Program Book - Civic Orchestra of Chicago: Nature’s Realm

CIVIC ORCHESTR A OF CHICAGO

NATURE’S REALM MAY 2 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.

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, May 2, 2022, at 8:00

Ken-David Masur Conductor dvořák

In Nature’s Realm, Op. 91

montgomery

Caught by the Wind

intermission

strauss

An Alpine Symphony

The 2021–22 Civic Orchestra season is generously sponsored by The Elizabeth F. Cheney Foundation.

This performance is made possible by a generous endowment gift from the estate of Halina J. Presley.

The 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 antonín dvořák

Born September 8, 1841; Mühlhausen, Bohemia (now Nelahozeves, Czech Republic) Died May 1, 1904; Prague, Bohemia

In Nature’s Realm, Op. 91 Three weeks after Antonín Dvořák, his wife, and their two children moved to New York City in 1892, the composer conducted a concert of his music in Carnegie Hall, then only seventeen months old. He included In Nature’s Realm and two companion overtures, because, as he wrote home to his publisher in Prague, “I think they are my best orchestral works.” (Within a matter of weeks, he began to sketch the Ninth Symphony, quickly known as From the New World, which would become his most popular composition.)

Dvořák had unveiled his three overtures at his farewell concert in Prague the previous spring. They were the last works he wrote before his great adventure in the New World. He conceived of the three pieces as a set called Nature, Life, and Love, and they are unified by a lovely, languid theme representing nature. Dvořák later agreed to publish them separately—as In Nature’s Realm, Carnival, and Othello—never dreaming that the middle one would immediately become a great audience favorite at the expense of the other two.

Reviewing Dvořák’s first appearance on the New York stage, the New York Times commented that the “triple overture is more in the nature of three descriptive symphonic movements than in that of an overture” and called the first part of the triptych—the piece known as In Nature’s Realm—“especially bright and virile in melody and instrumental treatment.”

Although all three pieces reflect Dvořák’s deep reverence for nature, In Nature’s Realm most closely resembles a landscape painting in its richness of color; evocation of place; and sense of grand, unfolding vistas. It also is a self-portrait in a sense, for it depicts the composer’s home in the forest of Vysoká, where he could compose in peace, disturbed only by the natural sounds outside his window. Although this work is a rarity on today’s orchestral programs, the Chicago Symphony played In Nature’s Realm often in its early years, and it opened the very last concert the Orchestra’s founder and Dvořák champion Theodore Thomas led before his death.

composed March 31–July 8, 1891 f i rst p e rf o rm a n c e April 28, 1892, Prague i n st ru m e n tat i o n two flutes, two oboes and english horn, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, strings a p p roxi m at e p e rf o rm a n c e t i m e 11 minutes

f r o m t o p : Dvořák, pastel portrait, 1891, by Ludwig Michalek (1859–1942).

Prague Conservatory of Music The Dvořák family, New York City, 1893

4 ONE HUNDRED THIRD SEASON

COMMENTS

jessie montgomery

Born December 8, 1981; New York City

Caught by the Wind Last June, shortly after Jessie Montgomery was named the Chicago Symphony Orchestra’s new Mead Composer-inResidence, the Chicago Symphony Orchestra played her music for the first time: Strum, music for strings that is rooted in the American folk tradition and governed by the spirit of dance. Her three-year appointment began July 1.

Selected by Zell Music Director Riccardo Muti, she has been commissioned to write three new works for the Orchestra—one for each of her three seasons in the post. The first, Hymn for Everyone, premiered last week and was conducted by Muti himself. Like her immediate predecessors in the post—including, most recently, Missy Mazzoli—she is heavily involved in guiding the Orchestra’s MusicNOW series, curating its programs of new works and writing music for it as well. It was the MusicNOW series, then under Mazzoli’s direction, that introduced her string quartet, Break Away, to Chicago audiences two years ago. In October, the CSO performed her Coincident Dances, conducted by Manfred Honeck.

