CIVIC ORCHESTR A OF CHICAGO
Resilience and Defiance JANUARY 16
SOUTH SHORE CULTURAL CENTER
JANUARY 18
SYMPHONY CENTER
Rossen Milanov conductor
The 2021–22 Civic Orchestra of Chicago season is generously sponsored by
The Elizabeth F. Cheney Foundation.
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ONE HUNDRED THIRD SE ASON
CIVIC ORCHESTRA OF CHICAGO
Ken-David Masur Principal Conductor The Robert Kohl and Clark Pellett Principal Conductor Chair Sunday, January 16, 2022, at 3:00 South Shore Cultural Center Tuesday, January 18, 2022, at 8:00 Orchestra Hall
Rossen Milanov Conductor snider shostakovich
Something for the Dark Symphony No. 10 in E Minor, Op. 93
Moderato Allegro Allegretto Andante—Allegro
There will be no intermission.
The 2021–22 Civic Orchestra of Chicago season is generously sponsored by The Elizabeth F. Cheney Foundation. This program is supported in part by awards from the National Endowment for the Arts and Illinois Arts Council Agency. The January 16 performance is offered in partnership with the Chicago Park District and the Advisory Council of the South Shore Cultural Center. C SO.ORG/INSTITUTE 3
comments by phillip huscher sarah kirkland snider
Born October 8, 1973; Princeton, New Jersey
Something for the Dark Composer Sarah Kirkland Snider writes music of direct expression and vivid narrative that has been hailed as “rapturous” (The New York Times), “groundbreaking” (The Boston Globe), and “poignant, deeply personal” (The New Yorker). With an ear for the poetic and the architectural in her music, Snider draws upon a diversity of influences to render a nuanced command of immersive storytelling. In the words of Pitchfork’s Jayson Greene, “Snider’s music lives in . . . an increasingly populous inter-genre space that, as of yet, has produced only a few clear, confident voices. Snider is perhaps the most sophisticated of them all.” In 2017, she was named one of the Top 35 Female Composers in Classical Music by the Washington Post. Snider’s works have been commissioned and/or performed by the New York Philharmonic, the San Francisco Symphony, the National Symphony Orchestra, the Detroit Symphony Orchestra, the Indianapolis Symphony Orchestra, the Kansas City Symphony, and the St. Paul Chamber Orchestra; the Residentie Orkest Den Haag, the Melbourne Symphony Orchestra, Aarhus Symfoniorkester, Britten Sinfonia, and National Arts Centre Orchestra; the Birmingham Royal Ballet; percussionist Colin Currie, tenor Nicholas Phan, mezzo Emily D’Angelo, and vocalist Shara Nova (formerly Worden); eighth blackbird, A Far Cry, Ensemble Signal, the Knights, and yMusic; Roomful of Teeth, Cantus, and Trinity Wall Street Choir; and many others. Her music has been heard in concert halls around the world including Carnegie Hall, the Elbphilharmonie, the Sydney Opera House, Lincoln Center, the Kennedy Center, and Wigmore Hall; and at festivals such as Big Ears, BAM NextWave, Aspen, Sundance, Ecstatic, Colorado, Bang On a Can Summer, New York Festival of Song, Cross-linx, (Holland), Podium (Germany), and Apples & Olives (Switzerland.) Penelope, her acclaimed song cycle inspired by The Odyssey to a text by Ellen McLaughlin, has been performed over fifty times in North America and Europe. Snider’s recent orchestral work has increasingly drawn the attention of conductors, presenters, and critics. In addition to the programming of Forward Into Light by the Aspen Music Festival for the Aspen Festival Orchestra under the baton of
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composed 2015 f i rst p e rf o rm a n c e April 14, 2016; Detroit, Michigan. Detroit Symphony Orchestra. ??? conducting i n st ru m e n tat i o n piccolo, two flutes, oboe, english horn, three clarinets, two bassoons, contrabason, four horns, four trumpets, timpani, percussion, harp, piano, celesta, strings a p p roxi m at e p e rf o rm a n c e t i m e 12 minutes
a bove: Sarah Kirkland Snider, photo by Jack De Gilio
COMMENTS
Hugh Wolff, which was scheduled to follow its 2020 New York Philharmonic premiere, her works Something for the Dark (2015), and Hiraeth (2015) continue to grow their audiences. Commissioned in 2014 by the Detroit Symphony Orchestra as a result of Snider winning the DSO Elaine Lebenbom Competition, Something for the Dark—which the New York Times called “[a] sophisticated piece . . . a turn of phrase may appear pretty at first, then take on shades of nostalgia before registering as a creepy obsession haunting the ear”—has been programmed in recent seasons by the BBC Concert Orchestra, the Aarhus Symfoniorkester, the Cleveland Orchestra Youth Orchestra, the Kansas City Symphony Orchestra, the Phoenix Symphony Orchestra, the Reno Philharmonic, the North Carolina Symphony, the Boulder Symphony, the Rutgers Symphony Orchestra, the Mannes Orchestra, and the Wheeling Symphony Orchestra.
