MONDAY, JUNE 27, 2022 JAY PRITZKER PAVILION, MILLENNIUM PARK
CONCERT FOR CHICAGO
The Chicago Symphony Orchestra is grateful to Bank of America for its generous support as the Maestro Residency Presenter.
The Chicago Symphony Orchestra is grateful to the Chicago Tribune and WBBM Newsradio 780 and 105.9 FM for their generous support as media partners of Concert for Chicago.
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a note from riccardo muti zell music director
The musicians of the Chicago Symphony Orchestra and I welcome you to our 2022 Concert for Chicago. We are pleased to return to the Jay Pritzker Pavilion in Millennium Park for our sixth performance here together. I began the tradition of performing a free concert each season when I became music director in 2010, and it continues to be a meaningful way for the Orchestra to connect with the people of this great city beyond the concert hall. Tonight’s reunion is no exception. While making great music is at the heart of what we do as musicians, preserving the legacy of symphonic music and providing opportunities for everyone to have access to the art form are of equal importance. Music is not only a profession for us; it is our mission. Our work is never finished. We know the notes, but it is what is behind the notes that is most important. It demands nothing less than our complete commitment. We are here to voice our collective emotions, to give you the sound of beauty and harmony. This is what makes music a universal language that can bring us closer together. We live in a modern world, where the value of human connection must be celebrated. I am so happy you are here to listen to an orchestra that is more than 130 years old and that has given beauty and music to so many generations. I know it will continue to do so with your support. Stay close to your Orchestra and enjoy tonight’s performance!
Riccardo Muti Zell Music Director Chicago Symphony Orchestra
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a note from the chair and the president
On behalf of the Chicago Symphony Orchestra Association, we are pleased to welcome you to the Concert for Chicago led by Zell Music Director Riccardo Muti. Coming together in Millennium Park in the heart of our great city for a special evening of music is always a special occasion and a reason for celebration. The tradition of the Chicago Symphony Orchestra performing a free concert at the start of the season began in 2010 at Maestro Muti’s suggestion. It was the perfect way to introduce him to the city of Chicago and to celebrate the beginning of his tenure as music director. Since then, Muti has led free community concerts across the city in church sanctuaries and high school auditoriums, and notably in multiple appearances here at Millennium Park. This Concert for Chicago comes at the end of a season that has felt like a homecoming. After more than a year without it, hearing the powerful sound of the Orchestra again at Symphony Center has represented a meaningful return to cultural life. Riccardo Muti and the Chicago Symphony Orchestra share a core belief that music has the power to enrich and transform lives and improve humanity. In 2022, we all share a renewed appreciation for the importance of music. We are grateful for our partnership with the City of Chicago through the Department of Cultural Affairs and Special Events and the support from Kenneth C. Griffin, Citadel, and Citadel Securities in making tonight’s concert possible. Thank you for making live music part of your life, and for your support this season and during the pandemic. We promise many more seasons of memorable performances that will heighten your senses, lift your spirits, and enrich all our lives in the months and years to come.
Mary Louise Gorno Chair, Board of Trustees Chicago Symphony Orchestra Association
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Jeff Alexander President Chicago Symphony Orchestra Association
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The Chicago Symphony Orchestra thanks
Kenneth C. Griffin, Citadel, and Citadel Securities
for their generous sponsorship of the Concert for Chicago.
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ONE HUNDRED THIRT Y-FIRST SE ASON
CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI Zell Music Director Monday, June 27, 2022, at 6:30 Jay Pritzker Pavilion, Millennium Park
Riccardo Muti Conductor shostakovich tchaikovsky
Festive Overture, Op. 96 Symphony No. 4 in F Minor, Op. 36
Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco
There will be no intermission.
Please note that this performance is being broadcast live on WFMT 98.7 FM and streamed at wfmt.com and on the WFMT app.
