Program Book - Civic Orchestra of Chicago: Dreams and Reveries

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

Monday, May 15, 2023, at 8:00

Ken-David Masur Conductor

clyne Masquerade

thorvaldsdóttir Dreaming

intermission

berlioz Symphonie fantastique, Op. 14

Dreams—Passions (Largo—Allegro agitato e appassionato assai)

A Ball (Waltz: Allegro non troppo)

A Scene in the Country (Adagio)

March to the Scaffold (Allegretto non troppo)

Dream of a Witches’ Sabbath (Larghetto—Allegro)

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.

comments by phillip huscher

anna clyne

Born March 9, 1980; London, England

Masquerade

Anna Clyne was born in London and raised in the United Kingdom. She holds degrees from Edinburgh University and the Manhattan School of Music, and has lived and worked in Edinburgh, Ontario, and New York City; during her time as the Chicago Symphony Orchestra’s Mead Composer-in-Residence, she became a full-time Chicagoan. Clyne came to know and love the city—she even wrote a Chicago “street portrait,” A Wonderful Day, incorporating the voice of Wooly Barber, a homeless man she heard singing on Michigan Avenue. During her Chicago residency, the Orchestra gave the world premieres of Night Ferry, her first big orchestral score, in 2012, and The Seamstress, a work for violin and orchestra, in 2015.

Since her Chicago days, Clyne’s star has been on the rise. She often collaborates on creative projects across the music industry, including Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera; as well as the Nico Project at the Manchester International Festival, a stage work about pop icon Nico’s life. Recent projects have explored Clyne’s fascination with visual arts, including Color Field, inspired by the artwork of Mark Rothko; Abstractions, inspired by five contemporary artworks; and Woman Holding a Balance, a film collaboration with artist Jyll Bradley.

Anna Clyne on Masquerade

Masquerade draws inspiration from the original mid-eighteenth–century promenade concerts held in London’s pleasure gardens [Vauxhall Pleasure Gardens]. As is true today, these concerts were a place where people from all walks of life mingled to enjoy a wide array of music. Other forms of entertainment ranged from the sedate to the salacious with acrobatics, exotic street entertainers, dancers, fireworks and masquerades. I am fascinated by the historic and sociological courtship between music and dance. Combined with costumes, masked guises, and elaborate settings, masquerades created an exciting, yet controlled, sense of occasion and celebration. It is this that I wish to evoke in Masquerade.

composed 2013

first performance

September 7, 2013; Royal Albert Hall, BBC Symphony Orchestra. Marin Alsop conducting

instrumentation

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

approximate performance time 5 minutes

above: Anna Clyne, photo by Christina Kernohan

The work derives its material from two melodies. For the main theme, I imagined a chorus welcoming the audience and inviting them into their imaginary world. The second theme,

anna thorvaldsdóttir

Born July 11, 1977; Borgarnes, Iceland

Dreaming

“Juice of Barley,” is an old English country-dance melody and drinking song, which first appeared in John Playford’s 1695 edition of The English Dancing Master

Anna Thorvaldsdóttir is an Icelandic composer whose music is composed as much by sounds and nuances as by harmonies and lyrical material. It is written as an ecosystem of sounds often inspired by nature and its many qualities, in particular structural ones like proportion and flow.

Thorvaldsdóttir’s works have been nominated and awarded on many occasions. Her orchestral works have garnered her the prestigious Nordic Council Music Prize, the New York Philharmonic’s Kravis Emerging Composer Award, and Lincoln Center’s Emerging Artist Award and Martin E. Segal Award. She holds a doctorate from the University of California in San Diego and is currently based in the London area.