Sarah Kirkland Snider on Something for the Dark
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omething for the Dark was commissioned by the Detroit Symphony Orchestra as a result of my receiving the DSO Elaine Lebenbom Award for Female Composers in 2014. Thinking about Detroit led me to think about resilience, and what it means to endure. After a brief hint of passing doubt, Something for the Dark opens with a bold, heroic statement of hope and fortitude in the horns and trombones.
I think of this music as the optimism of a very young person. Initially, I envisioned this motif journeying through a bit of challenge and adversity to arrive at an even stronger, bolder version of itself: Growth! Triumph! A happy ending! But that wasn’t what happened. Early into its search for glory, the motif finds itself humbled beyond recognition: a delicate, childlike tune in the flute, harp, and celesta arises in its stead. This new version of hope is then put through a series of challenges that roil and churn it like the sea tossing a small boat—testing it, weathering it, even taunting it with memories of its early hubristic naïveté. Eventually, the music finds its way to solid ground, and though its countenance has now darkened, its heroism a distant memory, it finds a kind of clear-eyed serenity—and, maybe, even, the kind of hope that endures. The title of the piece comes from “For Fran,” a poem by Philip Levine, the Detroit-born-andraised, former U.S. Poet Laureate, who was best known for his poems about Detroit’s working class. The last two lines of the poem struck me as an apt motto for his many clear-eyed reflections on endurance. In preparing the flower beds for winter, Levine’s wife becomes a symbol of the promise of renewal: “She packs the flower beds with leaves / Rags, dampened papers, ties with twine / The lemon tree, but winter carves / Its features on the uprooted stem . . . I turn to her whose future bears / The promise of the appalling air / My living wife, Frances Levine, Mother of Theodore, John, and Mark / Out of whatever we have been / We will make Something for the Dark.”
