITUTE
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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
Janani Sivakumar Subin Shin Polina Borisova Julianne Oh Sheena Lan J. Andrés Robuschi Kristian Brusubardis Hsuan Chen Jonah Kartman Annie Pham Heewoo Seoa Freya Liu Matthew Weinberg Danira Rodríguez-Purcell Lina Yamin* Karino Wada Ran (Ryan) Huo Marian Antonette Mayuga* Hobart Shi Mona Munire Mierxiati Kimberly Bill Isabelle Chin Valentina Guillen Menesello Nelson Mendoza Matthew Musachio* Darren Carter Hojung Christina Lee Jason Hurlbut Elise Maas Megan Pollon VIOLAS
Amanda Kellman Sanford Whatley Carlos Lozano Sava Velkoff Derrick Ware Junghyun Ahn Justin Pou Siyang Calvin Dai Jason Butler* Elena Galentas Megan Yeung Santiago Del Castillo Aréchiga
CELLOS
Brandon Xu Francisco Lopez Malespin* J Holzen* Miles Link Cameron Slaugh Buianto Lkhasaranov Abigail Monroe Daniel Ryu Niraj Patil Lidanys Graterol BASSES
Hannah Novak Victor Stahoviak Tiffany Kung Daniel W. Meyer James O’Toole Broner McCoy Ben Foerster* Walker Dean FLUTES
Aalia Hanif* Katarina Ignatovich Jungah Yoon
BASSOONS
Nina Laube* Seo Young (Michelle) Min Ian Arthur Schneiderman CONTRABASSOON
Ian Arthur Schneiderman HORNS
Jacob Medina Ryan Williamson Loren Ho Asunción Martínez Mark Morris TRUMPETS
Sean-David Whitworth Quincy Erickson Abner Wong TROMBONES
Hugo Saavedra* Felix Regalado BASS TROMBONE
Alexander Mullins
PICCOLO
TUBA
OBOES
T I M PA N I
Jungah Yoon James Kim Jonathan Kronheimer Andrew Port*
Ben Poirot Tomas Leivestad PERCUSSION
ENGLISH HORN
Andrew Port*
Sehee Park Dominik McDonald Karel Zambrano
CLARINETS
HARP
Tyler Baillie Elizabeth Kapitaniuk BASS CLARINET
Nico Chona
Janna Young KEYBOARD
Marissa Kerbel
* 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 Steve Shebik Vice Chair John Aalbregtse David Arch James Borkman Jacqui Cheng Ricardo Cifuentes Richard Colburn Dunni Cosey Gay Charles Emmons Judy Feldman Lori Julian Toni-Marie Montgomery Rumi Morales Mimi Murley Margo Oberman Gerald Pauling Harper Reed Veronica Reyes Marlon Smith Eugene Stark Liisa Thomas 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 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
$ 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
Bowman C. Lingle Trust National Endowment for the Arts Lisa and Paul Wiggin
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
$25,000 –$ 3 4,999
$ 4 , 5 0 0 – $ 7, 4 9 9
$ 10 0,0 0 0 – $ 1 4 9,9 9 9
Anonymous Allstate Insurance Company $ 75,0 0 0 – $ 9 9,9 9 9
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
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 The George L. Shields Foundation, Inc.
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 Dr. Scholl 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 Valentina Guillen Menesello, violin Elizabeth Kapitaniuk, clarinet Elise Maas, violin Ryan Williamson, horn Brandon Xu, cello
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 October 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