Program Book - Civic Orchestra of Chicago: Parisian Perspectives

The 2022–23 Civic Orchestra season is generously sponsored by The Julian Family Foundation, which also provides major funding for the Civic Fellowship program.

ONE HUNDRED FOURTH SEASON CIVIC ORCHESTRA OF CHICAGO

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

Sunday, February 12, 2023, at 2:00 South Shore Cultural Center

Monday, February 13, 2023, at 8:00 Orchestra Hall

Ken-David Masur Conductor

ravel

Le tombeau de Couperin

Prélude

Forlane Menuet

Rigaudon

boulanger D’un soir triste

intermission

franck Symphony in D Minor

Lento—Allegro non troppo

Allegretto

Allegro non troppo

The 2022–23 Civic Orchestra season is generously sponsored by The Julian Family Foundation, which also provides major funding for the Civic Fellowship program. This project is supported in part by the National Endowment for the Arts. This program is partially supported by a grant from the Illinois Arts Council Agency. The February 12 performance is offered in partnership with the Chicago Park District and the Advisory Council of the South Shore Cultural Center.

maurice ravel

Born March 7, 1875; Ciboure, Basses-Pyrénées, France

Died December 28, 1937; Paris, France

Le tombeau de Couperin, Suite for Orchestra

Considered too small and delicate for military service, Maurice Ravel realized that he could serve his country by writing music. But when his brother Edouard enlisted at the start of World War I, Ravel didn’t want to sit on the sidelines. At the age of thirty-nine, he managed to get accepted as a nurse’s aide, leaving behind a number of unfinished scores and his seventy-four-year-old mother. Music was still on his mind, however. In October 1914, his first month on the job, he wrote to his former pupil, Roland-Manuel, about two new piano pieces he was planning, including a French suite—“No, it isn’t what you think: La Marseillaise will not be in it, but it will have a forlane and a gigue; no tango, however.” That was the beginning of Le tombeau de Couperin.

In March 1915 Ravel became a truck driver for the Thirteenth Artillery Regiment. (He named the truck Adélaïde and signed his letters Chauffeur Ravel.) It was a dangerous, exhausting, and stressful assignment, and his health suffered. At least for a while, music took a back seat to the more pressing concerns of life and death. Early in 1917, his mother died; it was a terrible blow, which contributed even further to his physical and mental decline, and he was discharged from the army a few months later. While recuperating at his godmother’s country house, Ravel returned to writing music, beginning with the French suite for piano.

Ravel had been tempered by his first-hand experience of war. A frothy symphonic poem, Vien, which he abandoned during the war, now became the bitter La valse. And the benign piano suite he had long envisioned, perhaps as a genial bit of nationalism, now carried the horrible weight of tragedy: each movement was dedicated to a friend who had died at the front. Back in familiar surroundings, but still haunted by memories of the war, Ravel completed the suite he now called Le tombeau de Couperin. What had begun as a homage to a golden era of French music—the age of the composer François Couperin and the eighteenth century in general—now paid gentle tribute to the victims of World War I. Ravel designed his own title page for the score, which included a draped funerary urn. The piano

composed 1914–17 (piano version)

1919 (orchestrated version)

first performance

February 28, 1920; Paris, France

instrumentation

two flutes with piccolo, two oboes with english horn, two clarinets, two bassoons, two horns, trumpet, harp, strings

approximate performance time 16 minutes

from top: Maurice Ravel, photographed at the piano, 1912. Bibliothèque nationale de France

Cover of the first edition, for piano, of Ravel’s Le tombeau de Couperin, 1918, designed by the composer himself. Bibliothèque nationale de France

opposite page: Lili Boulanger, as photographed by Henri Manuel (1874–1947), 1913

suite contained six movements; as the composer promised, there was no hint of the Marseillaise. (Nor was there any tango, perhaps because that popular dance was then thought too scandalous for the concert hall.)

Before the war, Ravel’s own orchestrations of his piano pieces Mother Goose and the Valses nobles et sentimentales were wildly popular. In 1919, after the first performance of Le tombeau de Couperin, he began to orchestrate four of the six movements. As Roland-Manuel wrote, “This metamorphosis of piano pieces into symphonic works was a game for Ravel, a game played to perfection, so that the transcription outdid the charm of the original.” Le tombeau de Couperin is arguably Ravel’s greatest success in the sport. The translation from piano to full orchestra is handled with an almost impossible finesse; Ravel carefully weighed every choice of instrument, showing impeccable concern for color, in all its subtle modulations, as well as for clarity and balance. The orchestration is a work of both enormous care and extreme economy.

