CIVIC ORCHESTR A OF CHICAGO
FEB 28 Lina González-Granados conductor
The 2021–22 Civic Orchestra of Chicago season is generously sponsored by
The Elizabeth F. Cheney Foundation.
2 ONE HUNDRED THIRD SEASON
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 28, 2022, at 7:00 Kenwood Academy High School
Lina González-Granados Conductor african american spiritual
Deep River (arr. Carrie Lane Gruselle) kenwood academy orchestr a Jhonatan Roldan, conductor
frank
Three Latin American Dances Introduction: Jungle Jaunt Highland Harawi The Mestizo Waltz
intermission
rimsky-korsakov
Sheherazade, Op. 35
The Sea and Sinbad’s Ship The Tale of the Dervish Prince The Young Prince and the Young Princess Festival in Baghdad, and the Sea Rannveig Marta Sarc, violin
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
3
comments by phillip huscher gabriela lena frank
Born September 26, 1972; Berkeley, California
Three Latin American Dances Gabriela Lena Frank’s parents met when her father, an American of Lithuanian Jewish descent, was a Peace Corps volunteer in Peru in the 1960s. Her mother is of Peruvian and Chinese ancestry. Although she was born in Berkeley, California, and was trained as a composer in the United States—at Rice University and the University of Michigan—Frank has chosen to explore her multicultural heritage in her music. Frank’s compositions have long reflected her interest in musical identity. “Peruvian music is so diverse that Peruvians themselves argue about what’s truly Peruvian,” Frank has said. “From town to town, people argue about who owns the true huayno, which is a quintessential Indian form.” She has collaborated with Peruvian ethnomusicologist Raul Romero in recording the piano music of indigenous composers of coastal and Andean Peru. She regularly travels throughout South America, continuing her studies of Latin American folklore, poetry, mythology, and native musical styles. But Frank’s background is even more complex. At the age of four, she was diagnosed with high-moderate/near-profound hearing loss, an extraordinary condition for a child destined to play piano and compose, and become one of the leading voices in contemporary music. In 2017, Frank founded the Gabriela Lena Frank Creative Academy of Music, hosted on her fifteen-acre farm in Mendocino County, California, to foster diverse compositional voices. (Its activities have largely gone online during COVID-19.) In October 2020, she was given the prestigious Heinz Award for her longtime advocacy of diversity in the arts, and for the way her own compositions, which embrace the many strands in her background, demonstrate her wide-ranging embrace of various cultures. As the Heinz Award acknowledged, she stands in a unique position today for “weaving Latin American influences into classical constructs and breaking gender, disability and cultural barriers in classical music composition.” For a woman of Latino descent with the disability of hearing loss, building a successful career as a composer was fraught with obstacles. But after she earned a doctorate at the University of Michigan, Frank’s life as a composer took off; she started to receive commissions regularly, and her works began to get
4 ONE HUNDRED THIRD SEASON
f i rst p e rf o rm a n c e November 5, 2008; Kitchener Waterloo Symphony Orchestra, Ontario, Canada; Edwin Outwater conducting 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, four horns, three trumpets, three trombones, timpani, percussion, harp, piano, strings a p p roxi m at e p e rf o rm a n c e t i m e 17 minutes
a b o v e : Gabriela Lena Frank, photo by Mariah Tauger
COMMENTS
frequent performances. She has served as a resident composer for many organizations, including the Detroit Symphony Orchestra and the Houston Symphony. In the process, as she has been embraced by the music community, she has become more aware of what it means to be an outsider. She has also learned to put her deafness to the service of her music; when pressed by a deadline, she regularly takes off her hearing aids and enjoys the benefits of silence for a few days: “In the absence of sound, my imagination goes to different places,” she told the New York Times recently. (Not surprisingly, she has wonderful insights into the ways hearing loss influenced Beethoven’s work—the ways he encoded his deafness in his music, how his piano writing changed as his hearing receded.) Frank’s music is not unfamiliar to Chicago Symphony audiences. In October 2008, as part of its Echoes of Nations celebration, the Orchestra performed Frank’s Illapa, a tone poem for flute and orchestra that depicts a moment in the life of the powerful weather god from ancient South American Andean culture. Her Tres Homenajes: Compadrazgo was played on a MusicNOW concert in May 2012. In December, Haillí-Serenata for string orchestra, a work commissioned by the Chicago Symphony Orchestra, received its premiere in performances conducted by Andrés Orozco-Estrada.