Thorvaldsdóttir’s music is frequently performed internationally and has been performed by orchestras and ensembles such as the International Contemporary Ensemble (ICE), New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, BBC Symphony Orchestra, Ensemble Intercontemporain, London’s Philharmonia Orchestra, San Francisco Symphony, Iceland Symphony Orchestra, Orchestre de Paris, Gothenburg Symphony Orchestra, NDR Elbphilharmonie, Bang on a Can All-Stars, Yarn/Wire, the Crossing, the Bavarian Radio Choir, Münchener Kammerorchester, Los Angeles Percussion Quartet, Avanti Chamber Ensemble, Royal Stockholm Philharmonic, Vienna Radio Symphony Orchestra, BBC Scottish Symphony Orchestra, Helsinki Philharmonic, CAPUT Ensemble, Oslo Philharmonic, and Either/Or Ensemble. In April 2018, Esa-Pekka Salonen led the New York Philharmonic in the premiere of Anna’s work Metacosmos. Aion was premiered by the Gothenburg Symphony Orchestra in May 2019, conducted by Anna-Maria Helsing. Her most recent orchestral work, Catamorphosis, was premiered by the Berlin Philharmonic and Kirill Petrenko in January 2021.

composed

2013

first performance

January 14, 2010; Reykjavík, Iceland. Iceland Symphony, Bernharður Wilkinson conducting

instrumentation

two flutes and alto flute, two oboes, three clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp, celesta, strings

approximate performance time

17 minutes

above: Anna Thorvaldsdóttir, photo by Saga Sigurdardottir

Anna Thorvaldsdóttir on Dreaming

Nature

listen flow free individually embrace listen Nature

Aquiet soundworld is born from silence, the piece is born from the quiet. The music is in a single movement which from beginning to end embodies a flowing world of sound. The conductor becomes a part of the orchestra as his role and “performance” is at certain moments written in a different way than regular beating of time. After the development of a flowing interplay between the instruments, each

hector berlioz

performer gradually begins to perform individually so that the orchestra becomes an ensemble of soloistic events. The motionless presence of the conductor directs the piece in the end—his presence alone is enough to lead the orchestra and the piece into the infinite. Time is redundant. The cycle continues.

The inspiration is not in the form of recreating the soundworld or visual presentation already found in nature. It can rather be used as a tool to work with and measure proportions and natural progression.

In each chord there is a world of collective sounds where the small sound particles dissolve and create their own world. By attending to the various qualities of the sound, the perception can be changed from one moment to the next.

—realization—

Born December 11, 1803; La Côte-Saint-André, Isère, France

Died March 8, 1869; Paris, France

Symphonie fantastique, Op. 14

“I come now to the supreme drama of my life,” Berlioz wrote in his Memoirs, at the beginning of the chapter in which he discovers Shakespeare and the young Irish actress Harriet Smithson. “Shakespeare, coming up on me unawares, struck me like a thunderbolt,” he wrote after attending Hamlet, given in English—a language Berlioz did not speak—at the Odéon Theater on September 11, 1827. But it was Smithson appearing as Ophelia, and then four days later as Juliet, who captured his heart and set in motion one of the grandest creative outbursts in romantic art.

this page: Hector Berlioz, portrait by Émile Signol (1804–1892), 1832. Villa Medici, Rome

opposite page: Harriet Smithson (1800–1854) as Ophelia in Charles Kemble’s 1827 Paris production of Shakespeare’s Hamlet

composed

January–April 1830

first performance

December 5, 1830; Paris, France

instrumentation

two flutes with piccolo, two oboes and two english horns, two clarinets and E-flat clarinet, four bassoons, four horns, two trumpets and two cornets, three trombones and two ophicleides (traditionally played by tubas), timpani, snare drum, bass drum, cymbals, low-pitched bells, two harps, strings

approximate

performance time

49 minutes

Berlioz began the Symphonie fantastique almost at once, and it immediately became a consuming passion. Throughout its composition, he was obsessed with Henriette, the familiar French name for her he had begun to use, even though they wouldn’t meet until long after the work was finished. On April 16, 1830, he wrote to his friend Humbert Ferrand that he had “just written the last note” of his new symphony, one of the most shockingly modern works in the repertoire and surely the most astonishing first symphony any composer has given us. “Here is its subject,” he continued, “which will be published in a program and distributed in the hall on the day of the concert.” Then follows the sketch of a story as famous as any in the history of music: the tale of a man who falls desperately in love with a woman who embodies all he is seeking; is tormented by recurring thoughts of her, and, in a fit of despair, poisons himself with opium; and, finally, in a horrible narcotic vision, dreams that he is condemned to death and witnesses his own execution.

