Program Book - Civic Orchestra of Chicago: In Times of War by Chicago Symphony Orchestra

CIVIC ORCHESTR A OF CHICAGO

In Times of War FEBRUARY 14 Ken-David Masur conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

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

Monday, February 14, 2022, at 8:00

Ken-David Masur Conductor bacewicz

Overture

janáček

Tarus Bulba

Death of Andril Death of Ostap Death and Prophesy of Taras Bulba

intermission

bartók

Concerto for Orchestra

Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto

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. C SO.ORG/INSTITUTE

comments by james m. keller | phillip huscher grażyna bacewicz

Born February 5, 1909; Łódź, Poland Died January 17, 1969; Warsaw, Poland

Overture The simmering tensions of European politics escalated to a full boil in September 1939, when Hitler’s troops overtook Poland in what the Germans called the Polish Campaign, the Poles called the Defensive War, and what everybody recognized in retrospect was the outbreak of World War II. The Nazis began their attack from the west on September 1, France and the United Kingdom declared war on Germany two days later (but provided little practical help), Stalin ordered Russian forces to counter from the east on September 17, and by the beginning of October, Poland—its own military forces decimated—was an occupied nation, partitioned between Germany and Russia. Grażyna Bacewicz was stuck in the middle of it, and the war years brought her career to a public standstill. Until that time, it had been impressive. She studied violin as a child in Łódź (smack in the center of Poland), began composing at the age of thirteen, and headed to the Warsaw Conservatory to study violin, piano, and composition, for a while also pursuing university studies in philosophy. She graduated with highest distinction in 1932 with a double major in violin and composition. She wrote a sinfonietta for orchestra, a choral cantata, a violin sonata, and a string quartet for her graduation examinations, and all four were presented at a conservatory concert. A scholarship from the pianist and statesman Ignace Jan Paderewski enabled her to travel to Paris in 1932–33 to work with Nadia Boulanger (for composition) and André Touret (for violin); her Wind Quintet, produced at that time, won first place in a competition for works by young composers. A year later, she went again to Paris for further violin study with Carl Flesch. Returning to Warsaw, she began the rollout of the first phase of her mature compositions, including her Partita for Violin and Piano (1935); Trio for Oboe, Violin, and Cello (1935); Sonata for Oboe and Piano (1937); and String Quartet no. 1 (1938, her first “officially numbered” quartet). These are a few highlights among the remarkable output of forty pieces she composed from 1932 through 1944—a sequence of works that reached an apex in her Overture (played here). “I think to compose, one has to work very intensely,” she said in a 1965 interview.

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composed 1943 f i rst p e rf o rm a n c e September 1, 1945; Kraków Philharmonic at the Kraków Festival of Contemporary Music. Mieczysław Mierzejewski conducting i n st ru m e n tat i o n two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, snare drum, triangle, chimes, strings a p p roxi m at e p e rf o rm a n c e t i m e 6 minutes

a b o v e : Grażyna Bacewicz

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One has to pause between composing different works, but interruptions shouldn’t be made when you are in the middle of writing a piece. I’m capable of working on one composition for many hours daily. Usually I take a break in the middle of the day, but even during my break my brain keeps on working. I like to get very, very tired. It’s sometimes then that I suddenly get my best ideas. Her pace during those years is all the more remarkable given that, from 1936 through 1938, she served as concertmaster for the Polish National Radio Symphony Orchestra, conducted by Grzegorz Fitelberg. Those works of Bacewicz’s first period hew to a neoclassical style that was much in favor in 1930s France—not so much the angular, sometimes ironic neoclassicism of Stravinsky or Hindemith as the more elegant approach of Honegger, Martinů, or Milhaud. (Her biographer Judith Rosen notes: “Though she personally objected to the categorizing of her music as ‘neoclassic,’ it is difficult to avoid the use of the term in describing her music.”) Paris exerted an enduring magnetism. In the spring of 1939, she traveled there to oversee a concert devoted to her compositions at the École Normale de Musique. Two months after she returned to Warsaw, the world was at war. During the war, Poland’s musical life ground to a near halt, although some music making continued in private settings. Bacewicz’s sister was wounded, and her family was moved first to a displaced-persons’ camp in Pruszków (on the outskirts of Warsaw) and then to Lublin (a hundred miles distant). Drawing on her capacity to focus, our composer managed to continue composing through it all. Although her pace fell far short of her frenetic pre-war years, she nonetheless completed a handful of major pieces—her String Quartet no. 2, Sonata no. 1 for Solo Violin, and Symphony no. 1, in addition to the Overture for orchestra. She resumed her career as soon as the war ended. She had a backlog of compositions that needed to be unveiled, and her Overture was

