Program Book - Civic Orchestra of Chicago: Prokofiev 5

The 2023–24 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.

ONE HUNDRED FIFTH SEASON CIVIC ORCHESTRA OF CHICAGO

KEN-DAVID MASUR Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

Monday, April 8, 2024, at 7:30

Ken-David Masur Conductor

SIBELIUS

Symphony No. 7 in C Major, Op. 105 Adagio—Vivacissimo—Adagio— Allegro moderato—Adagio

INTERMISSION

PROKOFIEV

Symphony No. 5 in B-flat Major, Op. 100 Andante

Allegro moderato Adagio

Allegro giocoso

The 2023–24 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.

This project is supported in part by the National Endowment for the Arts.

The Civic Orchestra of Chicago acknowledges support from the Illinois Arts Council.

COMMENTS by Phillip Huscher

JEAN SIBELIUS

Born December 8, 1865; Tavastehus, Finland

Died September 20, 1957; Järvenpää, Finland

Symphony

No. 7 in C Major, Op. 105

COMPOSED

sketched: 1914–15

composed: 1923–24

FIRST PERFORMANCE

March 24, 1924; Stockholm, Sweden. The composer conducting

INSTRUMENTATION

two flutes with piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, strings

APPROXIMATE PERFORMANCE TIME

22 minutes

In the early 1920s, Sibelius’s career suddenly came to a close. Even though he would live another thirty-some years, he withdrew from the music scene where he once played a major role, preferring the seclusion of his villa in Järvenpää. His decision wasn’t inexplicable—it was, in fact, even predictable as he ventured further and further from the cutting-edge territory of Schoenberg and Stravinsky into his own dark and deeply personal world of sound. His final orchestral works, this Seventh

Symphony and the single tone poem, Tapiola, that followed it, carried Sibelius to the end of the line; we can scarcely imagine what music would logically have followed scores of such finality and stubborn originality. “Let no one imagine that composing is easier for an old composer if he takes his art seriously,” Sibelius once said. “Greater sureness makes one scorn solutions that come too easily.” The Seventh Symphony is an astonishing testament to his impatience with convention and his sheer determination to find new ways of saying things that mattered. By 1914, when Sibelius began to sketch this symphony, along with the Fifth and Sixth, his standards were already exceptionally high. And so all three of those symphonies are unlike any others ever written, and the seventh and last of them to be finished is so unclassifiable by the traditional names and forms that at the premiere, Sibelius called it a symphonic fantasy, only later admitting that it really belonged with the numbered symphonies. Actually, it’s the logical culmination of the series—the pure distillation of everything Sibelius

this page: Jean Sibelius, portrait, 1913, by Daniel Nyblin (1856–1923) | opposite page: Sibelius and his wife Aino (1871–1969) at Ainola, Järvenpää, 1915. Photo by Eric Sundström (1866–1933). Helsinki City Museum, Finland

knew about symphonic form and thought.

For all its individuality, the Seventh Symphony owes its conception to the traditional centuries-old search for symphonic unity. Like earlier influential works by Schubert, Liszt, Strauss, and Schoenberg, it is a multimovement form cast in one continuous movement. Sibelius makes passing reference to the familiar contents of the standard symphony—we hear stretches of a slow movement, part of a scherzo. It’s as if the conventional symphony has been taken apart and can’t be reassembled. In its place, Sibelius writes music that continually renews itself as it moves with great subtlety through various tempos (there are four big tempo changes and a number of lesser ones) and switches imperceptibly from each idea to the next, from one key to another. The Seventh Symphony is a work of epic majesty, stripped of all dross. The material is stern and concentrated; we sense just how desperate Sibelius was to write not a single note too many. The opening, for example, is built of the simplest of materials—the notes of the C major scale. But the way it begins (on A, following a quiet tap on the timpani) and leads to an ominous A-flat minor chord is full of mystery and rich in implications. As the music unfolds, it’s always unpredictable and, at the same time, utterly logical. Yet nothing about this symphony is haphazard; it’s governed by the certainty that each move is the right