C SO.ORG/INSTITUTE 5
COMMENTS
dmitri shostakovich
Born September 25, 1906; Saint Petersburg, Russia Died August 9, 1975; Moscow, Russia
Symphony No. 10 in E Minor, Op. 93 We’re told that a recording of Mozart’s Piano Concerto no. 23 was still on the record player when Joseph Stalin died on March 5, 1953. It was the last music he listened to, and it is hard to know what this merciless leader heard in some of the most sublime and civilized music ever written. Perhaps there’s a clue in Shostakovich’s alleged words recorded in the controversial Testimony:
composed 1953 f i rst p e rf o rm a n c e December 17, 1953; Leningrad, Russia i n st ru m e n tat i o n two flutes, alto flute and piccolo, three oboes and english horn, three clarinets and E-flat clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, military drum, snare drum, tam-tam, triangle, xylophone, strings a p p roxi m at e p e rf o rm a n c e t i m e 55 minutes
Music illuminates a person through and through, and it is also his last hope and final refuge. And even half-mad Stalin, a beast and a butcher, instinctively sensed that about music. That’s why he feared and hated it. Shostakovich, the composer Stalin hated most, had learned, through personal grief and public humiliation, of this fear. Twice since Stalin had assumed power in the 1920s, Shostakovich felt the brutal power of Stalin’s attacks, and twice his artistic impulses had been devastated in ways scarcely equaled in any other time or place. Stalin’s first attack, prompted by an impromptu visit to the Bolshoi Theatre performance of the opera Lady Macbeth of Mtsensk, plunged Shostakovich into a crisis of conscience, changed his career forever, and, at the same time, altered the course of Soviet music. The popularity of his written response to Stalin’s criticism— the Fifth Symphony—and his increasing fame around the world only made Shostakovich the inevitable prime target of the intensified attack of February 10, 1948. This time, the official language of reprimand was stronger still, the accusations very specific, and the pressure to conform impossible to ignore. In response, Shostakovich not only withheld his First Violin Concerto, but he also decided to write no more symphonies during Stalin’s lifetime. (One of the major projects he did undertake was a set of twenty-four preludes and fugues for piano, inspired by a composer with no suspect political leanings and a spotless reputation—Johann Sebastian Bach.) In March 1953, Shostakovich awoke to the news that Stalin was dead. His first professional act was to release the works he
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a bove: Dmitri Shostakovich, 1950. Photo by Roger and Renate Rössing (1929–2006 and 1929–2005, respectively). Deutsche Fototheks
COMMENTS
had withheld from performance; that summer he cleared his desk and began a new symphony, which he wrote at lightning speed. (Tatyana Nikolayevna, who gave the premiere of the preludes and fugues, claims that the symphony was actually begun in 1951, while he was writing the piano cycle; even so, it seems clear that he worked extensively and urgently on the symphony only after Stalin’s death.) This is music of a new beginning, at once summing up all that Shostakovich had to say in the form of a symphony, releasing everything that the years of Stalin’s oppression had buried, and anticipating a fresh and enlightened era ahead. The Tenth Symphony was performed in Leningrad in December 1953, to a mixed response. In March 1954, the Moscow branch of the Union of Soviet Composers even called a special three-day conference to debate this important symphony, already recognized as a pivotal work in the history of Soviet music. Many didn’t know how to place it within the context of social realism that had governed Soviet composers since 1932. Some were put off by its apparent pessimism. Finally, in the elaborately ambiguous language that often springs from political gatherings, a young composer, Andrei Volkonsky, pronounced the Tenth Symphony an “optimistic tragedy.”
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oviet musicians quickly noticed, in the beginning of the symphony, a strong resemblance to the opening of Liszt’s Faust Symphony. Shostakovich’s friend and biographer, Dmitri Rabinovich, insisted the reference was intentional. (Early in his career Shostakovich loved Liszt’s music; he later cooled—“too many notes.”) From those first strands of sound, sunken
and mysterious, the music rises step by step toward a massive climax (some two-thirds of the way into a twenty-five-minute movement) and then retreats. The massive arch form, unerringly paced, is one of his finest accomplishments, and it achieves the kind of epic stature that eludes so many symphonies written in the twentieth century. At the conference held by the Union of Soviet Composers, Shostakovich admitted that this movement didn’t realize his dream of a “real symphonic allegro.” We don’t know what music Shostakovich measured his own against, but the sense of a drama unfolding, of music developing before our eyes and ears, recalls the landmarks of the classical period—the works that defined “symphonic allegro” forever. The scherzo that follows is concentrated fury—brief and to the point. Like much of Shostakovich’s angriest music, it’s set against a relentless moto perpetuo, with screaming woodwinds, flaring brass, and abundant percussion. The ensuing Allegretto begins as a dialogue between two kinds of music—one introspective, the other more assertive and proudly bearing the composer’s musical monogram (see sidebar below). Stalin’s death freed Shostakovich to write music so personal that it bears his very signature in the notes on the page. This dialogue is interrupted twelve times by the gentle calling of the horn, a mysterious five-note summons waiting for a reply. Although it has a resemblance to the horn theme from Mahler’s Das Lied von der Erde, we now know that it’s really another musical signature—that of Elmira Nazirova, an Azerbaijani pianist and composer who had studied with Shostakovich at the Moscow Conservatory, and with whom he corresponded