Le tombeau de Couperin is the gentlest of memorials—it’s about memory, not war. It has neither the morbid sadness of Richard Strauss’s Metamorphosen nor the anger of Dmitri Shostakovich’s grand wartime symphonies. It evokes those it honors, not the tragic circumstances of their deaths. Ravel borrows the forms of the baroque dance suite, beginning with a prelude that sets the presiding graceful tone. (The piano version includes a fugue and a toccata that Ravel chose not to orchestrate.) The second movement is a forlane, a northern Italian dance; before composing a note of his own, Ravel transcribed a forlane by Couperin as a way of getting to know the style. Ravel’s Menuet (like the Prélude) gives the oboe a prominent role. The Rigaudon that concludes Ravel’s suite is an old dance from Provence that was sometimes used by Rameau and Bach, and much later by Grieg in his Holberg Suite, though seldom with such brilliance and panache.

—Phillip Huscher

lili boulanger

Born August 21, 1893; Paris, France

Died March 5, 1918; Mézy, France

D’un soir triste (Of a sad evening)

“Though Lili Boulanger died in 1918 at the age of twenty-four,” wrote musicologist David Noakes, “hers was a creative life of more than mere promise; it was a life, at least, of partial fulfillment.” The name of Boulanger was indelibly inscribed into the annals of music by Nadia Boulanger, the twentieth century’s most influential teacher and mentor of composers. Despite her seismic impact on modern music, Nadia never considered herself a composer (“not bad, but useless” is how she dismissed her original works), and firmly held that the family’s creative talent had been inherited by her younger sister, Lili. And considerable talent there was to inherit. The girls’ paternal

composed

1917–18

first performance

unknown instrumentation

two flutes, three oboes, three clarinets, two bassoons and english horn, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, strings

approximate performance time

11 minutes

grandfather, Frédéric, taught cello at the Paris Conservatory; his wife was the well-known soprano Marie-Julie Boulanger. The couple’s son, Ernest, won the Prix de Rome in 1835, became a successful opera composer in Paris and teacher of singing at the conservatory, and was awarded the Legion of Honor in 1870. In 1877, he married Raïssa Mischetzky, one of his most talented students, when he was sixty and she nineteen. Among the family’s friends and regular visitors were Charles Gounod, Gabriel Fauré, Jules Massenet, and Camille Saint-Saëns. It was in this privileged musical environment that Nadia was born in 1887; Marie-Juliette Olga (Lili) came along six years later.

Lili’s musical talent was evident from her earliest years. She could reliably carry a tune by the age of two, and three years later began tagging along with Nadia to sit in on her older sister’s classes at the conservatory. Lili studied harp, piano, cello, and violin with some of the city’s best teachers during the following years, but steady bouts of ill health, precipitated by a near-fatal attack of pneumonia when she was three, precluded the physical exertions necessary to master any of those instruments. She turned instead to composition and began serious study of that discipline in 1909 with Georges Caussade and Paul Vidal. Three years later, she was formally admitted to the conservatory, but illness prevented her from participating in the Prix de Rome competitions that year. A stay at a sanitarium on the English Channel restored her health sufficiently enough for her to win the Prix in 1913 with her cantata Faust et Hélène, the first woman to earn that coveted honor. That same year, she also received the Prix Lepaulle and the Prix Yvonne de Gouy d’Arsy. Her arrival at the Villa Medici in Rome was delayed by illness until March 1914, and even then, weakened by the trip and the activity of the preceding year, she was confined to her room for nearly a month and could not resume work until late in the spring. Lili was granted special permission for a visit home in July, and she had to remain in France when World War I broke out the following

month. She organized an extensive program of letter-writing, communication, and support among the conservatory students who had been mobilized and their families and friends during the following year, and did not return to Rome until early 1916. There she set to work on an operatic version of Maeterlinck’s La princesse Maleine, with whose lonely heroine she identified. She worked on this and other projects as much as she could, but her health was in steady decline during the ensuing months. In February 1917, she went to convalesce at Arcachon, on the Atlantic coast near Bordeaux, but she did not improve, and was taken to Paris in July for emergency surgery. The procedure brought only little and temporary relief. She next went to the family summer home at Gargenville for several months, and returned to Paris in December, but soon had to leave for Mézy, west of the city, when the capital was subjected to heavy German bombardment early in 1918. She died in Mézy on March 15.