one, even though, at every turn, Sibelius shows little concern for the conventional ideas of keys and subjects. A solo trombone melody, rising majestically from a great polyphonic web of sound near the beginning, carries great weight. It returns twice in the symphony, each time more insistent, and the last time leading to a massive, wrenching climax—like an ache in the very heart of the work. From there, the music slowly unravels, although the final gesture—a long, seemingly endless crescendo, reaching urgently up to C major—is like the last, life-affirming words of a dying man. It brings an extraordinary sense of closure to this restless, ever-questing music. This would seem to be the climax of his life’s work, yet Sibelius apparently began an eighth symphony sometime late in 1926 and worked on it until at least 1933 or 1934. Portions of the score were delivered to a copyist in 1933 but subsequently retrieved. The composer apparently destroyed the symphony in the 1940s. All that remains are three measures of sketches, labeled “Sinfonia 8 commincio,” that provide

little sense of the symphony’s beginning, let alone its destination. Even though Sibelius had no new works to offer the public, his popularity continued to grow (in a 1935 poll, he was the favorite composer of the New York Philharmonic Society’s broadcast

SERGEI PROKOFIEV

audience). He remained a beloved— even revered—figure, and on his ninetieth birthday in 1955, he received 1,200 telegrams, tapes from Toscanini, and cigars from Churchill. He died in 1957, nearly thirty years after the publication of his last completed work.

Born April 23, 1891; Sontsovka, Ukraine Died March 5, 1953; Nikolina Gora, near Moscow, Russia

Symphony No. 5 in B-flat Major, Op. 100

COMPOSED

1944

FIRST PERFORMANCE

January 13, 1945; Moscow, Russia. The composer conducting

INSTRUMENTATION

two flutes and piccolo, two oboes and english horn, two clarinets, E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, piano, harp, timpani, triangle, cymbals, tambourine, snare drum, woodblock, bass drum, tam-tam, strings

APPROXIMATE PERFORMANCE TIME

46 minutes

Sergei Prokofiev spent the summer of 1944 at a large country estate provided by the Union of Soviet Composers as a refuge from the war and as a kind of think tank. Prokofiev arrived early in the

summer and found that his colleagues included Glière, Shostakovich, Kabalevsky, Khachaturian, and Miaskovsky—summer camp for the most distinguished Soviet composers of the time.

Although Ivanovo, as the retreat was called, often was referred to as a rest home, there was little leisure once Prokofiev moved in. He maintained a rigorous daily schedule—as he had all his life—and began to impose it on the others as well. “The regularity with which he worked amazed us all,” Khachaturian later recalled. Prokofiev ate breakfast, marched to his studio to compose, and scheduled his walks and tennis games by the clock. In the evening, he insisted the composers all get together to compare notes, literally. Prokofiev was delighted, and clearly not surprised, that he usually had the most to show for his day’s work.

It was a particularly productive summer for Prokofiev—he composed both

his Eighth Piano Sonata and the Fifth Symphony before he returned to Moscow. The sonata is prime Prokofiev and often played, but the symphony is perhaps the best known and most regularly performed of all his works. It had been fifteen years since Prokofiev’s last symphony, and both that symphony and the one preceding it had been by-products of theater pieces: the Third Symphony is musically related to the opera The Flaming Angel, and the Fourth to the ballet The Prodigal Son. Not since his Second Symphony, completed in 1925, had Prokofiev composed a purely abstract symphony or one that he began from scratch.

Although it was written at the height of the war, Prokofiev’s Fifth Symphony isn’t a wartime symphony in the traditional sense—not in the vivid and descriptive manner of Shostakovich’s Seventh, composed during the siege of Leningrad and written, in Carl Sandburg’s words, “with the heart’s blood”—or his Eighth, which coolly contemplates the horrors of war. (Those two scores date from 1941 and 1943, shortly before Prokofiev began this work.) Prokofiev’s Symphony no. 5 is intended to glorify the human spirit, “praising the free and happy man—his strength, his generosity, and the purity

of his soul.” In its own way, this outlook makes it an even greater product of the war because it was designed to uplift and console the Soviet people. “I cannot say I chose this theme,” Prokofiev wrote. “It was born in me and had to express itself.” Nonetheless, such optimistic and victorious music cheered the Russian authorities; it might well have been made to order. In his 1946 autobiography, Prokofiev writes: “It is the duty of the composer, like the poet, the sculptor, or the painter, to serve the rest of humanity, to beautify human life, and to point the way to a radiant future. Such is the immutable code of art as I see it.” It also was the code of art Soviet composers were expected to embrace during the war, but Prokofiev couldn’t have written a work as powerful and convincing as his Fifth Symphony if he didn’t truly believe those words.

