Program Book - Fanfare by Chicago Symphony Orchestra

Fanfare May 27–30, 2021

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a note from the chair and the president

DEAR VALUED PATRONS, We are delighted to welcome you back to Symphony Center. The Chicago Symphony Orchestra Association has been anticipating this happy reunion for many, many months. Thank you for being among the first to rejoin us for live concerts since March of 2020. It is our great pleasure to again be able to share the magical performances of the Chicago Symphony Orchestra within these walls. The continuous artistic guidance of Zell Music Director Riccardo Muti, the dedication of the Orchestra members, collaboration across the organization, and discussions with city and public health officials have made these concerts possible. A thoughtful and thorough planning process led to the creation of “Safe and Sound” measures adopted to welcome listeners back to Symphony Center this spring. Thank you for adhering to these guidelines designed to ensure that your cultural experience is also a healthy one. For the opening concert on May 27, we welcome healthcare workers from Rush University System for Health, whose partnership during the pandemic has allowed CSO musicians to safely rehearse and perform a wide variety of digital programs created for CSOtv during the 2020–21 season. We also thank leading epidemiologist Dr. Emily Landon for her invaluable expertise throughout the planning process. We all have missed that electricity that exists in Orchestra Hall when it is filled with eager listeners and the extraordinary music-making of the Chicago Symphony Orchestra. On behalf of the entire CSOA, please know how deeply moved we are by your presence for these auspicious concerts, and let us look forward to more in person musical experiences to come.

Helen Zell Chair Board of Trustees Chicago Symphony Orchestra Association

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Jeff Alexander President Chicago Symphony Orchestra Association

SPECIALLY CURATED EPISODES BY CSO MEAD COMPOSER-IN-RESIDENCE MISSY MAZZOLI

Episode 21: Cult of Electromagnetic Connectivity premieres june 10

Episode 22: Requiem

premieres june 24

START STREAMING AT CSO.TV The Chicago Symphony Orchestra thanks the following donors who provide major support for new music programming: the Zell Family Foundation, Cindy Sargent, the Sally Mead Hands Foundation and the Julian Family Foundation. The Mead Composer-in-Residence is endowed through the generous support of Cindy Sargent and the late Sally Mead Hands. Sponsorship support for CSO Sessions is generously provided by the Zell Family Foundation; an anonymous donor; Kenneth C. Griffin Charitable Fund; JCS Arts, Health and Education Fund of the DuPage Foundation; the Julian Family Foundation, in honor of Cristina Rocca; Cindy Sargent; Megan and Steve Shebik; Betty W. Smykal; TAWANI Foundation; National Endowment for the Arts; ITW, and PNC.

I am delighted that you have returned to Symphony Center so that the Chicago Symphony Orchestra can share the power of music with you once more in this historic hall. With these concerts, we take an important step toward putting this difficult period behind us. Here the spiritual food of culture brings us together again as it has for so many years. Music is not entertainment; it is a mission. It stimulates our greatest emotions and activates our intellectual curiosity. It improves the health of our minds and, in so doing, cultivates the health of our society. Let us heal our hearts with great music. I know you will enjoy these performances, and I look forward to seeing you in Chicago very soon.

Riccardo Muti Zell Music Director Chicago Symphony Orchestra

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Major support for CSOtv and CSO Sessions during the 2020–21 season is generously provided by

Zell Family Foundation Kenneth C. Griffin Charitable Fund JCS Arts, Health and Education Fund of the DuPage Foundation

Julian Family Foundation Cynthia M. Sargent Megan and Steve Shebik Betty W. Smykal

For complete donor listings, please visit the Richard and Helen Thomas Donor Gallery online.

ONE HUNDRED THIRTIETH SEASON

CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI Zell Music Director

Thursday, May 27, 2021, at 7:30 Friday, May 28, 2021, at 1:30 Saturday, May 29, 2021, at 7:30 Sunday, May 30, 2021, at 3:00

Michael Mulcahy Conductor

copland

schuller

Fanfare for the Common Man

Symphony for Brass and Percussion, Op. 16

Andante Vivace Lento desolato Introduction: Allegro

barber

Mutations from Bach

tilson thomas

Street Song for Symphonic Brass

bernstein (arr. erickson)

Presto barbaro from On the Waterfront

There will be no intermission.

These concerts are generously sponsored by the Zell Family Foundation. The CSOA thanks Bank of America and United Airlines for their support of the CSO. The CSOA acknowledges support from the Illinois Arts Council Agency. Please note that select performances will be recorded for possible future release on CSOtv. 7

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comments by richard e. rodda aaron copland

Born November 14, 1900; Brooklyn, New York Died December 2, 1990; North Tarrytown, New York

Fanfare for the Common Man composed 1942 f ir st performa nce March 12, 1943; Cincinnati, Ohio; Cincinnati Symphony Orchestra, Eugene Goossens conducting i nstr u mentatio n four horns, three trumpets, three trombones and tuba, timpani, percussion ap proximate perfo rman ce t i m e 3 minutes

In the first volume of his autobiography (Copland, 1900 through 1942, St. Martin’s/ Marek, 1984), the composer recounted the genesis of his popular Fanfare for the Common Man:

ugene Goossens, conductor of the Cincinnati Symphony Orchestra, had written to me at the end of August [1942] about an idea he wanted to put into action for the 1942–43 concert season. During World War I, he had asked British composers for a fanfare to begin each orchestral concert. It had been so successful that he thought to repeat the procedure in World War II with American composers. [Goossens’s additional requests inspired a total of ten fanfares from such other notable musicians as Creston, Cowell, Piston, Thomson, Milhaud, and Gould.] Goossens wrote: “It is my idea to make these fanfares stirring and significant contributions to the war effort, so that I suggest you give your fanfare a title, as for instance, ‘A Fanfare for Soldiers, or for Airmen or Sailors.’ I am asking this favor in a spirit of friendly comradeship, and I ask you to do it for the cause we all have at heart . . . .” As with Lincoln Portrait, I was gratified to participate in a patriotic activity. Goossens, a composer himself, suggested the instrumentation of brass and percussion and a length of about two minutes. He intended to open the concert season in October with my fanfare, so I had no time to lose. The challenge was to compose a traditional fanfare, direct and powerful, yet with a contemporary sound. . . . The music was not terribly difficult to compose, but working slowly as was my custom, I did not have the fanfare ready to send to Goossens until November. The piece has been Fanfare for the Common Man for so long that it is surprising to see on my sketches that other titles were considered: Fanfare for a Solemn Ceremony, for the Day of Victory, for Our Heroes, for the Rebirth of Lidice, for the Spirit of Democracy, for the Paratroops, for Four Freedoms. After I decided on Fanfare for the Common Man and sent the score to Goossens, I think he was rather puzzled by the title. He wrote, “Its title is as original as its music, and I think it is so telling that it deserves a special occasion for its performance. If it is agreeable to you, we will premiere it 14 March [sic] 1943 at income left to r i gh t: Aaron Copland. Music Division, Library of Congress tax time. . . .” [The income tax Gunther Schuller deadline was changed to April