A native of New York City, Montgomery started violin lessons at the Third Street Music School Settlement. She now holds degrees from the Juilliard School (in violin) and New York University (a master’s in composition for film and multimedia) and works on her doctorate from Princeton University. Since 1999, she has been closely involved with Sphinx, a Detroitbased nonprofit organization that supports young African American and Latinx string players. Montgomery has devoted her career to working with young artists and musicians with diverse backgrounds and ideas, and she is known for immersing herself in the activities of the new-music community, all of which she continues in Chicago. Montgomery is also keenly aware that she is working in the hometown of Florence Price— she calls her “the godmother of Black music”—whose music the Chicago Symphony introduced on a history-making evening in 1933, when Music Director Frederick Stock premiered her Symphony no. 1. This month, Montgomery will participate in the activities surrounding the Orchestra’s first performances of Price’s Symphony no. 3, under Muti’s baton.

composed 2016 f i rst p e rf o rm a n c e July 2015; New York City; The Albany Symphony, James Blachly conducting i n st ru m e n tat i o n two flutes, two oboes, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones and tuba, percussion, strings a p p roxi m at e p e rf o rm a n c e t i m e 10 minutes

a b o v e : Jessie Montgomery, photo by Todd Rosenberg

C SO.ORG/INSTITUTE

5

COMMENTS

Montgomery’s plate is full and overflowing; she is booked with commissions well into the future. As the New York Times reported in a profile of Montgomery in September, it is estimated that her orchestral scores were performed nearly 400 times last year. In 2020, she was named to the Metropolitan Opera/Lincoln Center Theater New Works commissioning program, one of three Black composers picked in what was widely seen as a welcome reboot of one of America’s most tradition-bound institutions. The significance of her emergence in today’s cultural climate—especially heightened in the wake of George Floyd’s murder and the Black Lives Matter movement—and the responsibilities it carries, are not lost on Montgomery: “We have to take into account that we’re carrying a history inside of our beings and in the work that we do,” she said recently.

One can learn a lot about Montgomery by considering her music—the reasons she composes, the sensibilities she advocates. In Banner, Montgomery’s signature tribute to the 200th anniversary of The Star-Spangled Banner from 2014, she addresses the question: “What does an anthem for the twenty-first century sound like in today’s multicultural environment?” In Montgomery’s hands, it is an exploration of the divides that slice through American culture: “For most Americans the song represents a paradigm of liberty and solidarity against fierce odds, and for others it implies a contradiction between the ideals of freedom and the realities of injustice and oppression.” Her whole catalog is animated by that kind of attention to the world around her. In a sense, it echoes what her mother, a pioneering artist whose work often dealt with issues of race, once said: “Find a way to house the contradictions rather than resolve them.”

Montgomery makes art that is firmly set in the present, which would not be notable today in theater or fiction, for example, but stands out in the world of classical music, which has for so long lived largely in the European past.

Coincident Dances, the score the Chicago

6 ONE HUNDRED THIRD SEASON

Symphony Orchestra played in October, is a kind of snapshot of musical life today: a fusion of different musics—English consort, samba, mbira dance music from Ghana, swing, techno—it captures what Montgomery describes as “the multicultural aural palette one hears even in a short walk through a New York City neighborhood.”

But Montgomery’s music suggests that she not only possesses the rare gift of writing music that reflects the complexity of our world, but one that will lead us forward. By already forging her own distinct voice in a crowded musical scene—a voice that melds and marries many different influences—she is well positioned to help guide the music of our multifaceted future. “I’ve always been interested in trying to find the intersection between different types of music,” she has said.

“I imagine that music is a meeting place at which all people can converse about their unique differences and common stories.”

Jessie Montgomery on Caught by the Wind

C

aught by the Wind has two main sources of inspiration: first, by my brother’s environmental activist bicycle band tour, The Pleasant Revolution, where he and his disciples traveled thousands of miles promoting awareness of environmental issues, self-powering their shows with bicycle generators. The journey of pedaling from country to country by bicycle was a powerful and transcending experience for all band members and crew, who dedicated months, even years, to the tour.

Midway through composing the piece, things took a slightly different turn: while on retreat in upstate New York, I was on a much-needed head-clearing walk through the woods and found a branch that had been mangled and torn by the wind. I was fascinated by how the intricate system of stems tangled together, revealing a full life cycle in its now disfigured form.

The piece, in the end, is one about cycles— whether bicycles, or life cycles, or wind cycles— it spins, journeys and winds, gets caught, and ultimately comes to its end.