Despite her early death and the debilitating state of her health, Lili Boulanger completed a substantial number of compositions in which she demonstrated a highly developed creative personality imbued with the pastel impressionism so characteristic of turn-of-the-twentiethcentury France: eighteen works for chorus, many accompanied by orchestra (notably settings of three psalms); two cantatas; some twenty songs; a half-dozen orchestral scores, including a Poème symphonique; and pieces for organ, piano, violin, and flute. The opera La princesse Maleine remained unfinished at her death. In a review of a performance of her music in 1921, Louis Vuillemin wrote,

Lili Boulanger brought to music a keen and prodigiously human sensibility, served in its expression by the full range of natural gifts, from grace, color, charm, and subtlety to winged lyricism and obvious power, easy and profound. Such virtues, so rarely brought together for the benefit of one single creative temperament, are to be found in her works.

The complementary works D’un matin de printemps (Of a spring morning) and D’un soir triste (Of a sad evening) of 1918 were the last scores that Lili Boulanger wrote with her own hand; her Pie Jesu, probably envisioned as part of a complete requiem mass, was dictated to her sister. The manuscripts’ labored notation betrays the deteriorating condition of Lili’s health; Nadia had to add the finishing details of dynamics and articulations. The composer conceived

césar franck

Born December 10, 1822; Liège, Belgium

Died November 8, 1890; Paris, France

Symphony in D Minor

each piece in three versions: one for orchestra, another for piano trio, and a third for violin (or flute) and piano (D’un matin de printemps), and cello and piano (D’un soir triste). The two compositions share a common idea for their thematic material, but exhibit the contrasting moods implied by their titles—D’un soir triste is mournful and painted in somber tones.

—Richard E. Rodda

César Franck matured as a composer very late in life, but he first won acclaim as a child prodigy. In 1830, his father enrolled him in the Liège Conservatory, and César made his first tour as a virtuoso pianist at the age of eleven.

Franck next won fame as an organist and a composer of organ music. Then, in middle age, he devoted himself to teaching, and, in the process, influencing an entire generation of French musicians. Franck came into his own as a composer late in his career. His major works were all written between 1880 and 1890, the last decade of his life.

This symphony is by far the best known of Franck’s orchestral works. Although Franck called it a symphony in response to his students, who quite literally demanded that he try his hand at the form, it is not so much a work in the tradition of Beethoven as a hybrid characteristic of Franck, combining elements of both symphony and symphonic poem in a thematically unified whole. Even in the late 1880s, the French musical public was put off by the unclassifiable nature of the piece. “The subscribers could make neither head nor tail of it,” d’Indy wrote of the chilly reception at the premiere, “and the musical authorities were in much the same position.”

Although we think of Franck as a one-symphony composer like his countryman Georges Bizet, he had in fact written an earlier symphony when he was studying in Paris (it was even

composed

1886–88

first performance

February 17, 1889; Paris, France

instrumentation

two flutes, two oboes and english horn, two clarinets and bass clarinet, two bassoons, four horns, two trumpets and two cornets, three trombones, tuba, timpani, harp, strings

above: César Franck, as photographed by Pierre Petit (1832-1909)

performed in 1841) that was plainly indebted to the Viennese classical tradition. The symphony he wrote in the mid-1880s, however, is the “real” Franck, inspired by the music of Liszt and Wagner, masters of thematic transformation, novel orchestral effects, and bold new forms. Franck also was influenced by the French orchestral tradition, although d’Indy, ever the loyal pupil, insisted that Franck completed his symphony before he knew Saint-Saëns’s Organ Symphony, which was premiered in May 1886. But Franck’s short-score sketch is dated September–October 1887, so his symphony may have been, at least in part, a reaction to SaintSaëns’s striking new work. We know that Franck finished the orchestration in August 1888, and that he also arranged the symphony for piano duet that year, obviously hoping it would be a piece people would want to play at home. He must have been as dismayed as his students when the work fell flat at the premiere.