SHOSTAKOVICH’S MUSICAL MONOGRAM In several compositions, beginning with the First Violin Concerto of 1948, Shostakovich spells out his initials in musical notation. This four-note motif is derived from the German transliteration of the composer’s own name, D. SCHostakowitsch. In German notation, E-flat is called “es” and B-natural is H. Thus, DSCH is D, E-flat, C, B. The tradition for this kind of musical signature dates back at least to the time of Bach. C SO.ORG/INSTITUTE 7
COMMENTS
frequently during the summer of 1953. (The notes E, A, E, D, A correspond to E, L[a], Mi, R[e], A.) When there is no answer, the finale begins, cautiously at first and then picking up speed and courage. This movement has often puzzled listeners because it answers the severe and despairing tone of the early movements with unexpected cheerfulness. It’s this music that makes the Tenth Symphony an “optimistic tragedy.” But even the affirmative final pages, where the DSCH motto is finally pounded out by the
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timpani, can never entirely sweep aside all the questions and fears that have been raised before. Shostakovich’s personal triumph, however, is unequivocal, for this is the first of his symphonies that Stalin would never hear.
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
profiles Rossen Milanov Conductor Respected and admired by audiences and musicians alike, Rossen Milanov is the music director of the Columbus Symphony Orchestra, Chautauqua Symphony Orchestra, Princeton Symphony Orchestra, and newly appointed chief conductor of the RTV Slovenia Symphony Orchestra in Ljubljana. Milanov has established himself as a conductor with considerable national and international presence. He completed a seven-year tenure as music director of the Orquesta Sinfónica del Principado de Asturias in Spain. Nationally, he has appeared with the Colorado, Detroit, Indianapolis, Milwaukee, Baltimore, Seattle, and Fort Worth symphonies and National Symphony Orchestra at the Kennedy Center, Link Up education projects with Carnegie Hall and the Orchestra of St. Luke’s, and with the Civic Orchestra of Chicago. Internationally, he has collaborated with the BBC Symphony Orchestra, Orchestra de la Suisse Romande, and the Rotterdam Philharmonic; the Aalborg, Latvian, and Hungarian National symphony orchestras; and orchestras in Canada (Toronto, Vancouver), South Africa, Mexico, Colombia, and Brazil (São Paolo, Belo Horizonte). In the Far East, he has appeared with NHK, Sapporo, Tokyo, and Singapore symphonies; the Malaysian and Hong Kong philharmonics; and at the Hyogo Performing Arts Center. Milanov has collaborated with some of the world’s preeminent artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff, and André Watts. During his eleven-year tenure with the Philadelphia Orchestra, Milanov conducted more than 200 performances. In 2015,
he completed a fifteen-year tenure as music director of the nationally recognized training orchestra Symphony in C in New Jersey, and in 2013 a seventeen-year tenure with the New Symphony Orchestra in his native city of Sofia, Bulgaria. His passion for new music has resulted in world premieres of works by composers such as Derek Bermel, Mason Bates, Caroline Shaw, Philip Glass, Richard Danielpour, Nicholas Maw, and Gabriel Prokofiev, among others. Noted for his versatility, Milanov is a welcome presence in the worlds of opera and ballet. He has collaborated with Komische Oper Berlin (Shostakovich’s Lady Macbeth of Mtsensk), Ópera de Oviedo with the Spanish premiere of Tchaikovsky’s Mazzepa and Bartók’s Bluebeard’s Castle (honored as best Spanish production for 2015), and Opera Columbus (Verdi’s La traviata). An experienced ballet conductor, he has worked at New York City Ballet and collaborated with some of the best-known choreographers of our time, such as Mats Ek, Benjamin Millepied, and Alexei Ratmansky in the critically acclaimed revival of Swan Lake in Zurich with Zurich Ballet and in Paris with La Scala Ballet. Milanov was a recipient of the Columbus Performing Arts Prize from the Columbus Foundation. Under his leadership, the symphony has expanded its reach by connecting original programing with community-wide initiatives, such as a focus on women composers and nature conservancy, original festivals, and new-music commissions. In Princeton, he celebrated his tenth anniversary as music director. Under his leadership, the orchestra has established an excellent artistic reputation and has been recognized for its innovation and vital role in the community. Rossen Milanov studied conducting at the Curtis Institute of Music and the Juilliard School, where he received the Bruno Walter Memorial Scholarship. A passionate chef, he often dedicates his culinary talents to various charities.