COMMENTS

richard strauss

Born June 11, 1864; Munich, Germany Died September 8, 1949; Garmisch-Partenkirchen, Germany

An Alpine Symphony, Op. 64 The idea to write an Alpine symphony began in Strauss’s boyhood, with a mountain hike on which the party got lost going up and drenched to the skin coming down.

When young Richard got home, he ran to the piano and improvised a fantasy based on the adventure, “a lot of nonsense and gigantic Wagnerian tone painting,” as he told his friend Ludwig Thuille. Even after his childhood pastime had developed into a serious, gigantic talent and he had produced the dazzling series of orchestral tone poems that made him the most celebrated composer of his day, he could not forget a day spent on a mountain.

In 1900, after Ein Heldenleben had been successfully launched, Strauss wrote to his parents that he was considering one more tone poem, which “would begin with a sunrise in Switzerland.” (He had recently written what is perhaps the grandest, most impressive sunrise in all music, in Also sprach Zarathustra.) He even jotted down a few themes. In 1902, Strauss outlined a plan for a symphony in four parts: I. Night; sunrise/ascent; forest (hunt)/waterfall (Alpine sprite)/flowery meadows (shepherds)/glacier/ thunderstorm/descent and rest.

composed 1911–February 1915 f i rst p e rf o rm a n c e October 28, 1915; Berlin, Germany i n st ru m e n tat i o n four flutes and two piccolos, three oboes, english horn and heckelphone, two clarinets in B, one clarinet in C, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, eight horns, four wagner tubas, four trumpets, four trombones and two tubas, two harps, wind machine, thunder machine, glockenspiel, cymbals, bass drum, side drum, triangle, cowbells, tam-tam, celesta, organ, timpani, and strings; plus an off-stage brass group consisting of an additional twelve horns, two trumpets, and two trombones a p p roxi m at e p e rf o rm a n c e t i m e 51 minutes

II. Rustic pleasures, dance, folk festival/procession.

III. Dreams and specters (after Goya).

IV. Liberation through work; artistic creation. Fugue.

Nothing came of that until May 1911, the month Gustav Mahler died. Although he and Strauss had never been close, nor even of the same mind artistically—Mahler once said that he and Strauss were tunneling from opposite sides of the same mountain and might eventually meet in the middle— Strauss wrote in his diary, “The death of this aspiring, idealistic, and energetic artist is a heavy loss.” This was the moment childhood memory, abandoned sketches, and a deeper vision of man’s place on the earth became An Alpine Symphony. This

a b o v e : Strauss, ca. 1910

C SO.ORG/INSTITUTE

7

COMMENTS

A GUIDE TO AN ALPINE SYMPHONY The twenty-one individual sections of Strauss’s tone poem are played without pause.

1. Night 2. Sunrise 3. The Ascent 4. Entering the Forest, Wandering by the Brook 5. By the Waterfall 6. Apparition 7. Flowery Meadows 8. In the Mountain Pasture 9. On the Wrong Path through Thickets and Undergrowth 10. On the Glacier 11. Precarious Moments 12. On the Summit 13. Vision 14. Rising Mists 15. The Sun Gradually Dims 16. Elegy 17. Calm before the Storm 18. Thunderstorm, Descent 19. Sunset 20. Epilogue (Dying Away of Sound) 21. Night

new piece grew to represent “the ritual of purification through one’s own strength, emancipation through work, and the adoration of eternal, glorious nature.”

Strauss continued to sketch for some time. For inspiration, he had only to look up from the polished desk he had positioned in front of the windows of his workroom in Garmisch—the house recently built with the royalties from Salome—at the magnificent Alps beyond. In November 1914, Strauss began to orchestrate the piece, completing work on February 8, 1915. The premiere, on October 28, received little notice (it was the second year of World War I), but Strauss was pleased with his newest composition—and his final tone poem—and he urged Hugo von Hofmannsthal, the celebrated librettist of his blockbuster operas Elektra and Der Rosenkavalier, to catch a later performance: “It really is a good piece,” he wrote,

with obvious satisfaction. Even years later, when critical opinion began to devalue the work for its over-the-top Hollywood effects, Strauss held firm: in 1947, when he was invited to London for a festival of his music, he said that of all his orchestral works he would most like to conduct the Alpine Symphony. (He was forced to settle for the Symphonia domestica, which calls for a smaller orchestra.)