after the war.] I was all for honoring the common man at income tax time. Since that occasion, Fanfare has been played by many and varied ensembles, ranging from the U.S. Air Force Band to the popular Emerson, Lake, and Palmer group. . . . I confess that I prefer Fanfare in the original version, and I later used it in the final movement of my Third Symphony.

gunther schuller

Born November 22, 1925; New York City Died June 21, 2015; Boston, Massachusetts

Symphony for Brass and Percussion, Op. 16 composed 1949–50 f i rst p e rf o rm a n c e February 1950; Cincinnati, Ohio; Group A Brass Ensemble, Ernest Glover conducting (movements 1–3) 1951; New York City; Leon Barzin conducting (complete work) i n st ru m e n tat i o n four horns, six trumpets, three trombones, euphonium, two tubas, timpani, and percussion a p p roxi m at e p e rf o rm a n c e t i m e 18 minutes

Gunther Schuller led a musical career of almost dizzying diversity. The son of a German-born violinist in the New York Philharmonic, he studied theory, flute, and horn privately while attending the Saint Thomas Choir School in New York City. He proved to be a prodigy on the horn, and at the age of eighteen, he joined the New York City Ballet Orchestra. A year later, he was appointed principal horn of the Cincinnati Symphony Orchestra. During his tenure in Cincinnati, he discovered the music of Duke Ellington and thereafter devoted much of his career to jazz; he performed and recorded with such jazz greats as Dizzy Gillespie, Miles Davis, and John Lewis, and became a leading authority on the subject. Schuller’s Early Jazz: Its Roots and Musical Development is one of the most important contributions to the field of historical jazz research; his monumental study titled The Swing Era: The Development of Jazz, 1930–1945 was published in 1989. From 1945 to 1959, Schuller was principal horn of the Metropolitan Opera Orchestra. Though he had no conservatory training, he began composing around 1940. Among his first works was Concerto for Horn, which he premiered in Cincinnati in 1945. By the time he gave up performing in 1962, Schuller had completed some forty compositions. From 1950 to 1963, Schuller taught at the Manhattan School of Music and spent the following three years on the faculty of Yale University. He then moved to the New England Conservatory of Music, for which he served as president from 1967 to 1977. As a conductor and recording artist, he championed the works of underappreciated American composers such as Scott Joplin and John Knowles Paine and, in 1975, he founded the Margun Press to

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issue previously unpublished American scores. He also prepared important editions of works by Ives, Joplin, Weill, and Hartmann. Schuller also was a broadcaster and produced a series of weekly radio programs on twentieth-century music for New York’s WBAI-FM. In 1973, he wrote and introduced six programs on contemporary music for PBS. A collection of his writings, Musings: The Musical Worlds of Gunther Schuller, was published in 1986. In 1997, Schuller published The Compleat Conductor, a survey of the history, philosophy, and art of conducting (as well as a frank commentary on the rise of celebrity conductors). In 2011, he saw the publication of the first volume of his autobiography, Gunther Schuller, A Life in Pursuit of Music and Beauty. Among Schuller’s many honors are eleven honorary degrees, membership in the National Institute of Arts and Letters and American Academy and Institute of Arts and Letters, the William Schuman Prize of Columbia University, a MacArthur Foundation grant, a BMI Lifetime Achievement Award, the 1994 Pulitzer Prize for Music (for his Of Reminiscences and Reflections), and the Gold Medal for Music from the American Academy of Arts and Letters. In 1970, he received the Ditson Conducting Award for “his unselfish championship of fellow composers.” He remained active as a conductor and composer until his death in June 2015. The Symphony for Brass and Percussion was completed in February 1950, with the first three movements written in late 1949. The premiere occurred in 1951 at a concert of the International Society of Contemporary Music in New York under the direction of Léon Barzin. The work received subsequent performances conducted by Dimitri Mitropoulos and Pierre Monteux, the former performing the work with the New York Philharmonic as well as at the Salzburg Festival. It also has served as the basis for a dance treatment by José Limon under the title The Traitor. The composer provided the following information as a preface to the score, published in 1959: The concept of the symphony is of four contrasting movements, each representing one aspect of brass characteristics. Unity is maintained by a line of increasing inner intensity (not loudness) that reaches its peak in the last movement. The introductory first movement is followed by a scherzo with passages requiring great agility and technical dexterity. The third movement, scored almost entirely for six muted trumpets, brings about a further intensification of expression. The precipitous outburst at the beginning of the last movement introduces a kind of cadenza in which a solo trumpet dominates. A short timpani roll provides a bridge to the finale proper, which is a kind of perpetuum mobile. Running through the entire movement are sixteenth-note figures passing from one instrument to another in an unbroken chain. Out of this chattering pattern emerges the climax of the movement, in which a chord consisting of all twelve notes of the chromatic scale is broken up in a sort of rhythmic atomization, each pitch being sounded on a different sixteenth of the measure. to p to bot to m : Samuel Barber, 1938. New York World Telegram and Sun Collection, Library of Congress, Prints and Photographs division Michael Tilson Thomas, photo © Art Streiber op p os i te pag e: Leonard Bernstein, ca. 1950s

samuel barber

Born March 9, 1910; West Chester, Pennsylvania Died January 23, 1981; New York City

