Program Book - Muti, Pokorny & Schubert 9 / Muti Conducts Beethoven Missa solemnis

CELEBRATING RICCARDO MUTI Grazie, Maestro!

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In these final weeks of the 2022–23 downtown season, we make note of the conclusion of Maestro Riccardo Muti’s tenure as music director of the Chicago Symphony Orchestra. However, we also happily welcome Maestro back to Chicago in September to continue his enriching music making with us!

The past thirteen seasons have revealed how it is possible to make music at the highest level and to grow closer through hundreds of concerts here in Chicago and around the world. Maestro Muti has brought something very wonderful and magical not only to our lives, but also to the city of Chicago. Maestro Muti immediately and completely adopted Chicago as his second home and, through his tireless work, brought music and his message of love through music to many neighborhoods throughout our wonderful city. He has always been very clear that music nurtures the soul and that culture is what will inevitably save the world—we couldn’t agree more.

His warm and personal relationship with the Orchestra is remarkable and refreshing, and it has truly been a blessing to have made music with him all these years. Maestro Muti anchors one of the pillars of the Orchestra that will survive throughout the ages, and all of us have witnessed one of the most special periods in the history of the Chicago Symphony Orchestra with Maestro Muti.

The CSO Members’ Committee on behalf of the Musicians of the Chicago Symphony Orchestra

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chicago symphony orchestra association

Program Book Production

Frances Atkins Content Director

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PHOTOGRAPHY BY TODD ROSENBERG

© 2023 Chicago Symphony Orchestra

All rights reserved.

1 A Note from the Orchestra

By the CSO Members Committee on behalf of the Musicians of the Chicago Symphony Orchestra

4 A Note from the Association

By the Chair of the Board of Trustees Mary Louis Gorno and President of the Chicago Symphony Orchestra Association Jeff Alexander

6 A Brilliant Legacy

A tribute to Riccardo Muti by CSO Scholar-inResidence and Program Annotator Phillip Huscher followed by a timeline of highlights from the tenure of the CSO's tenth music director

15 Program for June 15, 16 & 17

Comments

17 J. Strauss, Jr.: Overture to Indigo and the Forty Thieves

18 Schifrin: Concerto for Tuba and Orchestra

20 Schubert: Symphony No. 9 (Great)

cover: Riccardo Muti conducting the Chicago Symphony Orchestra on October 15, 2016

beloW: Riccardo Muti returns to open the Chicago Symphony Orchestra’s 2022–23 season, conducting seven concerts between September 21 and 30. These include performances of Brahms’s Second Symphony, Stravinsky’s The Firebird, Mendelssohn’s Italian Symphony, and the world premiere of a CSO commission by Philip Glass, The Triumph of the Octagon. In addition, Muti leads the annual Symphony Ball with violinist Leonidas Kavakos performing Tchaikovsky’s Violin Concerto.

25 Program for June 23, 24 & 25

Comments

26 Beethoven: Missa solemnis

Profiles

37 Riccardo Muti

39 Gene Pokorny

40 Erin Morley

41 Alisa Kolosova

42 Giovanni Sala

43 Kyle Ketelsen

44 Chicago Symphony Chorus

45 Donald Palumbo

48 Chicago Symphony Orchestra Roster

49 Chicago Symphony Orchestra Association Board of Trustees

50 Chicago Symphony Orchestra Association Governing Members

52 Our Donors and Volunteers

Recognition of our generous donors and volunteers

PHOTOS BY TODD ROSENBERG

In the following weeks, we gather in Orchestra Hall and at Millennium Park to hear the Chicago Symphony Orchestra conducted by Zell Music Director Riccardo Muti as he completes his remarkable thirteen-season term as the Orchestra’s tenth music director. During his tenure, the depth of his artistry and dedication to the Orchestra and its extended family of listeners has known no bounds. The Chicago Symphony Orchestra Association wishes to mark this time with a heartfelt celebration of both the power of his music making and his profound bond with the Orchestra, which has defined a pivotal chapter in our organization’s history.

We are grateful to Maestro Muti for his years of leadership and service in this demanding role, during which time he and the Orchestra have astounded audiences in over 500 memorable concerts; reached new audiences on numerous national and international tours as well as through radio broadcasts, web streams, and recordings; inspired a new generation of musicians; and deepened our appreciation of the classical music canon. Whether performing works that draw us near with quiet depth or those that thrill with drama or lyrical power, Muti has made music soar.

On behalf of the Board of Trustees, the CSOA Administration, and all our affiliated volunteer organizations, we extend our sincere thanks and gratitude to Maestro Muti for his visionary artistic leadership, his meaningful and inspirational performances, and his unyielding dedication to arts education and community engagement. We are so pleased that he has agreed to continue to conduct the Orchestra in Chicago and on tour for many years to come, and we look forward to the next chapter of his relationship with the CSOA with great anticipation.

Mary Louise Gorno Chair, Board of Trustees Chicago Symphony Orchestra Association

Jeff Alexander President Chicago Symphony Orchestra Association

THE CSO PLAYS ON THIS SUMMER ONLY AT

TICKETS ON SALE NOW! RAVINIA.ORG

JUL 14 - Turn Up the Joy: Beethoven 9 Expanded with Marin Alsop, the Symphony Chorus, and special guests

JUL 15 - Tchaikovsky’s Fifth and Shulamit Ran’s Chicago Skyline with Marin Alsop

JUL 16 - Heather Headley with Marin Alsop: Gala Concert Supporting Ravinia’s Music Education Programs

JUL 19 - Meet the Mahlers: Gustav’s Fifth and Alma’s Songs with Marin Alsop and Sasha Cooke

JUL 21 - Gabriela Montero Plays Her Latin Concerto; Music from Gabriela Ortiz and Roxanna Panufnik with Marin Alsop

JUL 28 - Mei- Ann Chen Leads Beethoven’s Fourth Concerto with Jeremy Denk

JUL 29 - The Trailblazing Music of Joni Mitchell, Carole King, and Carly Simon: Curated by Ted Sperling and Featuring Morgan James, Capathia Jenkins, and Andréa Burns

AUG 4 - Mozart’s The Magic Flute with Marin Alsop and Starring Janai Brugger and Matthew Polenzani

AUG 5 - Powerful Thirds: Beethoven and Rachmaninoff with Marin Alsop and Yunchan Lim

AUG 6 - Mozart’s The Magic Flute with Marin Alsop and Starring Janai Brugger and Matthew Polenzani

AUG 9 - Jonathon Heyward Leads Bruch with Benjamin Beilman, Rachmaninoff, and Tania León

AUG 10 - Heirloom: Jeffrey Kahane Plays Gabriel Kahane with Teddy Abrams

AUG 11 - Want Symphonic: Rufus Wainwright Sings Fresh Orchestrations of His Landmark Albums

AUG 17 - Alisa Weilerstein Plays the Elgar Concerto with Joshua Weilerstein

AUG 20 - Tchaikovsky Spectacular: George Stelluto Leads the First Piano Concerto and 1812 Overture with Cannons

In Memory of Charles and Margery Barancik; The CSO Opening Night “Ode to Joy” Consortium; Nancy Zadek; The Dancing Skies Foundation; The Negaunee Foundation; The Mahler Consortium; In Honor of Sandra K. Crown; Jennifer Steans and James Kastenholz; Hunter Family Foundation; The Tchaikovsky Spectacular Consortium

A BRILLIANT LEGACY

RICCARDO MUTI TENTH MUSIC DIRECTOR OF THE CHICAGO SYMPHONY ORCHESTRA

Music directors are often remembered by flat statistics—the length of their tenures or how many concerts they conduct. But early in Riccardo Muti’s tenure as the tenth music director of the Chicago Symphony Orchestra, it became clear that the combination of this legendary, commanding conductor and our historic orchestra was fundamentally about the human connection—bonding with the players over the serious, time-consuming process of making music together; communicating with the public throughout Chicago and around the world.

At his first concert as music director in 2010—his “gift to the people of a great city,” held before a cheering throng in Millennium Park— Muti spoke of his desire to make music for all the people of Chicago: to take music into communities that are far from the concert hall, to bring the Orchestra to a new generation of people whose lives are untouched by the world where Muti is a boldface name. He took the members of the Orchestra to church sanctuaries and high school auditoriums, to juvenile detention centers and to Holy Name Cathedral and Apostolic Church of God. And he also led the Orchestra around the world—in Europe, Russia, and Asia, where it was already a known and revered treasure, and for the first time to Mexico, where it was wildly acclaimed—and throughout the United States, from Miami to Berkeley, from Kansas City’s new Kauffman Center to New York’s Carnegie Hall, where it has so often performed since 1892.

Muti’s programming regularly offered a refreshing Italianate alternative to the Germanic-Austrian tradition on which the Chicago

“Maestro Muti understands the power of his voice and uses it courageously.”

Miles Maner Contrabassoon and Bassoon

Symphony was founded, and in his hands the Orchestra began to sing like the greatest of opera stars. Chicagoans will surely never again hear Verdi operas presented with such an electrifying combination of power, precision, and sheer orchestral virtuosity. But it was music by Mozart, Beethoven, and Schubert that Muti led the most often—the classics which always repay revisiting and that he believes lie at the heart of any healthy orchestra’s life. In all, Muti’s repertoire in Chicago spanned more than three hundred years, from Vivaldi and Bach to the six Mead Composers-in-Residence he handpicked.

Gradually, over thirteen seasons, Muti made this Orchestra his own, hiring more than two dozen new members, several of them in prized principal positions. He favored orchestra members with solo concerto appearances nearly as often as he collaborated with famous guest artists. Muti’s Chicago years exemplified his belief that a good music director cares for his musicians both as artists and as human beings. He also quickly developed a warm rapport with his audiences—endearing himself with his impromptu podium talks, open rehearsals, the signature “bye-bye” wave at a concert’s end—that fostered serious and rapt listening to the music he and the Orchestra made together, the greatest tribute a public can pay.

Chicago and its Orchestra are lucky to have known Muti at the peak of his career, with all the wisdom, complexity, and depth that comes from a half century of studying music and living with it and presenting it to the public. In the pages that follow, we share glimpses of the MutiChicago phenomenon, a mere sampling of the highlights of Riccardo Muti’s thirteen rich and rewarding seasons with this Orchestra as music director.

2010–11

Muti begins his tenure as the CSO’s tenth music director by inaugurating a new tradition of annual, free community concerts with a September 19 performance at Millennium Park’s Pritzker Pavilion before a crowd of more than 25,000 people.

In April, Muti conducts concert performances of Verdi’s Otello in Chicago and at Carnegie Hall. Throughout the season, he presents works by other composers whose works he will champion throughout his tenure— Cherubini, Hindemith, Mozart, Prokofiev, Schumann, and Tchaikovsky, among others.

Since June 2014, the Chicago Symphony Orchestra’s music director position has been entitled the Zell Music Director position, endowed in perpetuity through a generous gift from the Zell Family Foundation.

The Chicago Symphony Orchestra is grateful to Bank of America for its generous support as the Maestro Residency Presenter.

Phillip Huscher has been the program annotator of the Chicago Symphony Orchestra since 1987. He is also its scholar-in-residence.

2011–12

Muti conducts a community concert before an overflow crowd at Apostolic Church of God in Chicago’s Woodlawn neighborhood to open the season.

Muti’s reverence for music written for orchestra and voice is on full display in performances of powerful choral works such as Orff ’s Carmina Burana, Cherubini’s Requiem, and Schoenberg’s Kol Nidre.

Tours in North America and abroad introduce Muti as the CSO’s tenth music director to a global audience, with a pre-season tour to Salzburg, Paris, Lucerne, Vienna, and other European cities; winter concerts in California; and a historic six-city tour to Russia and Italy in April.

2012–13

Muti begins a new tradition of bringing music to local juvenile detention centers, with appearances at local facilities in the fall and spring.

Following performances in New York City to open Carnegie Hall’s season, Muti travels with the Orchestra on its first-ever tour to Mexico, with four sold-out concerts in Guanajuato and Mexico City.

2013–14

Muti opens the season with a community concert at Morton East High School in Cicero, Illinois.

Muti leads a three-week celebration of Verdi’s bicentennial, including concert performances of Macbeth, the release of Muti and the CSO’s 2011 live performances of Otello on CSO Resound, and Verdi’s Requiem in the CSO’s first-ever live webcast on October 10, the 200th anniversary of Verdi’s birth.

The Orchestra embarks on its fourth international tour with Muti, including the CSO’s debut in Gran Canaria and Tenerife as part of Spain’s Canary Island Music Festival.

“As much as he is a great musician, he is also a great humanitarian. He is compassionate not only in regard to social issues but also in the manner in which he treats people, which is always with respect and understanding.”

Stephen Lester Bass

2011 Youth In Music Festival Open Rehearsal

With Eric Owens at Cook County Juvenile Detention Center, September 2012

SYMPHONY

ORCHESTRA RICCARDO

CHICAGO MUTI

CONTEMPORARY AMERICAN COMPOSERS

Philip Glass | Jessie Montgomery | Max Raimi

Elizabeth DeShong

RECORDED LIVE IN ORCHESTRA

HALL

A NEW CSO RECORDING FEATURING THREE RECENT WORKS BY PHILIP GLASS, JESSIE MONTGOMERY AND MAX RAIMI

Now available digitally in Spatial Audio with Dolby Atmos® format

“Wonderfully ingenious use of every instrument on the stage … thrilling and out of the ordinary.”

—WTTW.COM (Glass)

“Rolls with colorful, anxious activity…”

—Chicago Tribune (Raimi)

“A riveting new work, played with immense virtuosity by the orchestra.”

—WTTW.COM (Raimi)

“Gestures to something far deeper than what glimmers on its surface.”

—Chicago Tribune (Montgomery)

“Intoxicating, sometimes breathless kaleidoscopic swirl of overlapping sound and texture.”

—Chicago Sun-Times (Glass)

“Muti infuses the debut performance with smoldering intensity and nuanced drama.”

—Chicago Sun-Times (Montgomery)

CDs coming to retailers worldwide summer 2023

2014–15

Muti leads season-long surveys of orchestral works by Scriabin and Tchaikovsky’s seven symphonies.

Muti and the CSO’s fifth tour of Europe marks the Orchestra’s debuts in Warsaw and Geneva in addition to capacity concerts at Vienna’s Musikverein, including two performances of Verdi’s Requiem.

2015–16

CSO Resound releases two recordings conducted by Muti: Berlioz’s Symphonie fantastique and its sequel Lélio, ou le retour à la vie, narrated by actor Gérard Depardieu, and a digital release of Anthology of Fantastic Zoology, a CSO commission dedicated to Muti by Mason Bates, who was one of Muti’s first Mead Composer-inResidence appointments.

Muti and the Orchestra mark their tenth tour with their first performances in Asia together, with sold-out concerts in five cities in Taiwan, Japan, China, and South Korea.

The New York Times declares Muti “the king of Verdi” during concert performances of Falstaff in April as part of the “Shakespeare 400 Chicago” celebration.

2016–17

Muti recreates the first CSO program from October 16 and 17, 1891, for a special Symphony Ball performance that concludes the Orchestra’s 125th anniversary celebration begun the prior season.

Muti conducts a performance of Haydn’s The Seven Last Words of Our Savior on the Cross at Holy Name Cathedral with members of the CSO and Cardinal Blase J. Cupich, archbishop of Chicago.

Other highlights with Muti include a cycle of the symphonies of Brahms, Prokofiev’s Ivan the Terrible, and a season finale featuring overtures and choruses by Verdi as well as Boito’s Prologue to Mefistofele.

“No matter the situation, joyous or heartbreaking, Maestro Muti communicates his emotions to the audience, and helps them understand how the Orchestra is supporting them through our music.”

Susan Synnestvedt Violin

“I have appreciated it every time he has responded emotionally to the realities of our life here. He is not an American citizen, but a citizen of the world!”

Mihaela Ionescu Violin

At the Musikverein, October 27, 2014

With Ambrogio Maestri as Falstaff, April 21, 2016

At Lane Tech High School, September 24, 2019

2017–18

Muti leads ten weeks of subscriptions concerts, many including world famous artists such as Anne-Sophie Mutter playing violin concertos by Mozart and Tchaikovsky, Yo-Yo Ma performing Shostakovich’s Second Cello Concerto, and actor John Malkovich narrating Copland’s Lincoln Portrait.

Muti and the CSO commemorate the 150th anniversary of Rossini’s death in several memorable concerts, including performances of his Stabat mater with the Chicago Symphony Chorus and soloists.

Muti emphasizes the importance of new music through the premiere of numerous CSO commissions, including CSO viola Max Raimi’s Three Lisel Mueller Settings, Jennifer Higdon’s Low Brass Concerto, and works by the Mead Composers-in-Residence.

2018–19

Muti conducts a community concert again at Millennium Park with members of the Chicago Symphony Orchestra and Civic Orchestra of Chicago performing side by side to mark the beginning of the centennial season of the Civic Orchestra and the CSO’s concerts for young people.

Muti opens the season with two weeks of subscription concerts that include Shostakovich’s Symphony no. 13 (Babi Yar), in the presence of his widow Irina Shostakovich, and Hindemith’s Mathis der Maler Symphony.

Muti brings the season to a triumphant close with three concert performances of Verdi’s Aida.

2019–20

Muti and the CSO begin a season-long celebration of the music of Beethoven to honor the 250th anniversary of the composer’s birth.

Muti leads a critically acclaimed cast of soloists and the Chicago Symphony Orchestra and Chorus in Mascagni’s Cavalleria rusticana, also a 2022 CSO Resound release.

“Maestro Muti is a world-class leader of the arts. His message is clear and, honestly, I feel a responsibility to uphold his ideals and somehow continue his legacy.”

Esteban Batallán Principal Trumpet

“Maestro Muti is committed to bringing the CSO to areas around Chicago that don’t normally get to hear classical music of the highest quality.”

Oto Carrillo Horn

Higdon’s Low Brass Concerto world premiere, February 1, 2018

With Irina Shostakovich, September 21, 2018

Aida, June 23, 2019

2020–21

During the COVID-19 closures, Muti offers artistic guidance for the twenty-two episodes of the streamed series CSO Sessions, in addition to coaching sessions, via Zoom, to members of the CSO on chamber music works by Rossini and to participants in the Chicago Musical Pathways Initiative.

2021–22

In September 2021 Muti returns to Chicago for the first time in 574 days for a moving reunion with the Chicago Symphony Orchestra.

With touring plans postponed, Muti returns to Chicago for a residency in January that includes two performances in community venues: Chodl Auditorium at Morton East High School and Apostolic Church of God.

Muti and the CSO perform the world premieres of CSO commissions by former and current Mead Composers-inResidence: Missy Mazzoli’s Orpheus Undone and Jessie Montgomery’s Hymn for Everyone. In addition, composer Philip Glass travels to Chicago to hear Muti and the Orchestra perform his Eleventh Symphony.

Muti conducts two performances in the spring that feature the full forces of the Chicago Symphony Orchestra and Chorus plus soloists—Beethoven’s Ninth Symphony and Verdi’s Un ballo in maschera.

2022–23

The concert on September 27 marks Muti’s 500th performance with the CSO since making his podium debut with the Orchestra at the Ravinia Festival in 1973.

The CSO resumes touring activities with a seven-city, eight-concert tour of North America, and additional concerts in Kansas City and Florida.

Muti concludes the season with Schubert’s Ninth Symphony, Beethoven’s Missa solemnis, and a final Concert for Chicago in Millennium Park on June 27.

There’s no mistaking Maestro Muti’s delight and satisfaction when engaging with the public at Millennium Park or community concerts throughout the region.”

Daniel Gingrich Assistant Principal Horn

“

Music by Saint-Georges, Price, and Beethoven, September 23, 2021

With Philip Glass, February 19, 2022

Koerner Hall, Toronto, February 2, 2023

With Yefim Bronfman, September 22, 2022

ONE HUNDRED THIRTY-SECOND SEASON CHICAGO SYMPHONY ORCHESTRA

RICCARDO MUTI Zell Music Director

Thursday, June 15, 2023, at 7:30

Friday, June 16, 2023, at 1:30

Saturday, June 17, 2023, at 8:00

Riccardo Muti Conductor

Gene Pokorny Tuba

j. strauss, jr. Overture to Indigo and the Forty Thieves

schifrin

Concerto for Tuba and Orchestra

Andante animato

Andantino

Allegro molto

First Chicago Symphony Orchestra performances

gene pokorny

intermission

schubert Symphony No. 9 in C Major, D. 944 (Great)

Andante—Allegro, ma non troppo

Andante con moto

Scherzo: Allegro vivace

Allegro vivace

These concerts are generously sponsored by the Zell Family Foundation. The appearance of Gene Pokorny is made possible by the Grainger Fund for Excellence. Bank of America is the Maestro Residency Presenter.

United Airlines is the Official Airline of the Chicago Symphony Orchestra. This program is partially supported by a grant from the Illinois Arts Council Agency.

The Chicago Symphony Orchestra thanks the Zell Family Foundation for generously sponsoring these performances.

johann strauss, jr.

Born October 25, 1825; Vienna, Austria

Died June 3, 1899; Vienna, Austria

Overture to Indigo and the Forty Thieves

Even Brahms and Wagner, the two competitive, heavyweight composers of the era, shared a great fondness for the music by Johann Strauss, Jr. It’s difficult today to imagine music that is so popular with average people and connoisseurs, liberals and conservatives, young and old alike, and to realize that, in the nineteenth century, this music was serious business, if not serious music.

Johann Strauss, Sr., a gifted composer who started the family dynasty, tried to dissuade his three sons from the music industry, but he lost on all three counts, and before he died in 1849, at the age of forty-four, he saw his eldest son, Johann, Jr., surpass him in fame and fortune. At the height of his popularity, the younger Strauss employed several orchestras (all bearing his name) and dashed from one ballroom to another to put in a nightly appearance with each. Eventually Johann Strauss, Jr., would be acclaimed as the Waltz King, although he wrote nearly as many polkas as waltzes and could have earned his reputation on the basis of his sixteen operettas alone.

It was Strauss’s wife, Henriette, a soprano, who convinced him to try his hand at writing operettas. Indigo und die vierzig Räuber (Indigo and the Forty Thieves) was his first, premiered in Vienna in 1871, the year before Strauss made a highly successful tour of the United States. Strauss’s command of the operetta was apparent from his very first effort (although he did change the work’s name several times before it was staged), and he soon spun out a steady stream of hits, including the one that has achieved the most lasting fame, Die Fledermaus, three years later. (Indigo and the Forty Thieves underwent one final name change in 1906, thirty-five years after its premiere, when it was successfully reworked as The Thousand and One Nights.) For his first operetta overture, Strauss neatly sidesteps his reputation as a waltz composer by opening unexpectedly with the timpani alone, followed by a jaunty march, but the rest of the overture, a potpourri of some of the

composed 1871

first performance

February 10, 1871; Vienna, Austria

instrumentation

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

approximate performance time 7 minutes

first cso performance

September 19, 2013, Orchestra Hall. Riccardo Muti conducting

most recent cso performances

January 14, 2014; Auditorio de Tenerife, Santa Cruz de Tenerife, Canary Islands, Spain. Riccardo Muti conducting (encore)

best music in the show, is a glorious sequence of danceable tunes, each one stamped with the unmistakable Strauss genius.

lalo schifrin

Born June 21, 1932; Buenos Aires, Argentina

Concerto for Tuba and Orchestra

Aparting word on the family name. When Richard Strauss, no relation, began to startle audiences with his noisy new tone poems during the 1890s, the joke ran: “If it must be Richard, let it be Wagner; if Strauss, then Johann.”

Famous composers are often great movie fans, but few of them have written successful film scores. Igor Stravinsky lived in the shadow of Hollywood for the last thirty years of his life, yet he never saw his name on the big screen. He entertained offers to score Jane Eyre, The Song of Bernadette, and other projects for Paramount and Warner Bros., but the one time he actually composed film music—for The Commandos Strike at Dawn, about the Nazi invasion of Norway—the studio rejected it outright. And L.A.’s other resident modernist at the time, Arnold Schoenberg, had to make due with writing the score for an imaginary movie, the so-called Music to Accompany a Film Scene.

In 2003 Lalo Schifrin, who made his name writing for the movies, composed a Fantasy for Screenplay and Orchestra for the Chicago Symphony Orchestra. Not movie music in the traditional sense, it was meant to stand on its own on the brightly lit stage of the concert hall. Like Schoenberg’s effort, it was inspired by the idea of an imaginary film, but in Schifrin’s case, it was informed by a lifetime of writing the real thing and by an insider’s understanding of the similarities between music and film—two art forms that never stand still.