Although An Alpine Symphony is a continuous stretch of music, Strauss has marked off twenty-one sections in the score—a traveler’s itinerary of the day’s journey. With so much vivid and illustrative music in a single span, the work is more tone poem than symphony, though there are still hints of Strauss’s original subdivision into four movements. In fact, Strauss felt that with this score he had at last found the right balance of absolute and program music.

a b o v e : Storm among the Alps, ca. 1856, by German-born American artist Albert Bierstadt

8 ONE HUNDRED THIRD SEASON

COMMENTS

(Not everyone bought his argument. The prickly theorist and critic Theodor Adorno abhorred the “crass externality of the relationship between program and form.” Hindemith thought it would be “better to hang oneself than ever to write music like that.”) Strauss’s orchestra is lavish—including cowbells and a wind machine— and he uses it with unfailing imagination and remarkable finesse, even for the man responsible for some of the most stunning sounds in recent music. (At the dress rehearsal he remarked, “At last I’ve learned how to orchestrate.”)

A

n Alpine Symphony, moving from sunrise to sunset, begins and ends in the quiet darkness of night. Strauss being Strauss, music’s greatest master of the blockbuster moment, all twenty-one stops on his musical travelogue are highlights, although admittedly some are more spectacular than others. There are many celebrated examples of pictorial writing, including a fine A major sunrise to rival the one in Also sprach Zarathustra, the sound of hunting horns vaulting through the valleys below (played by an off-stage band of twelve horns, two trumpets, and two trombones), a cascading waterfall, and an even wetter storm later on—a

wild and noisy outburst, complete with the sounds of thunder and wind, that makes the rainstorm of Strauss’s childhood memory remarkably vivid and unforgettable. (You can only imagine how this must have sounded when it was played in an arrangement for two pianos at one of Schoenberg’s groundbreaking concerts sponsored by his Society for the Private Performance of Music.) The centerpiece of the score is the arrival at the summit, announced by the stammering of the solo oboe, apparently stunned by the high-altitude view and lack of oxygen, and climaxing with an ecstatic outpouring, scored for the full orchestra, that combines several themes encountered on the way up.

The glory of An Alpine Symphony is not in the details, however, but in the scope of the whole, and in the emotional depth Strauss finds, particularly on the summit and in the spacious and reflective closing pages. There we see the mountain’s challenge and the setting sun as metaphors; An Alpine Symphony suddenly encompasses the whole of life.

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

C SO.ORG/INSTITUTE

9

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.

Previously, Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolay Lugansky, and others. For eight years, Masur served as principal guest conductor of

10 ONE HUNDRED THIRD SEASON

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.

C SO.ORG/INSTITUTE

11

PROFILES

Civic Orchestra of Chicago

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

violins John Heffernan Concertmaster Tabitha Oh Dylan Marshall Feldpausch** Liya Ma Subin Shin Hee Yeon Kim** Grace Walker Kristian Brusubardis Kina Ono Valentina Guillen Menesello Holly Wagner Christina Hojung Lee Shinhye Dong Jason Hurlbut Christopher Sungjoo Kang Owen Ruff Diego Diaz Principal Luke Lentini** Rannveig Sarc Kyoko Inagawa Joe DeAngelo Robbie Herbst Joshua Burca Matthew Weinberg Diane Yang Kenichi Kiyama Emily Nardo Fahad Awan Benjamin Kronk Naomi Schrank viol as Ben Wagner Principal Teddy Schenkman Amanda Kellman Pedro Mendez Larissa Mapua Josephine Stockwell Sofia Nikas Seth Van Embden Taisiya Sokolova Megan Yeung Bethany Pereboom** Kelly Bartek c ellos Lindsey Sharpe Principal** Haley Slaugh Francisco Lopez Malespin** Abigail Monroe Miles Link Charlotte Ullman Hana Takemoto Robyn Neidhold J. Holzen Lidanys Glaterol

basses Isaac Polinsky Principal Nate Beaver Caleb Edwards Ben Foerster Olivia Reyes Andrew French Nicholas Daniel DeLaurentis Jintao He flutes Alyssa Primeau** Katarina Ignatovich Min Ha Kim Eric Leise oboes James Kim Kelley Osterberg Sarah Pinto cl arinets Antonio Garrasi Daniel Solowey Michael Thompson Irina Chang