Mutations from Bach composed 1967 f i rst p e rf o rm a n c e October 7, 1968; New York City i n st ru m e n tat i o n four horns, three trumpets, three trombones, tuba, timpani a p p roxi m at e p e rf o rm a n c e t i m e 6 minutes

Barber’s Mutations from Bach of 1968 is an arrangement for brass of three settings of the somber old German chorale “Christe, du Lamm Gottes” (Christ, Thou Lamb of God). The work opens with a simple harmonization of the melody by Joachim Decker (ca. 1575– 1611), organist at the Nikolaikirche in Hamburg from 1593 until his death. Following this austere setting are two more elaborate realizations by Johann Sebastian Bach of the hymn tune: the closing chorale of the Cantata no. 23 (Du wahrer Gott und Davids Sohn) and the canonic rendition from the Orgelbüchlein (BWV 619). The harmonic skeleton of the cantata chorale returns, draped with an arching obbligato line in the horn. Decker’s setting is heard again to end this thoughtful miniature.

michael tilson thomas

Born December 21, 1944; Los Angeles, California

Street Song for Symphonic Brass composed 1988 f i rst p e rf o rm a n c e September 17, 1988; Tokyo, Japan; Empire Brass i n st ru m e n tat i o n four horns, three trumpets and flugelhorn, three trombones, tuba a p p roxi m at e p e rf o rm a n c e t i m e 17 minutes

Michael Tilson Thomas—conductor, composer, pianist, educator, and orchestra founder—is one of America’s most gifted musicians. Born Michael Tomashevsky in Los Angeles in 1944 into an artistic family (his paternal grandparents, Boris and Bessie, founded the Yiddish Theater in New York City), Tilson Thomas studied composition and conducting with Ingolf Dahl, piano with John Crown, and harpsichord with Alice Ehlers at the University of Southern California. He shot to international prominence on October 22, 1969, when he substituted mid-concert for the ailing William Steinberg, music director of the BSO, at a performance in New York’s Philharmonic Hall; he was promoted to associate

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conductor the following year. Important positions accumulated quickly thereafter: music director of the Buffalo Philharmonic (1971–79), conductor of the New York Philharmonic’s Young People’s Concerts (1971–74), principal guest conductor of the Los Angeles Philharmonic (1981–85), music director of the Great Woods Performing Arts Center (1986–89), principal conductor of the London Symphony Orchestra (1988–95). In 1988, Tilson Thomas founded the Miami-based New World Symphony Orchestra to train young professional musicians; he continues to serve as its artistic director. In 1990, he established the Pacific Music Festival in Sapporo, Japan, with Leonard Bernstein, and was its artistic director for the next ten years. In 1995, he became music director of the San Francisco Symphony, where he has balanced the tradition orchestral repertory with a vast range of works from current and earlier generations of American composers. He was named the orchestra’s music director laureate in June 2020. Michael Tilson Thomas is also a talented composer whose works include From the Diary of Anne Frank for Narrator and Orchestra (1990, commissioned by UNICEF and premiered in Philadelphia by the late Audrey Hepburn and the New World Symphony); Shówa/Shoáh (1995, commissioned by the city of Hiroshima in commemoration of the fiftieth anniversary of that city’s bombing); Three Poems by Walt Whitman for Baritone and Orchestra (1999); Urban Legend for Contrabassoon and Percussion (2002); and Poems of Emily Dickinson for soprano Renée Fleming (2002). His most recent work, Four Preludes on Playthings of the Wind, received its premiere in Miami in April 2016 with the New World Symphony and soprano Measha Brueggergosman.

treet Song was composed in 1988 for the Empire Brass, “some of my earliest musical friends,” according to the composer.

Our meeting dates back to student days at Tanglewood when we all discovered that we had knowledge and reverence for good notes, good tunes, and good licks, whether from organum, gamelan, serialism, or latter-day be-bop. Street Song is a simple, nostalgic, street-corner sort of piece. It is the riffs of five guys from a neighborhood somewhere between Bali and Bulgaria. It has no special effects; it has only notes that are the souvenirs of real places and real people. Street Song is in three continuous parts—an interweaving of three songs. The first song opens with a jagged downward scale suspending in the air a sweetly dissonant harmony that very slowly resolves. This moment of resolution is followed by responses of various kinds. The harmonies move between the world of the Middle Ages and the present, between East and West, and always, of course, from the perspective of twentieth-century America. Overall, the movement is about starting and stopping, the moments of suspension always leading somewhere else. The second song is introduced by a yodel-like horn solo. It is followed by a simple trumpet duet, which was first written around 1972. It is folk-like in character and also cadences with suspended moments of slowly resolving dissonance. The third song is really more of a dance. It begins when the trombone slides a step higher, bringing the work into the key of F-sharp and into a jazzier swing. The harmonies here are

the stacked-up moments of suspension from the first two parts of the piece. By now I hope these “dissonant” sounds actually begin to sound “consonant.” There is a resolution, but it is in the world of a musician who after many after-hours gigs greets the dawn. Finally, the three songs are brought together and the work moves toward a quiet close.

leonard bernstein

Born August 25, 1918; Lawrence, Massachusetts Died October 14, 1990; New York City

Presto barbaro from On the Waterfront (Arranged by Frank Erickson) composed 1954 (arr. 1965) f i rst p e rf o rm a n c e August 11, 1955; Tanglewood Music Festival; Boston Symphony Orchestra, the composer conducting (Symphonic Suite) i n st ru m e n tat i o n four horns, four trumpets, three trombones, euphonium, tuba, timpani, percussion, piano a p p roxi m at e p e rf o rm a n c e t i m e 4 minutes