C SO.ORG/INSTITUTE 9
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 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
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fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversity 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.
PROFILES
Civic Orchestra of Chicago
Ken-David Masur Principal Conductor The Robert Kohl and Clark Pellett Principal Conductor Chair horns Abby Black* Blaine Dodson Austin Ruff Scott Sanders Nelson Ricardo Yovera Perez
violins John Heffernan Concertmaster Hsuan Chen Assistant Concertmaster Tabitha Oh Principal Second Luke Lentini* Assistant Principal Second Kristian Brusubardis Joshua Burca Hannah Cartwright+ Joy Curtin+ Joe DeAngelo Diego Diaz Shinhye Dong Dylan Marshall Feldpausch* Valentina Guillen Menesello Robert Herbst Yu-Kun Hsiang Christopher Sungjoo Kang Hee Yeon Kim* Kenichi Kiyama Liya Ma Nelson Mendoza* Emily Nardo Kina Ono Crystal Qi Laura Schafer Naomi Schrank+ Holly Wagner Grace Walker Matthew Weinberg Diane Yang
cellos Lindsey Sharpe* Principal Haley Slaugh Assistant Principal Philip Bergman Miles Link Francisco Lopez Malespin* Shannon Merciel Abigail Monroe Hana Takemoto Charlotte Ullman
oboes James Jihyun Kim Amelia Merriman* Laura Yawney
percussion Joseph Bricker* Taylor Hampton Yibing Wang
viol as Bethany Pereboom* Principal Teddy Schenkman Assistant Principal Amanda Kellman Larissa Mapua Pedro Mendez Sofia Nikas Taisiya Sokolova Josephine Stockwell Seth Van Embden Megan Yeung
cl arinets Irina Chang Antonio Garrasi Daniel Solowey
keyboards Wenlin Cheng Tyler Kivel
basses Olivia Reyes Principal Nate Beaver Assistant Principal Nicholas Daniel DeLaurentis Caleb Edwards Ben Foerster Andrew French Wesley A. Jones Isaac Polinsky flutes Katarina Ignatovich Min Ha Kim Alyssa Primeau*
bassoons Edin Agamenoni Mackenzie Brauns* Liam Jackson
trumpets Ismael Cañizares Ortega Michael Leavens David Masaki Nakazono John Wagner trombones Felix Regalado Hugo Saavedra* bass trombone Zhen Lei tuba Ferran Martinez Miquel timpani Dan Benson
harp Eleanor Kirk librarian Anna Thompson
* Civic Orchestra Fellow + Civic Orchestra Alumni Roster subject to change. Please view final roster at cso.org/experience/performances.