trumpets John Wagner Michal Leavens Ismael Cañizares Ortega Isaac Hopkins Joshua Harris David Nakazono* trombones Felix Regalado Hugo Saavedra Arciniegas** Liam Glendening Evelyn Proffit bass trombone Harper Byrne contrabass trombone Carter Woosley tubas Jarrett McCourt Nick Collins timpani Joe Bricker Principal**

bassoons Edin Agamenoni Liam Jackson Tsz-Ho Liu Nick Ritter

percussion Thaddeus Chung Charlie Gillette Jordan Berini Dylan Brûlé

horns Nelson Yovera Perez Jacob Medina Austin Ruff Scott Sanders Michael Stevens Sylvia Denecke Emily Whitaker Blaine Dodson Kelsey Williams* Phillip Palmore Luoxian He Asuncion Martínez Fiona Chisholm* Kristin Andlauer Amy Kreuger* Jordan Dinkins Antonio Padilla Denis

harps Lisa Kahn Principal Natalie Man

** Civic Orchestra Fellow * Civic Orchestra Alumni

12 ONE HUNDRED THIRD SEASON

celeste Wenlin Cheng organ Tyler Kivel 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 Jacqui Cheng Ricardo Cifuentes Richard Colburn Charles Emmons Judy Feldman Lori Julian Rumi Morales Mimi Murley Margo Oberman Gerald Pauling Harper Reed Veronica Reyes Steve Shebik Marlon Smith Ex-officio Members Jeff Alexander Jonathan McCormick Vanessa Moss

negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute Katy Clusen Manager, School & Family Programs Sarah Vander Ploeg Coordinator, School & Community Partnerships Antonio Padilla Denis Interim Manager, Civic Orchestra of Chicago Rachael Cohen Programs Assistant Frances Atkins Content Director Kristin Tobin Designer & Print Production Manager

C SO.ORG/INSTITUTE

13

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 National Endowment for the Arts 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 Michael and Linda Simon Mr. Irving Stenn, Jr. $ 3 5 ,0 0 0 – $ 4 9, 9 9 9

John and Fran Edwardson Bowman C. Lingle Trust $ 2 5 ,0 0 0 – $ 3 4 , 9 9 9

Anonymous (2) Abbott Fund Barker Welfare Foundation Crain-Maling Foundation The James and Madeleine McMullan Family Foundation Shure Charitable Trust $ 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

$ 1 5 ,0 0 0 – $ 1 9, 9 9 9

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

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 Theodore and Elisabeth Wachs $ 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 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

$ 3,500–$ 4,499

$2,500–$ 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 Thomas and Reseda Kalowski

† 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

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

† 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

15

HONOR ROLL OF DONORS

CIVIC ORCHESTR A OF CHICAGO SCHOLARSHIPS

Members of the Civic Orchestra receive an annual stipend to help offset some of their living expenses during their training in Civic. The following donors have generously underwritten a Civic musician(s) for the 2021–22 season.

Thirteen Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra.

Major funding for this program is generously provided by The Julian Family Foundation.

The 2021–22 Civic season is sponsored by the Elizabeth F. Cheney Foundation.

To learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at williamsd@cso.org or 312-294-3156.

Nancy A. Abshire Shannon Merciel, cello Dr. & Mrs. Bernard H. Adelson Fund 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. David A. Donovan Alyssa Primeau,** flute

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

Judy and Scott McCue and The Elizabeth F. Cheney Foundation Luke Lentini,** violin

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

Nancy Lauter McDougal and Alfred L. McDougal † Diego Diaz, violin

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

Dr. Leo and Catherine Miserendino Olivia Reyes, bass

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 League of the Chicago Symphony Orchestra Association Lindsey Sharpe,** cello Leslie Fund Inc. Joseph Bricker,** percussion Tabitha Oh, violin

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 Theodore and Elisabeth Wachs Katarina Ignatovica, flute Dr. Marylou Witz Hee Yeon Kim,** violin Anonymous Hugo Saavedra,** trombone Anonymous Francisco Malespin,** cello Rannveig Marta Sarc, violin

Phillip G. Lumpkin Dylan Marshall Feldpausch,** violin Mr. Glen Madeja and Ms. Janet Steidl Abigail Monroe, cello

† 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