The Fifth Symphony would inevitably be known as a victory celebration.

opposite page: Sergei Prokofiev, in a portrait by Pyotr Konchalovsky (1876–1956), 1934 | this page: The composer (left), with Dmitri Shostakovich (center) and Aram Khachaturian (right), at the general assembly for the organizing committee of the Union of Soviet Composers, 1946

Just before the first performance, which Prokofiev conducted, word reached Moscow that the Russian army had scored a decisive victory on the Vistula River. As Prokofiev raised his baton, the sound of cannon was heard from the distance. Buoyed by both the news and the triumphant tone of the music, the premiere was a great success. It was the last time Prokofiev conducted in public. Three weeks later, he had a mild heart attack, fell down the stairs in his apartment, and suffered a slight concussion. Although he recovered his spirits—and eventually his strength and creative powers as well—Prokofiev continued to feel the effects of the accident for the remaining eight years of his life.

The first movement of the Fifth Symphony is intense and dramatic but neither aggressive nor violent, like much of the music written at the time. It is moderately paced (Prokofiev writes andante) and broadly lyrical throughout. The scherzo, in contrast, is quick and insistent, touched by a sense of humor that sometimes reveals a sharp, cutting edge. The third movement is lyrical and brooding, like much of Prokofiev’s finest slow music. After a brief and sober introduction, the finale points decisively toward a radiant future.

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

PROFILES

Ken-David Masur Conductor

Ken-David Masur celebrates his fifth season as music director of the Milwaukee Symphony Orchestra and principal conductor of the Chicago Symphony’s Civic Orchestra. He has conducted distinguished orchestras around the world, including the Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Orchestre National de France, Yomiuri Nippon Symphony, National Philharmonic of Russia, and other orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia.

Masur’s tenure in Milwaukee has been marked by innovative thematic programming, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built, and the Water Festival, which highlighted local community partners whose work centers on water conservation and education. He also instituted a multi-season artist-in-residence program and led highly acclaimed performances of major choral works, including a semistaged production of Peer Gynt.

This season, he begins a residency with bass-baritone Dashon Burton and leads the MSO in an inaugural citywide Bach festival, celebrating the diverse and universal appeal of J.S. Bach’s music in an ever-changing world.

Last season, Masur made his New York Philharmonic debut in a gala

program featuring John Williams and Steven Spielberg. He also debuted at the Pacific Music Festival in Sapporo, Japan, and at Classical Tahoe in three programs broadcast on PBS. He led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a ninetieth birthday concert for John Williams. Summer 2023 marked Masur’s debuts with the Grant Park Festival and the National Repertory Orchestra; later this season, he returns to the Baltimore Symphony and the Kristiansand Symphony.

For eight years, Masur served as principal guest conductor of the Munich Symphony. He was also associate conductor of the San Diego Symphony and resident conductor of the San Antonio Symphony.

Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has conducted Tokyo’s Bunka Kaikan Chamber Orchestra and Tanglewood Music Center Orchestra and led master classes at the University of WisconsinMilwaukee’s Peck School of the Arts, New England Conservatory, Manhattan School of Music, Boston University, Boston Conservatory, and the Juilliard School, where he leads the Juilliard Orchestra this fall.

Masur and his family are proud to call Milwaukee their home and enjoy exploring all the riches of the Third Coast.

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 Riccardo Muti, the CSO’s music director emeritus for life.

The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commitment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM).

Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational performances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city, including Chicago Park District fieldhouses and the National Museum of Mexican Art.