The Concert for Chicago is generously sponsored by Kenneth C. Griffin, Citadel, and Citadel Securities. Bank of America is the Maestro Residency Presenter. United Airlines is the Official Airline of the Chicago Symphony Orchestra. The Chicago Symphony Orchestra is grateful to the Chicago Tribune and WBBM Newsradio 780 and 105.9 FM for their generous support as media partners of Concert for Chicago. This program is partially supported by a grant from the Illinois Arts Council Agency. Concert for Chicago is presented with the Chicago Department of Cultural Affairs and Special Events. CSO.ORG
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comments by daniel jaffé | phillip huscher dmitri shostakovich
Born September 25, 1906; Saint Petersburg, Russia Died August 9, 1975; Moscow, Russia
Festive Overture, Op. 96 In March 1956, six months before his fiftieth birthday, Shostakovich fretted: “I’ll soon start to feel like a Rossini. As everybody knows, that composer wrote his last composition at the age of forty, after which he lived until the age of seventy without composing another note. That’s small comfort for me.” To anyone who knew Shostakovich, renowned for the phenomenal speed at which he could write his compositions, and who indeed remained productive to the last months of his life, his worry that he was bound to creatively “dry up” might appear histrionic and rather absurd. Yet Rossini’s brilliant facility until he “retired” from composition clearly resonated in Shostakovich’s mind: it seems no coincidence that his very last symphony, composed in 1971, includes an obvious quotation from Rossini’s overture to his last opera, William Tell. And the circumstances in which Shostakovich composed his Festive Overture in 1954 seem rather akin to Rossini, who famously had to be locked into his hotel room until he composed the required overture to his opera The Thieving Magpie; Shostakovich, again, composed his overture against the clock, providing the work within a day. But in Shostakovich’s case, it was not a situation of his own making. The conductor, Vasily Nebolsin, had found himself with no opening work ready for the planned concert to mark the seventy-fifth anniversary of the October Revolution, and had approached Shostakovich in some panic just two days before the dress rehearsal asking him to fill the breach. Shostakovich’s friend, Lev Lebedinsky, recalls how Shostakovich asked him to stay and keep him company while he composed the overture. The composer “was able to talk, make jokes, and compose simultaneously.” In due course, Nebolsin telephoned and asked if Shostakovich had anything ready for his copyists—should he send a courier? A slight hesitation, and then Shostakovich replied: “Send him!” Lebedinsky then witnessed one courier after another collecting manuscript pages from Shostakovich, the ink still wet, to be transcribed into individual orchestral parts by Nebolsin’s team of copyists.
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composed 1954 f i rst p e rf o rm a n c e November 6, 1954; Moscow, Russia i n st ru m e n tat i o n two flutes with piccolo, three oboes, three clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, strings a p p roxi m at e p e rf o rm a n c e t i m e 6 minutes
a b o v e : Dmitri Shostakovich, photo by Roger Rössing (1929–2006) and Renate Rössing (1929–2005), 1950. Deutsche Fotothek
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The result, as Lebedinsky recalls, is “this brilliant effervescent work, with its vivacious energy spilling over like uncorked champagne.” In its bubbling high spirits, it seems to foretell
Bernstein’s Overture to Candide, composed just two years later. —Daniel Jaffé
pyotr tchaikovsky
Born May 7, 1840; Votkinsk, Russia Died November 18, 1893; Saint Petersburg, Russia
Symphony No. 4 in F Minor, Op. 36 Tchaikovsky was at work on his Fourth Symphony when he received a letter from Antonina Milyukova claiming to be a former student of his and declaring that she was madly in love with him. Tchaikovsky had just read Pushkin’s Eugene Onegin, hoping to find an opera subject, and he saw fateful parallels between Antonina and Pushkin’s heroine, Tatiana. Perhaps Tchaikovsky confused art and life; in any event, the consequences were dire. It is hard to say which letter provoked the stronger response from Tchaikovsky—the despairing letter Tatiana writes to the coldhearted Onegin, or the one he himself received from Antonina, threatening suicide. The first inspired one of the great scenes in opera; the latter precipitated a painful and disastrous marriage. We have since learned enough about Tchaikovsky, and about the agony of repressed