premiered only four months after Germany’s surrender. She continued composing busily, picked up her performing career, and renewed her French connection. In 1946 she was back in Paris, appearing as the soloist in Szymanowski’s Violin Concerto no. 2 with the Orchestre des Concerts Lamoureux and introducing her Suite for Two Violins at the Salle des Concerts du Conservatoire. She joined the Polish Composers’ Union. As Poland fell under the cultural policies of the Soviet bloc, composers there were urged to incorporate folk music into their works. She did so, at least enough to keep in good graces. In 1949 she was awarded the Warsaw Prize, which cited her achievements as a composer as well as her service to the arts during the war, when she hosted small-scale musical performances. Her music gained honors abroad, as well; her String Quartet no. 4, for example, received first prize from the 1951 International Composers’ Competition in Belgium, and accolades would continue to the end of her career. She had already begun to withdraw from performing a year before she sustained perilous injuries in a 1954 automobile accident. In 1956 the “Warsaw Autumn” festival gave Poles their first exposure to where modern music had traveled in recent decades, including works by Schoenberg, Berg, Bartók, and Messiaen. “A progressive composer should not repeat herself,” Bacewicz said. Her works began to draw on these new influences, displaying greater freedom of tonality, deepened intricacy of rhythm, an expanded approach to tone-color, and, eventually, experimentation with serialism.

ll of that lay ahead when she wrote her Overture during the dark days of the war. Its vigorous optimism stands in defiance to its time. Being a violinist, Bacewicz reliably wrote demanding string parts with absolute confidence. Here, the strings spend the first minute bustling briskly, with winds gradually entering the fray. Brasses signal a shift by introducing stentorian, long-held tones. The Allegro cedes to an Andante in which woodwinds weave in C SO.ORG/INSTITUTE

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elegiac counterpoint; Adrian Thomas, who has published analyses of many of Bacewicz’s scores, compares this passage to “the bucolic vein of woodwind writing that is the hallmark of [Carl] Nielsen’s symphonic scores”—which does ring true, although that may be just a coincidence. In any case, this interlude proves short-lived and self-contained, not giving rise to development as the Overture proceeds. Instead, the Andante soon veers into a fast tempo again, this time an Allegro energico that reigns over the remainder of this buoyant, six-minute piece. Probably not “just a coincidence” is the extent to which

Bacewicz works the da-da-da-daaa rhythm into the fast sections of the score. The famous “Beethoven’s Fifth” rhythm was pressed into wartime service because, by happenstance, it corresponded to the rhythm for the letter “V” in Morse code—as in “V for Victory.” It seems possible that in 1943 its significance may have penetrated even to war-torn central Poland. James M. Keller This note first appeared in the program books of the San Francisco Symphony and is used with permission.

leoš janáček

Born July 3, 1854; Hochwald (Hukvaldy), Northern Moravia Died August 12, 1928; Moravska Ostravá, Czechoslovakia

Taras Bulba, Rhapsody for Orchestra Leoš Janáček was music’s most extraordinary late bloomer. He completed his first major score at the age of forty-nine, attracted international attention at sixty-one, and entered the most prolific and adventuresome stage of his career as he neared his seventies. It is largely the works of his final years, mostly composed in the 1920s, which have given him a place among the important composers of his time. Janáček was born in 1854, the year Liszt published his revolutionary B minor piano sonata and Wagner began Die Walküre. His contemporaries were Elgar, Humperdinck, Dvořák, Mahler, and Wolf—composers who all finished their careers before Janáček hit his stride. But artistically, Janáček doesn’t belong to their generation. The period of his most significant and original work is the time of Berg, Ravel, Stravinsky, Bartók, and Schoenberg—younger composers forging a new language—and the era of such landmarks as Berg’s Wozzeck, Stravinsky’s Les noces, and Schoenberg’s first twelve-tone pieces. Throughout his life, Janáček loved all things Russian. He formed a Russian club in Brno in 1897, visited Russia twice in the early years of the twentieth century, and even sent his children to Saint Petersburg to study. Of the Russian writers