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

Ran (Ryan) Huo

Mona Munire Mierxiati

Jonah Kartman

Sheena Lan

Kimberly Bill

Elise Maas

Alec Tonno

Hojung Christina Lee

Darren Carter

Isabelle Chin

Nelson Mendoza

Lina Yamin*

Annie Pham

Danira Rodríguez-Purcell

Janani Sivakumar

Marian Antonette Mayuga*

Heewoo Seo

Hobart Shi

Matthew Weinberg

Matthew Musachio*

Valentina Guillen Menesello

Sean Hsi

J. Andrés Robuschi

Justine Teo

Megan Pollon

Alba Layana Izurieta

VIOLAS

Sanford Whatley

Michael Ayala

Sava Velkoff

Carlos Lozano

Derrick Ware

Justin Pou

Junghyun Ahn

Megan Yeung

Elena Galentas

Santiago Del Castillo

Lucie Boyd

Rebecca Miller

CELLOS

David Caplan

Miles Link

Lidanys Graterol

Buianto Lkhasaranov

J Holzen*

Francisco Lopez Malespin*

Lindsey Sharpe

Niraj Patil

Cameron Slaugh

Chad Polk

BASSES

Ben Foerster*

Hannah Novak

Broner McCoy

James O’Toole

Tiffany Kung

Leo Finan

Daniel W. Meyer

Walker Dean

FLUTES

Aalia Hanif*

Jungah Yoon

Katarina Ignatovich

PICCOLOS

Aalia Hanif*

Jungah Yoon

OBOES

James Kim

Natalie Johnson

ENGLISH HORN

Hannah Fusco

CLARINETS

Elizabeth Kapitaniuk

Amy Hur*

E-FLAT CLARINET

Tyler Baillie

BASS CLARINET

Nathan Vilhena Kock

* Civic Orchestra Fellow

BASSOONS

Ian Arthur Schneiderman

Seo Young (Michelle) Min

CONTRABASSOON

William George

HORNS

Asunción Martínez

Ryan Williamson

Loren Ho

TRUMPETS

Sean-David Whitworth

Kai-Chun Chang

Abner Wong

TROMBONES

Hugo Saavedra* Jihong Son

BASS TROMBONE

Alexander Mullins

TUBA

Ben Poirot

TIMPANI

Tomas Leivestad

PERCUSSION

Charley Gillette

Alex Chao

Sehee Park

Dominik McDonald

Karel Zambrano

HARP

Janna Young

KEYBOARD

Wenlin Cheng

LIBRARIAN

Benjimen Neal

NEGAUNEE MUSIC INSTITUTE AT THE CSO

the board of the negaunee music institute

Leslie Burns Chair

Steve Shebik Vice Chair

John Aalbregtse

David Arch

James Borkman

Jacqui Cheng

Ricardo Cifuentes

Richard Colburn

Dunni Cosey Gay

Charles Emmons

Judy Feldman

Lori Julian

Toni-Marie Montgomery

Rumi Morales

Mimi Murley

Margo Oberman

Gerald Pauling

Harper Reed

Veronica Reyes

Marlon Smith

Eugene Stark

Liisa Thomas

Ex-officio Members

Jeff Alexander

Jonathan McCormick

Vanessa Moss

civic orchestra

artistic leadership

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett

Principal Conductor Chair

Coaches from the Chicago Symphony Orchestra

Robert Chen Concertmaster

The Louis C. Sudler Chair, endowed by an anonymous benefactor

Baird Dodge Principal

Second Violin

Danny Lai Viola

Max Raimi Viola

John Sharp Principal Cello

The Eloise W. Martin Chair

Kenneth Olsen Assistant

Principal Cello

The Adele Gidwitz Chair

Richard Hirschl Cello

Daniel Katz Cello

Brant Taylor Cello

Alexander Hanna Principal Bass

The David and Mary Winton

Green Principal Bass Chair

Stefán Ragnar Höskuldsson

Principal Flute

The Erika and Dietrich M. Gross

Principal Flute Chair

Emma Gerstein Flute

Jennifer Gunn Flute and Piccolo

The Dora and John Aalbregtse Piccolo Chair

William Welter Principal Oboe

The Nancy and Larry Fuller

Principal Oboe Chair

Stephen Williamson

Principal Clarinet

John Bruce Yeh Assistant

Principal Clarinet and E-flat Clarinet

Keith Buncke Principal Bassoon

William Buchman Assistant

Principal Bassoon

Mark Almond Principal Horn

Daniel Gingrich Horn

Esteban Batallán

Principal Trumpet

The Adolph Herseth Principal

Trumpet Chair, endowed by an anonymous benefactor

Mark Ridenour Assistant

Principal Trumpet

John Hagstrom Trumpet

The Bleck Family Chair

Tage Larsen Trumpet

The Pritzker Military Museum & Library Chair