By early 1954, when Hollywood producer Sam Spiegel first approached Leonard Bernstein about writing the score for a new film, the maestro had firmly established himself on the American musical scene as a conductor and composer. He had served as assistant conductor of the New York Philharmonic, music director of the New York City Symphony, and musical advisor to the Israel Philharmonic. As a composer, he had won the New York Music Critics Circle Award for his Jeremiah Symphony and completed his Second Symphony (The Age of Anxiety) and the ballets Fancy Free and Facsimile, as well as the scores for two Broadway shows (On the Town and Wonderful Town). During the middle 1950s, he was much in demand as a guest conductor in Europe and America, having created a sensation in December 1953 as the first American to conduct at La Scala. Initially, Bernstein turned down Spiegel’s offer to supply the music for On the Waterfront, the film based on gritty articles about corruption on the docks, but after seeing a work print in February 1954, he agreed to undertake the project. On the Waterfront, starring Marlon Brando as a longshoreman who defies the racketeers, enjoyed enormous success when it was released, earning eight Academy awards. (Bernstein’s nominated score lost to Dimitri Tiomkin’s The High and the Mighty.) Bernstein, however, was not content to have his music (which he insisted “had been planned as a composition with a beginning, middle, and end”) remain in the background. In 1955, he extracted a “symphonic suite” based on the half-dozen thematic ideas from which he wove the tightly integrated movie score. In the film, the powerful Presto barbaro anticipates or heightens scenes of violence. Richard E. Rodda, a former faculty member at Case Western Reserve University and the Cleveland Institute of Music, provides program notes for many American orchestras, concert series, and festivals.

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Randy L. and Melvin R. † Berlin

Jim † and Kay Mabie

Robert J. Buford

Nancy Lauter McDougal and Alfred L. † McDougal

Rosemarie and Dean L. Buntrock

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

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† Deceased For complete donor listings, please visit the Richard and Helen Thomas Donor Gallery online.

profiles Michael Mulcahy Conductor Chicago Symphony Orchestra trombonist Michael Mulcahy has appeared as a soloist, conductor, and teacher worldwide. Some of his solo appearances include Jennifer Higdon’s Low Brass Concerto with the CSO and Riccardo Muti; the music of Elliott Carter with the CSO and Pierre Boulez; Leopold Mozart’s Concerto for Alto Trombone with Daniel Barenboim; and the world premiere of Carl Vine’s Five Hallucinations for Trombone and Orchestra, a solo concerto co-commissioned by the CSO and the Sydney Symphony Orchestra. Mulcahy is the winner of several international competitions, among them the Australian Broadcasting Corporation Instrumental Competition, the ARD International Music Competition in Munich, the Viotti International Music

Competition in Italy, and the International Instrumental Competition Markneukirchen. Sir Georg Solti appointed Mulcahy to the Chicago Symphony Orchestra in 1989. In addition, he is principal trombonist of Chicago’s Music of the Baroque and the Grand Teton Music Festival. Mulcahy is former principal trombonist of the Tasmanian and Melbourne symphony orchestras and the WDR Symphony Orchestra Cologne. He also is principal trombonist of the Australian World Orchestra under Briger, Mehta, Rattle, and Muti. Mulcahy’s interest in conducting was sparked by an invitation from West German Radio (WDR). He serves as director of the CSO Brass, conducts regularly for the Grand Teton Music Festival, and makes guest appearances with numerous orchestras. Michael Mulcahy became a senior lecturer at the Canberra School of Music at the Australian National University in 1987. He has led the trombone studio at Northwestern University’s Bienen School of Music since 1999, and is visiting artist at the Australian National Academy of Music in Melbourne.

chicago symphony orchestra Now celebrating its 130th season, the Chicago Symphony Orchestra is consistently hailed as one of the world’s leading orchestras. In September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. His vision for the Orchestra—to deepen its engagement with the Chicago community, to nurture its legacy while supporting a new generation of musicians, and to collaborate with visionary artists—signals a new era for the institution. The Chicago Symphony Orchestra’s distinguished history 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 establish a permanent orchestra with performance capabilities of the highest quality was realized at the first concerts in October 1891. Thomas served as music director until his death in 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 distinguished 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. He then held the title of music director laureate and returned to conduct the Orchestra for several P H OTO BY TO DD RO S E NB E RG

weeks each season until his death in September 1997. Solti’s 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. 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. From 2006 to 2010, Bernard Haitink held the post of principal conductor, the first in CSO history. Pierre Boulez’s long-standing relationship with the CSO 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 began to appear 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. Cellist Yo-Yo Ma served as the CSO’s Judson and Joyce Green Creative Consultant from 2010 to 2019. In this role, he partnered with Riccardo Muti, staff, and musicians to provide development for the Negaunee Music Institute at the CSO. Jessie Montgomery is the Mead Composer-in-Residence designate and will begin her term in July 2021. She follows ten highlyregarded composers in this role, including John Corigliano and Shulamit Ran, winners of the Pulitzer Prize for Music, and Missy Mazzoli, who will complete her three-year tenure this June. In addition to composing works for the CSO, the holder of the position curates the contemporary MusicNOW series. Since 1916, recording has been a significant part of the Orchestra’s activities. Current 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 CSO have earned sixty-three Grammy awards from the National Academy of Recording Arts and Sciences.

Major support for the Chicago Symphony Orchestra Association is generously provided by

Paul M. Angell Family Foundation

The Elizabeth F. Cheney Foundation Julius N. Frankel Foundation The Grainger Foundation John D. and Catherine T. MacArthur Foundation

The Negaunee Foundation Tawani Foundation National Endowment for the Arts Illinois Arts Council Agency

For complete donor listings, please visit the Richard and Helen Thomas Donor Gallery online.

CHICAGO SYMPHONY ORCHESTRA

Chicago Symphony Orchestra Riccardo Muti Zell Music Director

Duain Wolfe Chorus Director and Conductor Missy Mazzoli Mead Composer-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 Yuan-Qing Yu Assistant Concertmasters* So Young Bae Cornelius Chiu Alison Dalton Gina DiBello Kozue Funakoshi Russell Hershow Qing Hou Blair Milton Sando Shia Susan Synnestvedt Rong-Yan Tang

basses Alexander Hanna Principal The David and Mary Winton Green Principal Bass Chair Daniel Armstrong Joseph DiBello Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland

Baird Dodge Principal Lei Hou Ni Mei Fox Fehling Hermine Gagné Rachel Goldstein Mihaela Ionescu Sylvia Kim Kilcullen Melanie Kupchynsky Wendy Koons Meir Matous Michal Simon Michal Aiko Noda Joyce Noh Nancy Park Ronald Satkiewicz Florence Schwartz

piccolo Jennifer Gunn The Dora and John Aalbregtse Piccolo Chair

viol as Li-Kuo Chang Acting Principal The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor Catherine Brubaker Youming Chen Sunghee Choi Wei-Ting Kuo Danny Lai Diane Mues Lawrence Neuman Max Raimi Weijing Wang c ellos John Sharp Principal The Eloise W. Martin Chair Kenneth Olsen Assistant Principal The Adele Gidwitz Chair Karen Basrak Loren Brown Richard Hirschl Daniel Katz Katinka Kleijn David Sanders Gary Stucka Brant Taylor

harps Sarah Bullen Principal Lynne Turner flutes Stefán Ragnar Höskuldsson Principal The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Jennifer Gunn

oboes William Welter Principal The Nancy and Larry Fuller Principal Oboe Chair Michael Henoch Assistant Principal The Gilchrist Foundation Chair Lora Schaefer Scott Hostetler

trumpets Esteban Batallán Principal The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor Mark Ridenour Assistant Principal John Hagstrom The Pritzker Military Museum & Library Chair Tage Larsen 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 timpani David Herbert Principal The Clinton Family Fund Chair Vadim Karpinos Assistant Principal

english horn Scott Hostetler

percussion Cynthia Yeh Principal The Dinah Jacobs (Mrs. Donald P. Jacobs) Principal Percussion Chair Patricia Dash Vadim Karpinos James Ross

cl arinets Stephen Williamson Principal John Bruce Yeh Assistant Principal Gregory Smith

librarians Peter Conover Principal Carole Keller Mark Swanson

e-fl at cl arinet John Bruce Yeh

orchestra personnel John Deverman Director Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel

bassoons Keith Buncke Principal William Buchman Assistant Principal Dennis Michel Miles Maner contrabassoon Miles Maner horns David Cooper Principal Daniel Gingrich Associate Principal James Smelser David Grifﬁn Oto Carrillo Susanna Gaunt

stage technicians Christopher Lewis Stage Manager Blair Carlson Paul Christopher Ramon Echevarria Ryan Hartge Peter Landry Todd Snick

* Assistant concertmasters are listed by seniority. ‡ On sabbatical The Louise H. Benton Wagner Chair currently is 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.

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o f f icia l a irline o f the cso

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chicago symphony orchestra association board of trustees

OFFICERS

Helen Zell Chair Mary Louise Gorno Vice Chair, Chair-Elect Steven Shebik Vice Chair Liisa Thomas Vice Chair Renée Metcalf Treasurer Jeff Alexander President Renay Slifka Secretary of the Board Stacie Frank Assistant Treasurer Dale Hedding Vice President for Development HONOR ARY TRUSTEES

The Honorable Richard M. Daley Lady Valerie Solti † TRUSTEES

John Aalbregtse Peter J. Barack H. Rigel Barber Randy Lamm Berlin Roderick Branch Susan Bridge* Kay Bucksbaum Robert J. Buford Leslie Henner Burns Debra A. Cafaro

Marion A. Cameron George P. Colis Keith S. Crow Dr. Christopher L. Culp † Stephen V. D’Amore Timothy A. Duffy Brian W. Duwe Graham C. Grady Lori Julian Geraldine Keefe Donna L. Kendall Thomas G. Kilroy James Kolar Randall S. Kroszner Josef Lakonishok Patty Lane Renée Metcalf Britt M. Miller Mary Pivirotto Murley Sylvia Neil Shelley Ochab* Gerald Pauling Michael A. Perlstein* Jose Luis Prado Dr. Irwin Press Col. Jennifer N. Pritzker Dr. Mohan Rao Burton X. Rosenberg Kristen C. Rossi E. Scott Santi Steven E. Shebik

Marlon R. Smith Walter Snodell Daniel E. Sullivan, Jr. Scott Swanson Nasrin Thierer Liisa Thomas Terrence J. Truax Frederick H. Waddell Paul R. Wiggin Craig R. Williams Robert Wislow 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 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 Debora de Hoyos Mrs. Roger B. Hull Judith W. Istock William R. Jentes Paul R. Judy Richard B. Kapnick Donald G. Kempf, Jr. George D. Kennedy Mrs. John C. Kern Robert Kohl Fred A. Krehbiel Charles Ashby Lewis Eva F. Lichtenberg John S. Lillard

Donald G. Lubin James W. Mabie † 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 John W. Rogers, Jr. Jerry Rose Frank A. Rossi Earl J. Rusnak, Jr. Cynthia M. Sargent John R. Schmidt Thomas C. Sheffield, Jr. Rita Simó † Robert C. Spoerri Carl W. Stern Roger W. Stone William H. Strong Louis C. Sudler, Jr. Richard L. Thomas Richard P. Toft Penny Van Horn

* Ex-officio Trustee † Deceased List as of May 17, 2021

chicago symphony orchestra association governing members

GOVERNING MEMBERS EXECUTIVE COMMITTEE ( 2 0 2 0 – 2 1)

Michael Perlstein Chair Jared Kaplan † Immediate Past Chair Nancy Dehmlow Vice Chair of Member Engagement Charles Emmons, Jr. Vice Chair of the Annual Fund Jay Rothenberg Vice Chair of Nominations & Membership GOVERNING MEMBERS ( 2 0 2 0 – 2 1)

Anonymous (5) Dora J. Aalbregtse Floyd Abramson Fraida Aland Sandra Jo Allen Robert A. Alsaker Megan P. Anderson Dr. Edward Applebaum David Arch Dr. Kent F. Armbruster Dr. Andrew J. Aronson

Carey August Marta Holsman Babson Ed Bachrach Mara Mills Barker Judith Barnard Merrill Barnes Peter Barrett Roberta Barron Roger S. Baskes Robert H. Baum Dr. Robert A. Beatty Arlene Bennett † Edward H. Bennett III Meta S. Berger Ann Berlin Phyllis Berlin Ronald Bevil William E. Bible Mrs. Arthur A. Billings Tomás G. Bissonnette Dianne Blanco Judy Blau Merrill Blau Dr. Phyllis C. Bleck Ann Blickensderfer Terry Boden

Suzanne Borland James G. Borovsky Adam Bossov Janet S. Boyer John D. Bramsen Roderick Branch Jill Brennan Bob Brink † Mrs. William Gardner Brown John D. Brubaker † Sue Brubaker Patricia M. Bryan Gilda Buchbinder Samuel Buchsbaum Rosemarie Buntrock Elizabeth Nolan Buzard Lutgart Calcote Thomas D. Campbell Vera Capp Mary Anne Carpenter Wendy Alders Cartland Judy Castellini Tina Chapekis Mrs. William C. Childs Linton J. Childs Frank Cicero, Jr.