Schifrin has always been at home in the concert hall. His father Luis was concertmaster of the Philharmonic Orchestra

previous page, from top: Johann Strauss, Jr., in his youth. Portrait by Jacob Reichard and Karl Lindner (1868–1910 and 1837–1910, respectively), Berlin. New York Public Library Archives | The Graben in Vienna, the city center, as seen from Saint Stephen’s Square, ca. 1870. Photo by Oscar Kramer (1835–1892) | this page: Lalo Schifrin at home in Los Angeles, 2003. Photo by Michel Setboun/Corbis via Getty Images

composed

2016

first performance

March 8, 2018; Redlands, California. Gene Pokorny, tuba; Redlands Symphony conducted by Ransom Wilson

instrumentation

solo tuba, two flutes, piccolo and alto flute, two oboes with english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, two trombones and bass trombone, timpani, percussion (vibraphone, xylophone, glockenspiel, triangle, suspended cymbal, tam-tam, bongos, snare drum, tenor drum), harp, celesta, harpsichord, strings

approximate performance time

15 minutes

These are the first Chicago Symphony Orchestra performances.

of Buenos Aires at the Teatro Colón for three decades. At the age of six, Lalo (born Boris Claudio Schifrin, but called Lalo, a derivative of his middle name) began to study piano with Enrique Barenboim, a few years before the Barenboim house boasted its own young resident piano student. Schifrin later explored music from many perspectives, first studying composition with Juan Carlos Paz, who had worked with Arnold Schoenberg in Vienna; and then, at Paz’s urging, applying to the Paris Conservatory. In Paris, he studied with Ravel’s disciple Charles Koechlin, attended Olivier Messiaen’s celebrated classes, and played jazz in nightclubs. He became a good friend of Astor Piazzolla, whom he knew in both Buenos Aires and Paris.

After Schifrin returned to Argentina, where he formed his own big concert band, Dizzy Gillespie heard him play and asked him to become his pianist and arranger. Schifrin moved to the United States in 1958; five years later he was offered the chance to score his first Hollywood film, MGM’s African adventure Rhino. He and his wife moved to Los Angeles that autumn, and his music has been a fixture of the Hollywood scene ever since. He has written more than one hundred scores for classic TV shows (The Man from U.N.C.L.E, Mission: Impossible) and hit movies (Bullitt, Cool Hand Luke, Dirty Harry, Rush Hour), in the process winning five Grammy awards, and receiving six Oscar nominations and four Emmy nominations—and earning a star on the Hollywood Walk of Fame. In 2016 his Mission: Impossible theme—the rare hit tune in 5/4 time—was inducted into the Grammy Award Hall of Fame. Three years later, Schifrin was given an honorary Oscar, recognizing “his unique musical style, compositional integrity and influential contributions to the art of film scoring.”

Despite the success of his Hollywood career, Schifrin has never lost sight of his classical roots. “I felt very comfortable in both idioms,” he said in 2019. “I studied so much classical music and I practiced so much jazz, that the two came spontaneously. I never felt that there was any difference between the two. Good music is good music.” As long ago as 1965, he wrote a

double concerto for Jascha Heifetz and Gregor Piatigorsky. His career and his catalog have continued to incorporate both worlds ever since. He has conducted major symphony orchestras, recorded Saint-Saëns’s Carnival of the Animals, worked with the Three Tenors (beginning with their first appearance at the 1990 World Cup finals), and created an ongoing series of Jazz Meets the Symphony concerts and recordings. The list of his compositions includes not only the famous film and TV scores and jazz pieces such as Gillespiana, but major symphonies and concertos as well.

In 2016, when Schifrin’s new guitar concerto for Angel Romero was premiered at the Hollywood Bowl, he said he had given up writing for the movies, despite frequent offers. But he has continued to compose for the concert hall, particularly for musicians whose mastery inspires him. As he explains below, in the note he wrote in 2018 before the premiere of his new Tuba Concerto, the entire score of the concerto was composed with Gene Pokorny in mind.

Lalo Schifrin on his Concerto for Tuba and Orchestra

In my early music curiosity, it came to my attention that the tuba was generally used as a resounding instrument to mark the strong bass that rhythmically helped the rhythm of marches and common popular music. In my inner ear, I heard a different quality after asking some virtuosi of the instrument to experiment with me in a melodic and linear way. For instance, one thing that caught my attention was that, in the high register, the tuba is an extension of the french horn and can be very tender and expressive.

This is why I decided to write the Concerto for Tuba and Orchestra. In this composition, I emphasized the results of my discoveries, as well as the technical virtuosity that can be achieved, because there are two approaches to the instrument. The most common use is without valves. (To tell the truth, I confess that I never knew historically when valves were added.) The second, and less common use, is with valves, which

added the possibility of speed and extension of expressive ideas.

This is the approach I used to write this concerto. By a joyful coincidence, I met, via telephone, Maestro Gene Pokorny, who happens to be one of the best tuba players in the world. It is incredible how communications have improved in our time through electronic devices, allowing both of us to awaken our interest in this project. As a matter of fact, for a long time, we used only this form of contact. It was only recently that we met at Walt Disney Concert Hall in Los Angeles. He is the tuba player with the Chicago Symphony, and I took advantage of their concert tour to meet him personally. All the positive

franz schubert

vibrations I felt from him on the telephone were confirmed. Our personal meeting was a “blind date” for both of us, but he is very open and easy to communicate with. I feel that my reaction was mutual.

The concerto is divided into three movements, and I decided to use a musical language that oscillates between baroque, twentieth-century music, and American jazz. During our meeting, he said that some passages were very difficult, but he was working on them. It would have been easy for me to sacrifice some of my ideas, but his diligence made this unnecessary. After his return to Chicago, he never asked me for any changes.

Born January 31, 1797; Himmelpfortgrund, northwest of Vienna, Austria Died November 19, 1828; Vienna, Austria

Symphony No. 9 in C Major, D. 944 (Great)

When Franz Schubert died at the age of thirty-one, the legal inventory of his property listed three cloth dress coats, three frock coats, ten pairs of trousers, nine waistcoats, one hat, five pairs of shoes, two pairs of boots, four shirts, nine neckerchiefs and pocket handkerchiefs, thirteen pairs of socks, one sheet, two blankets, one mattress, one featherbed cover, and one counterpane (bedspread). “Apart from some old music besides,” the report concluded, “no belongings of the deceased are to be found.”

Some old music, as it turned out, referred to a few used music books and not to his manuscripts. Those were with his dear friend Franz von Schober, who later entrusted them to Schubert’s brother Ferdinand. No one, it appears, quite understood their value. In late 1829 Ferdinand sold countless songs, piano works,

and chamber music to Diabelli & Co.—who took its time publishing them—leaving the symphonies, operas, and masses to sit untouched on his shelves at home. Finally, in 1835, he enlisted the help of Robert Schumann, then editor of the prestigious Neue Zeitschrift für Musik. The paper ran a list of “Franz Schubert’s larger posthumous works” available for sale. There was little response.

On New Year’s Day 1837, Robert Schumann found himself in Vienna and thought to go to the Währing Cemetery to visit the graves of Beethoven and Schubert, whose stones were separated by only two others. On his way home, he remembered that Ferdinand still lived in Vienna and decided to pay him a visit. Here is Schumann’s own famous account:

He [Ferdinand] knew of me because of that veneration for his brother which I have so often publicly expressed; told me and showed me many things. . . . Finally,

he allowed me to see those treasured compositions of Schubert’s which he still possesses. The sight of this hoard of riches thrilled me with joy; where to begin, where to end! Among other things, he drew my attention to the scores of several symphonies, many of which have never as yet been heard, but were shelved as too heavy and turgid.

There, among the piles, lay a heavy volume of 130 pages, dated March 1828 at the top of the first sheet. The manuscript, including the date and a number of corrections, is entirely in Schubert’s hand, which often appears to have been flying as fast as his pen could go. The work, a symphony in C, Schubert’s last and greatest, had never been performed.

Robert Schumann was a thoughtful, perceptive man, and an unusually astute judge of music—he was among the very first to appreciate Schubert’s instrumental writing—but it’s difficult to know if even he, at first, understood the significance of his discovery. His well-known written account comes years later, after the symphony’s first performances, but on that first day of 1837, in Ferdinand’s study in a Viennese suburb, he must have been simply dumbstruck.

He knew a work of genius when he saw one, however, and he quickly sent it off to the director of the Gewandhaus concerts in Leipzig, where Mendelssohn conducted the first performance on March 21, 1839. There, in Schumann’s words, it “was heard, understood, heard again, and joyously admired by almost everyone.”

The facts argue that it was hardly “joyously admired,” and that perhaps it was understood only by Schumann and Mendelssohn. In his boundless enthusiasm, Schumann fails to mention that it was extensively cut for the performance, but he is surely right in wondering how long it “might have lain buried in dust and darkness” if it weren’t for his efforts.

Still, it was slow to conquer. When just the first two movements were programmed in Vienna later that year, an aria from Lucia di Lammermoor was wedged between them to soften the blow of so much serious music. Performances planned for Paris and London in the early 1840s were canceled after irate orchestra members refused to submit to its difficulties. The symphony reached London in 1856, but in odd installments: the first three movements were played one week and movements 2 through 4 the next.

composed

1825–26

first performance

March 21, 1839; Leipzig, Germany. Felix Mendelssohn conducting

instrumentation

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

approximate performance time 50 minutes

first cso performances

December 18 and 19, 1891, Auditorium Theatre. Theodore Thomas conducting

July 9, 1939, Ravinia Festival. Sir Adrian Boult conducting

most recent

cso performances

June 29, 2003, Ravinia Festival. Itzhak Perlman conducting

November 9 and 11, 2017, Orchestra Hall. Manfred Honeck conducting

November 10, 2017, Edman

Memorial Chapel, Wheaton College. Manfred Honeck conducting

cso recordings

1940. Frederick Stock conducting. Columbia

1977. Carlo Maria Giulini conducting. Deutsche Grammophon

1983. James Levine conducting. Deutsche Grammophon

opposite page: Franz Schubert, a sketch by Josef Kupelwieser (1791–1866), 1821, who belonged to the composer’s circle of friends

this page: Ferdinand Schubert (1794–1859), also a composer and teacher. Lithograph by Josef Kriehuber (1800–1876), ca. 1850. The Albertina, Vienna, Austria

Eventually, though, Schumann’s verdict reigned, and he was recognized not only for his fortuitous discovery, but also for his sharpsighted assessment. Schumann spoke, famously, of the symphony’s “heavenly length,” the very quality many contemporary listeners found trying, trusting only Beethoven to stretch their patience. Schumann had an answer for that, too, insisting that Schubert “never proposed to continue Beethoven’s Ninth Symphony, but, an indefatigable artist, he continually drew from his own creative resources . . . .” Like Beethoven, but in his own quite individual way, Schubert was forging ahead into music’s dark unknown. Schumann demands our sympathies:

All must recognize that it reveals to us something more than beautiful song, mere joy and sorrow, such as music has always expressed in a hundred ways; it leads us into regions which—to our best recollection—we had never before explored.

The passage of time has helped audiences embrace both Schumann’s enthusiasm and the extensiveness of Schubert’s concept. Time and research also have put the work in its proper slot among Schubert’s 998 compositions—the final count of Otto Erich Deutsch, whose indispensable catalog (1950) assigns a D number to each work. And we now know something that even Deutsch didn’t realize: this is the supposedly lost symphony of 1825 (which Deutsch assigns number 849), sketched at Gmunden on a summer outing. Later, when Schubert wrote out the full score in fair copy, he dated the manuscript March 1828. To that, later generations added a subtitle, Great (to distinguish it from the shorter sixth symphony, also in C major), and Deutsch a number, 944.

As for the music, many earlier writers, including Schumann and Donald Tovey, have written eloquently and at considerable—if not heavenly—length of this symphony’s greatness. Today the music more easily speaks for itself. Schubert’s broad canvas is no longer

thought oversized, and his peerless, ineffable way with a melody can carry the new listener through many difficulties. (Schumann is particularly reassuring in this regard: “the composer has mastered his tale, and . . . in time, its connections will all become clear.”)

The first movement begins with an Andante of such weight and nobility that it’s inadequately described as an introduction. That bold—yet quiet—opening horn call has a marked influence on many of the allegro themes to come, and then returns, at the movement’s end, loudly proclaiming its success. The entire Allegro reveals a sweeping rhythmic vitality unparalleled in Schubert’s work.

The slow movement sings of tragedy, which later raised its voice in Schubert’s Winterreise song cycle and surfaces again and again in the music of his last years. Seldom has Schubert’s fondness for shifting from the major to the minor mode carried such weight; here each hopeful thought is ultimately contradicted, gently but decisively. There’s a sublime moment when the horn, as if from the distance, quietly calls everything into question with the repeated tolling of a single note. And then later, Schubert, like Gretchen in one of his most famous songs, builds inexorably to a climax so wrenching that everything stops before sputtering back to life.

The scherzo and its lovely trio midsection, with their wealth of dance tunes, remind us that Schubert would gladly improvise dance music for others, while he, with his poor eyesight and unfortunate height (barely five feet) sat safely at the piano all night.

Schubert launches his finale with the kind of energetic, fearless music that appears to charge onward with only an occasional push from the composer. But Schubert, like Mozart, is a master of deceptive simplicity, luring unsuspecting performers into countless pitfalls and allowing generations of listeners to cherish the image of the brilliant composer—all inspiration and no sweat.

Phillip Huscher has been the program annotator for the Chicago Symphony Orchestra since 1987.

The Chicago Symphony Orchestra Association gratefully acknowledges the Patrons Circle for Missa solemnis for its generous support:

Zell Family Foundation

Mr. and Mrs. Dietrich M. Gross

William R. Jentes

Josef and Margot Lakonishok

Randy L. and Melvin R. Berlin Family Fund for the Canon

Anonymous

Estate of Christopher L. Culp

Nelson D. Cornelius Endowed Concert Fund

Sargent Family Foundation

Betty W. Smykal

Julian Family Foundation

Ling Z. and Michael C. Markovitz

Nancy A. Abshire

Peter and Betsy Barrett

James and Sylvia Franklin

Martha C. Nussbaum

John and Suzanne Borland

Mr. and Mrs. James J. Glasser

Sue and Melvin Gray

Mark and Gale Kozloff

Dr. Michael Krco

Sharon L. Manuel

Ms. Britt Miller

Mr. and Mrs. Richard H. Schnadig

Gene and Jean Stark

Mr. Michael Welsh and Ms. Linda Brummer-Welsh

ONE HUNDRED THIRTY-SECOND SEASON CHICAGO SYMPHONY ORCHESTRA

RICCARDO MUTI Zell Music Director

Friday, June 23, 2023, at 8:00

Saturday, June 24, 2023, at 8:00

Sunday, June 25, 2023, at 3:00

Riccardo Muti Conductor

Erin Morley Soprano

Alisa Kolosova Mezzo-soprano

Giovanni Sala Tenor

Kyle Ketelsen Bass-baritone

Chicago Symphony Chorus

Donald Palumbo Guest Chorus Director

beethoven Missa solemnis in D Major, Op. 123

Kyrie: Assai sostenuto. With devotion

Gloria: Allegro vivace

Credo: Allegro ma non troppo

Sanctus: Adagio. With devotion

Robert Chen, violin

Agnus Dei: Adagio—Allegretto vivace

erin morley

alisa kolosova

giovanni sala

kyle ketelsen

chicago symphony chorus

There will be no intermission.

These performances are generously sponsored by the Zell Family Foundation, Mr. and Mrs. Dietrich M. Gross, William R. Jentes, Josef and Margot Lakonishok, the Randy L. and Melvin R. Berlin Family Fund for the Canon, an anonymous donor, Estate of Christopher L. Culp, and the Patrons Circle for Missa solemnis.

The appearance of the Chicago Symphony Chorus has been made possible by a generous gift from The Grainger Foundation.

Bank of America is the Maestro Residency Presenter.

United Airlines is the Official Airline of the Chicago Symphony Orchestra. This program is partially supported by a grant from the Illinois Arts Council Agency.

ludwig van beethoven

Born December 16; 1770, Bonn, Germany

Died March 26, 1827; Vienna, Austria

Missa solemnis in D Major, Op. 123

The face we recognize as Beethoven’s stems from a portrait painted by Joseph Karl Stieler in 1819, which shows the forty-eight-year-old composer clutching the score of his Missa solemnis (see page 30). With increasingly unruly hair and a deepening scowl, this is the image that has lived on to decorate concert halls, book jackets, recordings, and—particularly at the time of the two-hundred-fiftieth anniversary of his birth in 2020—posters, T-shirts, coffee mugs, and a wide variety of household items Beethoven can’t have imagined using.

Beethoven himself thought Stieler’s painting a good likeness, though others questioned the premature graying of the hair and the slump of his shoulders—uncharacteristic, they said, of a man who carried himself proudly at all times.

Stieler introduced himself to Beethoven in the autumn of 1819 with an offer to paint the composer’s portrait. Despite Beethoven’s blatant disregard for image and appearance, he apparently was taken with the idea that his face would be preserved for posterity. Even though he was immersed in writing the D major mass that would prove to be the greatest undertaking of his career, he managed to find the time—and even the patience—to pose for Stieler, who, according to Anton Schindler, “had the knack of making the temperamental master conform to his wishes. Sitting after sitting was granted, without a single complaint about loss of time.”

When he sat for Stieler, Beethoven was nearly stone-deaf; he had long before begun to use conversation books in which his visitors wrote their greetings, questions, and comments. The entries for the first weeks of April 1820, when Stieler returned to apply the finishing touches to his oil, include the painter’s question, “In what key is your mass? I just want to write on the page Mass in . . . .” “D,” Beethoven replied, “Missa solemnis in D.” (The manuscript in Stieler’s portrait is inscribed Missa solemnis in D#, following the German practice of using sharps to denote major keys.)

Stieler’s portrait shows Beethoven with his pencil poised over his manuscript of the Missa solemnis. That may well have been the case; for more than four years, from early in 1819

composed

1819–23

first performance

April 18, 1824; Saint Petersburg, Russia

instrumentation

soprano, alto, tenor, and bass soloists; four-part chorus; two flutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, organ, strings

approximate

performance time

81 minutes

from top: Ludwig van Beethoven, portrait in oil attributed to Ferdinand Georg Waldmüller (1793–1865), 1823. Collection of Ancient Musical Instruments, Kunsthistorisches Museum, Vienna

Archduke Rudolph of Austria (1788–1831), student and patron of Beethoven and later archbishop of Olmütz (now Olomouc in the Czech Republic).

Portrait in oil by Johann Baptist von Lampi the Elder (1751–1830). Vienna Museum Collection

until midsummer 1823, this was the music that preoccupied Beethoven almost daily, the work with which he most struggled, the one he couldn’t quite bring to a satisfying conclusion. It wasn’t the only project of these prime years—the final three piano sonatas, opp. 109–111, were completed during this span, along with much of the work on the Ninth Symphony and the Diabelli Variations—but it was the composition that demanded more of Beethoven’s time and thought than any other at any time in his career.

The first hint of the project can be found in a note the composer wrote to himself in his private diary sometime in 1818: “In order to write true church music, go through all the ecclesiastical chants of the monks, etc. Also look there for the stanzas in the most correct translations along with the most perfect prosody of all Christian-Catholic psalms and hymns in general.” Shortly after, Beethoven secured access to important music collections, including that of the archduke Rudolph, where he studied sacred music from Gregorian chant through Palestrina, Handel, and Bach; consulted a number of friends; and began work to improve his command of the Latin text, even though he had set it to music once before, in 1807.

The first musical sketches for the Kyrie of a new mass were made in 1819, on a page following designs for variations on the little waltz tune by Anton Diabelli that he would later make famous. Around the same time it was announced that the archduke Rudolph—long one of Beethoven’s dearest friends and supporters, and the only composition student he would ever accept—was to be elevated to the position of archbishop of Olmütz (now Olomouc in the Czech Republic) in March 1820. Beethoven decided that he would honor his friend by preparing the music for that important occasion. On June 4 Beethoven wrote to Rudolph: “The day on which a High Mass composed by me is performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious day of my life, and God will enlighten me so that my poor talents may contribute to the glorification of that solemn day.” And thus, unsolicited and uncommissioned, that is how the first performance of the Missa solemnis came to be scheduled for March 20, 1820. It was a deadline Beethoven would miss by some forty months.

The most famous of the progress reports delivered by friends and visitors is that of Anton Schindler, whose devotion to the master was matched only by his flair for creative writing. His account dates from August 1819, a matter of weeks before Stieler’s portrait sessions began:

It was 4 o’clock in the afternoon. In the living room, behind a locked door, we heard the master singing parts of the fugue

first cso performances

May 26, 1898, Music Hall, Cincinnati, Ohio. Margaret MacIntyre, Josephine S. Jacoby, Ben Davies, and David Bispham as soloists; Cincinnati May Festival Chorus (E.W. Glover, director); Theodore Thomas conducting

November 3 and 4, 1960, Orchestra Hall. Adele Addison, Regina Sarfaty, Richard Lewis, and Eberhard Wächter as soloists; Chicago Symphony Chorus (Margaret Hillis, director); Robert Shaw conducting

June 27, 1973, Ravinia Festival. Marion Lippert, Mignon Dunn, Seth McCoy, and Paul Plishka as soloists; Chicago Symphony Chorus (Margaret Hillis, director); James Levine conducting

most recent cso performances

July 6, 1990, Ravinia Festival. Andrea Gruber, Tatiana Troyanos, Gary Lakes, and John Cheek as soloists; Chicago Symphony Chorus (Margaret Hillis, director); James Levine conducting

October 25, 26, and 27, 2012, Orchestra Hall. Erin Wall, Bernarda Fink, Anthony Dean Griffey, and Hanno Müller-Brachmann as soloists; Chicago Symphony Chorus (Duain Wolfe, director); Bernard Haitink conducting

cso recordings

1977. Lucia Popp, Yvonne Minton, Mallory Walker, and Gwynne Howell as soloists; Chicago Symphony Chorus (Margaret Hillis, director); Sir Georg Solti conducting. London

1993. Tina Kiberg, Waltraud Meier, John Aler, and Robert Holl as soloists; Chicago Symphony Chorus (Margaret Hillis, director); Daniel Barenboim conducting. Erato

in the Credo—singing, howling, stamping. After we had been listening a long time to the almost awful scene, and were about to go away, the door opened and Beethoven stood before us with distorted features, calculated to excite fear. He looked as if he had been in mortal combat with the whole host of contrapuntists, his everlasting enemies.

It’s likely, given the date, that the fugue in question was the great one that concludes the Gloria, “in Gloria Dei Patris,” but the image of poor Beethoven, possessed by music in ways that most of us can scarcely imagine, probably isn’t far from the mark. Schindler would later recall:

“When I think of the events of the year 1819, . . . I remember his mental excitement, and I must

admit that never before and never since that time have I seen him in a similar state of removal from the world.”

In December, after Stieler had taken his canvas home to add body and background to the face he had painted from life, Beethoven finished the Gloria. The rest of the winter leading up to Archduke Rudolph’s installation was spent drafting the Credo and Sanctus, with occasional dips into one or more of the Diabelli Variations. In February, Beethoven actually offered the mass to the publisher Simrock, even though he knew it wouldn’t be ready any time soon. Actually, at the ceremony in Olmütz on March 20, the music was by Haydn and Hummel.

The full mass wasn’t complete in outline until the spring of 1822. Work had been slow, difficult,

RICCARDO MUTI IN CONVERSATION WITH CSO PROGRAM ANNOTATOR PHILLIP HUSCHER

Beethoven called the Missa solemnis his greatest work, and yet it is the one score by Beethoven that you put off conducting for years. What kept you from it for so long?

My first score of the Missa solemnis has the date—because I write the date each time I take a new score—of 1972. Every musician—it doesn’t matter if he’s a conductor, a violinist, or a singer—must know the Missa solemnis. But it’s one thing to read the Missa solemnis, and it’s another to interpret the Missa solemnis. So when I started to look at the score—it was at the beginning of my career—and I started to study the counterpoint, the harmonies, the relationship between music and words, I found that everything was too “high” for me, it was too difficult to get inside this music. And I was scared. I felt not worthy even to touch the score. As [conductor] Carlos Kleiber, my friend, said one time, there is some music that is better if it stays on the paper. Because every time we bring the music to life, the music loses something.

As the years passed, several times I looked at the score to see if I was yet able to understand this metaphysical musical text. And every time I abandoned the project, because to beat time is one thing, but to interpret—to give musical and dramatic indications of your ideas to the musicians—that’s another story. And so, going on like this—taking

the score, abandoning the score, taking the score, abandoning the score—I waited fifty years. I was supposed to do the Missa solemnis in Chicago to open the 2020–21 season, but because of COVID, we had cancellations for one year and a half. Then by coincidence, I was asked by the Salzburg Festival to do the Missa solemnis, because the year before I had done Beethoven’s Ninth Symphony in Salzburg and had a great success, not only with the public, but also with the critics. So, I had studied the Missa solemnis for Chicago, but my first performance was in Salzburg with the Vienna Philharmonic [in August 2021]. But I must say that even then, when I started the performance, I still felt that it was too audacious for me to approach this score.