Gabriela Lena Frank on Three Latin American Dances I NT RO DU CT I O N : J U N G L E JAU N T
This introductory scherzo opens in an unabashed tribute to the Symphonic Dances from West Side Story by Leonard Bernstein before turning to harmonies and rhythms derived from various pan-Amazonian dance forms. These jungle references are sped through (so as to be largely hidden) while echoing the energy of the Argentinian composer Alberto Ginastera, who was long fascinated with indigenous Latin American cultures. H I GH L A N D H A R AW I
This movement is the heart of Three Latin American Dances, and evokes the Andean harawi, a melancholy adagio traditionally sung by a single bamboo quena flute so as to accompany a single dancer. As mountain music, the ambiance of mystery, vastness, and echo is evoked. The fast middle section simulates what I imagine to be the zumbayllu of Illapa—a great spinning top belonging to Illapa, the Peruvian-Inca weather deity of thunder, lightning, and rain. Illapa spins his great top in the highland valleys of the Andes before allowing a return to the more staid harawi. The music of the Hungarian composer Béla Bartók is eluded to. T H E M EST IZO WA LT Z
As if in relief to the gravity of the previous movement, this final movement is a lighthearted tribute to the mestizo or mixed-race music of the South American Pacific coast. In particular, it evokes the romancero tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.
C SO.ORG/INSTITUTE
5
COMMENTS
nikolai rimsky-korsakov
Born March 18, 1844; Tikhvin, near Novgorod, Russia Died June 21, 1908; Liubensk, near Saint Petersburg, Russia
Sheherazade, Symphonic Suite, Op. 35 As a boy, Rimsky-Korsakov yearned to see the world, a desire fueled by his restricted upbringing (at the age of twelve, he had left his hometown only three times) and by the letters his older brother Voin sent from the Far East, where he was serving in the navy. Young Nikolai fell in love with a sea he had never seen; he devoured books about it, memorized nautical terms, and even rigged up a model brig. Like many of his ancestors—and in obvious emulation of his brother—he set his heart on a career in the navy. But at the age of seventeen, when his piano teacher introduced him to Balakirev, Cui, and Mussorgsky, he could no longer deny that the pull of music also was strong. By the time he graduated from the College of Naval Cadets in 1856 and was due to set sail on the Almaz for a thirty-month cruise, he confessed that he wanted to be a musician instead of a sailor. Although the ship took him to many distant ports, including New York City and Rio de Janeiro, Rimsky-Korsakov rarely traveled far from home once the voyage was completed, settling instead for the world of his imagination, which he depicted in the fiction of his undeniably potent and atmospheric music. Rimsky-Korsakov first tried to capture the music of the lands he and his century knew as the “Orient” in his Antar Symphony; having no firsthand experience, he borrowed a French volume of Arab melodies collected in Algiers from his friend Alexander Borodin. He was particularly proud of composing a melody for Antar with “florid oriental embellishments,” and later boasted that “the abundant use of oriental themes lent my composition an odd turn of its own, hardly in wide use until then. . . .” Within the decade, however, Rimsky-Korsakov was to hear oriental music for himself. Early in July 1874, Rimsky-Korsakov took his wife and young child to Sevastopol on the southern coast of Crimea, across the Black Sea from Constantinople (now Istanbul). From there they traveled to the town of Bakhchisaray, where he marveled at “the coffeehouses, the shouts of its vendors, the chanting of the muezzins on the minarets, the services in the mosques, and the oriental music.” Rimsky was intoxicated by the sounds of this otherworldly place. “It was while hearing the Gypsy musicians
6 ONE HUNDRED THIRD SEASON
composed 1888 f i rst p e rf o rm a n c e November 3, 1888; Saint Petersburg, Russia. The composer conducting i n st ru m e n tat i o n two flutes and two piccolos, two oboes and english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals, snare drum, bass drum, tambourine, tam-tam, harp, strings a p p roxi m at e p e rf o rm a n c e t i m e 47 minutes
a b o v e : Rimsky-Korsakov, in his youth, ca. 1860s o p p o s i t e pa g e , f r o m t o p : Mikhail Fokine (Golden Slave) and Vera Fokina (Zobeïde) in the 1910 Ballets Russes production of Sheherazade Sketch of a set design for Sheherazade by Léon Bakst (1866–1924), 1910
COMMENTS
of Bakhchisaray that I first became acquainted with oriental music in its natural state, and I believe I caught the main feature of its character,” he later reported in My Musical Life. Music filled the streets from morning till night—“in front of every coffeehouse there was continual playing and singing,” he wrote. But seven years later, when he returned to Bakhchisaray, he was stunned to discover that the authorities had cleaned up the streets, and the seductive sounds of the town remained a distant memory. Perhaps hoping to experience some of the local color the place now denied him, he sailed on to Constantinople, where he stayed three days before returning home.