homosexuality, to understand why he would choose to marry a woman he didn’t even know as a kind of cover. (Less than a year earlier, Tchaikovsky had begun an extraordinary relationship, conducted exclusively by correspondence, with Nadezhda von Meck, and he delighted in the combination of intellectual intimacy and physical distance.) On June 1, 1877, Tchaikovsky stopped work on the first three movements of this symphony and visited Antonina Milyukova for the first time. A day or two later, he proposed. He didn’t tell Nadezhda von Meck of his plans until three days before the wedding. In that letter, he confessed that he had “lived thirty-seven years with an innate aversion to marriage. . . . In a day or two my marriage will take place,” he wrote in closing. “What will happen after that I do not know.” Tchaikovsky quickly learned that, in addition to the obvious strain of living with someone to whom he felt profound physical aversion, he would grow to disdain Antonina, particularly after
composed May 1877–January 19, 1878 f i rst p e rf o rm a n c e March 4, 1878; Moscow, Russia i n st ru m e n tat i o n two flutes with piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, strings a p p roxi m at e p e rf o rm a n c e t i m e 44 minutes
f r o m t o p : Pyotr Tchaikovsky, portrait by Alfred Lorens (1830–1896), 1874 Portrait of Tchaikovsky with his wife Antonina Milyukova (1848–1917) at the time of their honeymoon in 1877 by Ivan Dyagovchenko (1835–1887)
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the stunning discovery that she knew not one note of music. “My heart is full,” he wrote to von Meck. “It thirsts to pour itself out in music.” It was music that kept him going. When he was able to escape, temporarily, to Kamenka, he found solace in his fourth symphony and by working intermittently on Eugene Onegin. He returned to Moscow in late September, barely in time to begin the fall term at the conservatory, and discovered, surely without surprise, that he could maintain the façade no longer. Many years later, he confessed that he waded into the Moscow River, hoping to contract a fatal chill, and stood with the icy water up to his waist until he could, literally, stand no more. He then fled to Saint Petersburg, where a psychiatrist prescribed a complete change of scenery and a permanent separation from Antonina. Nicolai Rubinstein and Tchaikovsky’s brother Anatoly rushed to Moscow to tell Antonina. She listened calmly and served them tea. Tchaikovsky’s marriage lasted less than three months. On October 13, Anatoly took Tchaikovsky to Switzerland, then on to Paris and Italy. Tchaikovsky asked that the unfinished manuscript of the Fourth Symphony be sent from Moscow and he completed the scoring in January 1878. He finished Eugene Onegin the following month. That March he sketched the violin concerto in just eleven days. When he returned to Russia in late April, his problems with Antonina were still unresolved—she first accepted and then rejected the divorce papers, and later extracted her final revenge by moving into the apartment above his—but the worst year of his life was over.
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he temptation to read a program into Tchaikovsky’s Fourth Symphony is as old as the work itself. Since Nadezhda von Meck allowed Tchaikovsky to dedicate the symphony to her (without mentioning her name) and was contributing generously to support his career, she demanded to know what the work was about. Tchaikovsky’s response, often quoted, is a detailed account, filled with emotional thoughts and empty phrases—words written
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after the fact to satisfy an indispensable patron. When Tchaikovsky mentions fate, however, his words ring true; this was a subject that had haunted him since 1876, when he saw Carmen and was struck by the “death of the two principals who, through fate, fatum, ultimately reach the peak of their suffering and their inescapable end.” He wrote to Nadezhda von Meck: The introduction is the seed of the whole symphony, undoubtedly the main idea. This is fate, that fatal force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above your head like the sword of Damocles, and unwaveringly, constantly poisons the soul. Indeed, the icy blast from the horns that opens this symphony returns repeatedly in the first movement (and once in the finale), each time wiping out everything in its path. It’s like the celebrated fate motive from Beethoven’s Fifth Symphony—the one the composer himself compared to fate knocking at the door—except that it’s more of a disruption than a compositional device. Later, Tchaikovsky wrote to the composer Sergei Taneyev, a former student: Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic. Ought not a symphony—that is, the most lyrical of all forms— to be such a work? Should it not express everything for which there are no words, but which the soul wishes to express, and which requires to be expressed? . . . Please do not think that I aspire to paint before you a depth and grandeur of thought that cannot be easily understood in words. I was not trying to express any new thought. In essence, my symphony imitates Beethoven’s Fifth; that is, I was not imitating its musical thoughts, but the fundamental