We know that Beethoven struggled greatly writing this work. You have seen how that struggle and the depth of his research infuse the entire work. He bought two dictionaries, a German-Latin and a Latin-German, in order to write music that could give life to every nuance of the liturgical text. That’s the reason the Missa solemnis has a counterpoint that is so complicated and harmonies that are the expression of Beethoven’s suffering, physical and spiritual. As we know, he didn’t have an easy life, but in the period when he wrote the Missa solemnis, his life was terrible. It is difficult to understand how a genius, under those spiritual, physical, and economic conditions, could write

and sporadic, interrupted by the three late piano sonatas that also enter the same spiritual world. By August 1822 the autograph manuscript of the Missa solemnis was finished, and Beethoven could turn his full attention at last to the Diabelli Variations and Ninth Symphony. But, as the composer’s first biographer, Alexander Wheelock Thayer, reported, the Missa solemnis was “several times completed, but never complete so long as it was within reach.”

In January 1823 Beethoven began to offer copies of the work, at fifty ducats, to several courts—a marketing idea intended to stir up interest and make money, although in the end it did neither, even after the intervention, at the composer’s insistence, of both Goethe and Cherubini. (Beethoven’s subsequent dealings

with a number of publishers were no better managed, although eventually Schott recognized the importance of this work and added it to its catalog.) Beethoven, who had little use for empty slogans, had already begun to refer to the Missa solemnis as the greatest work he had written.

Finally, in March, he sent a nicely bound copy off to the archduke Rudolph, who by now surely recognized that the work had never been conceived—or even written—with him in mind. That can’t have diminished his pride in placing this large, new volume on the shelf alongside the other works Beethoven had dedicated to him: the fourth and fifth piano concertos; the Farewell, Hammerklavier, and op. 111 piano sonatas; the violin sonata, op. 96; and the Archduke Trio named for him—one of the greatest series of

the Missa solemnis, together with the other important pieces that he wrote in the same year.

I know that as a young man you studied Latin for six years, so you are keenly aware of Beethoven’s sensitivity to the words.

It’s incredible how Beethoven penetrated this text with such a profound approach. For example, there is a small detail: the Latin text is “miserere nobis, miserere nobis” (have mercy on us). Then at a certain point, the tenor starts the phrase singing “O miserere.” In the liturgical text, this “O” doesn’t exist. It was not enough for Beethoven to say “Miserere”—have mercy. It breaks your heart in that moment this tiny detail, this little vowel.

What do you make of Beethoven’s own inscription on the first page of the score: “From the heart—may it go to the heart”?

He composed the piece not only from his heart but with his heart. The fact that he wrote this means how much he suffered—his heart was full of pain. I am quite shocked today to see that many conductors approach this piece at a very early age. Maybe the new generation is more intelligent or more musical. I don’t know. Still, every time I do the Ninth Symphony—or the next time I do the Missa solemnis—I don’t feel ready.

During the pandemic you spent a great deal of time with your score of the Missa solemnis. The way you approach learning and understanding music is

becoming a lost art. How do you go about studying a new work, particularly one of such complexity?

First, I put the score on the piano, because before I open the first page, I have to feel the score is calling to me. [He laughs.] Once I have it in my hands, I look at the score, but still not at the piano. Then I read through the score at the piano. And finally comes the analysis of the form, of the harmony, of the counterpoint, of the dynamics, of everything—a very accurate analysis of each bar. During this process of the analysis, the interpretation comes naturally. Of course, I know a little bit of the world of Beethoven—in my own way or under the influence of Toscanini, or Karajan, or Furtwangler, etc. But by studying the score slowly and repeating my approach for months and months, then I find the way I will do the piece myself. I come from another concept of the preparation of the music.

You have been asked to conduct the Vienna Philharmonic in a televised concert celebrating the two-hundredth anniversary of the premiere of Beethoven’s Ninth Symphony on May 7, 2024. This is a great honor. Are you at last satisfied that your performances of a work such as the Missa solemnis are worthy of Beethoven’s genius?

It’s impossible to reproduce in today’s performances the angst of the genius of Beethoven. We try, through the music, the interpretation, to go in the direction of Beethoven’s pain and suffering. But I think that nobody can really get totally inside this masterpiece. The Missa solemnis is in a part of the sky that we cannot reach.

gifts in the history of Western art, to which Beethoven would soon add the Grosse Fuge. The dedication, as direct and unexpectedly personal as the music of the mass it accompanies, reads: “From the heart—may it go to the heart.”

Beethoven was never a regular churchgoer. He had no use for organized religion. What he learned of Catholicism he picked up attending Catholic schools. As a boy, he knew the insides of several area churches solely from the organ loft, where he took lessons. Haydn once called him an atheist— no doubt out of sheer exasperation at his most difficult student, the one with the shaggy hair, dissident views, and antiestablishment tactics.

But the man who later left us this extraordinary account of faith—the Missa solemnis, a solemn mass—could only have been, in the truest sense, a profoundly religious man. And perhaps only a man who had sometimes doubted, and regularly questioned, would ultimately come to a statement of personal belief as powerful as this.

Beethoven’s search for faith was part of a daily struggle to find order in the confusion of life. From an early age he worshiped nature easily, and, eventually, through nature, God. (He once scribbled on a page of sketches: “Almighty in the forest! I am happy, blissful in the forest: every tree speaks through you, O God! . . . .”) Beethoven’s diaries and sketches are filled with prayers and comments addressed to God. On the same page of his diary with the first suggestion of the Missa solemnis, Beethoven writes: “Therefore, calmly will I submit myself to all inconstancy and will place all my trust in your unchangeable goodness, O God! My soul shall rejoice in you, immutable Being. Be

my rock, my light, my trust forever!” It’s a quote from Christoph Christian Sturm, a Lutheran clergyman whose views Beethoven found highly persuasive. Late in his life, Beethoven began to explore Eastern thought and ritual, still searching for meaning. Framed quotations from ancient Egyptian writings sat on the desk where he worked, in characteristic disarray, on the Missa solemnis.

The music Beethoven wrote is no more conventional or any easier to classify than his beliefs. For one thing, it’s not literally church music—written to be performed as part of a religious ceremony; instead, as Romain Rolland wrote, it “overflows the church by its spirit and its dimensions.” In fact, it was designed not for the church at Olmütz nor for any other space, but for posterity. The Missa solemnis is a work of sometimes bewildering complexity, in which sacred and secular, faith and skepticism, the traditional and the personal, and the private as well as the public all abide. It is, in essence, Beethoven himself.

As Beethoven told Stieler early in 1820, the key is D major—a key Beethoven associated with Handel’s “Hallelujah” Chorus and with the Gloria and Sanctus of Bach’s B minor mass, scores he deeply admired and restudied before he set to work. Beethoven’s opening chord is the same brilliant D major that Bach and Handel knew, and yet the sound is entirely his own. Beethoven sees to that, not just in the particular voicing of the chord—the way the three notes of the D major triad are distributed over five octaves and among the instruments of the full orchestra—but in the way that it arrives mid-measure rather than on the downbeat, like a premature shout of

above: Portrait of Ludwig van Beethoven when Composing the Missa solemnis, 1820. Portrait in oil by Joseph Karl Stieler (1781–1858), court painter to the kings of Bavaria. The work was commissioned by Franz and Antonie Brentano, friends of the composer. Beethoven-Haus Bonn

faith. As we enter this grand and holy space, it takes our ears a few moments to adjust, to find Beethoven’s pulse, and to begin to move with it as clarinets and then oboes intone “Kyrie” long before the chorus sings. That’s one of the hallmarks of this music: the instruments of the orchestra often speak the words of the mass, anticipating and answering—but never, in the conventional sense, accompanying—the singers.

The Kyrie unfolds simply and majestically, with only a slight quickening of the pulse for the central Christe. The Gloria, on the other hand, is vast and immensely varied. It begins with a loud and joyful noise and then drops suddenly, like a worshiper falling to his knees, at “Et in terra pax” (And on Earth Peace) and again at “Adoramus te” (We Adore You). There are a number of exceptional touches, like the trombones’ first appearance at “omnipotens.” The fugue at “in gloria Dei Patris” is the one Schindler no doubt heard behind closed doors, and it’s certainly a howling, stomping sort of music, only increasing in density and excitement as it passes through a quicker “Amen” and on into a hair-raising presto that leaves the singers almost breathless, shouting their final “Gloria” after the orchestra has already finished.

The text of the Credo led Beethoven to write a kind of sacred musical drama, with each chapter brilliantly set off and often compressing a significant incident and emotion into a single, telling gesture. In the “Et incarnatus est”—a reverent adagio set in ancient modal harmony—a solo flute flutters high above the voices, like the Holy Spirit descending to earth in the form of a dove. The dramatic shift from the depths of the “Crucifixus” to the “Et resurrexit” is accomplished by the chorus alone, which fairly shouts the news. At the reference to the Last Judgment, which has led other composers to elaborate special effects, Beethoven simply interjects one prominent and discordant note from a single trombone. The final passage beginning “Et vitam venturi”—a double fugue, with separate, compatible subjects for “Et vitam venturi” and “Amen”— includes some of the toughest music ever written for chorus—longer, higher, and more florid even

than the “Ode to Joy” from the Ninth Symphony. It’s also a fine depiction of the “life of the world to come” spinning mysteriously into eternity.

Beethoven’s Sanctus, unlike those of Bach before or Verdi to come, is very still and dark. There are ecstatic outbursts at “Pleni sunt coeli” and “Osanna,” but those only lead to the orchestral prelude, music of a spiritual calmness unknown before Beethoven. The orchestra begins with low, ruminative music—suggesting the organ improvisation that, in a traditional mass, leads to the “Benedictus.” Suddenly a bright beam of light—a high chord, scored for two flutes and solo violin—breaks through. The chorus basses introduce the “Benedictus,” and then the solo violin begins a great, soaring rhapsody—unexpected in a mass and unlike anything else in all music. It’s a surprisingly personal touch that only a great master could pull off, and it may well be, as Theodore Adorno has suggested, Beethoven’s response to “late medieval artists placing their own likenesses somewhere on their tabernacles so that they might not be forgotten.” Soon the solo quartet and the chorus add their lines of benediction, but it’s Beethoven’s own voice, searching for understanding and immortality, that soars the highest.

The Agnus Dei begins solemnly, with bassoons, horns, and low strings, to which voices add their measured comments. When the music shifts into a 6/8 meter at “Dona nobis pacem,” Beethoven writes above the staff: “Prayer for inner and outer peace.” Soon this lovely, lilting music is disturbed by distant drums and far-away trumpet calls. We next hear the sound of the human voice filled with terror—a sound that we today, like Beethoven in his own turbulent times, know as the only possible response to the threat of war. The chorus begins an insistent fugue on “Dona nobis pacem,” its notes echoing those of the famous phrase “And he shall reign for ever and ever” from the “Hallelujah” Chorus. (We know that Beethoven greatly loved Messiah, that he hung Handel’s portrait on his wall, and that he once cried out, “I would uncover my head and kneel down at his tomb!”)

There’s a brief orchestral passage that carries with it renewed sounds of war. Again it’s safely countered with pleas of “Grant us peace.” Finally, even when the timpani still rumbles ominously from a foreign land, the chorus says simply, “pacem, pacem,” and the music warmly embraces D major, briefly and gently. The answer has come, and knowing that it’s as good as any we are likely to find, Beethoven quickly lays down his pen.

Beethoven wasn’t present at the first performance of this mass. That took place in Saint Petersburg, in April 1824, under the sponsorship of Prince Galitzin, who had already commissioned several of the composer’s last string quartets. In Vienna a month later, Beethoven agreed to conduct the Kyrie, Credo, and Agnus Dei—sung to German words and announced as “Three Grand Hymns with Solo and Chorus Voices” to avoid a prohibition on sacred music in the theater—at the same concert with the premiere of his Ninth Symphony. That evening, May 7, 1824, is now famous, not for the

important music it introduced to Vienna, but for the sight of poor Beethoven, so totally deaf that, with his back to the audience, he was unaware of the thunderous applause greeting his new symphony until the contralto soloist tapped him on the shoulder and turned him around. No other performances of the mass were scheduled during Beethoven’s lifetime.

After Beethoven’s death, the autograph manuscript of the Missa solemnis sold for a mere seven florins (the cheerful Septet for winds brought eighteen). Later, as listeners began to realize the universal power of Beethoven’s oddly personal statement, the Missa solemnis was still more admired than loved. Even today, the work Beethoven thought his greatest single achievement is little known compared to the music of fate knocking at the door, the story of a great musician going deaf in the prime of his life, or the picture of a scowling genius clasping a sheet of music.

MISSA SOLEMNIS KYRIE

Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy. Christ, have mercy. Lord, have mercy.

GLORIA

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Glory to God in the highest, and on earth peace to people of good will. We praise you, we bless you, we adore you, we glorify you.

We give you thanks for your great glory.

Phillip Huscher has been the program annotator for the Chicago Symphony Orchestra since 1987.

Domine Deus, Rex coelestis, Deus pater omnipotens. Domine fili unigenite, Jesu Christe. Domine Deus, agnus Dei, filius patris.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.

Qui sedes ad dexteram patris, o miserere nobis.

Quoniam tu solus sanctus. Tu solus dominus. Tu solus altissimus, Jesu Christe. Cum sancto spiritu,

in gloria Dei patris.

Amen.

Lord God, heavenly King, O God, almighty Father. Lord Jesus Christ, only-begotten Son. Lord God, Lamb of God, Son of the Father,

you take away the sins of the world, have mercy on us. You take away the sins of the world, receive our prayer.

You are seated at the right hand of the Father, O have mercy on us.

For you alone are the Holy One. You alone are the Lord. You alone, are the most high, Jesus Christ, with the Holy Spirit, in the glory of God the Father.

Amen.

CREDO

Credo in unum Deum, patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Credo in unum dominum Jesum Christum, filium Dei unigenitum. Et ex patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem patri, per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.

Et incarnatus est de spiritu sancto ex Maria virgine:

Et homo factus est.

Crucifixus etiam pro nobis, sub Pontio Pilato passus, et sepultus est.

Et resurrexit tertia die secundum scripturas.

I believe in one God, the Father almighty, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, the only begotten Son of God, born of the Father before all ages; God from God, Light from Light, true God from true God; begotten, not made; consubstantial with the Father; through him all things were made. For us men, and for our salvation, he came down from heaven;

and by the Holy Spirit was incarnate of the Virgin Mary;

and became man.

For our sake he was crucified under Pontius Pilate, he suffered death and was buried, and rose again on the third day in accordance with the Scriptures.

(Please turn the page quietly.)

Et ascendit in coelum: sedet ad dexteram patris et iterum venturas est cum gloria, judicare vivos et mortuos; cujus regni non erit finis.

Credo in spiritum sanctum Dominum et vivificantem, qui ex patre filioque procedit. Qui cum patre et filio simul adoratur, et conglorificatur, qui locutus est per Prophetas. Credo in unam sanctam catholicam et apostolicam ecclesiam, confiteor unum baptisma in remissionem peccatorum, et exspecto resurrectionem mortuorum.

Et vitam venturi saeculi. Amen.

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua, osanna in excelsis.

He ascended into heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead; and his kingdom will have no end.

I believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son; who with the Father and the Son is adored and glorified; who has spoken through the prophets. I believe in one, holy, catholic, and apostolic Church. I confess one baptism for the remission of sins and I look forward to the resurrection of the dead,

and the life of the world to come. Amen.

SANCTUS

Holy, holy, holy, Lord God of hosts,

Heaven and earth are full of your glory. Hosanna in the highest.

Orchestral Prelude

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Dona nobis pacem.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Dona nobis pacem.

Agnus Dei, dona pacem.

Dona nobis pacem.

Lamb of God, who takes away the sins of the world, have mercy on us.

Grant us peace.

Lamb of God, who takes away the sins of the world, have mercy on us.

Grant us peace.

Lamb of God, grant us peace.

Grant us peace.

Highlights include Pizzetti’s Murder in the Cathedral, Verdi’s Attila, & Ferruccio Furlanetto in Concert.

Murder in the Cathedral

Starring Ferruccio Furlanetto

July 6 & 9

The Chicago Temple

Attila

Starring Andrea Silvestrelli

July 20 & 23

Cahn Auditorium

July 6 - 23 | Tickets: $20 - $150

Chicago Symphony Orchestra Association is grateful to Bank of America for its generous support as the Maestro Residency Presenter.

The

Riccardo Muti Conductor

Riccardo Muti is one of the world’s preeminent conductors. In 2010, he became the tenth music director of the Chicago Symphony Orchestra. Muti’s leadership has been distinguished by the strength of his artistic partnership with the Orchestra; his dedication to performing great works of the past and present, including sixteen world premieres to date; the enthusiastic reception he and the CSO have received on national and international tours; and eleven recordings on the CSO Resound label, with three Grammy awards among them. In addition, his contributions to the cultural life of Chicago— with performances throughout its many neighborhoods and at Orchestra Hall—have made a lasting impact on the city.

Born in Naples, Riccardo Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella, graduating with distinction. He subsequently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan under the guidance of Bruno Bettinelli and Antonino Votto.

He first came to the attention of critics and the public in 1967, when he won the Guido Cantelli Conducting Competition, by unanimous vote of the jury, in Milan. In 1968, he became principal conductor of the Maggio Musicale Fiorentino, a position he held until 1980. In 1971, Muti was invited by Herbert von Karajan to conduct at the Salzburg Festival, the first of many occasions, which led to a celebration of fifty years of artistic collaboration with the Austrian festival in 2020. During the 1970s, Muti was chief conductor of London’s Philharmonia Orchestra (1972–1982), succeeding Otto Klemperer. From 1980 to 1992, he inherited the position of music director of the Philadelphia Orchestra from Eugene Ormandy.

From 1986 to 2005, he was music director of Teatro alla Scala, and during that time, he directed major projects such as the three

Mozart/Da Ponte operas and Wagner’s Ring cycle in addition to his exceptional contributions to the Verdi repertoire. His tenure as music director of Teatro alla Scala, the longest in its history, culminated in the triumphant reopening of the restored opera house on December 7, 2004, with Salieri’s Europa riconosciuta

Over the course of his extraordinary career, Riccardo Muti has conducted the most important orchestras in the world: from the Berlin Philharmonic to the Bavarian Radio Symphony Orchestra and from the New York Philharmonic to the Orchestre National de France; as well as the Vienna Philharmonic, an orchestra to which he is linked by particularly close and important ties, and with which he has appeared at the Salzburg Festival since 1971. When Muti was invited to lead the Vienna Philharmonic’s 150th-anniversary concert, the orchestra presented him with the Golden Ring, a special sign of esteem and affection, awarded only to a few select conductors. In 2021, he conducted the Vienna Philharmonic in the New Year’s Concert for the sixth time.

Muti has received numerous international honors over the course of his career. He is Cavaliere di Gran Croce of the Italian Republic and a recipient of the German Verdienstkreuz. He received the decoration of Officer of the Legion of Honor from French President Nicolas Sarkozy. He was made an honorary Knight Commander of the British Empire by Queen Elizabeth II. The Salzburg Mozarteum awarded him its silver medal for his contribution to Mozart’s music, and in Vienna, he was elected an honorary member of the Gesellschaft der Musikfreunde, Vienna Hofmusikkapelle, and Vienna State Opera. The State of Israel has honored him with the Wolf Prize in the arts. In July 2018, President Petro Poroshenko presented Muti with the State Award of Ukraine during the Roads of Friendship concert at the Ravenna Festival in Italy following earlier performances in Kyiv. In October 2018, Muti received the prestigious Praemium Imperiale for Music of the Japan Arts Association in Tokyo.

PHOTO BY TODD ROSENBERG

In September 2010, Riccardo Muti became music director of the Chicago Symphony Orchestra and was named 2010 Musician of the Year by Musical America. In 2011, Muti was selected as the recipient of the coveted Birgit Nilsson Prize. In 2011, he received the Opera News Award in New York City and Spain’s prestigious Prince of Asturias Award for the Arts. That summer, he was named an honorary member of the Vienna Philharmonic and honorary director for life of the Rome Opera. In May 2012, he was awarded the highest papal honor: the Knight of the Grand Cross First Class of the Order of St. Gregory the Great by Pope Benedict XVI. In 2016, he was honored by the Japanese government with the Order of the Rising Sun, Gold and Silver Star. On August 15, 2021, Muti received the Great Golden Decoration of Honor for Services to the Republic of Austria, the highest possible civilian honor from the Austrian government.

Passionate about teaching young musicians, Muti founded the Luigi Cherubini Youth Orchestra in 2004 and the Riccardo Muti Italian Opera Academy in 2015. The purpose of the Italian Opera Academy—which takes place in Italy, as well as in Japan since 2019 as part of a multi-year collaboration with the Tokyo Spring Festival—is to pass on Muti’s expertise to young musicians and to foster a better understanding of the complex journey to the realization of an opera. Through Le vie dell’Amicizia (The Roads of Friendship), a project of the Ravenna Festival in Italy, he has conducted in many of the world’s most troubled areas in order to bring attention to civic and social issues. The label RMMUSIC is responsible for Riccardo Muti’s recordings.

riccardomuti.com

riccardomutioperacademy.com

riccardomutimusic.com

Reflection and Anticipation for the Maestro

In anticipation of Riccardo Muti’s June residency with the Chicago Symphony Orchestra, the local and international press offered reflections on his distinguished tenure as music director and the impact he has made.

David Mermelstein of the Wall Street Journal wrote, “Muti has immeasurably refined the CSO’s character, making it an institution replete with virtues and, at least to these ears, without musical failings. In addition, Mr. Muti’s ability to impart new energy to even the most familiar scores helps make his programs so compelling.”

Kyle MacMillan of the Chicago Sun Times reflected on Muti’s relationship with the Orchestra following the May performances of Mozart’s Gran Partita, an intimate work featuring thirteen Orchestra members: “It was a commendably daring and unexpected repertoire choice. . . . Muti wanted to make sure they were also a celebration of the orchestra for which he obviously has great affection and respect.”

Looking ahead, Maestro Muti returns to conduct the Luigi Cherubini Youth Orchestra at the Ravenna Festival, where he will donate the proceeds from his concerts to victims of the flooding that has affected the Emilia-Romagna region. In addition, he leads the annual Roads of Friendship concerts, this time in Pompeii and Jerash, Jordan: two ancient cities and significant archaeological sites. The concerts pay tribute to the Jordanian people, who have welcomed refugees fleeing neighboring war-torn Syria. Muti also returns for sold-out concerts at the Salzburg Festival of Verdi’s Stabat mater and Te Deum from Four Sacred Pieces and Bruckner’s Seventh Symphony with the Vienna Philharmonic in August, and to Chicago in September to open the CSO’s 2023–24 season.

Riccardo Muti conducts Mozart’s Gran Partita, May 18, 2023. Photo by Todd Rosenberg

Gene Pokorny Tuba

first cso performances

June 8, 9, and 10, 2000, Orchestra Hall. Stevens’s Journey, Concerto for Contrabass Tuba; William Eddins conducting

most recent cso performances

February 1, 2, and 3, 2018, Orchestra Hall. Higdon’s Low Brass Concerto with Jay Friedman, Michael Mulcahy, and Charles Vernon; Riccardo Muti conducting

February 16, 2018, Carolina Performing Arts Memorial Hall, Chapel Hill, North Carolina. Higdon’s Low Brass Concerto with Jay Friedman, Michael Mulcahy, and Charles Vernon; Riccardo Muti conducting

Gene Pokorny has been principal tuba of the Chicago Symphony Orchestra since 1989. He also held principal tuba positions in the Israel Philharmonic Orchestra, the Utah Symphony, the St. Louis Symphony Orchestra, and the Los Angeles Philharmonic. While in Los Angeles, he played on the soundtracks to Jurassic Park, The Fugitive, and other motion pictures. He grew up in Downey, California, about a mile from where the Apollo command modules were built that first took humans to the moon, and studied tuba in the Los Angeles area with Jeffrey Reynolds, Larry Johansen, Tommy Johnson, and Roger Bobo.

When Gene Pokorny isn’t counting rests in the back row of the Armour Stage in Orchestra Hall, he can be found teaching at music festivals and performing solo recitals worldwide. He has recorded several solo and educational discs, and assisted Rolling Stones trombonist Michael Davis in recording several educational workbook CDs. He received an Outstanding Alumnus Award from the University of Southern California and an honorary doctorate from the University of Redlands. He currently lectures and teaches at Roosevelt University, Northwestern University, and the Pokorny Low Brass Seminar.

