Program Book - Overture by Chicago Symphony Orchestra

Overture June 10–13, 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 welcomed 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

P H OTOS BY TO DD RO S E NB E RG

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

P H OTO BY TO DD RO S E NB E RG

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, June 10, 2021, at 7:30 Friday, June 11, 2021, at 1:30 Saturday, June 12, 2021, at 7:30 Sunday, June 13, 2021, at 3:00

Edo de Waart Conductor

mozart

Overture to Don Giovanni, K. 527

wagner

Siegfried Idyll

mozart

Symphony No. 40 in G Minor, K. 550

Molto allegro Andante Menuetto: Allegretto Allegro assai

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 phillip huscher wolfgang mozart

Born January 27, 1756; Salzburg, Austria Died December 5, 1791; Vienna, Austria

Overture to Don Giovanni, K. 527 composed 1787

that suggests the bravado of Don Juan’s innumerable conquests (Leporello’s catalogue raisonné tallies 2,065 and still counting). In the opera house, the overture plunges straight into the drama, but Mozart quickly recognized that the overture he had written in such haste was worth playing on its own, and so he wrote thirteen measures that bring it to a stately conclusion without for a moment erasing the suspense of its cliffhanger opening.

f ir st performa nce October 29, 1787; Prague, Bohemia

richard wagner

i nstr u mentatio n two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings

Siegfried Idyll

ap proximate perfo rman ce t i m e 6 minutes f ir st cso performa nces December 5, 1891, Auditorium Theatre. Auguste Vianesi conducting (complete opera) July 22, 1947, Ravinia Festival. William Steinberg conducting most r ecent cso perfo r m a n ces August 14 and 16, 2014, Ravinia Festival. James Conlon conducting (complete opera) September 27, 28, and 29, 2018, Orchestra Hall. Riccardo Muti conducting cso r e c ording 1959. Fritz Reiner conducting. RCA

Don Giovanni has fascinated and challenged every generation since it was written. Goethe said that only Mozart could have set his Faust to music, and that “it would have to be music like Don Giovanni.” E.T.A. Hoffmann was so enraptured by the opera that he changed one of his names from Friedrich to Amadeus— despite the fact that Mozart never actually used that name himself. Flaubert said that “the three finest things in creation are the sea, Hamlet, and Mozart’s Don Giovanni.” And even Beethoven, who claimed that Lorenzo da Ponte’s libretto was unworthy of music, liked Mozart’s opera just fine, and quoted Leporello’s famous catalog aria in his own Diabelli Variations. Mozart wrote the overture to Don Giovanni at the last minute, working through the night—Constanze plied him with food and drink and told stories to keep him awake—and completing it just in time to have the parts copied before the final rehearsal that morning. The premiere had already been postponed twice, once because of insufficient rehearsal time, and again when one of the leading singers got sick. The overture begins with premonitions of the opera’s dark side—lightning bolt chords, murmuring undercurrents, and then the famous rising and falling chromatic lines that compress all the opera’s demonic drama into a left to r i gh t: Mozart, in the unfinished few chilling measures of oil portrait by brother-in-law Joseph Lange music (they will return (1751–1831), 1782 at the opera’s climax). Wagner, albumen silver-print photograph, ca. 1870, by Franz Hanfstaengl (1804–1877) Mozart then cuts to music

Born May 22, 1813; Leipzig, Germany Died February 13, 1883; Venice, Italy

composed 1870 f i rst p e rf o rm a n c e s December 25, 1870; Tribschen, Lake Lucerne, Switzerland. The composer conducting (private) December 20, 1871; Mannheim, Germany (public) i n st ru m e n tat i o n flute, oboe, two clarinets, bassoon, two horns, trumpet, strings a p p roxi m at e p e rf o rm a n c e t i m e 18 minutes f i rst c s o p e rf o rm a n c e s February 9, 1892, Saint Louis Exposition and Music Hall. Theodore Thomas conducting March 4 and 5, 1892, Auditorium Theatre. Theodore Thomas conducting July 6, 1939, Ravinia Festival. Sir Adrian Boult conducting m o st re c e n t c s o p e rf o rm a n c e s July 6, 1965, Ravinia Festival. Aaron Copland conducting March 29, 30, and 31, 2018, Orchestra Hall. Kent Nagano conducting c s o re c o rd i n g 1999. Daniel Barenboim conducting. Teldec