C SO.ORG/INSTITUTE 11
negaunee music institute at the cso the board of the negaunee music institute
civic orchestra artistic leadership
Liisa Thomas Chair Leslie Burns Vice 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 Li-Kuo Chang Acting Principal Viola The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor John Sharp Principal Cello The Eloise W. Martin 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 William Welter Principal Oboe The Nancy and Larry Fuller Principal Oboe Chair Scott Hostetler Oboe and English Horn Stephen Williamson Principal 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 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 Mary Sauer Former Principal Keyboard Peter Conover Principal Librarian
John Aalbregtse David Arch James Borkman 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 Ex-officio Members Jeff Alexander Jonathan McCormick Vanessa Moss
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negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute Jon Weber Director, School & Family Programs Molly Walker Orchestra Manager, Civic Orchestra of Chicago Katy Clusen Manager, School & Family Programs Sarah Vander Ploeg Coordinator, School & Community Partnerships Antonio Padilla Denis Operations Coordinator, Civic Orchestra of Chicago Rachael Cohen 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 Dakota Williams, Associate Director, Education and Community Engagement Giving, at williamsd@cso.org or 312-294-3156. $ 1 5 0,0 0 0 A N D A B O V E
The Julian Family Foundation The Negaunee Foundation $ 1 0 0,0 0 0 – $ 1 4 9, 9 9 9
Allstate Insurance Company The Elizabeth F. Cheney Foundation The James and Madeleine McMullan Family Foundation $ 75 ,0 0 0 – $ 9 9, 9 9 9
John Hart and Carol Prins National Endowment for the Arts $ 5 0,0 0 0 – $ 74 , 9 9 9
Robert and Joanne Crown Income Charitable Fund Kinder Morgan Judy and Scott McCue Nancy Lauter McDougal and Alfred L. McDougal † Barbara and Barre Seid Foundation Megan and Steve Shebik Shure Charitable Trust Michael and Linda Simon Mr. Irving Stenn, Jr. $ 3 5 ,0 0 0 – $ 4 9, 9 9 9
John and Fran Edwardson Bowman C. Lingle Trust $ 2 5 ,0 0 0 – $ 3 4 , 9 9 9
Anonymous (2) Abbott Fund Barker Welfare Foundation Crain-Maling Foundation Leslie Fund, Inc. $ 2 0,0 0 0 – $ 2 4 , 9 9 9
Anonymous Illinois Arts Council Agency Richard P. and Susan Kiphart Family PNC Charles and M. R. Shapiro Foundation The George L. Shields Foundation, Inc.
$ 1 5 ,0 0 0 – $ 1 9, 9 9 9
Bruce and Martha Clinton for The Clinton Family Fund Ellen and Paul Gignilliat Mary Winton Green Robert Kohl and Clark Pellett Mr. Philip Lumpkin D. Elizabeth Price Sandra and Earl Rusnak, Jr. Lisa and Paul Wiggin Dr. Marylou Witz $ 1 1, 5 0 0 – $ 1 4 , 9 9 9
Nancy A. Abshire Mr. † & Mrs. David A. Donovan Halasmani/Davis Family $ 7, 5 0 0 – $ 1 1, 4 9 9
Archer Daniels Midland Company Robert & Isabelle Bass Foundation, Inc. Robert H. Baum and MaryBeth Kretz Mr. Lawrence Belles The Buchanan Family Foundation Sue and Jim Colletti Mr. Lawrence Corry Mr. & Mrs †. Allan Drebin Mrs. Carol Evans, in memory of Henry Evans Mr. & Mrs. Robert Geraghty Mr. & Mrs. Joseph B. Glossberg Richard and Alice Godfrey Chet Gougis and Shelley Ochab The League of the Chicago Symphony Orchestra Association Mr. Glen Madeja and Ms. Janet Steidl Ms. Susan Norvich Robert E. † and Cynthia M. Sargent Mrs. Carol S. Sonnenschein Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Penny and John Van Horn Dr. Nanajan Yakoub $ 4 , 5 0 0 – $ 7, 4 9 9