The D minor symphony has three movements, a formal layout that Franck used in nearly all his major works (a fondness inherited by his students as well). The entire score is saturated with the main theme of the first movement, a three-note motif that echoes the famous questioning motto of Beethoven’s last string quartet—he gave it the words Muss es sein? (Must it be?)—which Liszt later transformed to unforgettable effect in his symphonic poem Les préludes. (It also is mirrored in Wagner’s “fate” motif in The Ring.) The opening movement follows the general guidelines of sonata form, but it also ranges widely, reinventing and transforming its basic thematic material as it goes; it offers a tantalizing suggestion of the kind of magic Franck must have created improvising at the organ.

The Allegretto is both slow movement and scherzo rolled into one. Its main melody,

unfolded at a leisurely pace, is introduced by the english horn, an unconventional choice that particularly offended one of the conservatory professors who attended the premiere: “Just mention a single symphony by Haydn or Beethoven with an english horn,” he demanded of d’Indy that night, failing to recall the quite fantastic symphony by Berlioz that makes magical (unforgettable, one would think) use of the instrument. (Actually, Haydn’s Symphony no. 22 [The Philosopher] calls for two english horns, but it was unknown in France at the time.) Muted strings suggest the spirit of a scherzo, continuing and at the same time complementing what has gone before.

“The finale takes up all the themes again, as in [Beethoven’s] Ninth,” Franck wrote. “They do not return as quotations, however; I have elaborated them and given them the role of new elements.” That is the essence of the entire score—music continuously revisited, transformed, and in the process reborn. “I risked a great deal,” Franck said of his new symphony, “but the next time I shall risk even more.” Perhaps chastened by the cool reception the work received, however, he wrote no more orchestral works. It was only after his death in 1890 that the D minor symphony began to be played more and more—a spectacular performance in Paris in 1893 may have marked the turning point—eventually becoming the most popular work in Franck’s small but prime catalog.

—Phillip Huscher

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

Richard E. Rodda provides program notes for many American orchestras, concert series, and festivals.

The Negaunee Music Institute’s Lasting Partnership with the Irene Taylor Trust

In 1995, the family of the late Irene Taylor established a U.K.-based charity with the intent to bridge two fields about which she and her husband, Lord Chief Justice Peter Taylor, cared deeply: prison reform and music. Under the leadership of Artistic Director Sara Lee, the Irene Taylor Trust’s inaugural program, Music in Prisons, developed workshops to support prisoners in composing, performing, and recording original music.

For over twenty-five years, the trust has expanded with additional songwriting programs for at-risk young people and ex-prisoners, all with the goal of using collaborative music-making to help individuals develop confidence, transferable skills, and ambitions for the future.

The Irene Taylor Trust became a partner of the Negaunee Music Institute at the Chicago Symphony Orchestra in 2013, when Sara Lee and Nick Hayes of ITT joined NMI staff and musicians of the Chicago Symphony Orchestra for a weeklong songwriting project, modeled on the Music in Prisons program, with youth at the Cook County Juvenile Temporary Detention Center. In the years since, the partnership between the two organizations has yielded more than 150 original pieces of music, including songs written by

teens incarcerated at the Illinois Youth CenterChicago, pregnant women and young parents through the Lullaby Project, and families that have lost children to gun violence through the Notes for Peace project. This season, projects take place at the Illinois Youth Center-Chicago, where youth will compose and perform original music supported by musicians of the Civic Orchestra of Chicago. Notes for Peace concluded its most recent project with a performance at Epiphany Center for the Arts on November 20 of seven new songs dedicated to the memory of those lost to gun violence.

“The Irene Taylor Trust has shown us the power of collaborative songwriting,” said Jonathan McCormick, director of education and the NMI. “Our work together over the years has enabled the CSOA to engage with and serve communities across Chicago in ways we never could have imagined or implemented on our own.”

For more on the Negaunee Music Institute’s work with the Irene Taylor Trust, visit cso.org/nmi. These programs are generously sponsored by Megan and Steve Shebik, Lisa and Paul Wiggin, and Theodore and Elisabeth Wachs.

PHOTOS BY TODD ROSENBERG

Adapted from “The Irene Taylor Trust, a longtime NMI partner, turns 25,” by Emily McClanathan, and available on cso.org/experience.

from left: A Notes for Peace performance by Purpose Over Pain member Patricia Porter. Sara Lee speaks to a group of young men at the Cook County Juvenile Temporary Detention Center.