Although Cosima Wagner was born on December 24, she chose to celebrate her birthday on the twenty-fifth. Her diary entry for Sunday, December 25, 1870, reads: When I woke up I heard a sound, it grew ever louder, I could no longer imagine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his “symphonic birthday greeting.” I was in tears, but so, too, was the whole household; R. had set up his orchestra on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll—so the work is called . . . R. is her beloved Richard, and two of the five children are Cosima’s from her previous marriage to Hans von Bülow, whom she abruptly left for the man that even Hans, a talented pianist and

COMMENTS

conductor, admitted to be his superior in the world of music. The other three are five-year-old Isolde; Eva, three; and Siegfried, eighteen months—Cosima and Richard Wagner’s children, all born before their marriage on August 25, 1870. Tribschen is the name of the house on a promontory overlooking Lake Lucerne, where Cosima and Richard made their home. Tribschen Idyll is, of course, the Siegfried Idyll—though it wasn’t given that name for many years, after the Wagners elected to publish their private musical communication in exchange for a nice sum of money. (“The secret treasure is to become public property,” Cosima wrote in her diary.) Richard and Cosima first declared their love for each other on November 28, 1863 (like all the important events in their life together—and many of much lesser significance—it is well documented); at the time, both were married to others—she to Bülow, who was a student of her father, Franz Liszt; he to Minna Planer, an actress four years his senior, from whom he was estranged. The union between Richard and Cosima was consummated in June 1864. The following years brought artistic triumphs and personal scandals as well as an astonishing mixture of private and professional events, including the birth of Isolde, Richard and Cosima’s first child, on the very day that Bülow, still Cosima’s husband, began orchestral rehearsals for Wagner’s newest work, Tristan and Isolde. In 1869, after the triumphant premieres of Tristan and Isolde and Die Meistersinger von Nürnberg, Wagner resumed work on the Ring (which he had abandoned twelve years earlier), beginning with act 3 of Siegfried. In June, his only son, inevitably named Siegfried, was born. The following year, the Bülows’ marriage was legally dissolved (Wagner’s wife Minna had died in 1866), and on August 25 Richard and Cosima were married in the Protestant church in Lucerne. Wagner once called 1870 the happiest year of his life. Wagner composed the Tribschen Idyll later that year to celebrate his private joys: the domestic bliss of married life after years of secretiveness and scandal, the long-hoped-for birth of a son, his undying love for Cosima, and the composition of Siegfried (which in turn promised the completion of the Ring, the single greatest artistic achievement of his life). It was designed to be performed on the steps leading up to Cosima’s bedroom at Tribschen, and its instrumentation was dictated by the size of the staircase. (The first performance was given by thirteen or fifteen players—regarding this detail, oddly, there is conflicting evidence.) The piece was secretly rehearsed by the conductor Hans Richter, who learned to play the trumpet especially for the occasion (the part is just twelve measures long). The Idyll, an astonishingly beautiful and extravagant birthday gift from a man not always known for his generosity, was performed three times on Christmas Day in 1870. abov e: Cosima and Richard Wagner, 1872. Fritz Luckhardt (1843–1894), Vienna, Austria After the early morning

wake-up-call premiere, the household stopped for breakfast. The players then reassembled and the piece was repeated, followed by the wedding march from Lohengrin, Beethoven’s Septet, and yet another performance of the Idyll. Cosima was used to hearing snatches of extraordinary music around the house, but she immediately recognized that the Idyll was unique in her husband’s output. Wagner called the Idyll a symphony in the autograph score, and, when it was published in 1877, he described it as a “symphonic birthday greeting.” He had struggled with symphonic form as a young composer—he remained fond of a very Beethovenian symphony in C major that he had composed when he was twenty-nine—and continued to sketch ideas for other symphonies into his last years. The month before his death, he spoke to Cosima about a single-movement symphonic work in which the melodies would flow one into another.

he Siegfried Idyll—this title apparently dates from a performance in Meiningen in 1877—remains Wagner’s only instrumental work that is regularly played. The main theme is a generous and lilting melody sung by Brünnhilde in act 3 of Siegfried to the words beginning “Ewig war ich” (I always was, I always am, always in sweet yearning bliss). Wagner claimed that this music came to him during the summer of 1864 at the Villa Pellet, overlooking Lake Starnberg, where he and Cosima consummated their union. (He is contradicted, however, by his own obsessive record keeping: the melody was composed that November 14, when he was alone in Munich.) A second theme, introduced by the oboe, is a lullaby Wagner jotted down on New Year’s Eve 1868. The music is unusually intimate and restrained for a composer who lived a life of excess. It’s the most personal of all his works: the title page of the published score refers to “Fidi-Birdsong and Orange Sunrise”; Fidi was a favorite nickname for little Siegfried, and the sunrise was the “incredibly beautiful, fiery glow,” in Cosima’s words, of the wallpaper in his room when it was struck by the morning sun. More than any other of Wagner’s scores, the Siegfried Idyll marries the private and public sides of the most famous composer of the nineteenth century. The Siegfried of the title is both the third music drama of the Ring cycle and Wagner’s son—who was destined to carry his father’s name and beaked silhouette into the next century.