Ms. Marion A. Cameron-Gray Ann and Richard Carr Harry F. and Elaine Chaddick Foundation Mr. & Mrs. Bernard Dunkel John D. and Leslie Henner Burns Dr. June Koizumi Anne E. Leibowitz Fund Jim and Ginger Meyer Mr. Robert Middleton Dr. Scholl Foundation Segal Consulting Theodore and Elisabeth Wachs $ 3,500–$ 4,499
Ms. Patti Acurio Charles H. and Bertha L. Boothroyd Foundation Mr. & Ms. Keith Clayton
Dr. Edward A. Cole and Dr. Christine A. Rydel Dr. Ronald L. Hullinger The Osprey Foundation Mary and Joseph Plauché $2,500–$ 3,499
Anonymous (2) Mr. James Borkman Mr. Douglas Bragan Mrs. Roslyn K. Flegel William B. Hinchliff Italian Village Restaurants Dr. Leo and Catherine Miserendino David † and Dolores Nelson Margo and Michael Oberman Mr. & Mrs. † Andrew Porte Benjamin J. Rosenthal Foundation Mr. David Sandfort Jessie Shih and Johnson Ho Mr. Larry Simpson Dr. & Mrs. R. Solaro Mr. & Mrs. Harvey J. Struthers, Jr. Abby and Glen Weisberg $ 1, 5 0 0 – $ 2 , 4 9 9
Anonymous Dora J. and R. John Aalbregtse Howard and Donna Bass Mr. & Mrs. William E. Bible Adam Bossov Mr. Donald Bouseman Patricia A. Clickener Edward and Nancy Eichelberger Charles and Carol Emmons Judith E. Feldman Lee Francis and Michelle Gittler Jerry Freedman and Elizabeth Sacks James and Rebecca Gaebe Camillo and Arlene Ghiron Gregory Grobarcik Dr. & Mrs. James Holland Michael and Leigh Huston Thomas and Reseda Kalowski Cantor Aviva Katzman and Dr. Morris Mauer Mr. John Lansing Sharon L. Manuel Mr. & Mrs. William McDowell, Jr. Mr. & Mrs. Robert S. Murley Dianne M. and Robert J. Patterson, Jr. Ms. Carol Rech Ruth Anne Rehfeldt Mary K. Ring Walter and Caroline Sueske Charitable Trust Mrs. Florence and Ron Testa David E. and Kerstin Wellbery Jamie Wigglesworth AIA Mr. Robert Winn
† 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 October 22, 2021
C SO.ORG/INSTITUTE 13
HONOR ROLL OF DONORS
$ 1 ,0 0 0 – $ 1 , 4 9 9
Anonymous (4) John Albrecht Dr. Diane Altkorn Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein Dr. & Mrs. Robert Arensman Ms. Marlene Bach Jon W. and Diane Balke Mr. Peter Barrett Ms. Elaine Baumann Ann Blickensderfer Mr. Thomas Bookey Mr. & Mrs. Donald Bowey, Jr. Ms. Danolda Brennan Mr. Lee M. Brown and Ms. Pixie Newman Jack M. Bulmash The Chicago Community Foundation Mr. Howard Conant Matt and Carrie Cotter William and Janice Cutler Robert Allen Daugherty Mr. Adam Davis Mr. Robert Deoliveira Ms. Amy Dickinson and Mr. James Futransky Mrs. Susan F. Dickman Dr. Thomas Durica and Sue Jacob Lori Eich Elk Grove Graphics Ms. Lola Flamm David and Janet Fox Ms. Elizabeth Friedgut Peter Gallanis Dr. & Mrs. Paul B. Glickman Goodman Law Group Chicago Brooks and Wanza Grantier George F. and Catherine S. Haber Mrs. Zahraa Hajjiri Mr. & Mrs. John Hales Charlotte Hampton Dr. Robert A. Harris Ms. Dawn E. Helwig Mr. Felipe Hillard Ms. Sharon Flynn Hollander Ms. Kasey Jackson Egill and Ruth Jacobsen Dr. Jay and Georgianna Kleiman Mr. & Mrs. LeRoy Klemt Mr. & Mrs. Norman Koglin Dr. & Mrs. Stuart Levin Mr. Jerrold Levine Mr. † & Mrs. Gerald F. Loftus Robert Losik Mr. Daniel Macken and Mr. Merlyn Harbold Ms. Mirjana Martich and Mr. Zoran Lazarevic Marilyn and Myron Maurer Marilyn Mitchell Catherine Mouly and LeRoy T. Carlson, Jr. Phyllis and Zane Muhl