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composed 1915, revised 1918 f i rst p e rf o rm a n c e January 13, 1924; Brno, Czechoslovakia i n st ru m e n tat i o n three flutes and piccolo, two oboes and english horn, two clarinets and E-flat clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, snare drum, cymbals, chimes, harp, organ, strings a p p roxi m at e p e rf o rm a n c e t i m e 23 minutes

a b o v e : Leoš Janáček, ca. 1914

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he admired, including Tolstoy and Dostoevsky, it was the novelist and playwright Nikolai Gogol he loved most. Janáček considered writing music based on Gogol’s tale of Taras Bulba as early as 1905, although several years passed before he started work on it. He completed the score the day before his sixty-first birthday. Still, Taras Bulba is one of Janácek’s “early” compositions. Taras Bulba is Janácek’s first significant orchestral work. Like Jenůfa, which was premiered in 1904 but didn’t come to attention in the larger music world until it was staged in Prague in 1916, Taras Bulba would wait to find its audience. When it was finally performed for the first time in January 1924, Janáček left the hall as soon as the piece was over (the concert was billed as an early observance of his seventieth birthday and he didn’t want to celebrate until the actual day arrived) and he failed to hear the enthusiastic crowd calling for him.

he violent, bloody story of Taras Bulba is one of Gogol’s most enduring and influential works. Ernest Hemingway called it “one of the ten greatest books of all time” (although Vladimir Nabokov, normally a Gogol admirer, likened it to “rollicking yarns about lumberjacks”). First published as a short story in 1835 and then reworked as a prose epic (of a somewhat less-than-epical 150 pages) seven years later, it tells the tale of Taras Bulba, an aging Cossack, and his two sons, and how all three meet their deaths. (The word Cossack means adventurer.) The story is set in sixteenth-century Ukraine, which was then under the rule of Poland. Taras Bulba, a dyed-in-the-wool Cossack, is a warrior for life, and he pushes his sons onto the battlefield as soon as they are out of school, only to watch them die. Janáček claimed that he was drawn to Taras Bulba because of his belief that “in the whole world there are not fires or tortures strong enough to destroy the vitality of the Russian nation,” paraphrasing Gogol’s own lines. “For the sake of these words, which fell into searing sparks and flames off the stake on which Taras

Bulba, the famous hetman of the Cossacks, died, did I compose this rhapsody.” Janáček picked three episodes from Gogol’s tale, each dealing with a death—first that of the sons Andrei and Ostap, and then Taras Bulba himself. The Death of Andrei depicts the tragedy of Taras’s first son, who falls in love with a Polish noblewoman and becomes a traitor. The father confronts his son, renounces him, and shoots him. “What a Cossack he could have been,” he says, “. . . and now, now he’s finished, dead ignominiously, like a dog.” Music of romance and battle merge in the abrupt, discontinuous, epigrammatic style that is quintessential Janáček. (His idiosyncratic language, with its pungent harmonies and speechlike rhythms, is highly indebted to the study of Moravian folk music he undertook more than a decade before the famous field work done by Bartók and Kodály.) In Taras Bulba, Janáček learned how music can explore conflicting emotions and states of mind. Janáček’s music perfectly matches Gogol’s words, as for example, when he writes of the day Taras and his sons ride off to fight—the sons holding back tears “out of respect for their father, who was perturbed himself, although he struggled not to show it. It was a gray day. The green steppes glittered brightly. Birds chattered discordantly.” In the Death of Ostap, the second son is taken prisoner by the Poles and transported to Warsaw, where he is tortured and finally executed as his father watches from the crowd. A grotesque mazurka suggests the Polish victory, the E-flat clarinet Ostap’s screams. Janáček’s music is unsparing and disturbing, and nearly as graphic as a photograph. To avenge Ostap’s death, Taras Bulba leads the Cossacks across Poland, where he too is taken prisoner and sentenced to die at the stake. Flames rise up around him, and Gogol writes the words Janáček couldn’t forget: “But are there in the world such fires, such tortures, such forces as could overcome Russian strength?” Janáček’s answer, with loud bells and roaring organ chords, is unequivocal. Phillip Huscher C SO.ORG/INSTITUTE

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béla bartók

Born March 25, 1881; Nagyszentmiklós, Transylvania (now part of Romania) Died September 26, 1945; New York City