Michael Mulcahy Trombone

Charles Vernon Bass Trombone

Gene Pokorny Principal Tuba

The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

David Herbert Principal Timpani

The Clinton Family Fund Chair

Vadim Karpinos Assistant

Principal Timpani, Percussion

Cynthia Yeh Principal Percussion

Sarah Bullen Former

Principal Harp

Mary Sauer Former

Principal Keyboard

Justin Vibbard Principal Librarian

negaunee music institute at the cso

Jonathan McCormick Director, Education & the Negaunee Music Institute

Katy Clusen Associate Director, CSO for Kids

Rachael Cohen Program Manager

Antonio Padilla Denis Manager, Civic Orchestra of Chicago

Katie Eaton Coordinator, School Partnerships

Mona Wu Operations Coordinator, Civic Orchestra of Chicago

Jackson Brown Program Assistant

Carol Kelleher Assistant, CSO for Kids

Frances Atkins Content Director

Kristin Tobin Designer & Print Production Manager

Petya Kaltchev Editor

HONOR ROLL OF DONORS

Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee Music Institute connects individuals and communities to the extraordinary musical resources of the Chicago Symphony Orchestra. The following donors are gratefully acknowledged for making a gift in support of these educational and engagement programs. To make a gift or learn more, please contact Kevin Gupana, Associate Director of Giving, Educational and Engagement Programs, 312-294-3156.

$150,000 AND ABOVE

Lori Julian for The Julian Family Foundation

The Negaunee Foundation

$100,000–$149,999

Anonymous

Allstate Insurance Company

$75,000–$99,999

John Hart and Carol Prins

Barbara and Barre Seid Foundation

Megan and Steve Shebik

$50,000–$74,999

Anonymous

BMO

Robert and Joanne Crown Income Charitable Fund

Lloyd A. Fry Foundation

Judy and Scott McCue

Polk Bros. Foundation

Michael and Linda Simon

Lisa and Paul Wiggin

$35,000–$49,999

Bowman C. Lingle Trust

National Endowment for the Arts

The George L. Shields Foundation, Inc.

Shure Charitable Trust

$25,000–$34,999

Anonymous

Abbott Fund

Carey and Brett August

Crain-Maling Foundation

Kinder Morgan

Margo and Michael Oberman

Gene and Jean Stark

$20,000–$24,999

Anonymous

Mary Winton Green

Halasyamani/Davis Family Illinois Arts Council Agency

Richard P. and Susan Kiphart Family

PNC

Charles and M. R. Shapiro Foundation

$15,000–$19,999

Nancy A. Abshire

Robert & Isabelle Bass Foundation, Inc.

The Buchanan Family Foundation

John D. and Leslie Henner Burns

Bruce and Martha Clinton for The Clinton Family Fund

Sue and Jim Colletti

Mr. Philip Lumpkin

The Maval Foundation

Sandra and Earl Rusnak, Jr. † Dr. Marylou Witz

$11,500–$14,999

Barker Welfare Foundation

Mr. † & Mrs. David A. Donovan

Mrs. Carol Evans, in memory of Henry Evans

Ksenia A. and Peter Turula

$7,500–$11,499

Anonymous

Robert H. Baum and MaryBeth Kretz

Mr. Lawrence Corry

Nancy and Bernard Dunkel

Ellen and Paul Gignilliat

Mr. & Mrs. Joseph B. Glossberg

Chet Gougis and Shelley Ochab

JPMorgan Chase & Co.

The League of the Chicago Symphony Orchestra Association

Mr. Glen Madeja and Ms. Janet Steidl

Dr. Leo and Catherine Miserendino

Ms. Susan Norvich

Ms. Emilysue Pinnell

D. Elizabeth Price

LTC. Jennifer N. Pritzker, USA (Ret.)

Benjamin J. Rosenthal Foundation

Ms. Courtney Shea

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

Theodore and Elisabeth Wachs

Catherine M. and Frederick H. Waddell

$4,500–$7,499

Anonymous

Joseph Bartush

Ann and Richard Carr

Harry F. and Elaine Chaddick Foundation

Mary and Lionel Go

Constance M. Filling and Robert D. Hevey, Jr.