Dana Green Clancy Patricia A. Clickener Mitchell Cobey Jean M. Cocozza Robin Tennant Colburn Lew Collens Jane B. Colman Mrs. Earle M. Combs III Dr. Thomas H. Conner Cecilia Conrad Jenny L. Corley Patricia Cox Mrs. William A. Crane Sarah Crane Mari Hatzenbuehler Craven R. Bert Crossland Rebecca E. Crown Catherine Daniels Mrs. Robert J. Darnall Dr. Tapas K. Das Gupta Michael C. Dawson Roxanne Decyk Nancy Dehmlow Duane M. DesParte Janet Wood Diederichs Paul Dix

Lisa Dollar Buehler Mrs. William F. Dooley Ann Drake Dr. David Dranove Robert R. Duggan Frank A. Dusek Judge Frank H. Easterbrook Dorne Eastwood Mrs. Larry K. Ebert Louis M. Ebling III Jon Ekdahl Kathleen H. Elliott Mrs. Samuel H. Ellis Charles Emmons, Jr. Janice Engle Scott Enloe Dr. James Ertle Dr. Marilyn D. Ezri Tarek Fadel Melissa Sage Fadim Jeffrey S. Farbman Sally S. Feder Signe Ferguson Hector Ferral, M.D. Harve Ferrill † Constance M. Filling

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

For complete donor listings, please visit the Richard and Helen Thomas Donor Gallery online.

intermission @ the cso A podcast series hosted by CSO trumpet John Hagstrom “The topics are inherently fascinating. Love the music selections — well done!” Phil Ponce, host of WTTW’s Chicago Tonight

Available on Apple Podcasts, Google Play, Simplecast, Spotify, Stitcher or other popular platforms.

listen today John Hagstrom The Pritzker Military Museum & Library Chair

InterMISSION at the CSO is produced by Hagstrom and audio editor Rich Sigler. Support for interMISSION @ the CSO is generously provided by Phyllis Bleck and Bruce Oltman.

GOVERNING MEMBERS

Daniel Fischel Jennifer J. Fischer Adrian Radmore Foster David S. Fox Rhoda Lea Frank Paul E. Freehling Mitzi Freidheim Marjorie Friedman Heyman Philip M. Friedmann Malcolm M. Gaynor Robert D. Gecht Frank Gelber Lynn Gendleman Dr. Mark Gendleman Rabbi Gary S. Gerson Dr. Bernardino Ghetti Karen Gianfrancisco Ellen Gignilliat James J. Glasser Madeleine Condit Glossberg Judy Goldberg Mary Anne Goldberg Anne Goldstein Jerry A. Goldstone Marcia Goltermann Mary Goodkind Dr. Alexia Gordon Michael D. Gordon Donald J. Gralen Dr. Ruth Grant Mary L. Gray Freddi L. Greenberg Joyce Greening Dr. Jerri Greer D. Kendall Griffith Jerome J. Groen Jacalyn Gronek Mrs. John Growdon John P. Grube James P. Grusecki Joel R. Guillory, Jr., M.D. Dr. John W. Gustaitis, Jr. Anastasia Gutting Gary Gutting † Lynne R. Haarlow Mrs. Ernst A. Häberli Joan M. Hall Dr. Howard Halpern Mrs. Richard C. Halpern Anne Marcus Hamada Joel L. Handelman John Hard Mrs. William A. Hark Dr. Dane Hassani James W. Haugh Thomas Haynes James Heckman Mr. Dale Hedding Patricia Herrmann Heestand Mary Mako Helbert Dr. Scott W. Helm Marilyn P. Helmholz Richard H. Helmholz Dr. Arthur L. Herbst Jeffrey W. Hesse Konstanze L. Hickey Thea Flaum Hill Mary P. Hines Suzanne Hoffman Anne Hokin William J. Hokin † Wayne J. Holman III Richard S. Holson III Fred Holubow

James Holzhauer Carol Honigberg Janice L. Honigberg Nancy A. Horner Mrs. Arnold Horween Frances G. Horwich Dr. Mary L. Houston Heidi Huizenga Patricia J. Hurley Barbara Ann Huyler Michael L. Igoe Sandra Ihm Craig T. Ingram Verne G. Istock Nancy Witte Jacobs Dr. Todd Janus John Jawor Justine Jentes Mrs. William R. Jentes † Brian Johnson Ronald B. Johnson Dr. Patricia Collins Jones Edward T. Joyce Eric Kalnins Carol K. Kaplan Jared Kaplan † Claudia Norris Kapnick Lonny H. Karmin Barry D. Kaufman Kenneth V. Kaufman Marie Kaufman Don Kaul Ellen Kelleher Molly Keller Jonathan Kemper Nancy Kempf Linda J. Kenney, PhD John C. Kern † Elizabeth I. Keyser Emmy King Susan Kiphart Dr. Jay H. Kleiman Carol Evans Klenk Jean Klingenstein Janet L. Knauff Henry L. Kohn, Jr. Joseph Konen Jack Kozik Dr. Mark Kozloff David Kravitz Dr. Michael Krco MaryBeth Kretz Dr. Vinay Kumar Rubin P. Kuznitsky John LaBarbera Maria Lans Stephen M. Lans William J. Lawlor III Flora Lazar Sunhee Lee Eleanor Leichenko Sheila Fields Leiter Jeffrey P. Lennard Laurence H. Levine Mrs. Bernard Leviton Dr. Edmund J. Lewis Gregory M. Lewis Carolyn Lickerman Mrs. Paul Lieberman Dr. Philip R. Liebson Patricia M. Livingston John S. Lizzadro, Sr. Jane Loeb Amy Lubin