Concerto for Orchestra For all the prestige his music commands today among American orchestras, Béla Bartók was unhappy and largely ignored during the last four years of his life, which he spent in this country. The sad departure from his native Hungary in late 1940, to escape the Nazi invasion, was a nightmare itself for both Bartók and his wife Ditta, with a furtive night-train trip through Italy to Switzerland; passage by bus through France; a merciless customs inspection at the Spanish border; a night spent wandering through Lisbon in search of a place to sleep; and, finally, a rough crossing on an American cargo ship, with all luggage left behind. The first weeks in New York were little better—the English language was a minefield, and home was now a spartan hotel room. The Bartóks were perplexed by American ways, like eating cracked wheat for breakfast, and they were dumbfounded by a subway system so vast they once spent three hours wandering underground before they emerged, shamefaced, into the sunlight. Bartók complained of “creative impotence,” and, in truth, he wrote nothing of substance during his first two years here. He played a few scattered concerts, including a duo recital with his wife in Chicago that got very bad reviews—one “as bad as I never got in my life,” according to the composer, his mastery of our tongue still as uncertain as his verdict on life in America. In April 1942, Bartók’s health took a turn for the worse; several medical examinations proved inconclusive. There were good days and bad, periods of high fever, and occasional hospital stays. Pain in his joints made walking difficult. It was, truly, the beginning of the end. And then, like the miracle great music always is, a masterpiece was born. In May 1943, Serge Koussevitzky, music director of the Boston Symphony, visited Bartók in his hospital room, prepared to write a check for $500, half payment for an orchestral piece he wished to commission in memory of his late wife Natalie. Bartók was reluctant, fearing he wouldn’t be able to complete the work, but he finally accepted the offer—and Koussevitzky’s check. Had Bartók known the truth, he never would have agreed. The suggestion for the commission had not

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composed August 15–October 8, 1943 f i rst p e rf o rm a n c e December 1, 1944 i n st ru m e n tat i o n three flutes and piccolo, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, side drum, bass drum, tam-tam, cymbals, triangle, two harps, strings a p p roxi m at e p e rf o rm a n c e t i m e 35 minutes

f r o m t o p : Béla Bartók, The Budapest Bartók Archives Ditta and Béla Bartók

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come directly from Koussevitzky (never a champion of Bartók before), but from Joseph Szigeti and Fritz Reiner, who greatly admired Bartók’s music and knew him well enough to know that he would refuse any effort he viewed as charity. The Bartóks spent the summer at Saranac Lake in the Adirondacks. At first, Bartók busied himself prowling around the local library—he read an English translation of Don Quixote with no apparent difficulty. By mid-August, he was ready to put pen to paper, and found to his surprise that he was working “practically day and night” on the Koussevitzky commission. At least temporarily, his health improved, and when he returned to New York in October, he took the finished score with him. “Perhaps it is due to this improvement,” he had written to Szigeti “(or it may be the other way around) that I have been able to finish the work that Koussevitzky commissioned.” Koussevitzky, who conducted the first performance with the Boston Symphony in December 1944, called the Concerto for Orchestra “the best orchestral piece of the last twenty-five years,” an assessment few were to challenge.

word about Bartók’s title—Concerto for Orchestra. Bartók’s work wasn’t the first, but only the most celebrated example to bear this seemingly paradoxical title, which focuses the spotlight not on one solo instrument, but on the orchestra itself. Hindemith, Walter Piston, and Bartók’s fellow Hungarian—and dear friend—Zoltán Kodály had written concertos for orchestra before him, just as Michael Tippett, Elliott Carter, and Shulamit Ran would after his great success. The concerto for orchestra is a particularly twentieth-century idea—a reflection of the unprecedented virtuosity of the modern orchestra and of the desire to pour new wine into old bottles.