Dr. June Koizumi

Dr. Lynda Lane

Francine R. Manilow

Leoni Zverow McVey and Bill McVey

Jim and Ginger Meyer

Drs. Robert and Marsha Mrtek

The Osprey Foundation

Dr. Scholl Foundation

$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

Judith E. Feldman

Camillo and Arlene Ghiron

Ms. Dawn E. Helwig

Ms. Ethelle Katz

Robert J. Richards and Barbara A. Richards

Mr. Peter Vale

Ms. Mary Walsh

$2,500–$3,499

Anonymous

Dora J. and R. John Aalbregtse

David and Suzanne Arch

Mr. James Borkman

Adam Bossov

Mr. Douglas Bragan †

Mr. Ray Capitanini

Lisa Chessare

Mr. Ricardo Cifuentes

Patricia A. Clickener

Ms. Nancy Dehmlow

HONOR ROLL OF DONORS

Mr. Clinton J. Ecker and Ms. Jacqui Cheng

William B. Hinchliff

Michael and Leigh Huston

Italian Village Restaurants

Ms. Mirjana Martich and Mr. Zoran Lazarevic

Mrs. Frank Morrissey

David † and Dolores Nelson

Mr. & Mrs. Jeffery Piper

Lee Ann and Savit Pirl

Mr. & Mrs. Stephen Racker

Erik and Nelleke Roffelsen

Mr. David Sandfort

Gerald and Barbara Schultz

Jessie Shih and Johnson Ho

Dr. & Mrs. R. Solaro

Carol S. Sonnenschein

Mr. † & Mrs. Hugo Sonnenschein

Ms. Joanne C. Tremulis

Mr. Kenneth Witkowski

Ms. Camille Zientek

$1,500–$2,499

Ms. Marlene Bach

Ms. Barbara Barzansky

Mr. Lawrence Belles

Mr. & Mrs. William E. Bible

Cassandra L. Book

Mr. Donald Bouseman

Ms. Danolda Brennan

Mr. Lee M. Brown and Ms. Pixie Newman

Darren Cahr

Bradley Cohn

Charles and Carol Emmons

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

Mr. Conrad Fischer

Ms. Lola Flamm

David and Janet Fox

Ronald and Diane Hamburger

Mr. † & Mrs. Robert Heidrick

Thomas and Reseda Kalowski

Mr. & Mrs. Norman Koglin

Dona Le Blanc

Adele Mayer

Mr. Aaron Mills

Mr. & Mrs. Stephen Morales

Mr. & Mrs. Robert S. Murley

Mr. Alexander Ripley

Ms. Mary Sauer

Mr. & Mrs. Thomas Scorza

Jane A. Shapiro

Mrs. Julie Stagliano

Michael and Salme Steinberg

Walter and Caroline Sueske Charitable Trust

Ayana Tomeka

Ms. Betty Vandenbosch

Abby and Glen Weisberg

M.L. Winburn

Irene Ziaya and Paul Chaitkin

Dr. & Mrs. Larry Zollinger

$1,000–$1,499

Anonymous

Duffie A. Adelson

John Albrecht

Ms. Rochelle Allen

Ms. Margaret Amato

Allen and Laura Ashley

Howard and Donna Bass

Daniel and Michele Becker

Ann Blickensderfer

Mr. Rowland Chang

David Colburn

Mr. & Mrs. Bill Cottle

Alan R. Cravitz

Mr. & Mrs. Barnaby Dinges

Tom Draski

DS&P Insurance Services, Inc.

Ms. Sharon Eiseman

Richard Finegold, M.D. and Ms. Rita O’Laughlin

Foxman Family Foundation

Eunice and Perry Goldberg

Enid Goubeaux

Mrs. Susan Hammond

Dr. Robert A. Harris

Mr. David Helverson

Clifford Hollander and Sharon Flynn Hollander

Dr. Ronald L. Hullinger

Dr. Victoria Ingram and Dr. Paul Navin

Mr. Ray Jones

Charles Katzenmeyer

Cantor Aviva Katzman and Dr. Morris Mauer

Randolph T. Kohler and Scott Gordan

Ms. Foo Choo Lee

Dr. & Mrs. Stuart Levin

Mr. † & Mrs. Gerald F. Loftus

Timothy Lubenow

Sharon L. Manuel

Rosa and Peter McCullagh

Mr. & Mrs. William McNally

Robert O. Middleton

Stephen W. and Kathleen J. Miller

Geoffrey R. Morgan

Mrs. MaryLouise Morrison

Catherine Mouly and LeRoy T. Carlson, Jr.