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idea. Do you think there is a program in the Fifth Symphony? Not only is there a program, but in this instance there cannot be any question about its efforts to express itself. My symphony rests upon a foundation that is nearly the same, and if you haven’t understood me, it follows only that I am not a Beethoven, a fact which I have never doubted. Taneyev was perhaps the first to question the preponderance of what he called ballet music in the symphony. In fact, the lilting main theme of the opening movement (marked “in movimento di valse”) and the whole of the two inner movements—the slow pas de deux with its mournful oboe solo, and the brilliant and playful pizzicato scherzo—remind us that the best of Tchaikovsky’s ballet scores are symphonic in scope and tone. Tchaikovsky was angered by the comment and asked Taneyev if he considered as ballet music “every cheerful tune that has a dance rhythm? If that’s the case,” he concluded, “you must also be unable to reconcile yourself to the majority of Beethoven’s symphonies in
which you encounter such things at every turn.” The finale is more complex, emotionally and musically, swinging from the dark emotions of the first movement to a more festive mood. “If you cannot discover reasons for happiness in yourself,” Tchaikovsky wrote to Mme von Meck, “look at others. Get out among the people. Look what a good time they have simply surrendering themselves to joy.” There is one final intrusion of the fateful horns from the symphony’s opening, but this time the music quickly recovers, rousing itself to a defiantly triumphant and heroic Beethovenian ending, in intention if not in substance. —Phillip Huscher
Daniel Jaffé is a regular contributor to BBC Music Magazine and a specialist in English and Russian music. He is the author of a biography of Sergei Prokofiev (Phaidon) and the Historical Dictionary of Russian Music (Scarecrow Press). Phillip Huscher has been the program annotator of the Chicago Symphony Orchestra since 1987. He is also its scholar-in-residence.
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profiles Riccardo Muti Conductor Riccardo Muti is one of the preeminent conductors of our day. In 2010, when he became the tenth music director of the Chicago Symphony Orchestra (CSO), he had more than forty years of experience at the helm of Maggio Musicale Fiorentino (1968–1980), the Philharmonia Orchestra (1973– 1982), the Philadelphia Orchestra (1980–1992), and Teatro alla Scala (1986–2005). Muti’s leadership with the CSO has been distinguished by the strength of his artistic partnership with the Orchestra; his dedication to performing great works of the past and present, including thirteen world premieres to date; the enthusiastic reception he and the CSO have received on national and international tours; and eight recordings on the CSO Resound label, with three Grammy awards among them. In addition, his contributions to the cultural life of Chicago— with performances throughout its many neighborhoods and at Orchestra Hall—have made a lasting impact on the city. Born in Naples, Riccardo Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella, graduating with distinction. He subsequently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan under the guidance of Bruno Bettinelli and Antonino Votto. Herbert von Karajan invited him to conduct at the Salzburg Festival in Austria in 1971, and Muti has maintained a close relationship with the summer festival and with its great orchestra, the Vienna Philharmonic, for more than fifty years. He has received the distinguished Golden Ring and the Otto Nicolai Gold Medal from the Philharmonic for his outstanding artistic contributions to the orchestra. He also is a recipient of a silver medal from the Salzburg Mozarteum and the Golden Johann Strauss Award by the Johann Strauss Society of Vienna. He is an honorary member of Vienna’s Gesellschaft der P H OTO BY TO DD RO S E NB E RG