Berlioz knew audiences well; he provided a title for each of his five movements and wrote a detailed program note to tell the story behind the music. A few days before the premiere, Berlioz’s full-scale program was printed in

the Revue musicale, and, for the performance on December 5, 1830, two thousand copies of a leaflet containing the same narrative were distributed in the concert hall, according to Felix Mendelssohn, who would remember that night for the rest of his life because he was so shaken by the music. No one was unmoved. It is hard to know which provoked the greater response—Berlioz’s radical music or its bold story. For Berlioz, who always believed in the bond between music and ideas, the two were inseparable. In an often-quoted footnote to the program as it was published with the score in 1845, he insisted that “the distribution of this program to the audience, at concerts where this symphony is to be performed, is indispensable for a complete understanding of the dramatic outline of the work.”

Even in 1830, the fuss over the program couldn’t disguise the daring of the music. Berlioz’s new symphony sounded like no other music yet written. Its hallmarks can be quickly listed: five movements, each with its own title (as in Beethoven’s Pastoral Symphony), and the use of a signature motif, the idée fixe representing Harriet Smithson that recurs in each movement and is transformed dramatically at the end. But there is no precedent in music—just three years after the death of Beethoven—for his staggeringly inventive use of the orchestra, creating entirely new sounds with the same instruments that had been playing together for years; for the bold, unexpected harmonies; and for melodies that are still, to this day, unlike anyone else’s. There isn’t a page of this score that doesn’t contain something distinctive and surprising. Some of it can be explained—Berlioz developed his idiosyncratic sense of harmony, for example, not at the piano, since he never learned to play more than a few basic chords, but by improvising on the guitar. But explanation doesn’t diminish our astonishment.

None of this was lost on Berlioz’s colleagues. According to Jacques Barzun, the composer’s biographer, one can date Berlioz’s “unremitting influence on nineteenth-century composers”

from the date of the first performance of the Symphonie fantastique. In a famous essay on Berlioz, Robert Schumann relished the work’s novelty; remembering how, as a child, he loved turning music upside down to find strange new patterns before his eyes, Schumann commented that “right side up, this symphony resembled such inverted music.” He was, at first, dumbfounded, but “at last struck with wonderment.” Mendelssohn was confused, and perhaps disappointed: “He is really a cultured, agreeable man and yet he composes so very badly,” he wrote in a letter to his mother. For Liszt, who attended the premiere—he was just nineteen years old at the time—and took Berlioz to dinner afterwards, the only question was whether Berlioz was “merely a talented composer or a real genius. For us,” he concluded, “there can be no doubt.” (He voted for genius.) When Wagner called the Symphonie fantastique “a work that would have made Beethoven smile,” he was probably right. But he continued: “The first movement of Beethoven’s Fifth Symphony would seem an act of pure kindness to me after the Symphonie fantastique.”

In fact, it was Berlioz’s discovery of Beethoven that prompted him to write symphonies in the first place. (There are two more that followed shortly: Harold in Italy in 1834 and Romeo and

Juliet in 1839.) At the same time, Berlioz also seems to foreshadow Mahler, for whom a symphony meant “the building up of a world, using every available technical means.” The Symphonie fantastique did, for its time, stretch the definition of the symphony to the limit. But it didn’t shatter the model set by Beethoven. For it was a conscious effort on Berlioz’s part to tell his fantastic tale in a way that Beethoven would have understood, and to put even his most outrageous ideas into the enduring framework of the classical symphony.

At the premiere, Berlioz himself was onstage— playing in the percussion section, as he often liked to do—to witness the audience cheering and stomping in excitement at the end. Later, in his Memoirs, he admitted that the performance was far from perfect—“it hardly could be, with works of such difficulty and after only two rehearsals”—but that night he knew that he had the public in his camp, and that with the recent, coveted Prix de Rome under his belt, his career was about to skyrocket.