ith no traditional form to follow, Bartók picked one he often favored: a symmetrical, mirror-like arrangement of five movements, with a large, dark-hued andante at the center; light, quicker interludes on either side; and a powerful fast movement to anchor

each end. The first sounds we hear are full of mystery and gloom, which don’t begin to suggest the sunlight, dancing, and outright humor that are right around the corner. The tone of both the opening movement and the central Elegia is stern, even tragic. The second and fourth movements will disrupt the mood, but only the life-asserting finale can dispel it. The Giuoco delle coppie is one of Bartók’s most celebrated creations, in which pairs (coppie) of instruments take turns presenting an unprepossessing little tune launched by two bassoons at the interval of the sixth, and followed by oboes in thirds, clarinets in sevenths, flutes in fifths, and muted trumpets in major seconds. The Elegia for Natalie Koussevitzky is, in Bartók’s words, a “lugubrious death-song.” It’s also a prime example of the composer’s “night music,” full of haunting, evocative sounds, and, ultimately, a deep calm. The Intermezzo interrotto is exactly that—an interrupted intermezzo—the disruption being the march tune of Shostakovich’s Leningrad Symphony. Bartók first heard the symphony on the radio in Saranac Lake and thought the marching theme so banal he couldn’t resist saying so—in music that dissects the tune and then holds it up to the ridicule of the entire orchestra. It’s also worth remembering that Bartók had long questioned Koussevitzky’s championship of Shostakovich’s music at the neglect of his own. Bartók wasn’t a vindictive or mean-spirited man, but surely he enjoyed having the last laugh. The finale is dance music, brilliant and lively— especially in its perpetuum mobile sections— based on a straightforward, singable tune and constructed with the contrapuntal dexterity of a master craftsman. It is, above all, a life-affirming statement from a man close to death. Phillip Huscher James M. Keller is program annotator of the San Francisco Symphony and the New York Philharmonic. His book Chamber Music: A Listener’s Guide (Oxford University Press) is now also available as an e-book and as an Oxford paperback. Phillip Huscher is the program annotator for the Chicago Symphony Orchestra. C SO.ORG/INSTITUTE

profiles Ken-David Masur Conductor Ken-David Masur is principal conductor of the Civic Orchestra of Chicago and music director of the Milwaukee Symphony Orchestra. This season, Masur makes his subscription debuts with the San Francisco Symphony and the Minnesota Orchestra. He also leads performances with the Baltimore Symphony Orchestra, Warsaw Philharmonic, Rochester Philharmonic, and Kristiansand Symphony Orchestra, and a range of programs with the Civic Orchestra of Chicago and Milwaukee Symphony Orchestra, which celebrated its first performances in its new hall, the Bradley Symphony Center in downtown Milwaukee. Masur has conducted distinguished orchestras around the world, including the Boston Symphony Orchestra, Los Angeles Philharmonic, the Orchestre National de France, the Yomiuri Nippon Symphony in Tokyo, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, the Chicago and Detroit symphonies, and orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia. In addition to regular appearances at Ravinia, Tanglewood, and the Hollywood Bowl, Masur has conducted internationally at festivals such as the Verbier Festival in Switzerland, the Festival of Colmar in France, Denis Matsuev’s White Lilac Festival in Russia, the Tongyeong Festival in South Korea, and the TV Asahi Festival in Tokyo, Japan. 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, Nikolaj Lugansky, and others. For eight years, Masur served as principal guest conductor of

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the Munich Symphony and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony. Masur is passionate about the growth, encouragement, and application of contemporary music, and 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 curious audiences with its ground-breaking collaborations between the performing, visual, and culinary arts. In Chicago, Ken-David Masur is the principal conductor of the Civic Orchestra of Chicago, the professional training orchestra of the Chicago Symphony Orchestra and the Negaunee Music Institute. Music education and working with the next generation of young artists being of major importance to him, he has led orchestras and master classes at the New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at leading universities and conservatories in Asia, Europe, and South America. Ken-David Masur has recently made recordings with the English Chamber Orchestra and violinist Fanny Clamagirand, and with the Stavanger Symphony. As founding music director of the Bach Society Orchestra and Chorus at Columbia University, he toured Germany and released a critically acclaimed album of symphonies and cantatas by W.F., C.P.E., and J.S. Bach. WQXR named Masur’s recording with the Stavanger Symphony of Gisle Kverndokk’s Symphonic Dances one of “The Best New Classical Releases of July 2018.” Masur received a Grammy Award nomination from the Latin Recording Academy in the Best Classical Album of the Year category for his work as a producer of the album Salon Buenos Aires. Ken-David Masur holds the Robert Kohl and Clark Pellett Principal Conductor Chair with the Civic Orchestra of Chicago.

PHOTO BY A DA M DE TOU R

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

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.