A member of the Union Pacific (Railroad) Historical Society, Gene Pokorny spends time as a “foamer,” watching and chasing trains. He is a card-carrying member of the Three Stooges Fan Club and an avid devotee of his good friend David “Red” Lehr, the greatest Dixieland sousaphonist in the known universe, who passed away in 2021. He finds guidance in the overview of life through Stephen Covey’s Seven Habits of Highly Effective People, passion in the music of composers Gerald Finzi and Giacomo Puccini, humility in Carl Sagan’s three-and-a-half-minute video Pale Blue Dot, inspiration in listening to his fabulous colleagues onstage, and perspective in all things through the basset hounds with which he lives; they are always appreciative of a hug.

He holds the Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld.

PHOTO BY TODD ROSENBERG

Erin Morley Soprano

first cso performances

July 31, 2004, Ravinia Festival. Vaughan Williams’s Serenade to Music, Christoph Eschenbach conducting November 5, 6, 7, and 10, 2009, Orchestra Hall. Mendelssohn’s Incidental Music to A Midsummer Night’s Dream, Bernard Haitink conducting

One of today’s most sought-after lyric-coloratura sopranos, Erin Morley has garnered huge critical acclaim worldwide for her performances, and she regularly appears on the greatest opera stages, such as the Vienna State Opera, Bavarian State Opera, Opéra national de Paris, Glyndebourne Opera, Santa Fe Opera, Los Angeles Opera, and of course the Metropolitan Opera, where she has now sung more than 100 performances and has been featured in five Live in HD broadcasts.

Recent engagements include Pamina in a new production of The Magic Flute, Sophie in Der Rosenkavalier, and the title role in the premiere of Matthew Aucoin’s Eurydice, all at the Met; Gilda in Rigoletto at the Vienna and Berlin state operas; Zerbinetta in Ariadne auf Naxos for her Teatro alla Scala debut; her role debut as Norina in Don Pasquale at Glyndebourne Festival; a role and company debut as Isabelle in Robert le Diable under the baton of Marc Minkowski at Opéra National de Bordeaux, which was recently released as an audio recording by Palazzetto Bru Zane; Morgana in Alcina for a tour with

Les Musiciens du Louvre; a critically acclaimed debut in the title role of Lakmé with Washington Concert Opera; and Poulenc’s Gloria with the Netherlands Philharmonic Orchestra. Future projects include Carmina Burana with the Boston Symphony Orchestra at the Tanglewood Festival conducted by Andris Nelsons, Mozart’s Mass in C minor for the Mostly Mozart Festival at Lincoln Center led by Louis Langrée, Poulenc’s Gloria with the Houston Symphony under Juraj Valčuha, Mozart’s Requiem with Ensemble Pygmalion at the BBC Proms, her debut at the Royal Opera House (Covent Garden), and returns to the Bavarian State Opera and the Met.

Morley’s discography includes Sophie in Der Rosenkavalier on DVD/Blu-Ray (Metropolitan Opera); Sandrina in La finta giardiniera with Emmanuelle Haïm (Opéra de Lille); Woglinde in Götterdämmerung (Metropolitan Opera); Marguerite de Valois in Les Huguenots (American Symphony Orchestra); Nielsen’s Symphony no. 3 (Espansiva) with Alan Gilbert (New York Philharmonic); and Sylvie in Gounod’s La colombe with Sir Mark Elder (the Hallé).

A recipient of the Beverly Sills Award and a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Morley received her undergraduate degree from the Eastman School of Music, her master’s degree from the Juilliard School, and an artist diploma from the Juilliard Opera Center in 2007. Awards include first prize in the Jessie Kneisel Lieder Competition in 2002, first place in the Licia Albanese–Puccini Foundation Competition in 2006, and the Richard Tucker Career Grant in 2013.

PHOTO BY MONARCA STUDIOS

Alisa Kolosova Mezzo-soprano

first cso performances

June 20, 21, 22, and 23, 2013, Orchestra Hall. Vivaldi’s Magnificat, Riccardo Muti conducting

most recent cso performances

February 19, 20, 21, and 24, 2015, Orchestra Hall. Mozart’s Requiem, Riccardo Muti conducting

Alisa Kolosova has appeared to great acclaim at many of the most prestigious theaters throughout the world, including the Opéra national de Paris, Teatro alla Scala in Milan, the Bavarian State Opera in Munich, the Salzburg Festival, Vienna State Opera, and Glyndebourne Festival Opera; and performed at venues including the Royal Concertgebouw Amsterdam, the Kennedy Center in Washington (D.C.), and Carnegie Hall in New York.

A member of the Atelier Lyrique at Opéra national de Paris and of the Salzburg Festival Young Singers Program, Kolosova came to international attention in 2010 at the Salzburg Whitsun Festival performing in Mozart’s La Betulia liberata under the baton of Riccardo Muti. Between 2011 and 2014 she was a member of the ensemble of the Vienna State Opera, where her roles included Polina in The Queen of Spades, Olga in Eugene Onegin, Fenena in Nabucco, Annio in La Clemenza di Tito, and Suzuki in Madama Butterfly.

Kolosova has collaborated with such conductors as Riccardo Muti, Ivor Bolton, Vasily Petrenko, Alain Altinoglu, Andris Nelsons,

Gianandrea Noseda, Franz Welser-Möst, William Christie, Marin Alsop, Sir Andrew Davis, Lothar Zagrosek, and Sir John Eliot Gardiner.

Highlights of her career include Neris in Médée at Salzburg Festival, Maddalena in Rigoletto at Bavarian State Opera and at Teatro dell’Opera di Roma, Fenena at Dutch National Opera in Amsterdam and at Palau de les Arts Reina Sofía in Valencia, the Foreign Princess in Rusalka at Opéra national de Paris, Samaritana in Zandonai’s Francesca da Rimini at La Scala, Olga in Eugene Onegin and Federica in Luisa Miller at Lyric Opera of Chicago, her Dutch National Opera debut in a new production of Berlioz’s Romeo and Juliet, and Janáček’s Glagolitic Mass under Gardiner’s baton and with the Los Angeles Philharmonic conducted by Gustavo Dudamel.

On the concert platform Alisa Kolosova’s successes include Schubert’s Mass in E-flat major and Beethoven’s Missa solemnis with the Vienna Philharmonic and Muti at the Salzburg Festival, her Carnegie Hall debut with performances of Scriabin’s Symphony no. 1 and Prokofiev’s Alexander Nevsky with the Chicago Symphony Orchestra and Muti, Beethoven’s Symphony no. 9 with the Orchestre Philharmonique de Radio France, and Verdi’s Requiem with Orchestre national de Paris conducted by Jérémie Rhorer and with the Orchestra of the Age of Enlightenment at the BBC Proms.

Among her latest performances are Madama Butterfly with Greek National Opera at the Odeon of Herodes Atticus in Athens, Oepidus rex at Prague National Theatre, Nabucco at Opernhaus Zürich, Un ballo in maschera at Bavarian State Opera, and Eugene Onegin at Théâtre des Champs-Élysées in Paris.

PHOTO BY DIETMAR SCHOLZ

Giovanni Sala Tenor

These concerts mark Giovanni Sala’s debut with the Chicago Symphony Orchestra.

Born in Lecco, in northern Italy, Giovanni Sala began his musical studies at the Giuseppe Verdi

Conservatory in Como and later enrolled in the prestigious Accademia Teatro alla Scala in Milan. He made his professional debut at the Teatro Sociale in Como as Don Ottavio in Don Giovanni directed by Graham Vick and Nemorino in The Elixir of Love. At Teatro alla Scala he was Tamino in The Magic Flute and Hervey in Anna Bolena, and Ferrando in Così fan tutte at the Teatro Carlo Felice in Genoa. Under the baton of Riccardo Muti, he debuted as Fenton in Falstaff at the Ravenna Festival.

At the Verdi Festival in Parma in 2017, he appeared as Raffaele in Stiffelio and Macduff in Macbeth. In 2018 he was Ferrando at the Teatro Verdi in Trieste and Tamino at the Macerata Opera Festival, a role he later performed at the

Teatro Massimo Bellini di Catania. In 2019 he appeared in Don Giovanni at the Teatre Principal de Palma de Mallorca, as Arbace in Idomeneo at the Teatro Massimo di Palermo, Rinuccio in Gianni Schicchi in Verona, and Macduff in Macerata and toured with the Deutsche Oper Berlin as Prunier in Puccini’s La rondine at the Daegu Opera House in Korea. In 2020 Sala sang the role of Fenton in Falstaff at Teatro Massimo di Palermo conducted by Daniel Oren and in Don Giovanni at the Macerata Festival.

For the Spoleto Festival of the Two Worlds, he performed the title role in Monteverdi’s Orfeo directed by Pier Luigi Pizzi and conducted by Ottavio Dantone. He was Gomatz in Mozart’s Zaide with Opera Lombardia and Ferrando in Così fan tutte under Muti at the Teatro Regio di Torino.

Giovanni Sala is a winner of the AsLiCo Competition (2014), the International Competition of the Teatro alla Scala Academy (2015), and the Queen Sonja International Music Competition (2018), among others.

Future engagements include Cassio in Otello in Aix-en-Provence with Teatro San Carlo, I Lombardi in Parma, Don Giovanni in Palermo, and La bohème in Tel Aviv.

PHOTO COURTESY OF THE ARTIST

Kyle Ketelsen Bass-baritone

first cso performances

March 5, 6, and 7, 2009, Orchestra Hall. Stravinsky’s Pulcinella, Pierre Boulez conducting

most recent cso performances

December 10, 11, 12, 15, and 20, 2015, Orchestra Hall. Handel’s Messiah, Bernard Labadie conducting

American bass-baritone

Kyle Ketelsen is in regular demand by the world’s leading opera houses and orchestras for his vibrant stage presence and distinctive vocalism.

In the 2022–23 season, Ketelsen returned to the Metropolitan Opera in the role of Richard for the world premiere of The Hours, broadcast live in HD, opposite Renée Fleming, Kelli O’Hara, and Joyce DiDonato conducted by Yannick

Nézet-Séguin. He returned to the Vienna State Opera in the title role in Don Giovanni and to the Los Angeles Opera as Golaud in Pelleas and Melisande led by James Conlon and directed by Sir David McVicar. Concert engagements included his first performances of Mendelssohn’s Elijah with the Utah Symphony under Thierry Fischer.

In previous seasons, Kyle Ketelsen made house debuts at Vienna State Opera as Don Giovanni and Teatro de la Maestranza in Seville as Golaud. He returned to Lyric Opera of Chicago as Dulcamara in The Elixir of Love and to the Canadian Opera Company in the title role of Bluebeard’s Castle. Ketelsen also returned to the Bavarian State Opera for his debut as Kaspar in a new production of Der Freischütz by Dmitri Tcherniakov, and to Dutch National Opera for his debut as Adahm in Rudi Stephan’s Die ersten

Menschen. He sang Leporello in Don Giovanni at both Washington National Opera and Hamburg State Opera and returned to Opernhaus Zürich for his debut as Selim in Il turco in Italia

Recent concert highlights include Zoroastro in Handel’s Orlando with the English Concert and Harry Bicket on tour, the St. Louis Symphony in Handel’s Messiah led by Bernard Labadie, Rossini’s Stabat mater with Lincoln Center’s Mostly Mozart Festival conducted by Gianandrea Noseda, Brahms’s Requiem with the San Francisco Symphony under Michael Tilson Thomas, Beethoven’s Fidelio with the National Symphony Orchestra and Christoph Eschenbach, and Falla’s Master Peter’s Puppet Show with the Knights at the Tanglewood Festival.

Ketelsen made his Carnegie Hall debut with the Oratorio Society of New York in Haydn’s The Creation. Other concert career highlights include appearances with the Los Angeles Philharmonic in Beethoven’s Symphony no. 9; Berlioz’s Lélio, Master Peter’s Puppet Show, and the late Kaija Saariaho’s Cinq reflets au l’Amour de loin with Esa-Pekka Salonen; the Philharmonia Orchestra in Stravinsky’s Oedipus rex; the Seattle Symphony in Mozart’s Requiem under Itzhak Perlman; and the Cleveland Orchestra in Haydn’s Harmoniemesse under Franz Welser-Möst.

Kyle Ketelsen has won first prize in several international vocal competitions, including the Metropolitan Opera National Council Auditions, Richard Tucker Music Foundation (Career Grant), George London Foundation, Licia Albanese–Puccini Foundation Competition, Sullivan Foundation, Opera Index, MacAllister Awards, Fort Worth Opera, National Opera Association, Connecticut Opera, and the Liederkranz Foundation.

He is an alumnus of the University of Iowa and Indiana University.

PHOTO BY LAWRENCE BROWNLEE

Chicago Symphony Chorus

World premieres featuring the Chorus have included Ned Rorem’s Goodbye My Fancy, John Harbison’s Four Psalms, and Bernard Rands’s apókryphos. With visiting orchestras, the Chorus has collaborated with the Berlin Philharmonic under Claudio Abbado, the Boston Symphony Orchestra and Seiji Ozawa, the Israel Philharmonic Orchestra with Zubin Mehta, and the Staatskapelle Berlin under Barenboim.

The Chicago Symphony Chorus regularly performs with the Chicago Symphony Orchestra in Orchestra Hall and at the Ravinia Festival.

The history of the Chorus began in 1957, when sixth music director Fritz Reiner invited Margaret Hillis to establish a chorus to equal the quality of the Orchestra. Hillis accepted the challenge, and the Chicago Symphony Chorus debuted in March and April 1958, in Mozart’s Requiem under Bruno Walter and Verdi’s Requiem under Reiner. Hillis served the Chorus for thirty-seven years, until her retirement in 1994; ninth music director Daniel Barenboim appointed Duain Wolfe as her successor in June of that year.

The Chorus first performed in Carnegie Hall in 1967 in Henze’s Muses of Sicily and Ravel’s Daphnis and Chloe under seventh music director Jean Martinon, and most recently in 2015 with Riccardo Muti for Scriabin’s Prometheus and Prokofiev’s Alexander Nevsky. Touring internationally with the Orchestra, the Chorus traveled to London and Salzburg in 1989 with Sir Georg Solti for performances of Berlioz’s The Damnation of Faust and to Berlin in 1999 with Barenboim for Brahms’s A German Requiem and Pierre Boulez for Schoenberg’s Moses und Aron.

Since first recording commercially in 1959— Prokofiev’s Alexander Nevsky under Reiner— the Chorus has amassed a discography that includes hallmarks of the choral repertoire and several complete operas. The Chorus most recently received a 2010 Grammy Award for Best Choral Performance for Verdi’s Requiem, led by Riccardo Muti on CSO Resound. The Chorus has received an additional nine Grammy awards for Best Choral Performance for Verdi’s Requiem, Beethoven’s Missa solemnis, Brahms’s A German Requiem, Berlioz’s The Damnation of Faust, Haydn’s Creation, and Bach’s Mass in B minor with Solti; Brahms’s Requiem and Orff’s Carmina Burana with James Levine; and Bartók’s Cantata profana with Boulez.

The Chorus also has appeared on two movie soundtracks with the Orchestra: Fantasia 2000 led by Levine and John Williams’s score for Lincoln conducted by the composer. Recordings on CSO Resound featuring the Chorus include Mahler’s Second and Third symphonies, Poulenc’s Gloria, and Ravel’s Daphnis and Chloe under Bernard Haitink; and Berlioz’s Lélio, Verdi’s Otello, Schoenberg’s Kol Nidre, choruses by Verdi and Boito’s Prologue to Mefistofele, Shostakovich’s Symphony no. 13 (Babi Yar) with men of the Chorus, and most recently Mascagni’s Cavalleria rusticana under Riccardo Muti.

PHOTO BY TODD ROSENBERG

Donald Palumbo

Guest Chorus Director

The chorus master of the Metropolitan Opera, Donald Palumbo is responsible for the chorus’s preparation and performance in more than twenty-five productions each season. This appointment followed a sixteen-year tenure as chorus master at Lyric Opera of Chicago.

A native of Rochester, New York, Palumbo received his bachelor of arts degree from Boston University. At the Dallas Opera in the 1980s, he served as the assistant to Roberto Benaglio, the renowned chorus master of Teatro alla Scala in Milan, and worked closely with conductor Nicola Rescigno.

Palumbo was music director of the Chorus Pro Musica of Boston and has served as chorus master for the Canadian Opera Company, the Dallas Opera, the Banff School for the Arts Summer Opera Program, the Opera Company of Boston, and Opera Theatre of Saint Louis. In Europe,

he has held the position of chorus master at the Opéra de Lyon, the Aix-en-Provence Festival, and Teatro Massimo di Palermo. He has worked extensively at the Théâtre du Châtelet in Paris and has conducted the Radio France Chorus in several a cappella choral concerts.

From 1999 to 2001, Palumbo was chorus director of the Salzburg Festival, the first American to hold that post. During his three-year tenure in Salzburg, he prepared the chorus of the Vienna Concert Association in Doktor Faust, Don Carlos, Les Troyens, Iphigénie en Tauride, Tristan and Isolde, Jenůfa, Falstaff, and The Magic Flute, among others. In addition, he prepared the chorus for Schumann’s Requiem with the Vienna Philharmonic conducted by Wolfgang Sawallisch. In 2003 he was chorus master for Berlioz’s Les Troyens in Paris under the direction of Sir John Eliot Gardiner.

Donald Palumbo has been a vocal coach for apprentices of the Santa Fe Opera since 2014, and he has worked with young artists at the Glimmerglass Festival since 2016, the year he also joined the vocal arts faculty at the Juilliard School in New York.

PHOTO COURTESY OF THE METROPOLITAN OPERA

Chicago Symphony Chorus

Cheryl Frazes Hill Associate Director

Jennifer Kerr Budziak Assistant Director

Benjamin Rivera Assistant Director

Michele Braché Agpalo

Alicia Monastero Akers

Melinda Alberty

Anastasia Cameron Balmer*

Annie Bennett

Laura Boguslavsky

Madison Bolt

Eileen Marie Bora

Michael Brauer

Evan Bravos

Matthew Brennan

Michael Brown

Terry L. Bucher

Jennifer Kerr Budziak

Anna Joy Buegel

Melanie Burbules

Diane Busko Bryks*

Katherine Buzard

Michael Cavalieri

Joan Cinquegrani

Joseph Cloonan

Natalie Conseur

Sandra Cross

Beena David

Angela De Venuto

Leah Dexter

Katarzyna Dorula

Kathryn Kinjo Duncan

Stacy Eckert

Jared Velasco Esguerra

Andrew Fisher

Kirsten Fyr-Searcy

Ace T. Gangoso

Klaus Georg

Dimitri German

David Govertsen

Mary Lutz Govertsen

Nida Grigalaviciute

Elizabeth Haley

Kevin Michael Hall

Ashlee Hardgrave

Ruth Ginelle Heald

Adam Lance Hendrickson

Megan Hendrickson

Jianghai Ho

Betsy Hoats

Ingrid Israel Mikolajczyk

Taylor Jacobson

Garrett Johannsen*

Alison Kelly

Robin A. Kessler

Lisa Kotara

Susan Krout

Mathew Lake

Rosalind Lee

Lee Lichamer*

Amanda Compton LoPresti

Kathleen Madden*

Suzanne Ma-Ebersole

Bill McMurray

Mark James Meier

Eric Miranda

Rebecca S. Moan

Keith A. Murphy

Lillian Murphy

Nathan S. Oakes

Máire O’Brien

Wha Shin Park

Clarissa Parrish Short

Steven Michael Patrick

Cassandra Petrie

Sarah Ponder

Elvira Ponticelli

Robert J. Potsic

Brett Potts

Angela Presutti

Emily Price

Ian R. Prichard

Nicholas Pulikowski

Margaret Quinnette

Leo Radosavljevic

Stephen Richardson

Alexia Rivera

Ellen Robtertson

Cole Seaton

Andrew Seymour

Aaron Short

Bridget Skaggs

Meaghan Smallwood

Cassidy Smith

Joseph Smith

Alannah Spencer

Kevin St. John

Sean Stanton*

Ryan Townsend Strand

Avery Sujkowski

Alan Taylor

Samantha Thielen

Paul W. Thompson*

Scott Uddenberg

William Vallandigham

Aaron Wardell

Rebecca Watts

Eric West

Jonathon Wilson

Juan Zapata

chorus manager

Shelley Baldridge

assistant chorus manager and librarian

Heather Anderson

rehearsal pianists

John Goodwin

Sharon Peterson

The Chorus was prepared for these performances by Donald Palumbo. *Section leader

chicago symphony orchestra

The Chicago Symphony Orchestra is consistently hailed as one of the world’s leading orchestras, and in September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. During his tenure, the Orchestra has deepened its engagement with the Chicago community, nurtured its legacy while supporting a new generation of musicians and composers, and collaborated with visionary artists.

The history of the Chicago Symphony Orchestra began in 1889, when Theodore Thomas, then the leading conductor in America and a recognized music pioneer, was invited by Chicago businessman Charles Norman Fay to establish a symphony orchestra here. Thomas’s aim to build a permanent orchestra with performance capabilities of the highest quality was realized at the first concerts in October 1891 in the Auditorium Theatre. Thomas served as music director until his death in January 1905—just three weeks after the dedication of Orchestra Hall, the Orchestra’s permanent home designed by Daniel Burnham.

Frederick Stock, recruited by Thomas to the viola section in 1895, became assistant conductor in 1899 and succeeded the Orchestra’s founder. His tenure lasted thirty-seven years, from 1905 to 1942—the longest of the Orchestra’s music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. Stock also established youth auditions, organized the first subscription concerts especially for children, and began a series of popular concerts.

Three eminent conductors headed the Orchestra during the following decade: Désiré Defauw was music director from 1943 to 1947, Artur Rodzinski assumed the post in 1947–48, and Rafael Kubelík led the ensemble for three seasons from 1950 to 1953. The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony Orchestra are still considered performance hallmarks. It was Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. For the five seasons from 1963 to 1968, Jean Martinon held the position of music director.

Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. His arrival launched one of the most successful musical partnerships of our time, and the CSO made its first overseas tour to Europe in 1971 under his direction, along with numerous award-winning recordings. Solti then held

the title of music director laureate and returned to conduct the Orchestra for several weeks each season until his death in September 1997.

Daniel Barenboim was named music director designate in January 1989, and he became the Orchestra’s ninth music director in September 1991, a position he held until June 2006. His tenure was distinguished by the opening of Symphony Center in 1997, highly praised operatic productions at Orchestra Hall, numerous appearances with the Orchestra in the dual role of pianist and conductor, twenty-one international tours, and the appointment of Duain Wolfe as the Chorus’s second director.

Pierre Boulez’s long-standing relationship with the Orchestra led to his appointment as principal guest conductor in 1995. He was named Helen Regenstein Conductor Emeritus in 2006, a position he held until his death in January 2016. Only two others have served as principal guest conductors: Carlo Maria Giulini, who appeared in Chicago regularly in the late 1950s, was named to the post in 1969, serving until 1972; Claudio Abbado held the position from 1982 to 1985. From 2006 to 2010, Bernard Haitink was the Orchestra’s first principal conductor. Cellist Yo-Yo Ma served as the CSO’s Judson and Joyce Green Creative Consultant from 2010 to 2019. Hilary Hahn became the CSO’s first Artist-in-Residence in 2021, a role that brings her to Chicago for multiple residencies each season.

Jessie Montgomery was appointed Mead Composer-in-Residence in 2021. She follows ten highly regarded composers in this role, including John Corigliano and Shulamit Ran—both winners of the Pulitzer Prize for Music. In addition to composing works for the CSO, Montgomery curates the contemporary MusicNOW series.

The Orchestra first performed at Ravinia Park in 1905 and appeared frequently through August 1931, after which the park was closed for most of the Great Depression. In August 1936, the Orchestra helped to inaugurate the first season of the Ravinia Festival, and it has been in residence nearly every summer since.

Since 1916, recording has been a significant part of the Orchestra’s activities. Releases on CSO Resound, the Orchestra’s independent recording label, include the Grammy Award–winning release of Verdi’s Requiem led by Riccardo Muti. Recordings by the Chicago Symphony Orchestra and Chorus have earned sixty-four Grammy awards from the Recording Academy.

Chicago Symphony Orchestra

Riccardo Muti Zell Music Director

Jessie Montgomery Mead Composer-in-Residence

Hilary Hahn Artist-in-Residence

violins

Robert Chen Concertmaster

The Louis C. Sudler

Chair, endowed by an anonymous benefactor

Stephanie Jeong

Associate Concertmaster

The Cathy and Bill Osborn Chair

David Taylor*

Assistant Concertmaster

The Ling Z. and Michael C.