Musikfreunde, the Vienna Hofmusikkapelle, the Vienna Philharmonic, and the Vienna State Opera. In 2021, he conducted the Vienna Philharmonic in the New Year’s Concert for the sixth time. In addition to his distinguished appointments as music director, Muti has received innumerable international honors. He is a Cavaliere di Gran Croce of the Italian Republic, Officer of the French Legion of Honor, and a recipient of the German Verdienstkreuz. Queen Elizabeth II bestowed on him the title of honorary Knight Commander of the British Empire, and Pope Benedict XVI made him a Knight of the Grand Cross First Class of the Order of Saint Gregory the Great—the highest papal honor. Muti also has received Israel’s Wolf Prize for the arts, Sweden’s prestigious Birgit Nilsson Prize, Spain’s Prince of Asturias Award for the Arts, Japan’s Order of the Rising Sun Gold and Silver Star decoration and Praemium Imperiale for Music, and the gold medal from Italy’s Ministry of Foreign Affairs as well as the prestigious “Presidente della Repubblica” award from the Italian government. In 2021, Muti received the Great Golden Decoration of Honor for Services to the Republic of Austria. Passionate about teaching young musicians, Muti founded the Luigi Cherubini Youth Orchestra in 2004 and the Riccardo Muti Italian Opera Academy in 2015. The purpose of the Italian Opera Academy—which takes place in Italy, as well as in Japan since 2019 as part of a multi-year collaboration with the Tokyo Spring Festival—is to pass on Muti’s expertise to young musicians and to foster a better understanding of the complex journey to the realization of an opera. Through Le vie dell’Amicizia (The Roads of Friendship), a project of the Ravenna Festival in Italy, he has conducted in many of the world’s most troubled areas in order to bring attention to civic and social issues. The label RMMUSIC is responsible for his recordings. riccardomuti.com riccardomutioperacademy.com riccardomutimusic.com CSO.ORG
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chicago symphony orchestra The Chicago Symphony Orchestra is consistently hailed as one of the world’s leading orchestras, and in September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. During his tenure, the Orchestra has deepened its engagement with the Chicago community, nurtured its legacy while supporting a new generation of musicians and composers, and collaborated with visionary artists. The history of the Chicago Symphony Orchestra began in 1889, when Theodore Thomas, then the leading conductor in America and a recognized music pioneer, was invited by Chicago businessman Charles Norman Fay to establish a symphony orchestra here. Thomas’s aim to build a permanent orchestra with performance capabilities of the highest quality was realized at the first concerts in October 1891 in the Auditorium Theatre. Thomas served as music director until his death in January 1905—just three weeks after the dedication of Orchestra Hall, the Orchestra’s permanent home designed by Daniel Burnham. Frederick Stock, recruited by Thomas to the viola section in 1895, became assistant conductor in 1899 and succeeded the Orchestra’s founder. His tenure lasted thirty-seven years, from 1905 to 1942—the longest of the Orchestra’s music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. Stock also established youth auditions, organized the first subscription concerts especially for children, and began a series of popular concerts. Three eminent conductors headed the Orchestra during the following decade: Désiré Defauw was music director from 1943 to 1947; Artur Rodzinski assumed the post in 1947–48; and Rafael Kubelík led the ensemble for three seasons from 1950 to 1953. The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony Orchestra are still considered performance hallmarks. It was Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. For the five seasons from 1963 to 1968, Jean Martinon held the position of music director. Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. His arrival launched one of the most successful musical partnerships of our time, and the CSO made its first overseas tour to Europe in 1971 under his direction, along with numerous award-winning recordings. Solti then held