I
n February 1887, Alexander Borodin died. Rimsky-Korsakov was devastated at the loss of his friend and colleague (he didn’t sleep all night after hearing the news), and within days he decided to put his own work aside in order to complete Borodin’s famously unfinished opera Prince Igor. Sometime the following winter, while he was immersed in Borodin’s world of Polovtsian chiefs, harem girls, and Turkish invaders, Rimsky-Korsakov conceived his own oriental fantasy—an orchestral work inspired by The Arabian Nights, a collection of Arabic, Persian, and Indian tales that had held an enormous, almost uncanny fascination for many cultures since the ninth century. (The Arabian Nights had circulated throughout the West in Antoine Galland’s French translation since the early eighteenth century.) Sheherazade, as he came to call the work, was composed that summer. Sheherazade consisted of “separate, unconnected episodes and pictures,” as the composer put it, from The Arabian Nights: snapshots, in other words, of a world he never knew. Sheherazade is a triumph of imagination over experience. It’s a feast of sumptuous colors and brilliant instrumental effects—by the man, after all, who literally wrote the book on orchestration—and it quickly became a favorite romantic showpiece and a landmark in the history of descriptive music.
Rimsky-Korsakov prefaced the score with a brief reminder of the premise behind the world’s first great serial story: to subvert the Sultan Shahriar’s vow to kill each of his wives after the first night, the Sultana Sheherazade spins an intricate web of to-be-continued tales, one per night, for 1,001 nights, ultimately fascinating and winning over the sultan. By the time he wrote his autobiography, Rimsky-Korsakov shied away from a literal, programmatic reading of the score, denying that it depicted actual characters and episodes from The Arabian Nights. “In the majority of cases, all these seeming ‘leitmotifs’ are nothing but purely C SO.ORG/INSTITUTE
7
COMMENTS
musical material, the themes for symphonic development,” he wrote. Originally, he claimed, he hadn’t even planned to give the four movements titles (beyond the musical labels prelude, ballade, adagio, and finale); his student Lyadov convinced him otherwise. The programmatic names he finally chose, however, don’t refer to specific tales in The Arabian Nights, but to general scenes— Sinbad sailing the sea, a festival in Baghdad, a ship being dashed against the rocks. (Rimsky-Korsakov decided to omit the titles in the second edition of the score.) He conceded that the violin solo was meant to delineate Sheherazade “as she tells her wondrous tales to the stern sultan,” but the imposing theme with which the score begins wasn’t reserved specifically for the sultan. “In composing Sheherazade, I meant these hints to direct only slightly the listener’s fancy on the path that my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each,” Rimsky-Korsakov later wrote. “All I wanted was that the hearer, if he liked the piece as symphonic music, should carry away the impression that it is undoubtedly an oriental narrative of numerous and varied fairy-tale marvels, and not merely four pieces played one after the other and based on themes common to all four.”
Rimsky-Korsakov’s genius is for an art of illusion; it has nothing to do with the precise, note-specific observation of a latter-day ethnomusicologist. One day of sightseeing in Bakhchisaray was sufficient, for his purposes, to “capture the main feature” of oriental music. He sought to depict the Orient of people’s dreams, and that’s why he called the work Sheherazade: “Because this name and the title The Arabian Nights connote in everyone’s mind the East and fairy tales.” With this score, which immediately became a favorite of European and American armchair travelers, Rimsky-Korsakov ensured the power of that identification for years to come.