wolfgang mozart

Symphony No. 40 in G Minor, K. 550 composed entered in catalog July 25, 1788 f i rst p e rf o rm a n c e date unknown i n st ru m e n tat i o n one flute, two oboes, two clarinets, two bassoons, two horns, strings a p p roxi m at e p e rf o rm a n c e t i m e 26 minutes

COMMENTS

Listen to a CSOradio broadcast featuring Mozart’s overture to Don Giovanni, K. 527, and Symphony No. 40 in G Minor, K. 550.

f ir st cso performa nces November 18 and 19, 1892, Auditorium Theatre. Theodore Thomas conducting July 8, 1938, Ravinia Festival. Artur Rodzinski conducting most r ecent cso perfo r m a n ces July 9, 2010, Ravinia Festival. Pinchas Zukerman conducting September 27, 28, and 29, 2018, Orchestra Hall. Riccardo Muti conducting cso r e c ordings 1930. Frederick Stock conducting. RCA 1955. Fritz Reiner conducting. RCA 1981. James Levine conducting. RCA

Ironically, it is Mozart’s last three symphonies rather than the famous requiem that remain the mystery of his final years. Almost as soon as Mozart died, romantic myth attached itself to the unfinished pages of the requiem left scattered on his bed; a host of questions—who commissioned the work?; who finished it?; was Mozart poisoned?— inspired painters, novelists, biographers, librettists, playwrights, and screenwriters to heights of imaginative re-creation. We now know those answers: the requiem is unfinished, but not unexplained. The final symphonies, on the other hand—no. 39 in E-flat, the “great” G minor (no. 40), and the Jupiter (no. 41)—continue to beg more questions than we can answer. Even what was once the most provocative fact about these works—that Mozart never heard them—is now doubtful. We no longer believe that Mozart wrote these three great symphonies for the drawer alone—that goes against all we know of his working methods. But we don’t know what orchestra or occasion he had in mind. Apparently, a series of subscription to p to bot to m: Riccardo Muti leads the concerts was planned for Chicago Symphony Orchestra on September 27, the summer of 1788, when 2018. Photo by Todd Rosenberg Mozart entered the three Mozart, silverpoint drawing by Dora Stock symphonies in his catalog, (1760–1832), taken during a visit to Dresden in 1789 but there is no evidence

that the performances took place. It is likely that the works were conceived as a trilogy, with publication in mind (symphonies often were printed in groups of three), but they weren’t published during Mozart’s lifetime. Did Mozart ever hear them? Even if the projected subscription series of 1788 never took place, Mozart did tour Germany the following year, conducting concerts for which we have only sketchy details. “A Symphony,” for example, was advertised for the program at the Leipzig Gewandhaus on May 12. And back home in Vienna, no less a musical heavyweight than Antonio Salieri conducted concerts on April 16 and 17, 1791, featuring a “grand symphony” by Mozart. The fact that the G minor symphony exists in two versions—with and without clarinets—argues that Mozart revised the score for a specific performance. No Mozart symphony—not even the brilliant Jupiter—has caused as much commotion over the years as this one in G minor, sometimes known as the “great” to distinguish it from an earlier symphony in the same key. It was one of a handful of Mozart’s works to capture the romantic imagination. Like the D minor piano concerto, K. 466, it was played and admired even when Mozart’s reputation was at its lowest. It also is one of the pieces that hints at the music Mozart might have written had he lived. It inspired later composers, certainly—just listen to the minuet of Schubert’s Fifth Symphony. As with the greatest art, Mozart’s music means vastly different things to different people. Robert Schumann loved its Grecian lightness and grace; what carried it through the nineteenth century, however, was the force of its tragic power and its emotional complexity.

