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, January 7, 2024, at 2:00 South Shore Cultural Center
Monday, January 8, 2024, at 7:30 Orchestra Hall
Ken-David Masur Conductor DAWSON
Negro Folk Symphony
The Bond of Africa Hope in the Night O, Le’ Me Shine, Shine Like a Morning Star!
INTERMISSION
DVOŘÁK
Symphony No. 9 in E Minor, Op. 95 (From the New World) Adagio—Allegro molto Largo Molto vivace Allegro con fuoco
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. The January 7 performance is offered in partnership with the Chicago Park District and the Advisory Council of the South Shore Cultural Center. C SO.ORG/INSTITUTE
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COMMENTS by Richard E. Rodda and Phillip Huscher WILLIAM L. DAWSON Born September 26, 1899; Anniston, Alabama Died May 2, 1990; Montgomery, Alabama
Negro Folk Symphony The distinguished composer, conductor, and educator William L. Dawson was born in Anniston, Alabama. When he was fifteen, he ran away from home to study music at the Tuskegee Institute. After graduating in 1921, Dawson moved to Kansas City, Missouri, where he obtained his baccalaureate degree from the Horner Institute of Fine Arts, taught at Kansas Vocational College and Lincoln High School, and played trombone in local jazz bands. In 1927 he settled in Chicago, where he played bass with outstanding jazz artists such as Louis and Lillian Armstrong, Johnny Dodds, and Earl Hines, furthered his education at the Chicago Musical College, played principal trombone in the Chicago Civic Orchestra, and directed music at Ebenezer Baptist Church. In 1931 Dawson joined the music faculty of the Tuskegee Institute and during his twenty-five-year tenure brought the Tuskegee Choir to international prominence through tours across the country and abroad, concerts for presidents Herbert Hoover and Franklin D. Roosevelt, and an appearance at the grand opening of Radio City Music Hall in New York City in 1932. His contributions to music and education earned him honorary doctorates from the Tuskegee Institute, Lincoln University, and Ithaca College. His Negro Folk Symphony was premiered in 1934 by the Philadelphia Orchestra under the direction of Leopold Stokowski, and his many arrangements of spirituals are among the finest and most frequently performed works of their kind.
COMPOSED
1931–32
FIRST PERFORMANCE
November 14, 1934, the Philadelphia Orchestra. Leopold Stokowski conducting I N S T R U M E N TAT I O N
two flutes and piccolo, two oboes, english horn, two clarinets, E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (cymbals, triangle), harp, strings A P P R OX I M AT E PERFORMANCE TIME
36 minutes
D
awson began his Negro Folk Symphony in 1931 in Chicago, just before joining the Tuskegee faculty. It was a remarkable undertaking that testified not only to his personal ambition and unquenchable creative spirit but also to his pride in his heritage and belief in the power of music to bridge social divides. Racial prejudice was rampant in the country during those years—Dawson was excluded from some performances and ridiculed by orchestral musicians, and Little Rock native Florence Beatrice Price registered as “Mexican” to avoid discrimination in the Boston community when she entered the New England Conservatory of Music in 1903.
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a b o v e : William L. Dawson, ca. 1931
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The catalyst for Dawson’s Negro Folk Symphony may have been William Grant Still’s Afro-American Symphony, which became the first such work by a Black composer played by a major American orchestra when Howard Hanson premiered it with the Rochester Philharmonic on October 29, 1931. Dawson said that in his symphony, he wanted “to be just myself, a Negro. To me, the finest compliment that could be paid to my symphony is that it unmistakably is not the work of a white man. I want audiences to say, ‘Only a Negro could have written that!’ ” He found a champion for the work in Leopold Stokowski, music director of the Philadelphia Orchestra, whom he met when he was in New York on a tour with the Tuskegee Choir. Stokowski offered encouragement and suggestions for the gestating symphony and led its successful premiere in Philadelphia on November 16, 1934. Dawson wrote (in the third person) in a note for the premiere, This symphony is based entirely on Negro folk music. The themes are based on what are popularly known as Negro spirituals, and the practiced ear will recognize the recurrence of characteristic themes throughout the composition. [Most are original with Dawson, however.] This folk music springs spontaneously from the life of the Negro people as freely today [1934] as at any time in the past, though the modes and forms of the present day are sometimes vastly different from older creations. In this composition, the composer has employed some themes taken from typical melodies over which he has brooded since childhood, having learned them at his mother’s knee. The first movement, “The Bond of Africa,” opens with a call from the solo horn, a recurring theme that Dawson called the “missing link [representing a link that] was removed from a human chain when the first African was taken from the shores of his native land and sent into slavery”; strings respond with a lyrical melody
and woodwinds with snapping rhythmic phrases. These ideas are developed and intertwined before the tempo quickens for the horn’s presentation of a broad theme tinged with blue notes. The movement’s thematic material is completed by a nimble oboe melody based on the traditional spiritual “Oh, My Lit’l Soul’s Gwine-a Shine.” The rest of the movement is given over to buoyant but intricate elaborations and combinations of these themes, with the “missing link” motto acting as a formal anchor as it echoes throughout. “Hope in the Night” begins with three strokes on the gong that Dawson said are a “symbol of the Trinity that guides the destiny of man” and continues with a doleful passage initiated by english horn, “suggesting the monotonous life of the people who were held in bondage for 250 years.” A contrasting theme depicting, Dawson explained, the “merry play of children yet unaware of the hopelessness beclouding their future” is reminiscent of the lively juba dance that slaves performed to the rhythmic accompaniment of clapping, tapping, and slapping their own hands, arms, legs, torso, and cheeks when they were forbidden to have any percussion instruments because plantation owners feared they would be used to send signals. Both of these themes are developed and combined with the “missing link” and main themes from the first movement before they return intact to round out the movement, which ends with a coda of ominous chords punctuated by three bell chimes. “O, Le’ Me Shine, Shine Like a Morning Star!” begins with a theme modeled on the traditional call-and-response: oboe–bassoon–clarinet– trumpet. The movement’s secondary theme, whose rhythm recalls the “missing link” motto, is derived from the spiritual “Hallelujah, Lord, I Been Down into the Sea.” It is threaded through much of the dramatic development section, where its affinity with the “missing link” phrase is strengthened. Peaceful harmonies provide a cushion for the return of the call-and-response main theme in the high woodwinds to begin the recapitulation. The symphony closes with a brilliant summation by the full orchestra. — Richard E. Rodda
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COMMENTS
ANTONÍN DVOŘÁK Born September 8, 1841; Nelahozeves, Bohemia (now Czech Republic) Died May 1, 1904; Prague, Bohemia
Symphony No. 9 in E Minor, Op. 95 (From the New World) Let’s start with Mrs. Jeannette Thurber, the wife of a New York millionaire wholesale grocer and a self-appointed cultural maven, who abandoned her Englishlanguage opera company (after putting a serious dent in her husband’s fortune) to foster an American school of composition. Mrs. Thurber contacted Antonín Dvořák in June 1891 with her proposal. She wanted the famous Czech composer to move to America; become the director of the National Conservatory of Music, where he would teach composition and instrumentation (for an annual salary of $15,000); serve as a figurehead for her new cause; and, in his spare time, write a number of new works, including an opera based on Longfellow’s The Song of Hiawatha. Oddly enough, Dvořák agreed. As soon as the SS Saale completed the Atlantic crossing the composer had dreaded, Dvořák found himself an instant celebrity; he, in turn, became a keen observer of American life. When he wasn’t teaching—or conducting the conservatory choir and orchestra—Dvořák explored New York. By day, he walked in Central Park to talk to the pigeons and dropped by Lower East Side cafes, where other central Europeans liked to hang out. At night, he visited assorted watering holes. (One night, he drank the distinguished critic James Huneker under the table.) He loved to check out the ocean liners along the wharves and clock the trains as their locomotives roared into the city’s stations. And, with Mrs. Thurber on his arm, he even attended a Buffalo Bill’s Wild West show. But how much of America’s musical tradition he absorbed is another question altogether. The question, in fact, was raised with the first major work Dvořák wrote in America, his Ninth Symphony, which came to be known as From the New World. Dvořák began sketching his E minor symphony only three months after he arrived at the dock in Hoboken. (He was always meticulous about dating his manuscripts, both at the beginning and at the end of a piece, and the pages of the symphony tell us that he worked from January 10 until May 24, 1893.) And while he was writing his Ninth Symphony, he remarked, “The influence of America can be felt by anyone who has a ‘nose.’ ”
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COMPOSED
1893
FIRST PERFORMANCE
December 16, 1893, New York City I N S T R U M E N TAT I O N
two flutes with piccolo, two oboes with english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, triangle, strings A P P R OX I M AT E PERFORMANCE TIME
40 minutes
f r o m t o p : Antonín Dvořák, pastel portrait, 1891, by Ludwig Michalek (1859–1942). Prague Conservatory of Music Portrait of philanthropist Mrs. Jeannette Thurber (1850–1946)
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We can excuse Dvořák’s strangely mixed metaphors, but we can’t be so lenient with the musical implications. This is where the picture begins to blur. There’s no question that Dvořák was seriously interested in the music of Indigenous Americans and African Americans. We know that he often invited Harry T. Burleigh, a gifted young Black singer, to perform spirituals for him. But during his first year in the New World, Dvořák made a number of comments that virtually guaranteed the acclamation of his new symphony as a genuine musical evocation of America and started lots of high-handed talk about the use of spirituals and Indian songs in a symphony. When, just before the first performance in December 1893, Dvořák added his title, From the New World, he continued the controversy. It’s difficult to determine the extent of the American influence on Dvořák, but it’s fairly easy to lay to rest a couple of myths. The confusion centers mainly on Dvořák’s use of the pentatonic scale and one especially attractive tune. The pentatonic scale (a five-note scale
without half steps, best visualized as the black notes on the keyboard) colors many of Dvořák’s themes here and was thought to duplicate the sound of Indigenous American melodies, but it is also ubiquitous in folk music worldwide and popped up frequently in Dvořák’s music before he ever crossed the Atlantic. The big tune is the one many listeners know as “Goin’ Home,” the haunting english horn melody of the second movement, and it is still regularly thought to be a spiritual. It may, in fact, have been influenced by spirituals—we know that Dvořák ultimately picked the english horn because it reminded him of Burleigh’s voice—but the tune is Dvořák’s, and the words were later added by one of his students, who adapted the music as a spiritual. Dvořák, with the best of intentions, spoke in glowing terms about the spiritual—“tender, passionate, melancholy, solemn . . . ideal material for a national melodic style”—but he had used similar words earlier to describe Scottish and Irish folk songs during his visits to Britain. And, although he was evidently impressed by the Native American songs he first heard in Spillville,
a b o v e : SS Saale, the vessel on which Dvořák and family traveled from Europe, reaching New York on September 26, 1892
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Iowa, during the summer of 1893 (after he had finished the Ninth Symphony, incidentally), he easily confused this music with that of Black Americans and said as much in an interview with the New York Herald. Eventually, Dvořák modified his stance a bit. In 1900 he wrote to a conductor who had programmed the New World Symphony: “Leave out the nonsense about my having made use of American melodies. I have only composed in the spirit of such American national melodies.” He later referred to all his works written in America as “genuine Bohemian music” and said that the title of his Ninth Symphony was only meant to signify “impressions and greetings from the New World”—a musical postcard to the folks back home.
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nd so, it all comes down to the music. To many concertgoers, this symphony is so familiar and welcoming that it resists explanation. There are, however, a few highlights worth noting. The formal hallmarks of the piece are the use of a motto theme—that vigorous horn call that charges up and down the E minor triad—in all four movements and the reappearance of earlier themes, like relatives at a family reunion, in the finale. Neither idea is the least bit novel, but both are beautifully handled. The first movement begins in a melancholy mood in which some listeners find conclusive evidence of Dvořák’s homesickness, but that is quickly shattered by the vaulting horn theme. Later, a gentle tune may, as many insist, suggest “Swing Low, Sweet Chariot,” but there is no evidence—in the music or elsewhere—to confirm its use. The first movement ends decisively in E minor, and the great Largo theme begins in the relatively inaccessible key of D-flat major.
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Dvořák takes the scenic route via a beautiful progression of seven deep, broad chords that get us to D-flat quickly and without incident. (We now know that Dvořák originally sketched the famous Largo melody in C but transposed it to D-flat just so he could use this series of chords as a bridge.) Near the end, the motto theme barges in, unexpected and full of terror, but the english horn quickly reinstates calm, and the movement ends pianissimo, with the double basses alone. The scherzo begins with a thunderclap; however, this isn’t storm music, but according to the composer, music inspired by the feast and dance of Pau-Puk-Keewis in The Song of Hiawatha. It seems that Dvořák got no further than a few preliminary sketches for the Hiawatha opera Mrs. Thurber wanted and decided to put his ideas to good use here. The finale boasts a bold brass theme and two other lovely pastoral melodies of its own, but Dvořák grants visitation rights to the principal themes of the previous three movements early in the development section, and he is thus able to build a thrilling climax by throwing them all together near the end. Even the stately chord progression from the Largo appears. A brief postscript. Jeannette Thurber died in Bronxville, New York, in 1946. In her last years, Mrs. Thurber liked to take credit for suggesting to Dvořák the idea for the New World Symphony. —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 is the program annotator for the Chicago Symphony Orchestra.
PROFILES Ken-David Masur Conductor Ken-David Masur celebrates his fifth season as music director of the Milwaukee Symphony Orchestra and principal conductor of the Chicago Symphony’s Civic Orchestra. He has conducted distinguished orchestras around the world, including the Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Orchestre National de France, Yomiuri Nippon Symphony, National Philharmonic of Russia, and other orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia. Masur’s tenure in Milwaukee has been marked by innovative thematic programming, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built, and the Water Festival, which highlighted local community partners whose work centers on water conservation and education. He also instituted a multi-season artist-in-residence program and led highly acclaimed performances of major choral works, including a semistaged production of Peer Gynt. This season, he begins a residency with bass-baritone Dashon Burton and leads the MSO in an inaugural citywide Bach festival, celebrating the diverse and universal appeal of J.S. Bach’s music in an ever-changing world. Last season, Masur made his New York Philharmonic debut in a gala program featuring John Williams and Steven Spielberg. He also debuted at the Pacific Music Festival in Sapporo, Japan, and at Classical Tahoe in three programs broadcast on PBS. He led the
P H OTO BY A D A M D E TO U R
Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a ninetieth birthday concert for John Williams. Summer 2023 marked Masur’s debuts with the Grant Park Festival and the National Repertory Orchestra; later this season, he returns to the Baltimore Symphony and the Kristiansand Symphony. Previously, Masur was associate conductor of the Boston Symphony Orchestra. During his five seasons there, he led numerous concerts at Symphony Hall and Tanglewood. For eight years, Masur served as principal guest conductor of the Munich Symphony. He was also 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 conducted Tokyo’s Bunka Kaikan Chamber Orchestra and Tanglewood Music Center Orchestra and led master classes at the University of WisconsinMilwaukee’s Peck School of the Arts, New England Conservatory, Manhattan School of Music, Boston University, Boston Conservatory, and the Juilliard School, where he led the Juilliard Orchestra this fall. Passionate about contemporary music, Masur has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The festival celebrates its fifteenth anniversary in 2024. Masur and his family are proud to call Milwaukee their home and enjoy exploring all the riches of the Third Coast.
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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
Subin Shin Ran (Ryan) Huo Polina Borisova Sheena Lan Marian Antonette Mayuga* Matthew Weinberg Kristian Brusubardis Jonah Kartman Julianne Oh Carlos Chacon Mona Munire Mierxiati Alec Tonno Kimberly Bill Tricia Park Janani Sivakumar Hsuan Chen Hobart Shi Annie Pham Darren Carter Matthew Musachio* Sean Hsi Nelson Mendoza Elise Maas Lina Yamin* Valentina Guillen Menesello Megan Pollon Hojung Christina Lee Jason Hurlbut VIOLAS
Michael Ayala Amanda Kellman Derrick Ware Sanford Whatley Megan Yeung Jason Butler Sava Velkoff Siyang Calvin Dai Carlos Lozano Junghyun Ahn Justin Pou Elena Galentas
CELLOS
David Caplan Lindsey Sharpe Francisco Lopez Malespin* Abigail Monroe J Holzen* Buianto Lkhasaranov Cameron Slaugh Lidanys Graterol Miles Link Chad Polk BASSES
Victor Stahoviak Ben Foerster* Broner McCoy Tiffany Kung Hannah Novak Daniel W. Meyer James O’Toole Zacherie Small FLUTES
Jungah Yoon Katarina Ignatovich Laura Watson
BASSOONS
Ian Arthur Schneiderman Nina Laube* Seo Young (Michelle) Min CONTRABASSOON
Seo Young (Michelle) Min HORNS
Jacob Medina Asunción Martínez Ryan Williamson Mark Morris Loren Ho TRUMPETS
Sean-David Whitworth Abner Wong Kai-Chun Chang TROMBONES
Hugo Saavedra* Felix Regalado BASS TROMBONE
Alexander Mullins
PICCOLO
TUBA
OBOES
T I M PA N I
Katarina Ignatovich Jonathan Kronheimer Andrew Port James Kim ENGLISH HORN
James Kim
CLARINETS
Ben Poirot Dylan Brûlé PERCUSSION
Alex Chao Sehee Park Charley Gillette Karel Zambrano
Amy Hur* Elizabeth Kapitaniuk Tyler Baillie
HARP
E - F L AT C L A R I N E T
Benjimen Neal
Tyler Baillie
Janna Young LIBRARIAN
BASS CLARINET
Zachary Good
* Civic Orchestra Fellow
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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 $ 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
Bowman C. Lingle Trust National Endowment for the Arts Lisa and Paul Wiggin $25,000 –$ 3 4,999
Anonymous Abbott Fund Carey and Brett August Crain-Maling Foundation Kinder Morgan Margo and Michael Oberman Shure Charitable Trust Dr. & Mrs. Eugene and Jean Stark $ 2 0,000 – $ 2 4,9 9 9
Anonymous Mary Winton Green Illinois Arts Council Agency PNC Charles and M. R. Shapiro Foundation The George L. Shields Foundation, Inc.
$ 15,0 0 0 – $ 19,9 9 9
Nancy A. Abshire Robert & Isabelle Bass Foundation, Inc. The Buchanan Family Foundation John D. and Leslie Henner Burns Bruce and Martha Clinton for The Clinton Family Fund Sue and Jim Colletti Mr. Philip Lumpkin The Maval Foundation Sandra and Earl Rusnak, Jr. Dr. Marylou Witz $11,500–$14,999
Mr. † & Mrs. David A. Donovan Mrs. Carol Evans, in memory of Henry Evans Ksenia A. and Peter Turula $ 7, 5 0 0 – $ 1 1 , 4 9 9
Anonymous Robert H. Baum and MaryBeth Kretz Mr. Lawrence Corry Mr. & Mrs. † Allan Drebin Nancy and Bernard Dunkel Ellen and Paul Gignilliat Mr. & Mrs. Joseph B. Glossberg Chet Gougis and Shelley Ochab Halasyamani/Davis Family JPMorgan Chase & Co. The League of the Chicago Symphony Orchestra Association Mr. Glen Madeja and Ms. Janet Steidl Dr. Leo and Catherine Miserendino Ms. Susan Norvich Ms. Emilysue Pinnell D. Elizabeth Price COL (IL) Jennifer N. Pritzker, IL ARNG (Retired) Benjamin J. Rosenthal Foundation Ms. Courtney Shea Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Catherine M. and Frederick H. Waddell $ 4 , 5 0 0 – $ 7, 4 9 9
Anonymous Joseph Bartush Ann and Richard Carr Harry F. and Elaine Chaddick Foundation Constance M. Filling and Robert D. Hevey Jr. Dr. June Koizumi Dr. Lynda Lane Francine R. Manilow Jim and Ginger Meyer Drs. Robert and Marsha Mrtek The Osprey Foundation 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 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
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H ONOR ROLL OF DONORS
Abby and Glen Weisberg M.L. Winburn Dr. & Mrs. Larry Zollinger $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
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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 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 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 ORCHESTR A 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 2023–24 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 Lori Julian for the Julian Family Foundation. 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
H ON OR ROL L OF D ON ORS
Lori Julian for the Julian Family Foundation Nelson Mendoza, violin Lina Yamin, violin Lester B. Knight Charitable Trust Valentina Guillen Menesello, violin Elizabeth Kapitaniuk, clarinet Elise Maas, violin Ryan Williamson, horn Brandon Xu, cello League of the Chicago Symphony Orchestra Association Lindsey Sharpe, cello Leslie Fund Inc. Francisco Lopez Malespin,* cello Phil Lumpkin Matthew Musachio,* violin Glenn Madeja and Janet Steidl Abigail Monroe, cello The Maval Foundation Mark Morris, horn Felix Regalado, trombone
Judy and Scott McCue and the Leslie Fund Inc. Aalia Hanif,* flute Dr. Leo and Catherine Miserendino Sean-David Whitworth, trumpet Ms. Susan Norvich Nick Collins,* tuba Ben Poirot, tuba Margo and Mike Oberman Ben Foerster,* bass Sandra and Earl J. Rusnak, Jr. Quincy Erickson, trumpet Barbara and Barre Seid Foundation Alexander Mullins, bass trombone Hugo Saavedra,* trombone The George L. Shields Foundation, Inc. Hsuan Chen, violin Carlos Lozano, viola Cameron Slaugh, cello
Ruth Miner Swislow Charitable Fund Kimberly Bill, violin Lois and James Vrhel Endowment Fund Broner McCoy, bass Theodore and Elisabeth Wachs Hae Sol (Amy) Hur,+ clarinet Dr. Marylou Witz Marian Antonette Mayuga, violin Anonymous Jesús Linárez, violin Anonymous Gabriela Lara, violin Anonymous Hojung Christina Lee, violin Anonymous J Holzen,* cello
David W. and Lucille G. Stotter Chair Ran (Ryan) Huo, 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 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.
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