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the title of music director laureate and returned to conduct the Orchestra for several weeks each season until his death in September 1997. Daniel Barenboim was named music director designate in January 1989, and he became the Orchestra’s ninth music director in September 1991, a position he held until June 2006. His tenure was distinguished by the opening of Symphony Center in 1997, highly praised operatic productions at Orchestra Hall, numerous appearances with the Orchestra in the dual role of pianist and conductor, twenty-one international tours, and the appointment of Duain Wolfe as the Chorus’s second director. Pierre Boulez’s long-standing relationship with the Orchestra led to his appointment as principal guest conductor in 1995. He was named Helen Regenstein Conductor Emeritus in 2006, a position he held until his death in January 2016. Only two others have served as principal guest conductors: Carlo Maria Giulini, who appeared in Chicago regularly in the late 1950s, was named to the post in 1969, serving until 1972; Claudio Abbado held the position from 1982 to 1985. From 2006 to 2010, Bernard Haitink was the Orchestra’s first principal conductor. Cellist Yo-Yo Ma served as the CSO’s Judson and Joyce Green Creative Consultant from 2010 to 2019. Hilary Hahn currently is the CSO’s Artist-in-Residence, a role that brings her to Chicago for multiple residencies each season. Jessie Montgomery is the current Mead Composerin-Residence. She follows ten highly regarded composers in this role, including John Corigliano and Shulamit Ran—both winners of the Pulitzer Prize for Music—and Missy Mazzoli, who completed her threeyear tenure in June 2021. In addition to composing works for the CSO, Montgomery curates the contemporary MusicNOW series. The Orchestra first performed at Ravinia Park in 1905 and appeared frequently through August 1931, after which the park was closed for most of the Great Depression. In August 1936, the Orchestra helped to inaugurate the first season of the Ravinia Festival, and it has been in residence nearly every summer since. Since 1916, recording has been a significant part of the Orchestra’s activities. 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 Chicago Symphony Orchestra and Chorus have earned sixty-three Grammy awards from the National Academy of Recording Arts and Sciences.
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Chicago Symphony Orchestra Riccardo Muti Zell Music Director
Jessie Montgomery Mead Composer-in-Residence Hilary Hahn Artist-in-Residence violins Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Stephanie Jeong Associate Concertmaster The Cathy and Bill Osborn Chair David Taylor Assistant Concertmaster* The Ling Z. and Michael C. Markovitz Chair Yuan-Qing Yu Assistant Concertmaster* So Young Bae Cornelius Chiu Alison Dalton Gina DiBello Kozue Funakoshi Russell Hershow Qing Hou Matous Michal Simon Michal Blair Milton Sando Shia Susan Synnestvedt Rong-Yan Tang Baird Dodge Principal Lei Hou Ni Mei Fox Fehling § Hermine Gagné Rachel Goldstein Mihaela Ionescu Sylvia Kim Kilcullen Melanie Kupchynsky Wendy Koons Meir Aiko Noda § Joyce Noh Nancy Park Ronald Satkiewicz Florence Schwartz 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 Weijing Michal
Diane Mues Lawrence Neuman Max Raimi cellos John Sharp Principal The Eloise W. Martin Chair Kenneth Olsen Assistant Principal The Adele Gidwitz Chair Karen Basrak The Joseph A. and Cecile Renaud Gorno Chair Loren Brown Richard Hirschl Daniel Katz Katinka Kleijn David Sanders Gary Stucka Brant Taylor basses Alexander Hanna Principal The David and Mary Winton Green Principal Bass Chair Daniel Armstrong ‡ Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland harp Lynne Turner flutes Stefán Ragnar Höskuldsson Principal The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Jennifer Gunn piccolo Jennifer Gunn The Dora and John Aalbregtse Piccolo Chair oboes William Welter Principal The Nancy and Larry Fuller Principal Oboe Chair Michael Henoch Assistant Principal The Gilchrist Foundation Chair Lora Schaefer Scott Hostetler
english horn Scott Hostetler cl arinets Stephen Williamson Principal John Bruce Yeh Assistant Principal Gregory Smith e-fl at cl arinet John Bruce Yeh 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 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
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 percussion Cynthia Yeh Principal Patricia Dash Vadim Karpinos James Ross librarians Peter Conover Principal Carole Keller Mark Swanson orchestra personnel John Deverman Director Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel stage technicians Christopher Lewis Stage Manager Blair Carlson Paul Christopher Ramon Echevarria Ryan Hartge Peter Landry Todd Snick
trombones Jay Friedman Principal The Lisa and Paul Wiggin Principal Trombone Chair Michael Mulcahy Charles Vernon bass trombone Charles Vernon
* Assistant concertmasters are listed by seniority. ‡ On sabbatical § On leave 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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