Ken-David Masur Conductor

During the 2022–23 season, Masur leads a range of programs with the Milwaukee Symphony Orchestra, where his programming explores the natural world and its relationship to humanity. He also continues the second year of an MSO artistic partnership with pianist Aaron Diehl, and leads choral and symphonic works including Mendelssohn’s Elijah and Mahler’s Symphony no. 2. With the Civic Orchestra of Chicago, Masur leads concerts throughout the season, including the annual Bach Marathon in December 2022. Other engagements include subscription weeks with the Nashville and Omaha symphony orchestras, and a return to Poland’s Wrocław Philharmonic.

Last season, Masur made debuts with the San Francisco Symphony, the Minnesota Orchestra, and the Baltimore Symphony Orchestra, and led performances with the Rochester Philharmonic and the Kristiansand Symphony Orchestra. Following the gala opening of the Bradley Symphony Center, highlights of the MSO season included a semi-staged production of Peer Gynt. In the summer of 2022, Masur debuted at the Pacific Music Festival in Sapporo, Japan, leading three programs with the Festival Orchestra, including members of the Berlin and Vienna philharmonics, and another concert with the Sapporo Symphony. He debuted at Classical Tahoe in three programs that were broadcast on PBS; and led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a celebration of the composer John Williams.

Masur has conducted distinguished orchestras around the world, including the Chicago Symphony Orchestra, the Los Angeles

Philharmonic, Orchestre National de France, the Yomiuri Nippon Symphony, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and other orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia. Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolay Lugansky, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and also as associate conductor of the San Diego Symphony and resident conductor of the San Antonio Symphony.

Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has led orchestras and master classes at Tokyo Bunka Kaikan Chamber Orchestra, University of Wisconsin–Milwaukee’s Peck School of the Arts, New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at other leading universities and conservatories throughout the world.

Masur is passionate about the growth, encouragement, and application of contemporary music. He has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The festival seeks to engage audiences with its groundbreaking collaborations between the performing, visual, and culinary arts.

Ken-David Masur holds the Robert Kohl and Clark Pellett Principal Conductor Chair with the Civic Orchestra of Chicago.

PHOTO BY ADAM DETOUR

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 the CSO’s Zell Music Director Riccardo Muti.

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 field houses and the National Museum of Mexican Art.

To further expand its musician training, the Civic Orchestra launched the Civic Fellowship 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.