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
a b o v e : View of the Khan’s Palace of Bakhchisaray by Carlo Bossoli (1815–1884); mixed media on paper, 1857
8 ONE HUNDRED THIRD SEASON
profiles Lina González-Granados Conductor Colombian American Lina González-Granados has distinguished herself nationally and internationally as a talented young conductor of symphonic and operatic repertoire. Her spirited interpretations of the orchestral repertoire, as well as her dedication to highlighting new and unknown works by Latin American composers, have earned her international recognition, most recently as the recipient of the 2021 Sphinx Medal of Excellence, the third prize and ECHO Special Award (European Concert Hall Organization) of La Maestra Competition, and the 2020 and 2021 Solti Foundation U.S. Career Assistance Award. González-Granados was recently appointed resident conductor by the LA Opera, a position she will hold from July 2022 through June 2025. She was also the winner of the fourth Chicago Symphony Orchestra Sir Georg Solti International Conducting Competition, and became the new Solti Conducting Apprentice under the guidance of Maestro Riccardo Muti, beginning in February 2020 and continuing through June 2022. In addition, she has held positions as conducting fellow of the Philadelphia Orchestra and Seattle Symphony. Her 2021–22 season highlights include a return to the New York Philharmonic, as well as debuts with the National Symphony (U.S.), Gulbenkian
P H OTO BY TO DD RO S E NB E RG
Orchestra, Spanish National Orchestra, Barcelona Symphony, Nürnberger Symphoniker, Filarmonica Arturo Toscanini, Kristiansand Symphony, Tapiola Sinfonietta, Polish National Radio Symphony, Orquesta del Principado de Asturias, Orquesta Sinfónica de Castilla y León, and Tenerife Symphony. She will also conduct The Barber of Seville at the Dallas Opera. González-Granados is an active and fervent proponent for the inclusion and development of new works for chamber and large orchestra, especially music from Latin American composers. She is the artistic director of Unitas Ensemble, a chamber orchestra she founded that performs the works of Latinx composers and provides access to free community performances for underserved communities. Her work with Unitas has earned her numerous community awards, most recently a Spark Boston Award from the City of Boston. She has also commissioned multiple world, North American, and American premieres, as well as the creation and release of the Unitas Ensemble album Estaciones, recorded alongside the Latin Grammy–winning Cuarteto Latinoamericano. Born and raised in Cali, Colombia, GonzálezGranados made her conducting debut in 2008 with the Youth Orchestra of Bellas Artes in Cali. She holds a master’s degree in conducting with Charles Peltz, a graduate diploma in choral conducting from the New England Conservatory with Erica Washburn, and a doctorate of musical arts in orchestral conducting from Boston University. Her principal mentors include Marin Alsop, Bernard Haitink, Bramwell Tovey, and Yannick Nézet- Séguin.
C SO.ORG/INSTITUTE
9
PROFILES
Civic Orchestra of Chicago Founded in 1919 by Frederick Stock, second music director of the Chicago Symphony Orchestra (CSO), the Civic Orchestra of Chicago prepares emerging professional musicians for lives in music. Civic members participate in rigorous orchestral training, September through June each season, with the Robert Kohl and Clark Pellett Principal Conductor Ken-David Masur, musicians of the CSO, and some of today’s most luminary conductors including the CSO’s Zell Music Director Riccardo Muti. The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commitment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM). Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational performances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city, including Chicago Park District field houses and the National Museum of Mexican Art. To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Each year ten to
10 ONE HUNDRED THIRD SEASON
fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversity their creative and professional skills. From 2010 to 2019, Yo-Yo Ma was a leading mentor to Civic musicians and staff in his role as CSO Judson and Joyce Green Creative Consultant, and the programs and initiatives he established are integral to the Civic Orchestra curriculum today. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving world of music in the twenty-first century. The Civic Orchestra’s long history of presenting full orchestra performances free to the public includes annual concerts at the South Shore Cultural Center (in partnership with the South Shore Advisory Council) as well as numerous Chicago Public Schools. The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra, which offers a wide range of education and community programs that engage more than 200,000 people of diverse ages, incomes, and backgrounds each year, in Chicago and around the world. For more on the Civic Orchestra of Chicago and its Principal Conductor Ken-David Masur, please visit cso.org.