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

negaunee music institute at the cso

Tenth Anniversary Season of the Civic Fellowship Program

For more than a century, young musicians have received expert training through the Civic Orchestra of Chicago, which offers performance opportunities with top-tier conductors and mentorship from musicians of the Chicago Symphony Orchestra. Currently in its tenth anniversary season, the Civic Fellowship program provides additional professional development for a select group of Civic Orchestra members. The mission of the Fellowship is to prepare participants for multifaceted careers in music through four areas of focus: concert curation, music education, social justice, and project management.

Read how three current and former Civic Fellows respond to the question, How has being a Civic Orchestra Fellow helped you professionally and personally? To read the complete interviews, visit cso.org/experience.

Marian Mayuga Violin, current Civic Fellow

While being a member and Fellow of the Civic Orchestra is an incredible honor, it also entails a huge amount of responsibility, both as a musician and a member of the community. As a values-based program, the Civic Fellowship constantly urges us to think about the purpose of our music and whose lives we are impacting. This is the kind of approach I would like to adapt for my future endeavors.

Zachary Good Clarinet, Civic Fellow alum

My time as a Fellow and the many education and community engagement projects I undertook showed me how my musicianship could inspire positive change in different contexts and that I could be more than just a clarinetist. The skills I gained through Civic, like developing a confident stage presence and curating programs, set me up for a successful career. During my time as a Fellow, Eighth Blackbird—an American contemporary music sextet based in Chicago—were my idols. I am now living my dream as a member of the ensemble!

Maria Arrua Violin, Civic Fellow alum

Playing in the Civic Orchestra alongside amazing young musicians continuously motivated me to work hard and get better. . . . During my time in the Fellowship, I was placed to teach group classes at the People’s Music School. I learned to love teaching and connecting with students. . . . I now have my own private violin studio and also teach as an adjunct professor at Illinois Wesleyan University.

from left: Marian Mayuga. Zachary Good. Photo by DeidreHuckabay. Maria Arrua. Photo by “Spider” Meka Hemmons