Civic Orchestra of Chicago

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

violins

Jesus Linarez

Gabriela Lara

Matthew Weinberg

Janani Sivakumar

Jonah Kartman

Diane Yang*

Ran Huo

Yu-Kun Hsian

Kimberly Bill

Sungjoo Kang

Hee Yeon Kim*

Annie Pham

Marian Antonette Mayuga*

Crystal Qi

Kino Ono

Subin Shin

Kristian Brushubardis

Shin Lan

Hsuan Chen

Nelson Mendoza Hernandez*

Laura Schafer

Heewoo Seo

Robbie Herbst

Dylan Marshall Feldpausch*

Emily Nardo

Diego Diaz +

Grace Walker

Natalie Koh

violas

Pedro Mendez

Aditi Prakash

Amanda Kellman

Teddy Schenkman

Derrick Ware

Megan Yeung

Kunjing Dai

Carlos Lozano Sanchez

Siyang Calvin Dai

Santiago Del Castillo Aréchiga

Larissa Mapua

cellos

Annamarie Wellems

Lidanys Graterol

Miles Link

Abby Monroe

Francisco Malespin*

Jamie An

Cameron Slaugh

Hana Takemoto

Charlotte Ullman

J Holzen

basses

Bennett Norris

Hannah Novak

Jake Platt

Olivia Reyes

Caleb Edwards

Nate Beaver

Benjamin Foerster

Victor Stahoviak

flutes

Katarina Ignatovich

Eric Leise

piccolo

Eric Leise

oboes/english horns

James Kim

Kyung Yeon Hong

Andrew Port*

clarinets

Daniel Solowey

Irina Chang

Antonio Garrasi

bass clarinet

Erick Alvarez

bassoons

Seo Young (Michelle) Min

Liam Jackson

Mackenzie Brauns*

sarrusophone

Mackenzie Brauns

horns

Ryan Williamson

Nelson Yovera Perez

Michael Stevens

Sylvia Denecke

Loren He

trumpets

Michael Leavens

Ismael Cañizares Ortega

Joshua Harris

Isaac Hopkins

cornets

Michael Leavens

Isaac Hopkins

tuba

Ben Poirot

timpani

David Miller

percussion

Thaddeus Chung

Georg Tantchev

Jordan Berini

harp

Natalie Man

keyboard

Wenlin Cheng

librarian

Anna Thompson

* Civic Orchestra Fellow + Civic Orchestra Alumni

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

civic orchestra

artistic leadership

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

David Cooper Principal Horn

Daniel Gingrich Associate Principal Horn

Esteban Batallán Principal Trumpet

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

Mark Ridenour Assistant

Principal Trumpet

Michael Mulcahy Trombone

John Hagstrom Trumpet

The Bleck Family Chair

Tage Larsen Trumpet

The Pritzker Military Museum & Library Chair

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

Peter Conover Principal Librarian

negaunee music institute at the cso

Jonathan McCormick Director, Education & the Negaunee Music Institute

Katy Clusen Senior Manager, School & Family Programs

Antonio Padilla Denis Manager, Civic Orchestra of Chicago

Rachael Cohen Coordinator, Institute Programs

Emory Freeman Operations Coordinator, Civic Orchestra of Chicago

Autumn Stolle Institute Programs Assistant

Frances Atkins Content Director

Kristin Tobin Designer & Print Production Manager

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

The Julian Family Foundation

The Negaunee Foundation

$100,000–$149,999

Anonymous

Allstate Insurance Company

The Elizabeth F. Cheney Foundation

$75,000–$99,999

John Hart and Carol Prins

Megan and Steve Shebik

$50,000–$74,999

Anonymous

Robert and Joanne Crown Income Charitable Fund

Lloyd A. Fry Foundation

Judy and Scott McCue

Nancy Lauter McDougal and Alfred L. McDougal †

Polk Bros. Foundation

Barbara and Barre Seid Foundation

Shure Charitable Trust

Michael and Linda Simon

Mr. Irving Stenn, Jr.

$35,000–$49,999

Kinder Morgan

Bowman C. Lingle Trust

National Endowment for the Arts

$25,000–$34,999

Anonymous

Abbott Fund

Barker Welfare Foundation

Crain-Maling Foundation

The James and Madeleine McMullan Family Foundation

Dr. & Mrs. Eugene and Jean Stark

Lisa and Paul Wiggin

$20,000–$24,999

Anonymous

Mary Winton Green

Richard P. and Susan Kiphart Family

PNC

Charles and M. R. Shapiro Foundation

The George L. Shields Foundation, Inc.

$15,000–$19,999

Carey and Brett August

Robert and Isabelle Bass Foundation, Inc.

The Buchanan Family Foundation

Bruce and Martha Clinton for The Clinton Family Fund

Sue and Jim Colletti

Ellen and Paul Gignilliat

Illinois Arts Council Agency

The League of the Chicago Symphony Orchestra Association

Mr. Philip Lumpkin

The Maval Foundation

Sandra and Earl Rusnak, Jr.

Ms. Liisa M. Thomas and Mr. Stephen L. Pratt

Dr. Marylou Witz

$11,500–$14,999

Nancy A. Abshire

Mr. † & Mrs. David A. Donovan

Mrs. Carol Evans, in memory of Henry Evans

Jim and Ginger Meyer

Margo and Michael Oberman

Ksenia A. and Peter Turula

Theodore and Elisabeth Wachs

$7,500–$11,499

Anonymous

Robert H. Baum and MaryBeth Kretz

Mr. Lawrence Belles

John D. and Leslie Henner Burns

Mr. Lawrence Corry

Mr. & Mrs. † Allan Drebin

Nancy and Bernard Dunkel

Ms. Nancy Felton-Elkins and Larry Elkins

Mr. & Mrs. Robert Geraghty

Mr. & Mrs. Joseph B. Glossberg

Chet Gougis and Shelley Ochab

Halasyamani and Davis Family

Robert Kohl and Clark Pellett

Mr. Glen Madeja and Ms. Janet Steidl

Ling Z. and Michael C. Markovitz

Drs. Robert and Marsha Mrtek

Ms. Susan Norvich

Ms. Emilysue Pinnell

D. Elizabeth Price

COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)

Robert E. † and Cynthia M. † Sargent

Carol S. Sonnenschein

$4,500–$7,499

Anonymous

Joseph Bartush

Ms. Marion A. Cameron-Gray

Ann and Richard Carr

Harry F. and Elaine Chaddick Foundation

Constance M. Filling and Robert D. Hevey Jr.