Markovitz Chair

Yuan-Qing Yu*

Assistant Concertmaster

So Young Bae

Cornelius Chiu

Gina DiBello

Kozue Funakoshi

Russell Hershow

Qing Hou

Matous Michal

Simon Michal

Blair Milton §

Sando Shia

Susan Synnestvedt

Rong-Yan Tang ‡

Baird Dodge Principal

Lei Hou

Ni Mei

Hermine Gagné

Rachel Goldstein

Mihaela Ionescu

Sylvia Kim Kilcullen

Melanie Kupchynsky

Wendy Koons Meir

Joyce Noh

Nancy Park

Ronald Satkiewicz

Florence Schwartz

violas

Li-Kuo Chang §

Assistant Principal

Catherine Brubaker

Beatrice Chen

Youming Chen

Sunghee Choi

Wei-Ting Kuo

Danny Lai

Weijing Michal

Diane Mues

Lawrence Neuman

Max Raimi

cellos

John Sharp Principal

The Eloise W. Martin Chair

Kenneth Olsen

Assistant Principal

The Adele Gidwitz Chair

Karen Basrak

The Joseph A. and Cecile

Renaud Gorno Chair

Loren Brown

Richard Hirschl

Daniel Katz

Katinka Kleijn

David Sanders

Gary Stucka

Brant Taylor

basses

Alexander Hanna Principal

The David and Mary Winton

Green Principal Bass Chair

Daniel Carson

Robert Kassinger ‡

Mark Kraemer

Stephen Lester

Bradley Opland

harp

Lynne Turner

flutes

Stefán Ragnar Höskuldsson

Principal

The Erika and Dietrich M.

Gross Principal Flute Chair

Yevgeny Faniuk

Assistant Principal

Emma Gerstein

Jennifer Gunn

piccolo

Jennifer Gunn

The Dora and John Aalbregtse Piccolo Chair

oboes

William Welter Principal

The Nancy and Larry Fuller

Principal Oboe Chair

Lora Schaefer

Assistant Principal

Scott Hostetler

english horn

Scott Hostetler

clarinets

Stephen Williamson Principal

John Bruce Yeh

Assistant Principal

Gregory Smith

e-flat clarinet

John Bruce Yeh

bassoons

Keith Buncke Principal

William Buchman

Assistant Principal

Miles Maner

contrabassoon

Miles Maner

horns

David Cooper Principal

Daniel Gingrich

Associate Principal

James Smelser

David Griffin

Oto Carrillo

Susanna Gaunt

trumpets

Esteban Batallán Principal

The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor

Mark Ridenour

Assistant Principal

John Hagstrom

The Bleck Family Chair

Tage Larsen

The Pritzker Military Museum & Library Chair

trombones

Jay Friedman Principal

The Lisa and Paul Wiggin

Principal Trombone Chair

Michael Mulcahy

Charles Vernon

bass trombone

Charles Vernon

tuba

Gene Pokorny Principal

The Arnold Jacobs Principal

Tuba Chair, endowed by Christine Querfeld

* Assistant concertmasters are listed by seniority. ‡ On sabbatical § On leave

timpani

David Herbert Principal

The Clinton Family

Fund Chair

Vadim Karpinos

Assistant Principal

percussion

Cynthia Yeh Principal

Patricia Dash

Vadim Karpinos

James Ross

librarians

Peter Conover Principal

Carole Keller

Mark Swanson

cso fellow

Gabriela Lara Violin

orchestra personnel

John Deverman Director

Anne MacQuarrie

Manager, CSO Auditions and Orchestra Personnel

stage technicians

Christopher Lewis

Stage Manager

Blair Carlson

Paul Christopher

Ryan Hartge

Peter Landry

Joshua Mondie

Todd Snick

The Paul Hindemith Principal Viola, Gilchrist Foundation, and Louise H. Benton Wagner chairs currently are unoccupied. The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are listed alphabetically.

*

chicago symphony orchestra association board of trustees

OFFICERS

Mary Louise Gorno Chair

Chester A. Gougis Vice Chair

Steven Shebik Vice Chair

Helen Zell Vice Chair

Renée Metcalf Treasurer

Jeff Alexander President

Kristine Stassen Secretary of the Board

Stacie M. Frank

Assistant Treasurer

Dale Hedding Vice President for Development

HONORARY TRUSTEES

The Honorable Lori Lightfoot, Honorary Chair

The Honorable Richard M. Daley

TRUSTEES

John Aalbregtse

Peter J. Barack

H. Rigel Barber

Randy Lamm Berlin

Roderick Branch

Kay Bucksbaum

Robert J. Buford

Johannes Burlin

Leslie Henner Burns

Debra A. Cafaro

Marion A. Cameron-Gray

George P. Colis

Keith S. Crow

Stephen V. D’Amore

Timothy A. Duffy

Brian W. Duwe

Charles Emmons, Jr.*

Judith E. Feldman*

Graham C. Grady

John Holmes

Lori Julian

Neil T. Kawashima

Geraldine Keefe

Donna L. Kendall

Thomas G. Kilroy

Randall S. Kroszner

Patty Lane

Susan C. Levy

Vikram Luthar

Renée Metcalf

Britt M. Miller

Dr. Toni-Marie Montgomery

Mary Pivirotto Murley

Sylvia Neil

Gerald Pauling

Col. Jennifer N. Pritzker

Dr. Don M. Randel

Dr. Mohan Rao

Burton X. Rosenberg

Kristen C. Rossi

E. Scott Santi

Steven Shebik

Marlon R. Smith

Walter Snodell

Dr. Eugene Stark

Daniel E. Sullivan, Jr.

Scott Swanson

Nasrin Thierer

Liisa Thomas

Terrence J. Truax

Frederick H. Waddell

William Ward*

Paul S. Watford

Craig R. Williams

Robert Wislow

Ann Marie Wright

Helen Zell

Gifford R. Zimmerman

LIFE TRUSTEES

William Adams IV

Mrs. Robert A. Beatty

Arnold M. Berlin

Laurence O. Booth

William G. Brown

Dean L. Buntrock

Bruce E. Clinton

Richard Colburn

Richard H. Cooper

Anthony T. Dean

Debora de Hoyos

Charles Douglas

John A. Edwardson

Thomas J. Eyerman

James B. Fadim

David W. Fox, Sr.

Richard J. Franke †

Cyrus F. Freidheim, Jr.

H. Laurance Fuller

Mrs. Robert W. Galvin

Paul C. Gignilliat

Joseph B. Glossberg

Richard C. Godfrey

William A. Goldstein

Mary Louise Gorno

Howard L. Gottlieb

Chester A. Gougis

Mary Winton Green

Dietrich Gross

David P. Hackett

Joan W. Harris

John H. Hart

Thomas C. Heagy

Jay L. Henderson

Mrs. Roger B. Hull †

Judith A. Istock

William R. Jentes

Paul R. Judy

Richard B. Kapnick

Donald G. Kempf, Jr.

George D. Kennedy †

Mrs. John C. Kern

Robert Kohl

Josef Lakonishok

Charles Ashby Lewis

Eva F. Lichtenberg

John S. Lillard

Donald G. Lubin †

John F. Manley

Ling Z. Markovitz

R. Eden Martin

Arthur C. Martinez

Judith W. McCue

Lester H. McKeever

David E. McNeel

John D. Nichols

James J. O’Connor

William A. Osborn

Mrs. Albert Pawlick

Jane DiRenzo Pigott

John M. Pratt

Dr. Irwin Press

John W. Rogers, Jr.

Jerry Rose

Frank A. Rossi

Earl J. Rusnak, Jr.

Cynthia M. Sargent †

John R. Schmidt

Thomas C. Sheffield, Jr.

Robert C. Spoerri

Carl W. Stern

William H. Strong

Louis C. Sudler, Jr.

Richard L. Thomas

Richard P. Toft

Penny Van Horn

Paul R. Wiggin

chicago symphony orchestra association governing members

The Governing Members are the CSOA’s first philanthropic society, which celebrated its 125th anniversary in the 2019–20 season. Its support funds the CSOA’s artistic excellence and community engagement. In return, members enjoy exclusive benefits and recognition. For more information, please contact 312-294-3337 or governingmembers@cso.org.

GOVERNING MEMBERS

EXECUTIVE COMMITTEE

Charles Emmons, Jr. Chair

Michael Perlstein Immediate Past Chair

Merrill and Judy Blau Vice Chairs of Member Engagement

Dr. Phyllis C. Bleck Vice Chair of the Annual Fund

Lisa Ross Vice Chair of Nominations & Membership

GOVERNING MEMBERS

Anonymous (8)

Dora J. Aalbregtse

Floyd Abramson

Ms. Patti Acurio

Fraida Aland

Sandra Allen

Gary Allie

Robert Alsaker

Megan P. Anderson

Dr. Edward Applebaum

David Arch

Dr. Kent Armbruster

Dr. Andrew Aronson

Susan Baird

Ms. Judith Barnard

Merrill Barnes

Peter Barrett

Roberta Barron

Roger Baskes

Cynthia Bates

Robert H. Baum

Mrs. Robert A. Beatty

Kirsten Bedway

Gail Eisenhart Belytschko

Edward H. Bennett III

Meta S. Berger

D. Theodore Berghorst

Ann Berlin

Phyllis Berlin

Mr. William E. Bible

Mrs. Arthur A. Billings

Dianne Blanco

Judy Blau

Merrill Blau

Dr. Phyllis C. Bleck

Ann Blickensderfer

Terry Boden

Fred Boelter

Peter Borich

Mrs. Suzanne Borland

James G. Borovsky

Adam Bossov

Janet S. Boyer

John D. Bramsen

Ms. Jill Brennan

Mrs. William Gardner Brown

Sue Brubaker

Mrs. Patricia M. Bryan

Gilda Buchbinder

Samuel Buchsbaum

Rosemarie Buntrock

Elizabeth Nolan Buzard

Ms. Lutgart Calcote

Thomas Campbell

Ms. Vera Capp

Wendy Alders Cartland

Mrs. William C. Childs

Linton J. Childs

Frank Cicero, Jr.

Patricia A. Clickener

Mitchell Cobey

Jean M. Cocozza

Robin Tennant Colburn

Dr. Edward A. Cole

Mrs. Jane B. Colman

Eileen Conaghan

Dr. Thomas H. Conner

Ms. Cecilia Conrad

Beverly Ann Conroy

Jenny L. Corley

Nancy Corral

Ms. Sarah Crane

Mari Hatzenbuehler Craven

Mr. Richard Cremieux

R. Bert Crossland

Rebecca E. Crown

Daniel R Cyganowski

Catherine Daniels

Mrs. Robert J. Darnall

Dr. Tapas K. Das Gupta

Roxanne Decyk

Ms. Nancy Dehmlow

Mrs. Suzanne Demirjian

Duane M. DesParte

Janet Wood Diederichs

Doug Donenfeld

Mrs. William F. Dooley

Sara L. Downey

Ms. Ann Drake

David Dranove

Robert Duggan

Mimi Duginger

Mr. Frank A. Dusek, CPA

Mrs. David P. Earle III

Judge Frank H. Easterbrook

Mrs. Dorne Eastwood

Mrs. Larry K. Ebert

Louis M. Ebling III

Mr. & Mrs. Estia Eichten

Jon Ekdahl

Kathleen H. Elliott

Charles Emmons, Jr.

Scott Enloe

Dr. James Ertle

William Escamilla

Dr. Marilyn D. Ezri

Neil Fackler

Melissa Sage Fadim

Jeffrey Farbman

Signe Ferguson

Hector Ferral, M.D.

Ms. Constance M. Filling

Mr. Daniel Fischel

Jenny Fischer

Henry Fogel

Deborah Forman-Eichten

Mrs. John D. Foster

David and Janet Fox

Mr. Paul E. Freehling

Mitzi Freidheim

Marjorie Friedman Heyman

Mr. Agustin G. Sanz

Malcolm M. Gaynor

Robert D. Gecht

Frank Gelber

Mrs. Lynn Gendleman

Dr. Mark Gendleman

Rabbi Gary S. Gerson

Dr. Bernardino Ghetti

Karen Gianfrancisco

Ellen Gignilliat

Mr. James J. Glasser †

Madeleine Glossberg

Mrs. Judy Goldberg

Mrs. Mary Anne Goldberg

Anne Goldstein

Jerry A. Goldstone

Mary Goodkind

Dr. Alexia Gordon

Mr. Michael D. Gordon

Donald J. Gralen

Ruth Grant

Mrs. Hanna H. Gray

Mary L. Gray

Dana Green Clancy

Freddi L. Greenberg

Delta A. Greene

Joyce Greening

Dr. Jerri Greer

Dr. Katherine L. Griem

Kendall Griffith

Jerome J. Groen

Jacalyn Gronek

John P. Grube

James P. Grusecki

Anastasia Gutting

Lynne R. Haarlow

Joan M. Hall

Dr. Howard Halpern

Mrs. Richard C. Halpern

Anne Marcus Hamada

Josephine Hammer

Joel L. Handelman

John Hard

Mrs. William A. Hark

Dr. Dane Hassani

James W. Haugh

Thomas Haynes

James Heckman

Mrs. Patricia Herrmann Heestand

Dr. Scott W. Helm

Marilyn P. Helmholz

Richard H. Helmholz

Dr. Arthur L. Herbst

Jeffrey W. Hesse

Konstanze L. Hickey

Thea Flaum Hill

Dr. Richard Hirschmann

Suzanne Hoffman

Anne Hokin

Wayne J. Holman III

Fred E. Holubow

Mr. James Holzhauer

† Deceased Italics indicate Governing Members who have served at least five terms (fifteen years or more).

Carol Honigberg

Janice L. Honigberg

Mrs. Nancy A. Horner

Mrs. Arnold Horween

Frances G. Horwich

Dr. Mary L. Houston

Patricia J. Hurley

Michael Huston

Barbara Ann Huyler

Mr. Verne G. Istock

Mrs. Nancy Witte Jacobs

Dr. Todd Janus

John Jawor

Ms. Justine Jentes

Brian Johnson

George E. Johnson

Ronald B. Johnson

Dr. Patricia Collins Jones

Edward T. Joyce

Mrs. Carol K. Kaplan †

Claudia Norris Kapnick

Mrs. Lonny H. Karmin

Barry D. Kaufman

Kenneth Kaufman

Marie Kaufman

Don Kaul

Molly Keller

Jonathan Kemper

Nancy Kempf

Elizabeth I. Keyser

Leslie Kiesel

Emmy King

Susan Kiphart

Carol Kipperman

Dr. Elaine H. Klemen

Carol Evans Klenk

Mrs. Janet Knauff

Mr. Henry L. Kohn

Dr. Mark Kozloff

Dr. Michael Krco

Eldon Kreider

David Kreisman

MaryBeth Kretz

Dr. Vinay Kumar

Mr. John LaBarbera

Dr. Lynda Lane

Stephen Lans

William J. Lawlor III

Sunhee Lee

Dean Leff

Jonathon Leik

Sheila Fields Leiter

Jeffrey Lennard

Zafra Lerman

Jerrold Levine

Laurence H. Levine

Mrs. Bernard Leviton

Gregory M. Lewis

Carolyn Lickerman

Mrs. Paul Lieberman

Dr. Philip R. Liebson

Patricia M. Livingston

Jane Loeb

Renée Logan

Gabrielle Long

Amy Lubin

Anna Lysakowski

Carol MacArthur

Mrs. Duncan MacLean

Dr. Michael S. Maling

Sharon L. Manuel

David A. Marshall

Judy Marth

Patrick A. Martin

BeLinda I. Mathie

Scott McCue

Ann Pickard McDermott

Dr. James L. McGee

Dr. John P. McGee †

Mrs. Lester McKeever

John A. McKenna

Mrs. Peter McKinney

James Edward McPherson

Mr. Paul Meister

Dr. Ellen Mendelson

Mara Mills Barker

Dr. Toni-Marie Montgomery

David H. Moscow

John H. Mugge

Daniel R. Murray

Mr. Stuart C. Nathan

Mrs. Ray E. Newton, Jr.

Edward A. Nieminen

Dr. Zehava L. Noah

Kenneth R. Norgan

Martha C. Nussbaum

Mrs. James J. O’Connor

Joy O’Malley

James J. O’Sullivan, Jr.

William A. Obenshain

Shelley Ochab

Maria Ochs

Eric Oesterle

Wallace Olliver

Mrs. Norman L. Olson

Michael Oman

Kathleen Field Orr

Mr. Gerald A. Ostermann

Bruce L. Ottley

Pamela Papas

Mr. Bruno A. Pasquinelli

Mr. Timothy J. Patenode

Robert J. Patterson, Jr.

Mr. Michael Payette

Mrs. Richard S. Pepper †

Jean E. Perkins

Mr. Michael A. Perlstein

Bonnie Perry

Dr. William Peruzzi

Robert C. Peterson

Ellard Pfaelzer, Jr.

Sue N. Pick

Stanley M. Pillman

Virginia Johnson Pillman

Betsey N. Pinkert

Ms. Emilysue Pinnell

Harvey R. Plonsker

Mr. John F. Podjasek, III

Andrew Porte

Charlene H. Posner

Stephen Potter

Carol Prins

Elizabeth H Pritchard

Maridee Quanbeck

Mrs. Lynda Rahal

Diana Mendley Rauner

Susan Regenstein

Mari Yamamoto Regnier

Mary Thomson Renner

Hilda Richards

Burton R. Rissman

Charles T. Rivkin

Carol Roberts

Mr. John H. Roberts

William Roberts

David Robin

Dr. Diana Robin

Chauncey H. Robinson

Bob Rogers

Kevin M. Rooney

Harry J. Roper

Saul Rosen

Sheli Z. Rosenberg

Dr. Ricardo T. Rosenkranz

Michael Rosenthal

Doris Roskin

Lisa Ross

Maija Rothenberg

Roberta H. Rubin

Mrs. Susan B. Rubnitz

Sandra K. Rusnak

David W. “Buzz” Ruttenberg

Richard O. Ryan

Mrs. Patrick G. Ryan

Norman K. Sackar

Anthony Saineghi

Inez Saunders

Libby Savner

Karla Scherer

David M. Schiffman

Judith Feigon Schiffman

Rosa Schloss

Al Schriesheim

Donald L. Schwartz

Susan H. Schwartz

Dr. Penny Bender Sebring

Chandra Sekhar

Mrs. Richard J.L. Senior

Ilene W. Shaw

Pam Sheffield

James C. Sheinin, M.D.

Richard W. Shepro

Jessie Shih

Junia Shlaustas

Mrs. Elizabeth Shoemaker

Caroline Orzac Shoenberger

Stuart Shulruff

Adele Simmons

Linda Simon

Mr. Larry Simpson

Craig Sirles

Miyam Slater

Christine A. Slivon

Valerie Slotnick

Mrs. Jackson W. Smart, Jr.

Charles F. Smith

Diane W. Smith

Louise K. Smith

Mary Ann Smith

Stephen R. Smith

Mrs. Ralph Smykal

Naomi Pollock and David Sneider

Diane Snyder

Kimberly Snyder

Kathleen Solaro

Ms. Elysia M. Solomon

Orli Staley

William D. Staley

Helena Stancikas

Grace Stanek

Ms. Denise M. Stauder

Leonidas Stefanos

Mrs. Richard J. Stern

Liz Stiffel

Mary Stowell

Lawrence E. Strickling

Patricia Study

Cheryl Sturm

BISCO Foundation

Mrs. Robert Szalay

Mr. Gregory Taubeneck

Chris Thomas

James E. Thompson

Dr. Robert Thomson

Ms. Carla M. Thorpe

Joan Thron

David Timm

Mrs. Ray S. Tittle, Jr.

William R. Tobey, Jr. †

Bruce Tranen †

James M. (Mack) Trapp

John T. Travers

David Trushin

Dr. David A. Turner

Robert W. Turner

Zalman Usiskin

Mrs. James D. Vail III

John Van Horn

Mrs. Peter E. Van Nice

William C. Vance

Thomas D. Vander Veen

Jennifer Vianello

Dr. Michael Viglione

Catherine M. Villinski

Charles Vincent

Mr. Christian Vinyard

Theodore Wachs

Mark A. Wagner

Beth Ann Waite

Bernard T. Wall

Nicholas Wallace

Dr. Catherine L. Webb

Jeffrey J. Webb

Mrs. Jacob Weglarz

Chickie Weisbard

Richard Weiss

Robert G. Weiss

Dr. Marc Weissbluth

Rebecca West

Carmen Wheatcroft

Leah Williams

M.L. Winburn

Peter Wolf

Laura Woll

Dr. Hak Yui Wong

Courtenay R. Wood

Michael H. Woolever

Ms. Debbie Wright

Nancy G. Wulfers

Ronald Yonover

Owen Youngman

Priscilla Yu

David J. Zampa

Dr. John P. Zaremba

Karen Zupko

For complete donor listings, please visit the Richard and Helen Thomas Donor Gallery at cso.org/donorgallery.

† Deceased

Italics indicate Governing Members who have served at least five terms (fifteen years or more).

honor roll of donors

Corporate Partners

MAESTRO RESIDENCY PRESENTER

Bank of America

OFFICIAL AIRLINE OF THE CSO

United Airlines

$100,000 AND ABOVE

Abbott

Allstate Insurance Company

CIBC Private Wealth

Citadel and Citadel Securities

ITW

Northern Trust

$50,000–$99,999

Anonymous (1)

Jenner & Block LLP

PNC Bank

Sidley Austin LLP

Skadden, Arps, Slate, Meagher & Flom LLP

$25,000–$49,999

Abbott Fund

Aon

Bulgari

Corrugated Supplies Company, LLC

Kinder Morgan

Mayer Brown LLP

S&C Electric Company Fund

$10,000–$24,999

Anonymous (1)

AAR CORP.

Advanced Technology Services

Archer Daniels Midland Company

Deloitte

Exelon

Fifth Third Bank

GCM Grosvenor

Goldman Sachs & Co.

HARIBO of America

Havi Group

JPMorgan Chase & Co.

King & Spalding

Latham & Watkins LLP

McDermott Will & Emery

McKinsey & Company

Oxford Bank

Peoples Gas Community Fund

Readerlink LLC

UL, Inc.

Underwriters Laboratories

Walgreens

Willkie Farr & Gallagher LLP

Winston & Strawn LLP

$5,000–$9,999

Accenture

ArentFox Schiff LLP

Baird

Burwood Group

Dentons

Fellowes, Inc.

Grant Thornton LLP

The Hallstar Company

Italian Village Restaurants

Law Offices of Jonathan N. Sherwell

Lettuce Entertain You Enterprises, Inc.

Mesirow Financial

PricewaterhouseCoopers LLP

Segal Consulting

Starshak & Winzenburg

Steiner Electric Company

Supreme Lobster and Seafood Company

Ventas

Weiss Financial

$1,000–$4,999

American Agricultural Insurance Company

Amsted Industries Incorporated

Central Building & Preservation L.P.

Chapman and Cutler LLP

Columbia Capital Management

Etnyre International

Parkway Elevators

Readerlink

Sahara Enterprises, Inc.

Scott & Kraus, LLC

Shetland Limited Partnership

Show Services

Shure Incorporated

Vienna Beef

Vomela

Foundations and Government Agencies

$100,000 AND ABOVE

Anonymous

Paul M. Angell Family Foundation

Julius N. Frankel Foundation

Illinois Emergency Management Agency

The Negaunee Foundation

Sargent Family Foundation

TAWANI Foundation

Zell Family Foundation

$50,000–$99,999

The Brinson Foundation

The Elizabeth F. Cheney Foundation

The Chicago Community Trust

The Clinton Family Fund

Robert and Joanne Crown Income

Charitable Fund, in memory of Joanne Strauss Crown

Lloyd A. Fry Foundation

Sally Mead Hands Foundation

Illinois Arts Council Agency

National Endowment for the Arts

Polk Bros. Foundation

$25,000–$49,999

Crain-Maling Foundation

The Crown Family

Dan J. Epstein Family Foundation

John R. Halligan Charitable Fund

Irving Harris Foundation

The Walter E. Heller/Alyce DeCosta Fund at The Chicago Community Trust

Kovler Family Foundation

Leslie Fund, Inc.

Bowman C. Lingle Trust

Hulda B. and Maurice L. Rothschild Foundation

$10,000–$24,999

Anonymous

Robert & Isabelle Bass Foundation

The Buchanan Family Foundation

Darling Family Foundation

The Maval Foundation

Pritzker Traubert Foundation

Roy and Irene Rettinger Foundation

Charles and M. R. Shapiro Foundation

The George L. Shields Foundation

$5,000–$9,999

The Aaron Copland Fund for Music

The Allyn Foundation, Inc.

Harry F. and Elaine Chaddick Foundation

Hoellen Family Foundation

Hunter Family Foundation

Mayer and Morris Kaplan Family Foundation

Music Performance Trust Fund

E. Nakamichi Foundation

Benjamin J. Rosenthal Foundation

Dr. Scholl Foundation

$2,500–$4,999

Arts Midwest GIG Fund

Charles H. and Bertha L. Boothroyd Foundation

William M. Hales Foundation

$1,000–$2,499

Franklin Philanthropic Foundation

Geraldi Norton Foundation

Walter and Caroline Sueske Charitable Trust

Annual Support

The Chicago Symphony Orchestra Association gratefully acknowledges the following individuals for their annual gifts and commitments in support of the CSOA through April 2023. To learn more, please call Bobbie Rafferty, Director, Individual Giving and Affiliated Donor Groups, at 312-294-3165.