Mrs. Duncan MacLean Dr. Michael S. Maling David A Marshall Judy Marth Patrick A. Martin BeLinda I. Mathie Howard M. McCue III Ann Pickard McDermott Dr. James L. McGee Dr. John P. McGee II † Sharon McGee Mrs. Lester McKeever John McKenna Mrs. Peter McKinney Mrs. C. Bruce McLagan Mrs. James M. McMullan James E. McPherson Paul Meister Mary Mittler Dr. Toni-Marie Montgomery Charles A. Moore Emilie Morphew, M.D. Kate Morrison Christopher Morrow Daniel R. Murray Eileen M. Murray Stuart C. Nathan Mrs. Ray E. Newton, Jr. Edward A. Nieminen Dr. Zehava L. Noah Kenneth R. Norgan Gerard M. Nussbaum Martha C. Nussbaum William A. Obenshain Shelley Ochab Maria Ochs Mrs. James J. O’Connor Eric A. Oesterle Mrs. Norman L. Olson Joy O’Malley Thomas Orlando Beatrice F. Orzac Gerald Ostermann James J. O’Sullivan, Jr. Bruce L. Ottley China I. Oughton † Evelyn E. Padorr Dr. Pamela Papas Bruno A. Pasquinelli Timothy J. Patenode Robert J. Patterson, Jr. Michael Payette Frances Penn Mrs. Richard S. Pepper Jean E. Perkins Michael A. Perlstein Bonnie Vaughn Perry Dr. William Peruzzi Robert C. Peterson Ellard Pfaelzer, Jr. Sue N. Pick Stanley M. Pillman Virginia Johnson Pillman Betsey N. Pinkert Emilysue Pinnell-Reichardt Harvey R. Plonsker John F. Podjasek III Judy Pomeranz Stephen Potter Carol Prins Elizabeth R. B. Pruett John Wells Puth Duane Quaini Diana Mendley Rauner

Susan Regenstein Mari Yamamoto Regnier Mary Thomson Renner Burton R. Rissman Charles T. Rivkin Carol Roberts John H. Roberts William C. Roberts David Robin Dr. Diana Robin Bob Rogers Kevin M. Rooney Harry J. Roper Saul Rosen Sheli Z. Rosenberg Michael Rosenthal Dr. Roseanne Rosenthal Betsy Rosenzweig Doris Roskin Lisa Ross Dr. H. Jay Rothenberg, M.D. Roberta H. Rubin Susan B. Rubnitz Sandra K. Rusnak David W. “Buzz” Ruttenberg Mary A. Ryan Mrs. Patrick G. Ryan Richard O. Ryan William G. Ryan Norman K. Sackar Anthony Saineghi Agustin G. Sanz Inez Saunders David A. Savner Karla Scherer David M. Schiffman Judith Feigon Schiffman Rosita Schloss Shirley Schlossman Douglas M. Schmidt Al Schriesheim Donald L. Schwartz Dr. Penny Bender Sebring Chandra Sekhar Dr. Ronald A. Semerdjian Mrs. Richard J. L. Senior Ilene W. Shaw Pam Sheffield Dr. James C. Sheinin Richard W. Shepro Jessie Shih Elizabeth Shoemaker Morrell McK. Shoemaker, Jr. † Stuart Shulruff Honorable Richard J. Siegel, Ret. Adele Simmons Linda B. Simon Larry G. Simpson Craig Sirles Miyam Slater Valerie Slotnick Mrs. Jackson W. Smart, Jr. Charles F. Smith Diane W. Smith Louise K. Smith Mary Ann Smith Stanton Kinnie Smith, Jr. Stephen R. Smith Mrs. Ralph Smykal David A. Sneider Diane Snyder Kimberly Snyder Kathleen Solaro Ida N. Sondheimer

Linda Spain Orli Staley William D. Staley Helena Stancikas Grace Stanek Dr. Eugene Stark Leonidas Michael Stefanos Momoko Steiner Mrs. Richard J. Stern Liz Stiffel Mary Stowell Lawrence E. Strickling Patricia Study Cheryl Sturm Nancy K. Szalay Gregory Taubeneck David A. Thomson † Dr. Robert Thomson Scott Thomson † Carla M. Thorpe Joan Thron Mrs. Ray S. Tittle, Jr. Anne Coulter Tobey John T. Travers David Trushin Paula Turner Robert W. Turner Henry J. Underwood Zalman Usiskin Mrs. James D. Vail III Dr. Cynthia M. Valukas John E. Van Horn Mrs. Peter E. Van Nice Mrs. Herbert A. Vance † William C. Vance Julia Vander Ploeg Thomas D. Vander Veen Dr. Michael Viglione Catherine M. Villinski Christian Vinyard Theodore Wachs Mark Wagner Bernard T. Wall Nicholas Wallace Paul S. Watford Dr. Catherine L. Webb Mrs. Jacob Weglarz Mrs. Joseph M. Weil † Dr. Jamie Weiner Chickie Weisbard Richard Weiss Barbara Weller Barbara H. West † Carmen Wheatcroft Mrs. H. Blair White M. L. Winburn Stephen R. Winters Peter Wolf Laura Woll Dr. Hak Yui Wong Courtenay R. Wood Michael H. Woolever Debbie K. Wright Ronald Yonover Owen Youngman David J. Zampa Dr. John P. Zaremba Anne Zenzer Richard E. Ziegler † Gifford Zimmerman Karen Zupko

Contemporary children’s literature comes to life with animation and performances by CSO musicians.

available now:

M Y M A G IC B R E AT H

May There Always Be Sunshine

coming soon:

o l 's Sch oOUT!

premieres june 3

START STREAMING AT CSO.ORG/KIDS Support for Chicago Symphony Orchestra Association programming for children and families is provided by Abbott Fund, Archer Daniels Midland Company, John Hart and Carol Prins, Kinder Morgan, PNC, Megan and Steve Shebik, Michael and Linda Simon, the Walter and Caroline Sueske Charitable Trust and an anonymous family foundation. Allstate Insurance Company is the CSOA Youth Education Program Sponsor.