Lewis Nashner

William H. Nichols

Ms. Sylvette Nicolini

Edward and Gayla Nieminen

Mr. Bruce Oltman

Ms. Joan Pantsios

Kirsten Bedway and Simon Peebler

Ms. Dona Perry

James † and Sharon Phillips

Christine and Michael Pope

Quinlan & Fabish

Mr. George Quinlan

Susan Rabe

Dr. Hilda Richards

Dr. Edward Riley

Mary K. Ring

Christina Romero and Rama Kumanduri

Mr. & Mrs. Richard Rosenberg

Mr. & Mrs. Jeffrey Ross

Mr. David Samson

Peter Schauer

Mr. David M. Schiffman

Barbara and Lewis Schneider

Mr. & Mrs. Steve Schuette

Stephen A. and Marilyn Scott

Mr. Rahul and Mrs. Shobha Shah

Mr. & Mrs. James Shapiro

Dr. Rebecca Sherrick

Mr. Larry Simpson

Dr. Sabine Sobek

Ms. Denise Stauder

Mrs. Pamela Stepansky

Mr. & Mrs. Ronald Stepansky

Donna Stroder

Sharon Swanson

Dr. Douglas Vaughan

Mr. & Mrs. Richard Waxman

Mr. & Mrs. Joel Weisman

Joni Williams

Jane Stroud Wright

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

Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein

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 2023–24 season.

Eleven Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra. Major funding for this program is generously provided by Lori Julian for the Julian Family Foundation.

Nancy A. Abshire

Amanda Kellman, viola

Dr. & Mrs. Bernard H. Adelson Fund

Megan Yeung, viola

Sue and Jim Colletti

Nina Laube,* bassoon

Lawrence Corry

Jonah Kartman, violin

Robert and Joanne Crown Income Charitable Fund

Charley Gillette, percussion

James Kim, oboe

Buianto Lkhasaranov, cello

Daniel W. Meyer, bass

Subin Shin, violin

Abner Wong, trumpet

Mr. † & Mrs. David A. Donovan

Jacob Medina, horn

Mr. & Mrs. Paul C. Gignilliat

Janani Sivakumar, violin

Mr. & Mrs. Joseph B. Glossberg

Hannah Novak, bass

Richard and Alice Godfrey

Matthew Weinberg, violin

Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein

Alex Chao, percussion

Chet Gougis and Shelley Ochab

Tomas Leivestad, timpani

Mary Winton Green

Victor Stahoviak, bass

Jane Redmond Haliday Chair Mona Munire Mierxiati, violin

Lori Julian for the Julian Family Foundation

Nelson Mendoza, violin

Lina Yamin, violin

Lester B. Knight Charitable Trust

Valentina Guillen Menesello, violin

Elizabeth Kapitaniuk, clarinet

Elise Maas, violin

Ryan Williamson, horn

Brandon Xu, cello

HONOR ROLL OF DONORS

League of the Chicago Symphony Orchestra Association

Lindsey Sharpe, cello

Leslie Fund Inc.

Francisco Lopez Malespin,* cello

Phil Lumpkin

Matthew Musachio,* violin

Glenn Madeja and Janet Steidl

Abigail Monroe, cello

The Maval Foundation

Mark Morris, horn

Felix Regalado, trombone

Judy and Scott McCue and the Leslie Fund Inc.

Aalia Hanif,* flute

Dr. Leo and Catherine Miserendino

Sean-David Whitworth, trumpet

Ms. Susan Norvich

Nick Collins,* tuba

Ben Poirot, tuba

Margo and Mike Oberman

Ben Foerster,* bass

Sandra and Earl J. Rusnak, Jr. †

Quincy Erickson, trumpet

Barbara and Barre Seid Foundation

Alexander Mullins, bass trombone

Hugo Saavedra,* trombone

The George L. Shields Foundation, Inc.

Hsuan Chen, violin

Carlos Lozano, viola

Cameron Slaugh, cello

David W. and Lucille G. Stotter Chair

Ran (Ryan) Huo, violin

Ruth Miner Swislow Charitable Fund

Kimberly Bill, violin

HONOR ROLL OF DONORS

Lois and James Vrhel

Endowment Fund

Broner McCoy, bass

Theodore and Elisabeth Wachs

Hae Sol (Amy) Hur,+ clarinet

† Deceased * Civic Orchestra Fellow

Gifts listed as of February 2024

Dr. Marylou Witz

Marian Antonette Mayuga, violin

Anonymous

Anonymous Hojung Christina Lee, violin

Anonymous J Holzen,* cello

A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors.

Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire and transform lives through music.

A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors.

CSO.ORG/GIVETOCIVIC

312 -294 - 3100

Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire and transform lives through music.

CSO.ORG/GIVETOCIVIC

312-294-3100

SCAN TO GIVE