Edward and Gayla Nieminen Mr. & Mrs. Delano O’Banion Mr. Bruce Oltman Ms. Joan Pantsios Ms. Audrey Paton Kirsten Bedway and Simon Peebler Dorothy V. Ramm Dr. Hilda Richards Cristina Romero Mr. Nicholas Russell Mr. Laurence Saviers Mr. & Mrs. Eric Scheyer Gerald and Barbara Schultz Mr. & Mrs. Thomas Scorza Stephen A. and Marilyn Scott Xiaokui Katie Shan Dr. & Mrs. Richard Snow Dr. Sabine Sobek Mr. George Speck Joel and Beth Spenadel Mrs. Julie Stagliano Ms. Denise Stauder Mr. & Mrs. Ronald Stepansky Dr. & Mrs. Ralph Stoll Sharon Swanson Ms. Deborah Tate Terry Taylor Ayana Tomeka Dr. Joyce Van Cura Henrietta Vepstas Dr. Pietro Veronesi Mrs. Hempstead Washburne Ms. Christine Wilson 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 2021–22 season. Thirteen 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. The 2021–22 Civic season is sponsored by the Elizabeth F. Cheney Foundation. To learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at williamsd@cso.org or 312-294-3156. Nancy A. Abshire Shannon Merciel, cello Dr. & Mrs. Bernard H. Adelson Fund Rachel Mostek, viola Mr. Lawrence Belles and The Elizabeth F. Cheney Foundation Michael Stevens, horn Sue and Jim Colletti Bethany Pereboom,** viola Lawrence Corry Wesley Jones bass Robert and Joanne Crown Income Charitable Fund Edin Agamenoni, bassoon Irina Chang, clarinet James Jihyun Kim, oboe Jacob Medina, horn Sofia Nikas, viola Charlotte Ullman, cello Mr. † & Mrs. David A. Donovan Alyssa Primeau,** flute
† Deceased ** 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 22, 2021
14 ONE HUNDRED THIRD SEASON
HONOR ROLL OF DONORS
Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney Foundation Benjamin Foerster, bass Mr. & Mrs. Robert Geraghty and The Elizabeth F. Cheney Foundation Haley Slaugh, cello Mr. & Mrs. Paul C. Gignilliat Ye Jin Goo, viola Benjamin Wagner, 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 Isaac Polinsky, bass Jane Redmond Haliday Chair Hana Takemoto, cello The Julian Family Foundation Taylor Hampton, percussion Nelson Mendoza,** violin Lester B. Knight Charitable Trust Miles Link, cello Crystal Qi, violin Daniel Solowey, clarinet Holly Wagner, violin John Wagner, trumpet
Robert Kohl and Clark Pellett John Heffernan, violin League of the Chicago Symphony Orchestra Association Lindsey Sharpe,** cello Leslie Fund Inc. Joseph Bricker,** percussion Tabitha Oh, violin Phillip G. Lumpkin Dylan Feldpusch,** violin Mr. Glen Madeja and Ms. Janet Steidl Abigail Monroe, cello Judy and Scott McCue and The Elizabeth F. Cheney Foundation Luke Lentini,** violin Nancy Lauter McDougal and Alfred L. McDougal † Diego Diaz, violin
The George L. Shields Foundation Inc. Phillip Bergman, cello Laura Schafer, violin Seth Van Embden, viola The David W. and Lucille G. Stotter Chair Joshua Burca, violin Ruth Miner Swislow Charitable Fund Nick DeLaurentis, bass Lois and James Vrhel Endowment Fund Caleb Edwards, bass Dr. Marylou Witz Hee Yeon Kim,** violin Anonymous Hugo Saavedra,** trombone Anonymous Francisco Malespin,** cello Rannveig Sarc, violin
Dr. Leo and Catherine Miserendino Olivia Reyes, bass Ms. Susan Norvich Eleanor Kirk, harp Sandra and Earl J. Rusnak Jr. Teddy Schenkman, viola Barbara and Barre Seid Foundation Jarrett McCourt, tuba Nelson Ricardo Yovera Perez, horn
† Deceased ** 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 22, 2021
C SO.ORG/INSTITUTE 15