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

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

Gabriela Lara

Matthew Weinberg

Subin Shin

Ran Huo

Janani Sivakumar

Marian Antonette Mayuga*

Jonah Kartman

Sungjoo Kang

Annie Pham

Nelson Mendoza Hernandez*

Hsuan Chen

Diego Diaz+

Kimberly Bill

Dylan Marshall Feldpausch*

Diane Yang*

Munire Mierxiati

Jesús Linárez

Kristian Brusubardis

Hee Yeon Kim*

Crystal Qi

Hee Woo Seo

Valentina Guillen Menesello

Robbie Herbst

Liya Ma

Yu-Kun Hsiang

Kenichi Kiyama

Grace Walker

Kina Ono

Laura Schafer

Lina Yamin

violas

Pedro Mendez

Teddy Schenkman*

Aditi Prakash

Amanda Kellman

Megan Yeung

Carlos Lozano Sanchez

Derrick Ware

Larissa Mapua

Calvin Dai

Rachel Mossburg

Michael Ayala

Yulong Han

cellos

Annamarie Wellems

Lindsey Sharpe*

Lidanys Graterol

Jaime An

Abby Monroe

Cameron Slaugh

Hana Takemoto

Charlotte Ullman

Miles Link

J Holzen

basses

Hannah Novak

Bennett Norris

Olivia Reyes

Nate Beaver

Caleb Edwards

Ben Foerster

Victor Stahoviak

Jake Platt

flutes

Aalia Hanif

Katarina Ignatovich

Eric Leise

piccolo/alto flute

Aalia Hanif

oboes

James Jihyun Kim

Kyung Yeon Hong

Natalie Johnson

english horn

Natalie Johnson

clarinets

Irina Chang

Antonio Garrasi

Daniel Solowey

bass clarinets

Nico Chona+

bassoons

Seo Young (Michelle) Min

Mackenzie Brauns*

Peter Houdalis

William George

* Civic Orchestra Fellow + Civic Orchestra Alumni

contrabassoon

Peter Houdalis

horns

Jacob Medina

Michael Stevens

Nelson Yovera Perez

Ryan Williamson

Sylvia Denecke

trumpets

Michael Leavens

Quincy Erickson

Abner Wong

Sean Whitworth

trombones

Felix Regalado

Hugo Saavedra Arciniegas*

bass trombone

Zhen Lei

tubas

Nick Collins

Ben Poirot

timpani

David Miller

Tomas Leivestad

percussion

Thaddeus Chung

Charley Gillette

George Tantchev

Sehee Park

celesta

Marissa Kerbel

harps

Natalie Man

Emily Stone

librarian

Anna Thompson

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

Katie Eaton Coordinator, School Partnerships

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

$75,000–$99,999

The Elizabeth F. Cheney Foundation

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

Lisa and Paul Wiggin

$25,000–$34,999

Anonymous

Abbott Fund

Crain-Maling Foundation

Leslie Fund, Inc.

The James and Madeleine McMullan Family Foundation

Dr. & Mrs. Eugene and Jean Stark

$20,000–$24,999

Anonymous

Mary Winton Green

Richard P. and Susan Kiphart Family

Margo and Michael Oberman

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

Ksenia A. and Peter Turula

Theodore and Elisabeth Wachs

$7,500–$11,499

Anonymous

Robert H. Baum and MaryBeth Kretz

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. Joseph B. Glossberg

Chet Gougis and Shelley Ochab

Halasyamani/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

Catherine M. and Frederick H. Waddell

$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

Anonymous

Arts Midwest GIG Fund

Charles H. and Bertha L. Boothroyd Foundation

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

Mr. & Mrs. Dwight Decker

Camillo and Arlene Ghiron

Dr. Ronald L. Hullinger

Ms. Ethelle Katz

Dr. Leo and Catherine Miserendino

$2,500–$3,499

Anonymous

Ms. Sandra Bass

Mr. James Borkman

Mr. Douglas Bragan

Mr. Ray Capitanini

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

Gerald and Barbara Schultz

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

Adam Bossov

Ms. Danolda Brennan

Mr. Lee M. Brown and Ms. Pixie Newman

Bradley Cohn

† 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 April 2023

Elk Grove Graphics

Charles and Carol Emmons

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

Mr. Conrad Fischer

Mrs. Roslyn K. Flegel

David and Janet Fox

Scott and Amber Halvorson

James and Megan Hinchsliff

Clifford Hollander and Sharon Flynn Hollander

Michael and Leigh Huston

Cantor Aviva Katzman and Dr. Morris Mauer

Mr. & Mrs. Norman Koglin

Bob and Marian Kurz

Dona Le Blanc

Dr. Herbert and Francine Lippitz

Ms. Molly Martin

Adele Mayer

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

Michael and Salme Steinberg

Walter and Caroline Sueske

Charitable Trust

Mr. Peter Vale

Abby and Glen Weisberg

M.L. Winburn

$1,000–$1,499

Anonymous (6)

Ms. Margaret Amato

David and Suzanne Arch

Jon W. and Diane Balke

Mr. & Mrs. John Barnes

Howard and Donna Bass

Daniel and Michele Becker

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

David Colburn

Mr. & Mrs. Bill Cottle

Alan R. Cravitz

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

Mr. David Helverson

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. MaryLouise 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

Barbara and Lewis Schneider

Mr. & Mrs. Steve Schuette

Mr. & Mrs. Thomas Scorza

Stephen A. and Marilyn Scott

Mr. & Mrs. James Shapiro

Richard Sikes

Dr. Sabine Sobek

Mr. & Mrs. Ronald Stepansky

Donna Stroder

Sharon Swanson

Ms. Joanne Tarazi

Ms. Joanne C. Tremulis

Mr. & Ms. Terrence Walsh

Mr. & Mrs. Joel Weisman

Ms. Zita Wheeler

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

† 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 April 2023

Sue and Jim Colletti

Hee Yeon Kim,** violin

Lawrence Corry

Jonah Kartman, violin

Robert and Joanne Crown Income Charitable Fund

Irina Chang, clarinet

Kunjing Dai, viola

Antonio 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

Michael and Margo Oberman

Kyung Yeon Hong, oboe

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