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PROFILES

Civic Orchestra of Chicago

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

violins Rannveig Marta Sarc Concertmaster Subin Shin Assistant Concertmaster John Heffernan Principal Second Tabitha Oh Assistant Principal Second Kristian Brusubardis Joshua Burca Hsuan Chen Joe DeAngelo Diego Diaz Shinhye Dong Dylan Marshall Feldpausch* Valentina Guillen Menesello Robert Herbst Yu-Kun Hsiang Kyoko Inagawa Christopher Sungjoo Kang Hee Yeon Kim* Kenichi Kiyama Luke Lentini* Liya Ma Nelson Mendoza* Emily Nardo Kina Ono Crystal Qi Laura Schafer Brent Taghap+ Holly Wagner Grace Walker Matthew Weinberg Diane Yang

cellos Francisco Lopez Malespin* Principal Philip Bergman Assistant Principal Bailey Holbrook J Holzen Miles Link Shannon Merciel Lindsey Sharpe* Haley Slaugh Hana Takemoto Charlotte Ullman

viol as Benjamin Wagner Principal Bethany Pereboom* Assistant Principal Darren Chan Dominick Douglas Ye Jin Goo Amanda Kellman Larissa Mapua Pedro Mendez Sofia Nikas Teddy Schenkman Josephine Stockwell Megan Yeung

cl arinets Antonio Garrasi Brian Gnojek Daniel Solowey

basses Isaac Polinsky Principal Wesley A. Jones Assistant Principal Nate Beaver Nicholas Daniel DeLaurentis Caleb Edwards Ben Foerster Andrew French Olivia Reyes flutes Katarina Ignatovich Min Ha Kim Alyssa Primeau* oboes James Jihyun Kim Amelia Merriman* Laura Yawney

bassoons Edin Agamenoni Mackenzie Brauns* Liam Jackson

* Civic Orchestra Fellow + Civic Orchestra Alumni Roster subject to change. Please view final roster at cso.org/experience/performances.

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horns Abby Black* Blaine Dodson Austin Ruff Scott Sanders Nelson Ricardo Yovera Perez trumpets Ismael Cañizares Ortega Changyun Cha Michael Leavens John Wagner trombones Felix Regalado Hugo Saavedra* bass trombone Zhen Lei tuba Alec Rich timpani Dan Benson percussion Dylan Brûlé Taylor Hampton organ Tyler Kivel harp Natalie Mann Jordan W. Thomas librarian Anna Thompson

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 The Dora and John Aalbregtse Piccolo Chair 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

negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute 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

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honor roll of donors Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee Music Institute connects people 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

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 $ 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 Kinder Morgan 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. $ 3 5 ,0 0 0 – $ 4 9, 9 9 9

John and Fran Edwardson Bowman C. Lingle Trust National Endowment for the Arts $ 2 5 ,0 0 0 – $ 3 4 , 9 9 9

Anonymous (2) Abbott Fund Barker Welfare Foundation Crain-Maling Foundation The James and Madeleine McMullan Family Foundation $ 2 0,0 0 0 – $ 2 4 , 9 9 9

Anonymous Illinois Arts Council Agency Richard P. and Susan Kiphart Family Leslie Fund, Inc.

PNC Charles and M. R. Shapiro Foundation The George L. Shields Foundation, Inc.

Dr. Scholl Foundation Segal Consulting Theodore and Elisabeth Wachs

$ 1 5 ,0 0 0 – $ 1 9, 9 9 9

$ 3,500–$ 4,499

The Buchanan Family Foundation Bruce and Martha Clinton for The Clinton Family Fund Sue and Jim Colletti 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 Robert & Isabelle Bass Foundation, Inc. Mr. † & Mrs. David A. Donovan Mrs. Carol Evans, in memory of Henry Evans Halasyamani/Davis Family $ 7, 5 0 0 – $ 1 1, 4 9 9

Archer Daniels Midland Company Robert H. Baum and MaryBeth Kretz Mr. Lawrence Belles Mr. Lawrence Corry Mr. & Mrs. † Allan Drebin Mr. & Mrs. Bernard Dunkel Ms. Nancy Felton-Elkins and Larry Elkins 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 Ling Z. and Michael C. Markovitz Drs. Robert and Marsha Mrtek Ms. Susan Norvich Robert E. † and Cynthia M. Sargent Carol S. Sonnenschein Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Liisa Thomas 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 John D. and Leslie Henner Burns Mr. & Mrs. Stan Jakopin Dr. June Koizumi Anne E. Leibowitz Fund Jim and Ginger Meyer Mr. Robert Middleton