$150,000 AND ABOVE

Anonymous (3)

Randy L. and Melvin R. † Berlin

Mr. & Mrs. Joseph B. Glossberg

Kenneth C. Griffin Charitable Fund

Mr. & Mrs. Dietrich M. Gross

Mr. & Mrs. † William R. Jentes

The Julian Family Foundation

Margot and Josef Lakonishok

Nancy Lauter McDougal † and Alfred L. McDougal †

The Negaunee Foundation

COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)

Megan and Steve Shebik

Zell Family Foundation

$100,000–$149,999

Anonymous (3)

James and Brenda Grusecki

Robert Kohl and Clark Pellett

Ling Z. and Michael C. Markovitz

Cathy and Bill Osborn

The Sargent Family Foundation

Catherine M. and Frederick H. Waddell

$75,000–$99,999

Anonymous

Dora J. and R. John Aalbregtse

Chet Gougis and Shelley Ochab

John Hart and Carol Prins

Mr. & Mrs. Verne G. Istock

Judy and Scott McCue

Ms. Renee Metcalf

Sandra and Earl Rusnak, Jr.

Lisa and Paul Wiggin

$50,000–$74,999

Anonymous (2)

Julie and Roger Baskes

Mrs. Janet R. Bauer

Robert H. Baum and MaryBeth Kretz

Kay Bucksbaum

SEMPRE ALWAYS: The Campaign for the Chicago Symphony Orchestra

This $175 million fundraising effort provides the secure footing needed to promote the Chicago Symphony Orchestra’s preeminent role as a cultural icon showcasing musical brilliance, leadership, and innovation. The Chicago Symphony Orchestra Association gratefully acknowledges the generous donors who have shown tremendous support for this strategic initiative. These commitments make it possible for the CSO’s many facets to thrive today, tomorrow, and always. Contact Al Andreychuk at 312-294-3150 for more information.

$20,000,000 AND ABOVE

Zell Family Foundation

$10,000,000–$19,999,999

The Grainger Foundation

The Negaunee Foundation

$5,000,000–$9,999,999

Anonymous

Julian Family Foundation

Ling Z. and Michael C. Markovitz

$2,500,000–$4,999,999

Anonymous

Mary Louise Gorno

Estate of Esther G. Klatz

Robert Kohl and Clark Pellett

Dean L. and Rosemarie Buntrock Foundation

Ms. Marion A. Cameron-Gray

Bruce and Martha Clinton for The Clinton Family Fund

Ms. Sarah Crane

Ms. Nancy Dehmlow

Dr. Eugene F. and Mrs. SallyAnn D. Fama

Rhoda Lea † and Henry S. † Frank

Ms. Susan Goldschmidt

Susan Regenstein

Barbara and Barre Seid Foundation

Michael and Linda Simon

Dr. & Mrs. Eugene and Jean Stark

Mr. Irving Stenn, Jr.

Liz Stiffel

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

Helen G. and Richard L. Thomas

$35,000–$49,999

Sharon and Charles † Angell

Peter and Betsy Barrett

Mr. Roderick Branch

Mr. & Dr. George Colis

Dan J. Epstein Family Foundation

Megan and Steve Shebik

Richard and Helen Thomas

$1,000,000–$2,499,999

Anonymous

Dora J. and R. John Aalbregtse

Mr. & Mrs. William Adams IV

Dr. Phyllis C. Bleck

Mr. & Mrs. William Gardner Brown

Kay Bucksbaum

Rosemarie and Dean L. Buntrock

Michael and Kathleen Elliott

Jim † and Kay Mabie

Estate of Gloria Miner

Cathy and Bill Osborn

Catherine M. and Frederick H. Waddell

$500,000–$999,999

Patricia and Laurence Booth

John D. and Leslie Henner Burns

Ms. Marion A. Cameron-Gray

The Davee Foundation

Howard Gottlieb

ITW

Mr. & Mrs. † William R. Jentes

Mr. & Mrs. Robert S. Murley

Sheli Z. and Burton X. Rosenberg

UP TO $500,000

Anonymous

Jeff and Keiko Alexander

Patricia Ames

Ruth and Roger Anderson

Family Foundation

Peter and Elise Barack

Merrill and Judy Blau

Roderick Branch and Brant Taylor

Dr. Joseph and Patricia Car

George and Minou Colis

Mary Winton Green

Mrs. Carolyn Hallman

Mr. Collier Hands

Ms. Elizabeth Parker and Mr. Keith Crow

Walter and Kathleen Snodell

Terrence and Laura Truax

$25,000–$34,999 Anonymous (4)

Mr. & Mrs. William Adams IV

Peter and Elise Barack

Patricia and Laurence Booth

Robert J. Buford

Mr. & Mrs. Johannes Burlin

Mr. & Mrs. Stephen V. D’Amore

Ms. Debora de Hoyos and Mr. Walter Carlson

Ms. Ann Drake

Timothy A. and Bette Anne Duffy

Mr. & Mrs. Brian Duwe

Mrs. Carol Evans, in memory of Henry Evans

Mr. & Mrs. James B. Fadim

Mr. Daniel Fischel and Ms. Sylvia Neil

Mr. & Mrs. David W. Fox, Sr.

Ellen and Paul Gignilliat

Ms. Nancy Dehmlow

Mimi Duginger

Charles and Carol Emmons

Mr. & Mrs. Joseph B. Glossberg

Alice and Richard Godfrey

William A. and Anne Goldstein

Chet Gougis and Shelley Ochab

Mr. Graham C. Grady

John Hart and Carol Prins

The Heestand Foundation

Mr. & Mrs. Jay L. Henderson

Mr. & Mrs. Paul R. Judy

Karen and Neil Kawashima

Ms. Geraldine Keefe

Anne Kern

Mr. & Mrs. Thomas Kilroy

Randall S. Kroszner and David Nelson

Dr. Eva F. Lichtenberg

Judy and Scott McCue

Mr. David E. McNeel

Mr. Robert Meeker

James and Renée Metcalf

Mr. Daniel R. Murray

Estate of Donald V. Peck

Mr. & Mrs. Michael A. Perlstein

Estate of Donald Powell

Andra and Irwin Press

Sage Foundation, Melissa Sage Fadim

Mr. John Schmidt and Dr. Janet Gilboy

Mr. & Mrs. Thomas C. Sheffield, Jr.

Dr. & Mrs. Eugene and Jean Stark

Carl W. Stern and Holly Hayes-Stern

Thierer Family Foundation

Penny and John Van Horn

Craig and Bette Williams

Mr. & Mrs. Robert A. Wislow

Mr. Gifford Zimmerman

Estate of Rita Zralek

HONOR ROLL OF DONORS

William A. and Anne Goldstein

Mary Louise Gorno

Howard L. Gottlieb and Barbara G. Greis

Mr. Graham C. Grady

Irving Harris Foundation, Joan W. Harris

Mr. & Mrs. Jay L. Henderson

Ronald B. Johnson

Mr. † & Mrs. Burton Kaplan

Mr. & Mrs. Neil Kawashima

Ms. Donna L. Kendall

Tom and Betsy Kilroy

Mr. & Mrs. James Kolar

Randall S. Kroszner

Susan and Rick Levy

Mr. Terrance Livingston and Ms. Debra Cafaro

The James and Madeleine McMullan Family Foundation

Ms. Britt Miller

Dr. Charles Morcom

Mr. & Mrs. Robert S. Murley

Daniel R. Murray

John D. and Alexandra C. Nichols

Margo and Michael Oberman

Andra and Irwin Press

Dr. Mohan Rao

Diana and Bruce Rauner

Ann and Bob † Reiland, in memory of Arthur and Ruth Koch

Dr. Petra and Mr. Randy O. Rissman

Sheli Z. and Burton X. Rosenberg

Mr. & Mrs. Jason and Kristen Rossi

Patrick G. and Shirley W. Ryan Foundation

Mr. & Mrs. Scott Santi

Mr. John Schmidt and Dr. Janet Gilboy

Ms. Courtney Shea

Bill and Orli Staley Foundation

Mary Stowell

Thierer Family Foundation

Craig and Bette Williams

Susan and Bob Wislow

Mr. Gifford Zimmerman

$20,000–$24,999

Arnie and Ann Berlin

John D. and Leslie Henner Burns

Joyce Chelberg

Elizabeth Crown and Bill Wallace

Nancy and Bernard Dunkel

Richard and Alice Godfrey

Mr. & Mrs. Mark C. Hibbard

Barbara and Kenneth Kaufman

Anne and John † Kern

Richard P. and Susan Kiphart Family

Mr. Michael Leppen

Jim † and Kay Mabie

Mr. Donald W. Nelson †

Ms. Martha Nussbaum

Mr. † & Mrs. Albert Pawlick

Ms. Emilysue Pinnell

LeAnn Pedersen Pope and Clyde F. McGregor

John and Merry Ann Pratt

Mr. & Mrs. Chandra Sekhar

Marlon Smith and Dominique Brewer

Dr. Stuart Sondheimer

Mr. & Mrs. Richard P. Toft

Rebecca West

Ronald and Geri Yonover Foundation

$15,000–$19,999

Anonymous (3)

Nancy A. Abshire

Carey and Brett August

Mr. & Mrs. William Gardner Brown

Henry and Gilda Buchbinder

Robert D. Carone

Ann and Richard Carr

Sue and Jim Colletti

John and Fran Edwardson

Constance M. Filling and Robert D. Hevey Jr.

Sue and Melvin Gray

Halasyamani/Davis Family

Mr. & Mrs. R. Helmholz

Mr. & Mrs. Wayne J. Holman III

Mr. Joel Horowitz

Mrs. Janet Kanter

Ms. Geraldine Keefe

The King Family Foundation

Nancy and Sanfred Koltun

Dr. Lynda Lane

Ms. Betsy Levin

Dr. Eva Lichtenberg and Dr. Arnold Tobin

Mr. Philip Lumpkin

Mr. David E. McNeel

Mr. Frank Modruson and Ms. Lynne Shigley

Edward and Gayla Nieminen

Kathleen Field Orr

Bruno and Sallie Pasquinelli

Family Foundation

Mr. & Mrs. † Andrew Porte

Roy and Irene Rettinger Foundation

Jerry Rose

Al Schriesheim and Kay Torshen

Mr. & Mrs. Thomas C. Sheffield, Jr.

Dr. Dusan Stefoski, MD and Mr. Craig Savage

Carl W. Stern and Holly Hayes-Stern

Penny and John Van Horn

Mr. & Mrs. William C. Vance

Mr. Christian Vinyard

Theodore and Elisabeth Wachs

Mr. Jeffrey J. Webb and Ms. Catherine Yung

Dr. Marylou Witz

$11,500–$14,999

Anonymous

Fraida and Bob Aland

Mr. & Mrs. Stuart Applebaum

Cynthia Bates and Kevin Rock

Mrs. Gail Belytschko

Mr. † & Mrs. David A. Donovan

Mr. & Mrs. Michael R. Hassan

Stephen and Maria Lans

Mr. & Mrs. Michael Madigan

Dr. Maija Freimanis and David A. Marshall

Jim and Ginger Meyer

Charles A. Moore †

Mr. & Mrs. Thomas Silverstein

Mr. & Mrs. Scott Swanson

Ksenia A. and Peter Turula

Mr. & Ms. Richard Williams

$7,500–$11,499

Anonymous (3)

Ms. Patti Acurio

Jeff and Keiko Alexander

Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein

Geoffrey A. Anderson

Ms. Miah Armour

Mr. & Mrs. Alfred Baker

Mr. Lawrence Belles

Mr. † & Mrs. Richard Benck

Mr. & Mrs. William E. Bible

Merrill and Judy Blau

Mr. & Mrs. Fred Boelter

Cassandra L. Book

Ms. Lutgart Calcote

Tom and Dianne Campbell

Mr. Ray Capitanini

Patricia A. Clickener

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

Dr. Thomas H. Conner

Jenny L. Corley in memory of Dr. W. Gene Corley

Mr. Lawrence Corry

Dr. Brenda A. Darrell and Mr. Paul S. Watford

Mr. & Mrs. Charles Demirjian

Mr. & Mrs. William Dooley

Mr. & Mrs. Charles W. Douglas

Mr. & Mrs †. Allan Drebin

Mr. & Mrs. Timothy Earle

Mr. Eric Easterberg and Ms. Cindy Pan

Mr. & Mrs. Stephen Eastwood

Polly Eldringhoff

La and Philip Engel

William Escamilla

Mr. Fred Eychaner

Ms. Nancy Felton-Elkins and Larry Elkins

Dr. & Mrs. Sanford Finkel, in honor of Robert Coad

Rosemary Framburg

Dr. & Mrs. James Franklin

Mr. & Mrs. Cyrus F. Freidheim, Jr.

Dr. & Mrs. Mark Gendleman

Mr. & Mrs. Robert Geraghty

Camillo and Arlene Ghiron

Mr. & Mrs. Carl Gilmore

Jeannette and Jerry Goldstone

Mr. Gerald and Dr. Colette Gordon

Ann and John Grube

Lynne R. Haarlow

Joan M. Hall

Mrs. Richard C. Halpern

Anne Marcus Hamada

John and Sally Hard

Marguerite DeLany Hark †

Mr. & Mrs. Thomas C. Heagy

Pati and O.J. † Heestand

Ms. Anna Hertsberg

Richard † and Joanne Hoffman

Fred and Sandra Holubow

Janice L. Honigberg

Mr. † & Mrs. Joel D. Honigberg

Tex and Susan Hull

Merle L. Jacob

Howard E. Jessen Family Trust

Mr. † & Mrs. † Howard Jessen

Mr. & Mrs. † George E. Johnson

Mr. & Mrs. Edward T. Joyce

Mr. James Kastenholz and Ms. Jennifer Steans

Mr. & Mrs. Jeff Keller

Kohn and Mitchell Family Foundation

Dr. June Koizumi

Mr. & Mrs. Richard K. Komarek

Dr. & Mrs. Mark Kozloff

Mr. & Mrs. Ronald Krueck

Mr. Craig Lancaster and Ms. Charlene T. Handler

Dr. † & Mrs. H. Leichenko

Mr. Jeffrey Lennard

Lewis-Sebring Family Foundation

Mr. † & Mrs. Paul Lieberman

Mr. & Mrs. John Lillard

Jane and Peter Loeb

Mr. Glen Madeja and Ms. Janet Steidl

Make It Better

Ms. Mirjana Martich and Mr. Zoran Lazarevic

Drs. Bill † and Elaine Moor

Emilie Morphew, M.D.

Mrs. Frank Morrissey

Drs. Robert and Marsha Mrtek

Ms. Susan Norvich

Mr. † & Mrs. Norman L. Olson

Dr. Edward S. Orzac Foundation

The Osprey Foundation

Mr. & Mrs. James O’Sullivan, Jr.

Richard and Frances Penn

Sue N. Pick

D. Elizabeth Price

Mr. Duane Quaini †

Mr. & Mrs. † Neil K. Quinn

Dr. Diana Robin

Mr. Richard Ryan

Rita † and Norman Sackar

Ms. Cecelia Samans

Mr. Agustin G. Sanz

Mr. † & Mrs. David Savner

Karla Scherer

David and Judy Schiffman

Mr. & Mrs. Michael Scholl

Susan H. Schwartz

David and Judith L. Sensibar

The Earl and Brenda Shapiro Foundation

Jessie Shih and Johnson Ho

Mr. Jack Simpson

Dr. & Mrs. R. Solaro

Elysia M. Solomon

Cheryl Sturm

Mr. & Mrs. † Louis Sudler, Jr.

Ms. Bernadette Y. Tang

Mr. & Mrs. Gregory Taubeneck

Ms. Carla M. Thorpe

Tully Family Foundation in honor of Helen Zell

Frances S. Vandervoort

Mr. David J. Varnerin

Ms. Caroline Wettersten

Peggy White

M.L. Winburn

Michael H. and Mary K. Woolever

Ms. Karen Zupko

$4,500–$7,499

Anonymous (14)

Elaine and Floyd Abramson

Sandra Allen and Jim Perlow

Mr. & Mrs. Gary Allie

Ms. Rene Alphonse

Mr. & Mrs. Robert A. Alsaker

Megan P. and John L. Anderson

Cushman L. and Pamela Andrews

Dr. Edward Applebaum and Dr. Eva Redei

David and Suzanne Arch

Dr. & Mrs. Kent Armbruster

Mr. & Mrs. Theodore M. Asner †

Mr. & Mrs. Stephen Baird

Ms. Judith Barnard

Mr. Merrill and Mr. N.M.K. Barnes

Roberta and Harold S. Barron

Joseph Bartush

Ms. Barbara Barzansky

Ms. Sandra Bass

Professor M. Cherif Bassiouni † and Elaine Klemen

Kirsten Bedway and Simon Peebler

Mr. Ken Belcher

Meta S. and Ronald † Berger Family Foundation

Mr. & Mrs. D. Theodore Berghorst

Dr. Leonard and Phyllis Berlin

Mrs. Arthur A. Billings

Mr. & Mrs. Harrington Bischof

Jim † and Dianne Blanco

Ann Blickensderfer

Mr. & Mrs. Andrew Block

Ms. Terry Boden

Mr. Virgil Bogert

Mr. & Mrs. John Borland

Mr. & Mrs. James Borovsky

Adam Bossov

Janet S. Boyer

Mr. & Mrs. John D. Bramsen

Ms. Danolda Brennan

Ms. Jill Brennan

Ms. Dominique Brewer

Cindy Marie Brito and Anthony Costello

Mrs. Sue Brubaker

Mr. & Mrs. Timothy Bryan

Butler Family Foundation

Elizabeth Nolan and Kevin Buzard

Ms. Vera Capp

Drs. Virginia and Stephen Carr

Wendy Alders Cartland

Mia Celano and Noel Dunn

Mr. & Mrs. Candelario Celio

Mr. James Chamberlain

Chicago Human Rhythm Project

Linton J. Childs

Harriett and Myron Cholden

Jan and Frank Cicero, Jr.

Mr. & Mrs. Thomas A. Clancy

John Clarke

Mitchell Cobey and Janet Reali

Ms. Jean Cocozza

Douglas and Carol Cohen

Jane and John C. † Colman

E. and V. Combs Foundation

Mrs. Eileen Conaghan

Peter and Beverly Ann Conroy

Mr. Robert Cook

Nancy R. Corral

Mari Hatzenbuehler Craven

Mr. & Mrs. Richard Cremieux

R. Bert Crossland

Daniel Cyganowski and Judith Metzger

Dancing Skies Foundation

Mr. & Mrs. C. Daniels

Dr. & Mrs. Tapas K. Das Gupta

Decyk Watts Charitable Foundation

Duane M. DesParte and John C. Schneider

Janet Wood Diederichs

Mr. Doug Donenfeld

David and Deborah Dranove

Mr. Robert R. Duggan

Mimi Duginger

Mr. & Mrs. Frank A. Dusek

Mr. & Mrs. David P. Earle III

Judge Frank Easterbrook

Mr. & Mrs. Larry K. Ebert

Mr. & Mrs. Louis M. Ebling III

Jon Ekdahl and Marcia Opp

Thomas Eller

Michael and Kathleen Elliott

Mr. & Mrs. Victor Elting III

Charles and Carol Emmons

Scott and Lenore Enloe

Dr. & Mrs. James Ertle

Marilyn D. Ezri, M.D.

Neil Fackler

Dr. Gail Fahey

Jeffrey Farbman and Ann Greenstein

Judith E. Feldman

Donald and Signe Ferguson

Hector Ferral, M.D.

Mr. Conrad Fischer

Dean and Jenny Fischer

Ms. Hazel Fisher

Mrs. Roslyn K. Flegel

Mrs. John D. Foster

David and Janet Fox

Mr. & Mrs. Willard Fraumann

Susan and Paul Freehling

Nancy and Larry Fuller

James and Rebecca Gaebe

Judy and Mickey Gaynor

Robert D. Gecht

Sandy and Frank Gelber

Rabbi Gary S. Gerson and Dr. Carol R. Gerson

Bernardino and Caterina Ghetti

Ms. Karen Gianfrancisco

Mr. † & Mrs. James J. Glasser

Judy and Bill Goldberg

Lyn Goldstein

Robert and Marcia Goltermann

Mary and Michael Goodkind

Dr. Alexia Gordon

Mrs. Amy G. Gordon and Mr. Michael D. Gordon

Mr. Peter Gotsch and Dr. Jana French

Donald J. Gralen

HONOR ROLL OF DONORS

Hanna H. Gray

Richard † and Mary L. Gray

Ms. Freddi Greenberg

Thomas † and Delta Greene

Timothy and Joyce Greening

Dr. Jerri E. Greer

Mr. & Mrs. Byron Gregory

Kendall Griffith

Mr. & Mrs. Jerome Groen

Jacalyn Gronek

Anastasia and Gary † Gutting

Stephanie and Howard Halpern

Ms. Josephine Hammer

Dr. Dane Hassani

James W. Haugh

Thomas and Connie Hsu Haynes

James and Lynne † Heckman

Mr. Dale C. Hedding

Scott Helm

Dr. & Mrs. Arthur L. Herbst

Mr. & Mrs. Jeffrey W. Hesse

Marjorie Friedman Heyman

The Hickey Family Foundation

Robert A. Hill and Thea Flaum Hill

William B. Hinchliff

Dr. Richard Hirschmann

Ms. Gretchen Hoffmann and Mr. Joseph Doherty

Mr. William J. Hokin †

James and Eileen Holzhauer

Frances and Franklin † Horwich

James and Mary Houston

Carter Howard and Sarah Krepp

Pamela Kelley Hull † and Roger B. Hull †

Ms. Patricia Hurley

Frances and Phillip Huscher

Michael and Leigh Huston

Leland E. Hutchinson and Jean E. Perkins

Mrs. Nancy Witte Jacobs

Mr. & Mrs. Stan Jakopin

Dr. & Mrs. Todd and Peggy Janus

Mr. John Jawor

Ms. Justine Jentes and Mr. Dan Kuruna

Joni and Brian Johnson

Dr. Patricia Collins Jones

Mr. & Mrs. Edward Kaplan/ Kaplan Foundation

Jared Kaplan † and Maridee Quanbeck

Mrs. Lonny H. Karmin

Ms. Ethelle Katz

Barry D. Kaufman

Larry † and Marie Kaufman

Don Kaul and Barbara Bluhm-Kaul

Mr. & Mrs. Michael Keiser

John and Judy Keller

Mrs. Elizabeth Keyser

Mr. & Mrs. Gene Kiesel

Carol Kipperman

Dr. Jay and Georgianna Kleiman

Mr. & Mrs. James Klenk

Mr. Thomas Kmetko

Mr. & Mrs. Thomas Knauff

Mr. & Mrs. Norman Koglin

Cookie Anspach Kohn and Henry L. Kohn

Mr. Brian Kosek

Ms. Liesel Kossmann

Dr. Michael Krco

Eldon and Patricia Kreider

David and Susan Kreisman

Drs. Vinay and Raminder Kumar

Mr. & Mrs. Rubin P. Kuznitsky

Mr. John LaBarbera

Mr. & Mrs. Frederick Langrehr

Mr. William Lawlor, III

Anu Leemann

Mr. & Mrs. Dean Leff

Sheila Fields Leiter

Ms. Zafra Lerman

Mr. Jerrold Levine

Mary and Laurence Levine

Averill and Bernard † Leviton

Gregory M. Lewis and Mary E. Strek

Mr. † and Mrs. Howard Lickerman

The Loewenthal Fund at The Chicago Community Trust

Mrs. Gabrielle Long

Dr. Anna Lysakowski

Carol MacArthur

Mr. & Mrs. Duncan MacLean

Eileen Madden

Dr. & Mrs. Michael S. Maling

F. Manilow

Sharon L. Manuel

Robert † and Judy Marth

Mr. & Mrs. Patrick A. Martin

Ms. BeLinda Mathie and Dr. Brian Haag

Igor and Olga Matlin

Ann Pickard McDermott

Dr. & Mrs. James McGee

Dr. † & Mrs. John McGee II

John and Etta McKenna

Dr. & Mrs. Peter McKinney

Ms. Carlette McMullan

James Edward McPherson and David Lee Murray †

Mr. & Mrs. Paul Meister

Mr. Gregory and Dr. Alice Melchor

Dr. Ellen Mendelson

Mr. Llewellyn Miller and Ms. Cecilia Conrad

Paul and Robert Barker Foundation

Dr. Anthony Montag † and Dr. Katherine Griem

Dr. Toni-Marie Montgomery

David H. Moscow

Catherine Mouly and LeRoy T. Carlson, Jr.

John H. Mugge

Jo Ann and Stuart Nathan

Mr. † & Mrs. William Neiman

David † and Dolores Nelson

Mrs. Ray E. Newton, Jr.