Italian Village Restaurants

Mr. & Mrs. Stan Jakopin

Dr. June Koizumi

Dr. Lynda Lane

The Osprey Foundation

Benjamin J. Rosenthal Foundation

Dr. Scholl Foundation

Jessie Shih and Johnson Ho

Dr. Nanajan Yakoub

$3,500–$4,499

Arts Midwest Gig Fund

Charles H. and Bertha L. Boothroyd Foundation

Mr. & Ms. Keith Clayton

Dr. Edward A. Cole and Dr. Christine A. Rydel

Mr. & Mrs. Dwight Decker

Dr. Ronald L. Hullinger

Ms. Ethelle Katz

Dr. Leo and Catherine Miserendino

$2,500–$3,499

Ms. Sandra Bass

Mr. Douglas Bragan

Patricia A. Clickener

Mr. Clinton J. Ecker and Ms. Jacqui Cheng

Ms. Paula Elliott

Brooks and Wanza Grantier

William B. Hinchliff

Mrs. Gabrielle Long

Mr. Zarin Mehta

Mrs. Frank Morrissey

David † and Dolores Nelson

Mr. David Sandfort

David and Judith L. Sensibar

Margaret and Alan Silberman

Mr. Larry Simpson

Dr. & Mrs. R. Solaro

Ms. Mary Walsh

Mr. Kenneth Witkowski

$1,500–$2,499

Dora J. and R. John Aalbregtse

Richard J. Abram and Paul Chandler

Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein

Ms. Marlene Bach

Mr. Carroll Barnes

Mr. & Mrs. William E. Bible

Cassandra L. Book

Mr. James Borkman

Adam Bossov

Ms. Danolda Brennan

Mr. Lee M. Brown and Ms. Pixie Newman

Bradley Cohn

Elk Grove Graphics

Charles and Carol Emmons

† Deceased

Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 2023

Dr. & Mrs. Sanford Finkel, in honor of the Civic horn section

Mr. Conrad Fischer

Mrs. Roslyn K. Flegel

David and Janet Fox

Camillo and Arlene Ghiron

Amber Halvorson

James and Megan Hinchsliff

Clifford Hollander and Sharon Flynn Hollander

Michael and Leigh Huston

Cantor Aviva Katzman and Dr. Morris Mauer

Bob and Marian Kurz

Dona Le Blanc

Dr. Herbert and Francine Lippitz

Ms. Molly Martin

Mr. Aaron Mills

Mr. & Mrs. Dennis Moffat

Edward and Gayla Nieminen

Dianne M. and Robert J. Patterson, Jr.

Mr. & Mrs. Jeffery Piper

Erik and Nelleke Roffelsen

Ms. Cecelia Samans

Mr. David Samson

Jane A. Shapiro

Ms. Denise Stauder

Mr. & Mrs. Salme Steinberg

Walter and Caroline Sueske Charitable Trust

Mr. Peter Vale

Abby and Glen Weisberg

M.L. Winburn

$1,000–$1,499

Anonymous (5)

Ms. Margaret Amato

David and Suzanne Arch

Jon W. and Diane Balke

Mr. & Mrs. John Barnes

Howard and Donna Bass

Marjorie Benton

Ann Blickensderfer

Mr. Thomas Bookey

Mr. Donald Bouseman

Ms. Jeanne Busch

Darren Cahr

Robert and Darden Carr

Drs. Virginia and Stephen Carr

Mr. Rowland Chang

Lisa Chessare

Mr. Ricardo Cifuentes

Mr. & Mrs. Bill Cottle

Constance Cwiok

Mr. Adam Davis

Mr. & Mrs. Barnaby Dinges

Tom Draski

DS&P Insurance Services, Inc.

Mr. & Mrs. Robert Dulski

Judith E. Feldman

Ms. Lola Flamm

Arthur L. Frank, M.D.

Mr. Robert Frisch

Peter Gallanis

Eunice and Perry Goldberg

Enid Goubeaux

Mr. & Mrs. John Hales

Dr. Robert A. Harris

Dr. & Mrs. Jerome Hoeksema

Mr. Matt James

Mr. Randolph T. Kohler

Mr. Steven Kukalis

Ms. Foo Choo Lee

Dr. & Mrs. Stuart Levin

Diane and William F. Lloyd

Mr. † & Mrs. Gerald F. Loftus

Sharon L. Manuel

Mr. & Mrs. William McNally

Mr. Robert Middleton

Stephen W. and Kathleen J. Miller

Mr. & Mrs. Stephen Morales

Mrs. Mary Louise Morrison

Catherine Mouly and LeRoy T. Carlson, Jr.