PROFILES
Civic Orchestra of Chicago
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
violins Rannveig Marta Sarc Concertmaster Hee Yeon Kim* Assistant Concertmaster John Heffernan Principal Second Tabitha Oh Assistant Principal Second Joshua Burca Hsuan Chen Joe DeAngelo Diego Diaz Shinhye Dong Dylan Marshall Feldpausch* Robert Herbst Kyoko Inagawa Christopher Sungjoo Kang Kenichi Kiyama Christina Hojung Lee Elliot Lee+ Liya Ma Nelson Mendoza* Emily Nardo Kina Ono Crystal Qi Laura Schafer Subin Shin Brent Taghap+ Holly Wagner Grace Walker Matthew Weinberg Diane Yang viol as Bethany Pereboom* Principal Benjamin Wagner Assistant Principal Amanda Kellman Larissa Mapua Pedro Mendez Sofia Nikas Teddy Schenkman Josephine Stockwell Seth Van Embden Megan Yeung
cellos Abigail Monroe Principal Francisco Lopez Malespin* Assistant Principal Bailey Holbrook J Holzen Miles Link Shannon Merciel Haley Slaugh Hana Takemoto Charlotte Ullman
horns Abby Black* Jacob Medina Scott Sanders Michael Stevens Nelson Ricardo Yovera Perez
basses Ben Foerster Principal Isaac Polinsky Assistant Principal Nate Beaver Nicholas Daniel DeLaurentis Caleb Edwards Andrew French Wesley A. Jones Olivia Reyes
trombones Felix Regalado Hugo Saavedra*
flutes Indigo Fischer Katarina Ignatovich Alyssa Primeau*
timpani George Tantchev
oboes James Jihyun Kim Amelia Merriman* Laura Yawney cl arinets Nicolas Chona+ Antonio Garrasi Brian Gnojek Daniel Solowey bassoons Edin Agamenoni Mackenzie Brauns* Liam Jackson
trumpets Ismael Cañizares Ortega Michael Leavens David Masaki Nakazono+
bass trombone Zhen Lei tuba Jarrett Girard McCourt
percussion Joseph Bricker Dylan Brûlé David Eisenreich+ Charley Gillette keyboard Tyler Kivel harp Carly Nelson librarian Anna Thompson
Kenwood Academy Orchestra
Jhonatan Roldan Director of Orchestras, Kenwood Academy High School violins Noah Sosnowski Viraat Sharharma Kristin Tse Gayle Sancho T’anna Lomack Andre Madison Natalia Als Izak Cwiakala Franceska Kang
Christian Copeland Leneice York Lahna Davis Jorie Binion Kennedy Greene Esperanza Román-Carrera Landon White Shawndale Lanier Cameron Wood
viol as Alana Powell Indigo Sheppard cellos Jaila Simmons Victoria Roberts bass Zion Ash
* Civic Orchestra Fellow + Civic Orchestra Alumni Roster subject to change. Please view final roster at cso.org/experience/performances.
C SO.ORG/INSTITUTE
11
negaunee music institute at the cso the board of the negaunee music institute
civic orchestra artistic leadership
Liisa Thomas Chair Leslie Burns Vice Chair
Coaches from the Chicago Symphony Orchestra Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Baird Dodge Principal Second Violin Li-Kuo Chang Acting Principal Viola The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor John Sharp Principal Cello The Eloise W. Martin Chair Richard Hirschl Cello Daniel Katz Cello Brant Taylor Cello Alexander Hanna Principal Bass The David and Mary Winton Green Principal Bass Chair Stefán Ragnar Höskuldsson Principal Flute The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Flute Jennifer Gunn Flute and Piccolo 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
12 ONE HUNDRED THIRD SEASON
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
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
C SO.ORG/INSTITUTE
13
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
14 ONE HUNDRED THIRD SEASON
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 Josephine Stockwell, viola Mr. Lawrence Belles and The Elizabeth F. Cheney Foundation Michael Stevens, horn Sue and Jim Colletti Bethany Pereboom,** viola Lawrence Corry Wesley A. 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 Robert 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 Marshall Feldpausch,** 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 Girard McCourt, tuba Nelson Ricardo Yovera Perez, horn The George L. Shields Foundation Inc. Philip 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 Nicholas Daniel 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 Marta 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
C SO.ORG/INSTITUTE
15
All-Access Chamber Series Curated and performed by members of the CSO, the All-Access Chamber Music series presents free concerts in Orchestra Hall and venues throughout the city.
Symphony Center Tuesday, April 19, 6:30 Tuesday, May 17, 6:30 Kehrein Center for the Arts Tuesday, March 22, 6:30 South Shore Cultural Center Sunday, May 1, 3:00 Beverly Arts Center Sunday, June 5, 3:00
Get your free tickets today!
These concerts are generously sponsored by an anonymous donor.
CSO.ORG/ALLACCESS | 312-294-3000