Dr. Zehava L. Noah

Mr. & Mrs. † Richard Nopar

Kenneth R. Norgan

Mark and Gloria Nusbaum

Bill and Penny Obenshain

Mr. & Mrs. Michael Ochs

Eric and Carolyn Oesterle

Sarah and Wallace Oliver

John and Joy O’Malley

Mr. Michael Oman and Mrs. Patricia Wakeley

Mr. & Mrs. Gerald Ostermann

Ms. Lynne Ostfeld

Ms. Pamela Papas

Mr. Timothy J. Patenode

Dianne M. and Robert J. Patterson, Jr.

Mr. & Mrs. Gerald L. Pauling II

Mr. Michael Payette

Mr. & Mrs. Michael A. Perlstein

Bonnie Perry

Dr. William Peruzzi

Mr. Robert Peterson

Lorna and Ellard Pfaelzer, Jr.

Mr. & Mrs. Don Phillips

Richard Phillips

Mr. & Mrs. Dale R. Pinkert

Mary and Joseph Plauché

Harvey and Madeleine Plonsker

John F. Podjasek III Charitable Fund

Charlene H. Posner

Stephen and Ann Suker Potter

Mr. John Potts and Ms. Ann Nguyen

Barry and Elizabeth Pritchard

Mrs. Lynda Rahal

Dr. Hilda Richards

Mary K. Ring

Burton and Francine † Rissman

Charles and Marilynn Rivkin

Ms. Carol Roberts

William and Cheryl Roberts

David and Kathy Robin

Erik and Nelleke Roffelsen

Bob Rogers Travel

Mr. & Mrs. Harry J. Roper

Dr. & Mrs. Melvin Roseman

Mr. & Mrs. Saul Rosen

Mr. & Mrs. Richard Rosenberg

Dr. & Mrs. Ricardo Rosenkranz

Michael Rosenthal

D.D. Roskin

Ms. Lisa Ross

Mr. & Mrs. Frank A. Rossi

Maija Rothenberg

Ms. Roberta H. Rubin

Mrs. Susan B. Rubnitz

Tina and Buzz Ruttenburg

William † and Mary † Ryan

Mrs. Martha Sabransky

Anthony Saineghi

Mr. David Sandfort

Raymond and Inez Saunders

Ms. Kay Schichtel and Mr. Barry Lesht

Mr. † & Mrs. Nathan Schloss

Donald L. and Susan J. Schwartz

Ruth Grant and Howard Schwartz

Diana and Richard Senior

Ms. Mary Beth Shea

Dr. & Mrs. James C. Sheinin

Richard W. Shepro and Lindsay E. Roberts

Dr. & Mrs. Mark C. Shields

Mrs. Junia Shlaustas

Mr. & Ms. Alan Shoenberger

Stuart and Leslie Shulruff

Ms. Ann Silberman

Mr. † & Mrs. John Simmons

Julia M. Simpson

Mr. Larry Simpson

Craig Sirles

Christine A. Slivon

Valerie Slotnick

Mrs. Jackson W. Smart, Jr.

Jennifer Zobair and Chuck Smith

Louise K. Smith

Mary Ann Smith

Mr. & Mrs. Stephen R. Smith

Naomi Pollock and David Sneider

James and Diane Snyder

Kimberly M. Snyder

Mrs. Linda Spain

Robert and Emily Spoerri

Helena Stancikas

Ms. Denise Stauder

Mr. & Mrs. Leonidas Stefanos

Roger † and Susan Stone

Family Foundation

Dr. Francis H. Straus II †

Laurence and Caryn Straus

Lawrence E. Strickling and Sydney L. Hans

Mr. & Mrs. William H. Strong

Ms. Minsook Suh

Mr. & Mrs. Robert Szalay

Mr. Chris Thomas

Mr. James Thompson

Joan and Michael Thron

David and Beth Timm

Ray † and Mary Ann Tittle

Bill and Anne Tobey

Bruce † and Jan Tranen

James M. and Carol Trapp

John T. and Carrie M. Travers

Joan and David Trushin

Dr. & Mrs. David Turner

Mr. & Mrs. Robert W. Turner

Mrs. Elizabeth Twede †

Henry † and Janet Underwood

Zalman and Karen Usiskin

Mr. Peter Vale

Jim and Cindy Valtman

Thomas D. Vander Veen, Ph.D.

Mr. & Mrs. Peter E. Van Nice

Ms. Jennifer Vianello

Catherine M. Villinski

Ms. Raita Vilnins

Charles Vincent

Mr. & Mrs. Mark A. Wagner

Mr. & Mrs. Bernard Wall

Nicholas and Jessica Wallace

Mr. & Mrs. William A. Ward

Dr. Catherine L. Webb

Mr. & Mrs. David Weber

Mr. † & Mrs. Jacob Weglarz

Mr. & Mrs. Robert G. Weiss

Marc Weissbluth in memory of Linda Weissbluth

Carmen and Allen Wheatcroft

Mr. & Mrs. Floyd Whellan

Peter and Marlee Wolf

Ms. Lois Wolff

Sarah R. Wolff and Joel L. Handelman

Michael † and Laura Woll

Dr. Hak Wong

Courtenay R. Wood and H. Noel Jackson, Jr.

Ms. Debbie Wright

Mr. & Mrs. John Wulfers

Dr. Nanajan Yakoub

Mari Yamamoto Regnier

Owen and Linda Youngman

Paul and Mary Yovovich

In memory of Anthony C. Yu

Mr. Laird Zacheis and Ms. Sunhee Lee

David and Eileen Zampa

Dr. & Mrs. John Zaremba

Ms. Camille Zientek

Gerald Zimmerman and Margarete Gross

$3,500–$4,499

Anonymous (4)

Ms. Rochelle Allen

Ms. Doris Angell

Mr. & Mrs. Edgar Bachrach

Prue and Frank Beidler

Dr. & Mrs. Gustavo Bermudez

Mr. Donald Bouseman

Ms. Susan Bridge

Mr. & Mrs. Robert Brightfelt

Mr. Robert Clatanoff

Mr. † & Mrs. Robert J. Darnall

Mr. Guy DeBoo and Ms. Susan Franzetti

Mr. & Mrs. Dwight Decker

Dr. & Mrs. James L. Downey

Ingrid and Richard Dubberke

Mr. & Mrs. Estia Eichten

Fidelity Charitable Gift Funds

Mrs. Donna Fleming

Ms. Anita D. Flournoy

Arthur L. Frank, M.D.

Allen J. Frantzen and George R. Paterson

Dr. Robert A. Harris

Ms. Dawn E. Helwig

Suzanne Hoffman and Dale Smith †

Mr. Stephen Holmes

Dr. Ronald L. Hullinger

Dr. Ashley Jackson

Ian and Valerie Jacobs

Maryl Johnson, M.D.

Ms. JoAnn Joyce

Jonathan and Nancy Lee Kemper

Ms. Mary Klyasheff

Joseph and Judith Konen

Eric Kuhlman

Mr. Thomas Lad

Mr. & Ms. Steven Marcus

Bill McIntosh

Dr. Leo and Catherine Miserendino

Sanford and Monica Morganstein

Mr. George Murphy

Mr. Bruce Ottley

Mr. & Mrs. Thomas D. Philipsborn

Mary Rafferty

Dorothy V. Ramm

Shirley and John † Schlossman

Dr. John Schneider

Drs. Deborah and Lawrence Segil

In Memory of Timothy Soleiman

Joel and Beth Spenadel

Mr. Michael Sprinker

Mr. & Mrs. Wallace Stenhouse

Ms. Sara Szold

Mr. James Vardiman

Mr. Lawrence Wechter

Judge Eugene Wedoff

Samuel † and Chickie Weisbard

Barbara and Steven Wolf

David Woodhouse

Ms. Janice Young

Mike Zimmerman

$2,500–$3,499 Anonymous (6)

Mr. Frank Ackerman

Dr. & Mrs. Whitney Addington

Ms. Marlene Bach

Mr. & Mrs. Christopher Barber

James and Bartha Barrett

Paul Becker and Nancy Becker

Marjorie Benton

Mr. † & Mrs. † Robert L. Berner, Jr.

Mr. Edward Boehm III

Mr. & Mrs. Peter Borich

Mr. James Borkman

Mr. & Mrs. Fred P. Bosselman

Mr. Douglas Bragan

Mr. & Mrs. Eric Brandfonbrener

Chris Brezil

Linda S. Buckley

Mr. & Mrs. John Butler

Ms. Margaret Chaplan

Ms. Melinda Cheung

Mr. Thomas Clewett

Joe and Judy Cosenza

Ms. Juli Crabtree

Mr. Ivo Daalder and Mrs. Elisa D. Harris

Ms. Angela D’Aversa

Mary Dedinsky and William Carlisle Herbert

Mr. & Mrs. James W. DeYoung

Mr. & Mrs. Otto Doering III

Janet Duffy

Mr. Clinton J. Ecker and Ms. Jacqui Cheng

Ms. Paula Elliott

Mrs. Kelli Gardner Emery † and Mr. Peter Emery

Sandra E. Fienberg

Henry and Frances Fogel

Ms. Irene Fox

Mr. & Mrs. Philip Friedmann

Mr. & Mrs. Lloyd A. Fry III

Drs. Henry and Susan Gault

Ms. Barbara Gold

Mr. Stanford Goldblatt

Isabelle Goossen

Mr. Jacques Gordon

Merle Gordon

Brooks and Wanza Grantier

Dr. Michael Greenwald

BHD Kozloff Family Fund

Mr. Adam Grymkowski

Mr. † & Mrs. Errol Halperin

Scott and Amber Halvorson

Hill and Cheryl Hammock

Dr. & Mrs. Chester Handelman

Mrs. John M. Hartigan

Ms. Kyle Harvey

Mr. Hirad Hedayat

Ms. Leigh Ann Herman

James and Megan Hinchsliff

Dr. & Mrs. James Holland

Mr. Harry Hunderman and Ms. Deborah Slaton

HONOR ROLL OF DONORS

Saul Juskaitis

Peter and Stephanie Keehn

Mr. Alfred Kelley

Anne G. Kimball and Peter Stern

Ms. Lilia Kiselev

Mr. & Mrs. Frank Klapperich, Jr.

Mr. & Mrs. LeRoy Klemt

Mr. Wayne Koepke

Ms. Pamela Larsen

Ms. Leah Laurie

Dr. Gerald Lee

Mr. Jonathon Leik

Mr. Philip Lesser

Dr. & Mrs. Stuart Levin

Dr. & Mrs. Robert Levy

Mr. Michael J. Liccar

Robert † and Joan Lipsig

Mr. Melvin Loeb

Sherry and Mel Lopata

Ms. Jean Lorenzen

Ms. Janice Magnuson

Ms. Barbara Malott

Mr. Timothy Marshall

Arthur and Elizabeth Martinez

Robert and Doretta Marwin

Dr. & Mrs. Daniel Mass

Larry and Donna Mayer

Ms. Marilyn Mccoy

Ric D. McDonough

Mr. & Mrs. Lester McKeever

Sheila and Harvey Medvin

Mr. Zarin Mehta

Ms. Claretta Meier

Ian and Robyn Moncrief

Mr. Carl and Maria Moore

Mr. † & Mrs. Kenneth Nebenzahl

Mr. † & Mrs. Herbert Neil, Jr.

Mrs. Janis Notz

Sharon and Lee Oberlander

Mr. Arne Olson

Beatrice F. Orzac †

Mr. Sebastian Patino

Roxy and Richard † Pepper

Kingsley Perkins †

Mr. & Mrs. Norman Perman

Rita Petretti

Lee Ann and Savit Pirl

Dr. Joe Piszczor

Kenneth J. Poje

Ms. Constance Rajala

Ms. Ginevra R. Ralph

Dr. & Mrs. Don Randel

Mr. Jeffrey Rappin

Dr. & Mrs. Pradeep Rattan

Robert J. Richards and Barbara A. Richards

Patricia Richter

Mrs. Enid Rieser

Jerry and Carole Ringer

Thomas Roberts and Teresa Grosch

Mr. & Mrs. Rich Ryan

Bettylu and Paul Saltzman

Ms. Saslow

Susan Schaalman Youdovin and Charlie Shulkin

Mr. & Mrs. Richard H. Schnadig

Ms. Marcia Schneider

Schultz Family Private Foundation

Gerald and Barbara Schultz

Stephen A. and Marilyn Scott

Joan and George Segal

Ms. Gail Seidel

Mr. James Selsor

Dr. Lemuel Shaffer

Mrs. Phyllis Shafron

Dr. & Mrs. Charles Shapiro

Mary and Charles M. † Shea

Carolyn M. Short

Ellen and Richard Shubart

Margaret and Alan Silberman

Jack and Barbara Simon

The Honorable John B. Simon and Millie Rosenbloom

Lynn B. Singer

Mr. & Mrs. Frederic Smies

Mrs. Diane W. Smith

Ms. Patricia Smythe

Mr. & Mrs. George Spindler

Ms. Corinne Steede

Carol D. Stein

Mr. & Mrs. Harvey J. Struthers, Jr.

Barry and Winnifred Fallers Sullivan

Mrs. Jeanne Sullivan

Mr. † & Mrs. Richard Taft

Mr. Jerome Taxy

Henrietta Vepstas

Robert J. Walker

Ms. Joni Wall

Ms. Mary Walsh

The Acorn Foundation

Alexander J. Wayne

Abby and Glen Weisberg

Mr. & Mrs. Joel Weisman

Mr. Kenneth Witkowski

Noteable Notes Music Academy/ Wheaton, IL

Negaunee Music Institute at the Chicago Symphony Orchestra

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

$150,000 AND ABOVE

The Julian Family Foundation

The Negaunee Foundation

$100,000–$149,999

Anonymous

Allstate Insurance Company

$75,000–$99,999

The Elizabeth F. Cheney Foundation

John Hart and Carol Prins

Megan and Steve Shebik

$50,000–$74,999

Anonymous

Robert and Joanne Crown Income Charitable Fund

Lloyd A. Fry Foundation

Judy and Scott McCue

Nancy Lauter McDougal † and Alfred L. McDougal †

Polk Bros. Foundation

Barbara and Barre Seid Foundation

Shure Charitable Trust

Michael and Linda Simon

Mr. Irving Stenn, Jr.

$35,000–$49,999

Kinder Morgan

Bowman C. Lingle Trust

National Endowment for the Arts

Lisa and Paul Wiggin

$25,000–$34,999

Anonymous

Abbott Fund

Crain-Maling Foundation

Leslie Fund, Inc.

The James and Madeleine McMullan Family Foundation

Dr. & Mrs. Eugene and Jean Stark

$20,000–$24,999

Anonymous

Mary Winton Green

Richard P. and Susan Kiphart Family

Margo and Michael Oberman

PNC

Charles and M. R. Shapiro Foundation

The George L. Shields Foundation, Inc.

$15,000–$19,999

Nancy A. Abshire

Carey and Brett August

Robert and 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

Ellen and Paul Gignilliat

Illinois Arts Council Agency

The League of the Chicago Symphony Orchestra Association

Mr. Philip Lumpkin

The Maval Foundation

Sandra and Earl Rusnak, Jr.

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

Dr. Marylou Witz

$11,500–$14,999

Mr. † & Mrs. David A. Donovan

Mrs. Carol Evans, in memory of Henry Evans

Jim and Ginger Meyer

Ksenia A. and Peter Turula

Theodore and Elisabeth Wachs

$7,500–$11,499

Anonymous

Robert H. Baum and MaryBeth Kretz

Mr. Lawrence Corry

Mr. & Mrs. † Allan Drebin

Nancy and Bernard Dunkel

Ms. Nancy Felton-Elkins and Larry Elkins

Mr. & Mrs. Joseph B. Glossberg

Chet Gougis and Shelley Ochab

Halasyamani/Davis Family

Robert Kohl and Clark Pellett

Mr. Glen Madeja and Ms. Janet Steidl

Ling Z. and Michael C. Markovitz

Drs. Robert and Marsha Mrtek

Ms. Susan Norvich

Ms. Emilysue Pinnell

D. Elizabeth Price

COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)

Robert E. † and Cynthia M. † Sargent

Catherine M. and Frederick H. Waddell

$4,500–$7,499

Anonymous

Joseph Bartush

Ms. Marion A. Cameron-Gray

Ann and Richard Carr

Harry F. and Elaine Chaddick Foundation

Constance M. Filling and Robert D. Hevey Jr.

Italian Village Restaurants

Mr. & Mrs. Stan Jakopin

Dr. June Koizumi

Dr. Lynda Lane

The Osprey Foundation

Benjamin J. Rosenthal Foundation

Dr. Scholl Foundation

Jessie Shih and Johnson Ho

Dr. Nanajan Yakoub

$3,500–$4,499

Anonymous

David and Suzanne Arch

Arts Midwest GIG Fund

Jon W. and Diane Balke

Charles H. and Bertha L. Boothroyd Foundation

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

Mr. & Mrs. Dwight Decker

Camillo and Arlene Ghiron

Dr. Ronald L. Hullinger

Ms. Ethelle Katz

Dr. Leo and Catherine Miserendino

$2,500–$3,499

Anonymous

Ms. Sandra Bass

Mr. James Borkman

Mr. Douglas Bragan

Mr. Ray Capitanini

Patricia A. Clickener

Mr. Clinton J. Ecker and Ms. Jacqui Cheng

Ms. Paula Elliott

Brooks and Wanza Grantier

William B. Hinchliff

Mrs. Gabrielle Long

Mr. Zarin Mehta

Mrs. Frank Morrissey

David † and Dolores Nelson

Mr. David Sandfort

Gerald and Barbara Schultz

David and Judith L. Sensibar

Margaret and Alan Silberman

Mr. Larry Simpson

Dr. & Mrs. R. Solaro

Ms. Mary Walsh

Mr. Kenneth Witkowski

$1,500–$2,499

Dora J. and R. John Aalbregtse

Richard J. Abram and Paul Chandler

Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein

Ms. Marlene Bach

Mr. Carroll Barnes

Mr. & Mrs. William E. Bible

Cassandra L. Book

Adam Bossov

Ms. Danolda Brennan

Mr. Lee M. Brown and Ms. Pixie Newman

Bradley Cohn

Elk Grove Graphics

Charles and Carol Emmons

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

Mr. Conrad Fischer

Mrs. Roslyn K. Flegel

David and Janet Fox

Scott and Amber Halvorson

James and Megan Hinchsliff

Clifford Hollander and Sharon Flynn Hollander

Michael and Leigh Huston

Cantor Aviva Katzman and Dr. Morris Mauer

Mr. & Mrs. Norman Koglin

Bob and Marian Kurz

Dona Le Blanc

Dr. Herbert and Francine Lippitz

Ms. Molly Martin

Adele Mayer

Mr. Aaron Mills

Mr. & Mrs. Dennis Moffat

Edward and Gayla Nieminen

Dianne M. and Robert J. Patterson, Jr.

Mr. & Mrs. Jeffery Piper

Erik and Nelleke Roffelsen

Ms. Cecelia Samans

Mr. David Samson

Jane A. Shapiro

Ms. Denise Stauder

Michael and Salme Steinberg

Walter and Caroline Sueske

Charitable Trust

Mr. Peter Vale

Abby and Glen Weisberg

M.L. Winburn

$1,000–$1,499

Anonymous (6)

Ms. Margaret Amato

Mr. & Mrs. John Barnes

Howard and Donna Bass

Daniel and Michele Becker

Marjorie Benton

Ann Blickensderfer

Mr. Thomas Bookey

Mr. Donald Bouseman

Ms. Jeanne Busch

Darren Cahr

Robert and Darden Carr

Drs. Virginia and Stephen Carr

Mr. Rowland Chang

Lisa Chessare

Mr. Ricardo Cifuentes

David Colburn

Mr. & Mrs. Bill Cottle

Alan R. Cravitz

Constance Cwiok

Mr. Adam Davis

Mr. & Mrs. Barnaby Dinges

Tom Draski

DS&P Insurance Services, Inc.

Mr. & Mrs. Robert Dulski

Judith E. Feldman

Ms. Lola Flamm

Arthur L. Frank, M.D.

Mr. Robert Frisch

Peter Gallanis

Eunice and Perry Goldberg

Enid Goubeaux

Mr. & Mrs. John Hales

Dr. Robert A. Harris

Mr. David Helverson

Dr. & Mrs. Jerome Hoeksema

Mr. Matt James

Mr. Randolph T. Kohler

Mr. Steven Kukalis

Ms. Foo Choo Lee

Dr. & Mrs. Stuart Levin

Diane and William F. Lloyd

Mr. † & Mrs. Gerald F. Loftus

Sharon L. Manuel

Mr. & Mrs. William McNally

Mr. Robert Middleton

Stephen W. and Kathleen J. Miller

Mr. & Mrs. Stephen Morales

Mrs. MaryLouise Morrison

Catherine Mouly and LeRoy T. Carlson, Jr.

Mr. George Murphy

Mr. Bruce Oltman

Ms. Joan Pantsios

Mr. & Mrs. Gerald L. Pauling II

Kirsten Bedway and Simon Peebler

Ms. Dona Perry

Quinlan & Fabish

Susan Rabe

Dr. Hilda Richards

Dr. Edward Riley

Mary K. Ring

Christina Romero and Rama Kumanduri

Mr. Nicholas Russell †

Ms. Mary Sauer

Barbara and Lewis Schneider

Mr. & Mrs. Steve Schuette

HONOR ROLL OF DONORS

Mr. & Mrs. Thomas Scorza

Stephen A. and Marilyn Scott

Mr. & Mrs. James Shapiro

Richard Sikes

Dr. Sabine Sobek

Mr. & Mrs. Ronald Stepansky

Donna Stroder

Sharon Swanson

Ms. Joanne Tarazi

Ms. Joanne C. Tremulis

Mr. & Ms. Terrence Walsh

Mr. & Mrs. Joel Weisman

Ms. Zita Wheeler

William Zeng

Irene Ziaya and Paul Chaitkin

ENDOWED FUNDS

Anonymous (3)

Cyrus H. Adams Memorial Youth Concert Fund

Dr. & Mrs. Bernard H. Adelson Fund

Marjorie Blum-Kovler Youth Concert Fund

CNA

The Davee Foundation

Frank Family Fund

Kelli Gardner Youth Education Endowment Fund

Mary Winton Green

William Randolph Hearst Foundation Fund for Community Engagement

Richard A. Heise

Peter Paul Herbert Endowment Fund

Julian Family Foundation Fund

The Kapnick Family

Lester B. Knight Charitable Trust

The Malott Family School Concerts Fund

The Eloise W. Martin Endowed Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee Foundation

Nancy Ranney and Family and Friends

Shebik Community Engagement Programs Fund

Toyota Endowed Fund

The Wallace Foundation

Zell Family Foundation

Theodore Thomas Society

Mary Louise Gorno Chair

Listed below are generous donors who have made commitments to the Chicago Symphony Orchestra through their wills, trusts, and other estate plans, including life-income arrangements. The Society honors their generosity, which helps to ensure the long-term financial stability and artistic excellence of the CSOA. To learn more, please contact Al Andreychuk, Director of Endowment Gifts and Planned Giving, at 312-294-3150.

STRADIVARIAN ASSOCIATES

The Chicago Symphony Orchestra is pleased to recognize the following individuals for generously creating a revocable bequest of $100,000 or more, or an irrevocable life-income trust or annuity of $50,000 or more, to benefit the Chicago Symphony Orchestra Association, as of April 2023.

Anonymous (9)

Dora J. and R. John Aalbregtse

Lisa J. Adelstein

Jeff and Keiko Alexander

Evy Johansen Alsaker

Robert A. Alsaker

Geoffrey A. Anderson

Louise E. Anderson

Brett and Carey August

Marlene Bach

Dr. Jeff Bale

Mr. Neal Ball

Sally J. Becker

Marlys A. Beider

Dr. C. Bekerman

Martha Bell

Mike and Donna Bell

Julie Ann Benson

K. Richard and Patricia M. Berlet

Merrill and Judy Blau

Ann Blickensderfer

Danolda Brennan

Mr. Leon Brenner, Jr.

Mitchell J. Brown

Marion A. Cameron-Gray

Charles Capwell and Isabel Wong

Mr. Frank and Dr. Vera Clark

Patricia A. Clickener

Judith and Stephen F. Condren

Anita Crocus

Mimi Duginger

Harry and Jean Eisenman

Michael and Kathleen Elliott

Dr. Marilyn Ezri

Mrs. William M. Flory

Mr. & Mrs. David W. Fox, Sr.