Mr. George Murphy

Mr. Bruce Oltman

Ms. Joan Pantsios

Mr. & Mrs. Gerald L. Pauling II

Kirsten Bedway and Simon Peebler

Ms. Dona Perry

Quinlan & Fabish

Susan Rabe

Dr. Hilda Richards

Dr. Edward Riley

Mary K. Ring

Christina Romero and Rama Kumanduri

Mr. Nicholas Russell †

Ms. Mary Sauer

Mr. & Mrs. Steve Schuette

Gerald and Barbara Schultz

Mr. & Mrs. Thomas Scorza

Stephen A. and Marilyn Scott

Mr. & Mrs. James Shapiro

Richard Sikes

Dr. Sabine Sobek

Mr. & Mrs. Ronald Stepansky

Sharon Swanson

Ms. Joanne Tarazi

Ms. Joanne C. Tremulis

Mr. & Ms. Terrence Walsh

Mr. & Mrs. Joel Weisman

Ms. Zita Wheeler

In memory of Ira G. Woll

William Zeng

Irene Ziaya and Paul Chaitkin

ENDOWED FUNDS

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

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 underwritten a Civic musician(s) for the 2022–23 season.

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 The Julian Family Foundation

Nancy A. Abshire

Amanda Kellman, viola

Dr. & Mrs. Bernard H. Adelson Fund

Megan Yeung, viola

Mr. Lawrence Belles and The Elizabeth F. Cheney Foundation+ Michael Stevens, horn

Sue and Jim Colletti

Hee Yeon Kim,** violin

Lawrence Corry

Jonah Kartman, 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 January 2023

Robert and Joanne Crown Income Charitable Fund

Irina Chang, clarinet

Kunjing Dai, viola

Antoni Garrasi, clarinet

James Jihyun Kim, oboe

David Miller, timpani

Bennett Norris, bass

Mr. † & Mrs. David A. Donovan

Jacob Medina, horn

Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney Foundation

Benjamin Foerster, bass

Mr. & Mrs. Paul C. Gignilliat

Larissa Mapua, viola

Mr. & Mrs. Joseph B. Glossberg

Michael Leavens, trumpet

Richard and Alice Godfrey

Robbie Herbst, violin

Chet Gougis and Shelley Ochab

Liam Jackson, bassoon

Mary Winton Green

Victor Stahoviak, bass

Jane Redmond Haliday Chair

Hana Takemoto, cello

The Julian Family Foundation

Nelson Mendoza,** violin

Ryan Williamson, horn

Lester B. Knight Charitable Trust

Jaime An, cello

Isaac Hopkins, trumpet

Miles Link, cello

Jake Platt, bass

Crystal Qi, violin

League of the Chicago Symphony Orchestra Association

Lindsey Sharpe,** cello

Leslie Fund Inc.

Aalia Hanif, flute

Francisco Malespin,** cello

Phillip G. Lumpkin

Dylan Feldpausch,** violin

Mr. Glen Madeja and Ms. Janet Steidl

Abigail Monroe, cello

Judy and Scott McCue

Andrew Port,** oboe

Nancy Lauter McDougal and Alfred L. McDougal †

Emily Nardo, violin

Dr. Leo and Catherine Miserendino

Olivia Reyes, bass

Ms. Susan Norvich

Nick Collins, tuba

Benjamin Poirot, tuba

Sandra and Earl J. Rusnak, Jr.

Sylvia Denecke, horn

Barbara and Barre Seid Foundation

Alexander Mullins, bass trombone

Hugo Saavedra,** trombone

The George L. Shields Foundation Inc.

Stephanie Block, viola

Laura Schafer, violin

Haley Slaugh, cello

The David W. and Lucille G. Stotter Chair

Grace Walker, violin

Ruth Miner Swislow Charitable Fund

Kimberly Bill, violin

Lois and James Vrhel Endowment Fund

Caleb Edwards, bass

Dr. Marylou Witz

Marian Mayuga,** violin

Anonymous

Diane Yang,** violin

Anonymous

Kina Ono, violin