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) Ms. Sandra Bass Mr. James Borkman Mr. Douglas Bragan Mr. & Mrs. Dwight Decker Mrs. Roslyn K. Flegel William B. Hinchliff Italian Village Restaurants Mrs. Gabrielle Long Dr. Leo and Catherine Miserendino David † and Dolores Nelson Margo and Michael Oberman Mr. & Mrs. † Andrew Porte Benjamin J. Rosenthal Foundation Mr. David Sandfort David and Judith L. Sensibar Jessie Shih and Johnson Ho Margaret and Alan Silberman 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 Ms. Paula Elliott Charles and Carol Emmons Judith E. Feldman Dr. & Mrs. Sanford Finkel, in honor of the Civic Horn Section Lee Francis and Michelle Gittler Jerry Freedman and Elizabeth Sacks James & Rebecca Gaebe Camillo and Arlene Ghiron Brooks and Wanza Grantier Gregory Grobarcik James and Megan Hinchsliff Dr. & Mrs. James Holland Michael and Leigh Huston

† Deceased Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 13, 2022

14 ONE HUNDRED THIRD SEASON

HONOR ROLL OF DONORS

Thomas and Reseda Kalowski Cantor Aviva Katzman and Dr. Morris Mauer Mr. John Lansing Sharon L. Manuel Mr. & Mrs. William McDowell, Jr. Mr. & Mrs. Dennis Moffat Mrs. Frank Morrissey Mr. & Mrs. Robert S. Murley Edward and Gayla Nieminen Dianne M. and Robert J. Patterson, Jr. Ms. Carol Rech Ruth Anne Rehfeldt Mary K. Ring Erik and Nelleke Roffelsen Ms. Cecelia Samans Walter and Caroline Sueske Charitable Trust Mrs. Florence and Ron Testa David E. and Kerstin Wellbery Jamie Wigglesworth AIA M.L. Winburn Mr. Robert Winn $ 1 ,0 0 0 – $ 1 , 4 9 9

Anonymous (5) 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 Jacqui Cheng The Chicago Community Foundation Mr. Ricardo Cifuentes Mr. Howard Conant Matt and Carrie Cotter In memory of Ira G. Woll William and Janice Cutler Constance Cwiok 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 Arthur L. Frank, M.D. Ms. Elizabeth Friedgut

Peter Gallanis Dr. & Mrs. Paul B. Glickman Goodman Law Group Chicago 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 Mr. Matt James Dr. Jay and Georgianna Kleiman Mr. & Mrs. LeRoy Klemt Mr. & Mrs. Norman Koglin Mr. Steven Kukalis 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 Mrs. MaryLouise Morrison Catherine Mouly and LeRoy T. Carlson, Jr. Phyllis and Zane Muhl Mr. & Mrs. Delano O’Banion Mr. Bruce Oltman Ms. Joan Pantsios Ms. Audrey Paton Kirsten Bedway and Simon Peebler Mr. & Mrs. Jeffery Piper Susan Rabe 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 Jane A. Shapiro Richard Sikes 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

Ms. Joanne C. Tremulis Dr. Joyce Van Cura Henrietta Vepstas Dr. Pietro Veronesi Mrs. Hempstead Washburne Ms. Christine Wilson 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 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.

† Deceased Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 13, 2022

C SO.ORG/INSTITUTE

HONOR ROLL OF DONORS

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. 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

Mr. † & Mrs. David A. Donovan Alyssa Primeau,** flute

League of the Chicago Symphony Orchestra Association Lindsey Sharpe,** cello

Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney Foundation Benjamin Foerster, bass

Leslie Fund Inc. Joseph Bricker,** percussion Tabitha Oh, violin

Mr. & Mrs. Robert Geraghty and The Elizabeth F. Cheney Foundation Haley Slaugh, cello

Phillip G. Lumpkin Dylan Feldpusch,** violin

Mr. & Mrs. Paul C. Gignilliat Ye Jin Goo, viola Benjamin Wagner, viola

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 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 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

† 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 January 13, 2022

16 ONE HUNDRED THIRD SEASON