Allen J. Frantzen and George R. Paterson

Mary J. and Ronald P. Frelk

Penny and John Freund

Mr. & Mrs. Paul C. Gignilliat

Merle Gordon

Mary Louise Gorno

Dr. & Mrs. David Granato

Mary L. Gray

Mary Winton Green

Dr. Jon Brian Greis

John and Patricia Hamilton

John Hart and Carol Prins

Mr. William P. Hauworth II

Thomas and Linda Heagy

Mr. R.H. Helmholz

Stephanie and Allen Hochfelder

Concordia Hoffmann

Stephen D. and Catherine N. Holmes

Frank and Helen Holt

Mark and Elizabeth Hurley

Frances and Phillip Huscher

Ms. Darlene Johnson

Ronald B. Johnson

Roy A. and Sarah C. Johnson

Mr. & Mrs. Paul R. Judy

Lori Julian

Wayne S. and Lenore M. Kaplan

Howard Kaspin

James Kemmerer

Robert Kohl and Clark Pellett

Edwin and Karen Kramer

Mr. & Mrs. Alan Kubicka

Jonathon Leik

Charles Ashby Lewis and Penny

Bender Sebring

Robert Alan Lewis

Dr. Valerie Lober

Glen J. Madeja and Janet Steidl

Sheldon H. Marcus

James Edward McPherson

Janet L. Melk

Dr. Frederick K. Merkel

Dr. Leo and Catherine Miserendino

Drs. Elaine and Bill † Moor

Craig and Rose Moore

Mrs. Mario A. Munoz

John H. Nelson

Muriel Nerad

Edward A. and Gayla S. Nieminen

Ms. Kathy Nordmeyer

Diane Ososke

Dr. Joan E. Patterson

Mary T. † and David R. Pfleger

Mrs. Thomas D. Philipsborn

Judy Pomeranz

Maridee Quanbeck

Neil K. Quinn

Randall and Cara Rademaker

Constance A Rajala

Al and Lynn Reichle

Ann and Bob † Reiland

Wendy Reynes

Dr. Edward O. Riley

Charles and Marilynn Rivkin

David and Kathy Robin

Jerry Rose

Mr. James S. Rostenberg

Richard O. Ryan

John A. Salkowski

Cecelia Samans

A. Wm. Samuel

Franklin Schmidt

Joanne Silver

Mr. Craig Sirles

Betty W. Smykal

Annette and Richard Steinke

Mrs. Deborah Sterling

Mr. & Mrs. William H. Strong

Mrs. Gloria B. Telander

Karin and Alfred Tenny

Richard and Helen Thomas

Ms. Carla M. Thorpe

Dr. Richard Tresley

Paula Turner

Robert W. Turner and Gloria B. Turner

Mr. & Mrs. John E. Van Horn

Mr. Christian Vinyard

Craig and Bette Williams

Florence Winters

Stephen R. Winters and Don D. Curtis

Dr. Robert G. Zadylak

Helen Zell

MEMBERS

Anonymous (34)

Valerie and Joseph Abel

Louise Abrahams

Patrick Alden

Richard and Elynne Aleskow

Judy L. Allen

Ann S. Alpert

Patricia Ames

Ms. Judith L. Anderson

Steven Andes, Ph.D.

Catherine Aranyi

Dr. Susan Arjmand

Mr. & Mrs. Randy Barba

Mara Mills Barker

Shirley Baron

Dr. & Mrs. Robert Beatty

Joan I. Berger

Robert M. Berger

Mr. & Mrs. James Borovsky

John L. Browar

Catherine Brubaker

Joseph Buc

Edward J. Buckbee

Michelle Miller Burns

Mr. Robert J. Callahan

Dr. & Mrs. Joseph R. Car

Mr. & Mrs. William P. Carmichael

Dr. Marlene E. Casiano

Beverly Ann and Peter Conroy

Sharon Conway

Ron and Dolores Daly

Mr. & Mrs. John Daniels

Mr. & Mrs. Clyde H. Dawson

Sylvia Samuels Delman

Mrs. David A. DeMar

Ms. Phyllis Diamond

Mrs. William Dooley

Larry and Nancy Schroeder Ebert

Robert J. Elisberg

Richard Elledge

Charles and Carol Emmons

Lu and Philip Engel

Tarek and Ann Fadel

James B. Fadim

Leslie Farrell

Donna Feldman

Frances and Henry Fogel

Ray Frick

Nancy and Larry Fuller

Dileep Gangolli

Miss Elizabeth Gatz

Dr. & Mrs. Mark Gendleman

Steve and Lauran Gilbreath

Mr. Daniel Gilmour, III

Mr. Joseph Glossberg

Ms. Georgean Goldenberg

Adele Goldsmith

Douglas Ross Gortner

Chet Gougis and Shelley Ochab

Ms. Elizabeth A. Gray

Ms. Claire Annette Green

Delta A. Greene

Mrs. Barbara Gundrum

Lynne R. Haarlow

Mrs. Robin Tieken Hadley

Mr. Tom Hall

Mr. & Mrs. Tom Hallett

William B. Hinchliff

Marcia M. Hochberg

Mr. Thomas Hochman

Jack and Colleen Holmbeck

Mrs. Walter Horban

James and Mary Houston

Mr. James Humphrey

Merle L. Jacob

Ms. Jessica Jagielnik

Nathan Kahn, in memory of Zave H. Gussin and in honor of Robert Gussin

Marshall Keltz

Valerie Kennedy

Anne Kern

Paul Keske

Mr. & Mrs. Frank L. Klapperich, Jr.

Mrs. LeRoy Klemt

Sally Jo Knowles

Mrs. Russell V. Kohr

Ms. Barbara Kopsian

Liesel E. Kossmann

Eugene Kraus

John C and Carol Anderson Kunze

Thomas and Annelise Lawson

Dr. & Mrs. David J. Leehey

Ms. Nicole Lehman

Barbara W. Levin

Dr. & Mrs. Robert L. Levy

Ms. Sally Lewis

Dr. Eva F. Lichtenberg

Mr. Michael Licitra

Dr. & Mrs. Philip R. Liebson

Bonnie Glazier Lipe

Alma Lizcano

Candace Loftus

Heidi Lukas & Mr. Charles Grode

Suzette and James Mahneke

Ann Chassin Mallow

Sharon L. Manuel

Mrs. John J. Markham

Judy and Scott McCue

John McFerrin

Mr. William McIntosh

Leoni Zverow McVey and Bill McVey

Dorothe Melamed

Marcia Melamed

Dr. Sharon D. Michalove

Dale and Susan Miller

Michael Miller and Sheila Naughten

Thomas R. Mullaney

Daniel R. Murray

Dolores D. Nelson

Franklin Nussbaum

Mr. & Mrs. Paul Oliver, Jr.

Wallace and Sarah Oliver

Lynn Orschel

Helen and Joseph Page

George R. Paterson

Dianne M. and Robert J. Patterson, Jr.

Mr. & Mrs. Michael A. Perlstein

Elizabeth Anne Peters

Mr. Lewis D. Petry

Judy C. Petty

Karen and Dick Pigott

Lois Polakoff

D. Elizabeth Price

Dorothy V. Ramm

Donald F. Ransford

Jeanne Reed

Ms. Oksana Revenko-Jones

Karen L. Rigotti

Don and Sally Roberts

Mrs. Ben J. Rosenthal

Dr. Virginia C. Saft

Craig Samuels

Sue and William Samuels

Paul and Kathleen Schaefer

Lawrence D. Schectman

Mrs. Milton Scheffler

Mr. Douglas M. Schmidt

David Shayne

Thomas C. Sheffield, Jr.

Anne Sibley

Larry Simpson

Thomas G. Sinkovic

Rosalee Slepian

Mary Soleiman

Jim Spiegel

Julie Stagliano

Denise M. Stauder

Karen Steil

Charles Steinberg

Timothy and Kathleen Stockdale

Mr. John Stokes

Richard and Lois Stuckey

Jeffrey and Linda Swoger

Mr. John C. Telander

Mr. & Mrs. Jerald Thorson

Karen Hletko Tiersky

Myron Tiersky

Jacqueline A. Tilles

Mr. James M. Trapp

Mr. Donn N. Trautman

Mike and Mary Valeanu

Gerrit Vanderwest

Frank Villella

Mr. Milan Vydareny

Dr. Malcolm Vye

Adam R. Walker and BettyAnn Mocek

Mr. Frank Walschlager

Louella Krueger Ward

Dr. Catherine L. Webb

Karl Wechter

Claude M. Weil

Joan Weiss

Mr. Thomas Weyland

Lisa and Paul Wiggin

Linda and Payson S. Wild

Joyce S. Wildman

Kayla Anne Wilson

Robert A. Wilson

Nora M. Winsberg

Mr. & Mrs. Stephen M. Wolf

Beth Wollar

Lev Yaroslavskiy

HONOR ROLL OF DONORS

IN MEMORIAM

Listed below are individuals who were Theodore Thomas Society members and patrons who made exceptional commitments to the Chicago Symphony Orchestra through their estates. They are remembered with gratitude for their generosity and visionary support.

Anonymous (9)

Hope A. Abelson

Richard Abrahams

Ruth T. and Roger A. Anderson

Mychal P. and Dorothy A. Angelos

Elizabeth M. Ashton

Jacqueline and Frank Ball

Wayne Balmer

Paul Barker

Leland and Mary Bartholomew

Arlene and Marshall Bennett

Norma Zuzanek Bennett

Judith and Dennis Bober

Naomi T. Borwell

Kathryn Bowers

Howard Broecker

Claresa Forbes Meyer Brown

George and Jacqueline Brumlik

Dr. Mary Louise Hirsch Burger

Norma Cadieu

Wiley Caldwell

Nelson D. Cornelius

Anita J. Court, Ph.D.

Mr. Jerry J. Critser

Christopher L. Culp

Barbara DeCoster

Azile Dick

James F. Drennan

Robert L. Drinan, Jr.

Daisy Driss

William A. Dumbleton

Evelyn Dyba

Richard Eastline

Marian Edelstein

Estelle Edlis

Dr. Edward Elisberg

Kelli Gardner Emery

Joseph R. Ender

Shirley L. and Robert Ettelson

Leslie Fogel

Robert B. Fordham

Herbert and Betty Forman

Richard Foster

Elaine S. Frank

Rhoda Lea and Henry S. Frank

Florence Ganja

Martin and Francey Gecht

Isak Gerson

Mrs. Willard Gidwitz

Marvin Goldsmith

William B. Graham

Richard Gray

David Green

Nancy Griffin

Ann B. Grimes

Ernest A. Grunsfeld III

Betty and Lester Guttman

A. William Haarlow III

CAPT Martin P. Hanson, USN Ret.

Mrs. David J. Harris

Polly and Donald Heinrich

Mary Mako Helbert

Adolph “Bud” and Avis Herseth

Mary Jo Hertel

Allen H. Howard

Helen and Michael L. Igoe, Jr.

Barbara Isserman

Mrs. Marian Johnson

Ms. Janet Jones

Phyllis A. Jones

James Joseph

Joseph M. Kacena

Stuart Kane

Jared Kaplan

Morris A. Kaplan

Roberta Kapoun

George Kennedy

Esther G. Klatz

Russell V. Kohr

Karen Kuehner

Evelyn and Arnold Kupec

Robert B. Kyts and Jadwiga Roguska-Kyts

Joseph and Rebecca Jarabak

Ruth Lucie Labitzke

Sadie Lapinsky

Caressa Y. Lauer

Arthur E. Leckner, Jr.

Patricia Lee

Christine D. Letchinger

William C. Lordan

Tula Lunsford

Iris Maiter

Arthur G. Maling

Bella Malis

June Betty and Herbert S. Manning

Kathleen W. Markiewicz

Walter L. Marr III and Marilyn G. Marr

Eloise Martin

Virginia Harvey McAnulty

Helen C. McDougal, Jr.

Eunice H. McGuire

Carolyn D. and William W. McKittrick

Lillian E. McLeod

Jack L. Melamed, M.D.

Lois G. and Hugo J. Melvoin

Richard Menaul

Susan Messinger

Phillip Migdal

Kathryn and Edward Miller

Micki Miller

Gloria Miner

Beth Ann Alberding Mohr

Bill Moor

Charles A. Moore

Kathryn Mueller

Marietta Munnis

Leota Ann Meyer Murray

David H. Nelson

Helen M. Nelson

Sydelle Nelson

John and Maynette Neundorf

Piri E. and Jaye S. Niefeld

David Niwa

Raymond and Eloise Niwa

Carol Rauner O’Donovan

T. Paul B. O’Donovan

Mary and Eric Oldberg

Bruce P. Olson

David G. Ostrow

Donald Peck

Mary Perlmutter

Charles J. Pollyea

Miriam Pollyea

Donald D. Powell

Samuel Press

Alfred and Maryann Putnam

Christine Querfeld

Ruth Ann Quinn

Walter Reed

Daniel Reichard

Bob Reiland

Paul H. Resnik

Sheila Taaffe Reynolds

Joan L. Richards

J. Timothy Ritchie

Dolores M. Rix

Virginia H. Rogers

Jill N. Rohde

Elaine Rosen

Ben J. Rosenthal

Anthony Ryerson

Richard Schieler

Beverly and Grover Schiltz

Erhardt Schmidt

Robert W. Schneider

Muriel Schnierow

Barbara and Irving Seaman, Jr.

Nancy Seyfried

Muriel Shaw

Mr. Morrell A. Shoemaker

Rose L. and Sidney N. Shure

Dr. & Mrs. Alfred L. Siegel

Joan H. and Berton E. Siegel

Rita Simó and Tomás Bissonnette

Allen R. Smart

Walter Chalmers Smith

Peggy E. Smith-Skarry

Karen A. Sorensen

Edward J. and Audrey M. Spiegel

Vito Stagliano

Mrs. Zelda Star

Charles J. Starcevich

Curtis D. Stensrud

Helmut and Irma Strauss

Franklin R. St. Lawrence

Mr. & Mrs. Robert Swanson

Ruth Miner Swislow

Robert Sychowski

Andrew and Peggy Thomson

J. Ross Thomson

Sue Tice

Beatrice B. Tinsley

C. Phillip Turner

Ted Utchen

Robert L. Volz

Lois and James Vrhel

Louise Benton Wagner

Michael Jay Walanka

Nancy L. Wald

Josephine Wallace

Ann Dow Weinberg

Marco Weiss

Barbara Huth West

The Whateley Trust, in memory of Baron Whateley

Max and Joyce Wildman

Joyce Hadley Williams

Arnold and Ann Wolff

Ronald R. Zierer

Rita A. Zralek

Tribute Program

The Tribute Program provides an opportunity to celebrate milestones such as birthdays, weddings, anniversaries, and graduations. It also can serve as a way to honor the memory of friends and family. An Honor or Memorial Gift enables you to express your feelings in a truly distinctive and memorable way. Contributions may be any amount and are placed in the Orchestra’s Endowment Fund. For more information regarding this program, please call 312-294-3100. Listed below are Honor and Memorial Gifts of $100 or more received from June 2022 through April 2023.

MEMORIAL GIFTS

In memory of Bud Beyer

Ms. Jean Flaherty

In memory of John R. Blair

Fidelity Charitable Gift Funds

In memory of Eric L. Brooker

Ralph Brooker

In memory of Dr. Jerome Brosnan

Gisela Brodin-Brosnan

In memory of Dr. Cynthia Pryor Coad

Mr. & Mrs. Louis M. Ebling III

In memory of Henry Cohler

Mrs. Evelyn Alter

In memory of Professor James D. Compton

Anonymous

In memory of Muller Davis

Lynn Straus

In memory of Frederick L. Dunn, M.D.

Holly Weis

In memory of David B. Ellis

Alan R. Cravitz

In memory of Hazel S. Fackler

Neil Fackler

In memory of John D. Flakne

Ms. Rebecca A. Lotsoff

Willeen V. Smith

In memory of Edwin P. Gomez, M.D.

Ms. Julia Bendikas

Rajiv Chopra

Dr. Oscar Delapaz

Mrs. Lourdes Dennison

Shou-Yeh L. Ling

Mr. V. Porapaiboon

Amanda Reyes

In memory of Mary Gray

Kimberly Ewing

In memory of Zave Gussin

Mr. Nathan Kahn

In memory of James O. Hamilton

Ms. Kathleen Jurek

In memory of Richard Harris

Dr. & Mrs. Douglas Adler

In memory of Dr. Carl Anderson

Hedberg

Anonymous

Mr. Eric Wicks and Ms. Linda Baker

Fidelity Charitable Gift Funds

F. James Rybka

Dr. Susan M Solovy

Mr. James L. Waite

In memory of Graham Hemsley

Dr. Steven Andes

In memory of Betty W. Henneman

Jeffrey and Jeannie Beech

Alice Boreani

The Hogan Family

In memory of Ed Hochman

Martyn Adelberg

Sherry Caro

Janet Ostrowski

Mrs. Lydia A. Ronning

Mr. & Mrs. Mark Stern

In memory of Joel Honigberg

Vanguard Charitable Endowment Program

In memory of Howard E. Jessen and Susanne C. Jessen

Howard E. Jessen Family Trust

In memory of Alan Kaufman

Ms. Rosie Nassani

In memory of Mary Kaye

Mr. and Mrs. William F. Bogle Jr

Ms. Josephine Hammer

Alexandra Thornton

In memory of Jack F. Klecka Jr.

Terry Klecka

In memory of Joan Levy

Anonymous

Ms. Susan Adams

William and Mary Lee Attea

Elizabeth Copeland

Kelly Dibble

Dr. & Mrs. Henry J. Dold

Mr. and Mrs. Tom Garmisa

Janet and Patrick Graham

Illinois Association Of School Boards

Mrs. Joan Loeb

Beth Loeb

Mr. & Mrs. William Maher

Northern Trust

Lee Ann Raikes

Mr. Earl Rubinoff

Margaret A. Willens

In memory of Herbert A. Loeb III

Ms. Margot Wallace

In memory of Mr. George C. McKann

Mrs. Alice T. McKann

In memory of Lorraine T. McNally

Mr. & Mrs. William McNally

In memory of Richard Melson

Ms. Joyce H. Noh

In memory of Charles Moles

Ms. Kathleen Harrington

In memory of Jules Moniak

Mrs. Margaret A. Ross

In memory of Anthony G. Montag

American Endowment Foundation

Dr. Katherine Griem

In memory of Dolores Nathanson

Anonymous

DeAnn Gardner

Lexy Gore

Lynne Gugenheim

LC Center, Inc.

Dr. Stacey Marguerite

Wayne and Cindy Pichler

Judith O. Roman

Marilyn Slodki

Rotary Club Of Thompson Valley

Ryan Wang

Kate A. Wealton

In memory of Anthony A. Nichols

Mrs. Marianne Nichols

In memory of Benjamin D. Olson

Nathan Olson

In memory of Jon Pegis

Jil Deheeger

Mr. Daniel Katz

In memory of Dr. George Pepper

Ms. Margaret Neff

In memory of Charles Kingsley Perkins

Ms. Susan Thomas

HONOR ROLL OF DONORS

In memory of William A. Pollak

Don and Martha Pollak

In memory of Bennett Reimer

Elizabeth A. Hebert

In memory of Al Rose

Mimi Rose

In memory of Robert Rosenman

Mrs. Harriet Rosenman

In memory of Norman S. Santos

Raquel Costa

Jerry and Janet Curto

Mrs. Minerva B. Flojo

In memory of Cynthia Sargent

Mr. David E. McNeel

COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)

In memory of Devin Shafron

Mrs. Phyllis Shafron

In memory of Michael Silverstein

Ms. Mara Tapp

In memory of Joan Sims

Emily and Alec Sims

In memory of Deborah Sobol

Mr. Rowland Chang

In memory of Mrs. Eve Gaymont Sparberg

Mr. & Mrs. Louis M. Ebling III

Ronald N. Mora

In memory of Marjorie Stone

Dr. Arvey Stone

In memory of Lynne and Ron Wachowski, my beloved sister and her husband

Peggy Ryan

In memory of Novella Winston

Ms. Betty Henson

In memory of Eugene and Marion

Zajackowski

Anonymous

In memory of Edward T. Zasadil

Mr. Larry Simpson

In memory of Jerome “Jim” Zekas

Cris William and Teresa W. Kodiak

Geri Rennhack

In memory of Raymond Zielinski

Ms. Arden Handler

Christine M. Koza

Jeanne Mervine

HONOR GIFTS

In honor of Michael Adolph

Mrs. Ann Oros

In honor of John Aler

Drew Stewart and Anna Hargreaves

In honor of Jeffrey and Keiko

Alexander

Mr. Dean Solomon

In honor of Esteban Batallán, Principal Trumpet

Mr. John Burson

In honor of Randy L. Berlin

Ms. Susan J. Moran

In honor of Dr. Patrick Brix

Dale Ann C. Kalvaitis

In honor of Robert Coad

Paul and Robert Barker Foundation

Diana and Richard Senior

Mr. and Mrs. † David Shayne

Ms. Ann Silberman

Liz Stiffel

In honor of Jamey Fadim’s 80th birthday

John Hart and Carol Prins

In honor of Judy Feldman

Mrs. Robert Glick

Ms. Lynda Gordon

Carol S. Sonnenschein

In honor of Kozoe Funakoshi

Mrs. Sharon I. Quigley

In honor of John and Ann Grube

Peter B. Gifford

In honor of Karen Guerra

Anonymous

In honor of Mr. John Hagstrom

Ms. Susan Bridge

In honor of Terri Hemmert

Janet Duffy

In honor of Russell Hershaw

Mrs. Sharon I. Quigley

In honor of Robert and Jane Hindsley

Anita Hindsley

In honor of Stefán Ragnar Höskuldsson

Mr. John Thorne

In honor of Dr. C.T. Kang and Dr. Li-Yin Lin

Christopher Kang

In honor of Daniel Katz

Ms. Lois Wolff

In honor of Anne Kern for her 90th birthday

Mary Davidson

Mrs. David DeMar

Ms. Josephine Hammer

Dr. Eva Lichtenberg and Dr. Arnold Tobin

Mr. & Mrs. John Lopatka

Mr. † & Mrs. Mario Munoz

Louise K. Smith

In honor of Mark Kraemer

Ms. Lois Wolff

In honor of Danny Lai

Ms. Lois Wolff

In honor of Kathleen and Joseph Madden

Eileen Madden

In honor of Matous Michal

Mary and Joseph Plauché

In honor of Dennis Michel and David Griffin

Ms. Polly Novak

In honor of CSO violist Diane Mues

Cynthia Kirk

In honor of Alex Niekamp

Jessica Pahl

In honor of Ron and Pat Niemaszyk

Tiffany Tocco

In honor of Aiko Noda

Fred Garzon

In honor of Mary Alma Noonan

Renaissance Charitable Foundation

In honor of Pearl Rieger’s birthday

Carol S. Sonnenschein

In honor of Ronald Satkiewicz

Mrs. Sharon I. Quigley

In honor of John Sharp

Ms. Jessica Jagielnik and Ms. Sam Kufta

In honor of Dr. “Gene” Eugene Stark

Anonymous

In honor of Gary Stucka

Ms. Lois Wolff

In honor of Patty Weber and Eileen Conaghan

Margo and Michael Oberman

† Deceased | Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. | Gifts listed as of April 2023

renée metcalf, market executive, illinois global commercial banking Bank of America Merrill Lynch

Bank of America is proud to continue its long-standing support of the Chicago Symphony Orchestra. Our partnership not only delivers artistic quality but also helps to create meaningful connections with a diverse audience base in Chicago and around the world.

scott kirby, chief executive officer United Airlines

United is pleased to serve the CSO as its official airline and proudly supports its remarkable contributions to the performing arts community here in Chicago and beyond. With the CSO, we celebrate the energy that performers and audiences alike bring to our hometown and to the global stage.

tom wilson, chair, president, and chief executive officer The Allstate Corporation

Allstate applauds the CSO for its commitment to enrich community and educational programs in our hometown of Chicago. We are a proud supporter of the Negaunee Music Institute at the CSO, as we believe that good starts young.

shawn beber, senior executive vicepresident and group head, u.s. region CIBC

The arts help us build rich, vibrant communities. That’s why we’re pleased to support the Chicago Symphony Orchestra, which showcases the best in Chicago’s music scene. This partnership truly exemplifies bringing our purpose to life by actively supporting incredible organizations like the CSO in the communities we serve.

michael g. o’grady, chairman, president and chief executive officer Northern Trust

The Chicago Symphony Orchestra is rightly regarded as one of the greatest orchestras in the world. Northern Trust is committed to serving our communities and the arts, and we are proud to support—as we have for more than a half century—the CSO’s extraordinary tradition of musical excellence.

terrence j. truax, partner Jenner & Block LLP

Jenner & Block is proud to share the CSO’s passion for creativity, innovation, and the pursuit of excellence. As a longtime CSO supporter, the firm looks forward to continuing to participate in the symphony’s rich tradition of musical excitement and unfolding artistry in Chicago and the many communities it touches in the United States and around the world.

maestro residency presenter

Well beyond borders.

There’s no connection like the one to those who keep us safe and secure.

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