Produced in collaboration with:

administration Jeff Alexander President PRESIDENT’S OFFICE

Guillermo Muñoz Küster Executive Assistant to the President Renay Johansen Slifka Secretary of the Board of Trustees Mónica Lugo Executive Assistant to the Music Director Human Resources Lynne Sorkin Director Natalie Chan Coordinator A R T I S T I C A D M I N I S T R AT I O N

Guillermo Muñoz Küster Executive Assistant & Associate Artist Coordinator, CSO James M. Fahey Director, Programming, Symphony Center Presents Randy Elliot Director, Artistic Administration Monica Wentz Manager, Artistic Planning & Special Projects Lena Breitkreuz Artist Coordinator, Symphony Center Presents Caroline Eichler Artist Coordinator, CSO Phillip Huscher Scholar-in-Residence & Program Annotator Pietro Fiumara Artists Assistant Chorus Carolyn D. Stoner Manager Shelley Baldridge Assistant Manager & Librarian O R C H E S T R A A N D B U I L D I N G O P E R AT I O N S

Vanessa Moss Vice President Heidi Lukas Director Michael Lavin Assistant Director, Operations, SCP & Rental Events Jeffrey Stang Production Manager, CSO Joseph Sherman Production Manager, SCP & Rental Events Charles Braico House Manager Michael Manning Manager, Audio Media & Operations Charlie Post Audio Engineer Rosenthal Archives Frank Villella Director Orchestra Personnel John Deverman Director Anne MacQuarrie Manager, CSO Auditions & Orchestra Personnel Facilities John Maas Director Engineers Tim McElligott Chief Engineer Michael McGeehan Lead Engineer Kevin Walsh Dan Platt Electricians Robert Stokas Chief Electrician Doug Scheuller Stage Technicians Christopher Lewis Stage Manager Blair Carlson Paul Christopher Ramon Echevarria Ryan Hartge Peter Landry Todd Snick

Negaunee Music Institute at the CSO Jonathan McCormick Director, Education & the Negaunee Music Institute Jon Weber Director, School & Family Programs Molly Walker Orchestra Manager, Civic Orchestra of Chicago Katy Clusen Manager, School & Family Programs Sarah Vander Ploeg Coordinator, School & Community Partnerships Robert Curl Operations Coordinator, Civic Orchestra of Chicago F I N A N C E A N D A D M I N I S T R AT I O N

Stacie Frank Vice President & Chief Financial Officer Renay Johansen Slifka Executive Assistant Accounting Kerri Gravlin Director, Financial Planning & Analysis Sarah Lombardi Controller Paulette Jean Volf, Janet Kosiba Assistant Controllers Janet Hansen Payroll Manager Marianne Hahn Accounting Manager Monique Henderson Senior Accountant Hyon Yu General Ledger Manager Cynthia Maday Accounts Payable Manager Ted Sofios Payroll Assistant Information Technology Daniel Spees Director Douglas Bolino Client Systems Administrator Jackie Spark Lead Technologist Kirk McMahon Technologist SALES AND MARKETING

Ryan Lewis Vice President Melanie Kalnins Director, Marketing & Business Analysis Sheila Jones Director, Community Stewardship/ African American Network Web Systems and Applications Steve Burkholder Manager Marketing Elisabeth Madeja Director Lauren Matson Manager, Retention Marketing Alexis Diller Manager, Digital Engagement Jerry Downey Coordinator, Loyalty Marketing Olivia Serrano Coordinator, Audience Development Creative Todd Land Director Sophie Weber Creative Services Manager Eddie Limperis Designer Emily Herrington Junior Designer Content Frances Atkins Director Laura Emerick Digital Content Editor Gerald Virgil Senior Editor Kristin Tobin Designer & Print Production Manager

Communications and Public Relations Eileen Chambers Director Dana Navarro Manager Clay Baker Coordinator Sales and Ticketing Joseph Fernicola III Director Patron Services Pavan Singh Manager Patrice Fumbanks Supervisor, Hospitality Lead Aislinn Gagliardi Supervisor, Patron Loyalty Lead Preferred Services Robert Coad Manager, VIP Services Brian Koenig Manager, Group Services Box Office Joseph Garnett Manager Steve Paulin Assistant Manager The Symphony Store Tyler Holstrom Manager DEVELOPMENT

Dale Hedding Vice President Jeremiah Strickler Executive Assistant Bobbie Rafferty Director, Individual Giving & Affiliated Donor Groups Allison Szafranski Director, Leadership Gifts Alfred Andreychuk Director, Endowment Gifts & Planned Giving Charles Palys Major Gifts Officer & Administrator Rebecca Hill Major Gifts Officer Dakota Williams Associate Director, Education & Community Engagement Giving Karen Bullen Manager, Endowment Gifts & Planned Giving Emily McClanathan Manager, Strategic Development Communications Erin Gernon Prospect Research Specialist & Moves Management Coordinator Neomia Harris Senior Assistant, Individual Giving Programs & Planned Giving Institutional Advancement Susan Green Director, Foundation & Government Relations Nick Magnone Director, Corporate Development Jennifer Urevig Manager, Corporate Development Jennifer Harazin Coordinator, Institutional Giving Donor Engagement and Development Operations Liz Heinitz Senior Director, Development Operations & Annual Giving Lisa McDaniel Director, Donor Engagement Caitlyn Cushing Associate Director, Donor & Development Services Kimberly S. Duffy Senior Donor Engagement Manager Jocelyn Weberg Manager, Annual Giving Kristopher Simmons, Ariana Strahl Managers, Donor Engagement Julia McGehee Coordinator, Donor & Development Services Jamie Forssander Coordinator, Donor Engagement

NEGAUNEE MUSIC INSTITUTE

The Negaunee Music Institute invites you to a special virtual performance by artists representing various educational and community engagement programs of the CSOA.

SHOWCASE

Featuring: •

Musicians from the Chicago Symphony Orchestra

•

Musicians from the Civic Orchestra of Chicago

•

Students from the Percussion Scholarship Program

•

Fellows from the Chicago Musical Pathways Initiative

•

Parents and guest artists from Notes for Peace

•

and more

MONDAY, JUNE 14, 6:30 PM Join us for the premiere on June 14 via Facebook or YouTube.