ike Beethoven’s Fifth, Mozart’s G minor symphony opens with material as famous as it is simple. In those few notes—some nervous pulsing from the violas and an unmelodious stammering from the violins—lies one of music’s unforgettable gestures. Fifty years after Mozart’s death, Franz Liszt produced piano arrangements of Beethoven’s nine symphonies, claiming that, aside from sheer volume and variety of timbre, one could reproduce the essence of such music at the keyboard. Mendelssohn later commented: “Well, if he can play the beginning of Mozart’s G minor symphony as it sounds in the band, I will believe him.” A response from Liszt is not recorded, but it takes no more than a few seconds at the piano to prove Mendelssohn’s point. The movement progresses with such regularity, and at an urgent, no-nonsense clip (Mozart stepped up the tempo from his original Allegro assai to Molto allegro) that we are totally unprepared for the sudden harmonic jolts of the development section. Those few rocky pages, however, do warn us of the wrenching chromaticism in the Andante that follows, and of the eight unison bars in the finale that still sound completely haywire today. The Andante is so poignant and so touching that we may not even realize that it is in a major key. Although it follows all the rules, the powerful minuet suggests many things, but not social dancing. Despite its inherent turbulence, the persistence of G minor, and the eight measures at the start of the development that push us toward Schoenberg two hundred years before his time, the last movement, like a great opera finale, ultimately creates order. Phillip Huscher has been the program annotator for the Chicago Symphony since 1987.

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Margot and Josef Lakonishok

Randy L. and Melvin R. † Berlin

The League of the CSOA

Robert J. Buford

Jim † and Kay Mabie

Rosemarie and Dean L. Buntrock

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

profiles Edo de Waart Conductor first cso performances June 26, 1971, Ravinia Festival. Ravel’s Le tombeau de Couperin, Schubert’s Symphony no. 5, and Brahms’s Piano Concerto no. 2 with John Browning November 16, 17, and 18, 1978, Orchestra Hall. Beethoven’s Violin Concerto with Itzhak Perlman and Stravinsky’s Petrushka most r ecent cso perfo r m a n ces July 25, 1998, Ravinia Festival. Beethoven’s Symphony no. 6, Berlioz’s Les nuits d’été with Susan Graham, and Ravel’s Boléro December 19, 20, 21, and 22, 2019, Orchestra Hall. Adams’s The Chairman Dances, Stravinsky’s Violin Concerto in D with Leila Josefowicz, and Dvořák’s Carnival Overture and Symphony no. 8

In the 2019–20 season, Edo de Waart began his new role as principal guest conductor of the San Diego Symphony Orchestra, for which he has been a featured guest conductor for several past seasons. He concluded his tenure as music director of the New Zealand Symphony Orchestra at the end of its 2019 season and became conductor laureate. De Waart also holds positions as conductor laureate of the Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and music director laureate of the Milwaukee Symphony Orchestra. In addition to his current posts, he formerly was music director of the San Francisco Symphony, Minnesota Orchestra, Hong Kong Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, and the Sydney Symphony Orchestra; as well as chief conductor of De Nederlandse Opera. As part of the celebrations for Beethoven’s 250th birthday anniversary, de Waart conducted all of the composer’s symphonies with the New Zealand Symphony and several Beethoven-themed

P H OTO BY J E S S E WIL L E M S

programs with the San Diego Symphony, joined by soloists Emanuel Ax and Leila Josefowicz. He made his annual appearance with the Netherlands Radio Philharmonic Orchestra and returned to the Chicago, Dallas, and Indianapolis symphony orchestras. Other guest conducting highlights included the New Japan Philharmonic, KBS Symphony Orchestra, and the Hangzhou Philharmonic Orchestra. As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth Festspielhaus, Royal Opera House (Covent Garden), Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences, he has often led semi-staged and concert performances as music director in Milwaukee, Antwerp, and Hong Kong. A renowned orchestral trainer, he has been involved with projects working with talented young performers at the Juilliard and Colburn schools and with the Music Academy of the West in Santa Barbara. De Waart’s extensive discography encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony no. 1 and Oboe Concerto and Mahler’s Symphony no. 1 and Elgar’s Dream of Gerontius with the Royal Flemish Philharmonic (Antwerp Symphony Orchestra since 2017). Beginning his career as an assistant conductor to Leonard Bernstein at the New York Philharmonic, de Waart then returned to Holland, where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1973, he was appointed chief conductor and artistic director of the Rotterdam Philharmonic Orchestra. Edo de Waart has received numerous awards and honors for his musical achievements, including being named a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He also is an Honorary Fellow of the Hong Kong Academy for Performing Arts.

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 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 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. cso.org

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

o f f icia l a irline o f the cso

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.

The CSOradio broadcast series brings unparalleled live performances to thousands of listeners weekly and features the radio series, From the CSO’s Archives: The First 130 Years.

listen at cso.org/radio

The Chicago Symphony Orchestra Association thanks Bank of America for its special support of the CSOradio broadcast series.

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.

Go beyond the music

Watch. Read. Listen. experience.cso.org

Generous support for the Chicago Symphony Orchestra Association’s media portal is provided by the Walter and Karla Goldschmidt Foundation.

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

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.

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.

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

o l 's Sch oOUT! 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: