IN MILLENNIUM PARK
2021
GRANT PARK ORCHESTRA AND CHORUS July 21-24 | Book 4
Investments in our community yield the greatest return William Blair is proud to support the Grant Park Music Festival as Chicago’s summer musical sensation. As a premier global boutique with expertise in investment banking, investment management, and private wealth management, we provide advisory services, strategies, and solutions to meet our clients’ evolving needs.
JULY
SEASON AT A GLANCE
2&3
INDEPENDENCE DAY SALUTE
7
WILLIAM TELL OVERTURE
9 & 10 BRAHMS SYMPHONY NO. 3 14
BEETHOVEN SYMPHONY NO. 1
16 & 17 SIBELIUS SYMPHONY NO. 5 21
BRUCKNER E MINOR MASS
AUGUST
23 & 24 DVOŘÁK NEW WORLD SYMPHONY 28
PRELUDE TO THE AFTERNOON OF A FAUN
4
FROM IRELAND WITH LOVE
6&7
SIBELIUS VIOLIN CONCERTO
11
CARNIVAL OF THE ANIMALS
13 & 14 CLASSIC BROADWAY 18
SCHUBERT MASS IN G MAJOR
20 & 21 MOZART VIOLIN CONCERTO NO. 3
ALL CONCERTS AT THE JAY PRITZKER PAVILION 6:30 PM
CALL 312.742.7647 OR VISIT GPMF.ORG 2021 Grant Park Music Festival |
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7:09PM
The moment you found your inspiration.
Thank you to the Grant Park Music Festival for inspiring the Windy City for more than 87 years. The Fairmont Chicago is proud to be the official hotel of the Grant Park Music Festival and we are looking forward to the next 87 years of beautiful music on the park. Keep up with everything Millennium Park at theparkpage.com.
200 North Columbus Drive l Chicago, Illinois 60601 312-565-8000 l fairmont.com/chicago
2021 GRANT PARK MUSIC FESTIVAL
Welcome back! We are thrilled to once again fill Millennium Park with the glorious sound of music. I know for so many people, there’s nothing quite like this concert series—the music, the architecture, the spectacular scenery, and the wonder of experiencing all these things as a community. And that’s what it’s all about. While many of us were music lovers first, we’ve all come to understand the unmatched power of experiencing music with others. The Grant Park Music Festival is one of a kind in that respect; it’s the only annual festival of orchestral and choral music in the United States that invites the community to come together, free of charge. This is the place for Chicagoans to gather, kick off their shoes, reconnect with people and marvel at this unique city. And I don’t have to remind anyone that it’s been a while since we’ve been able to do that. With Carlos Kalmar, Christopher Bell and the Grant Park Orchestra and Chorus, we jumpstart the cultural life in downtown Chicago. And what a lineup! It’s a range of musical offerings from choral masterworks to family programming to classic favorites. Meanwhile the Festival’s gifted young professionals—our Project Inclusion fellows—are bringing an inspired program of string quartet music by women and BIPOC composers to neighborhood parks. That all these concerts are the first live performances that people have been able to share in more than a year makes them especially poignant. Thank you for joining us here on Chicago’s lakefront. If you can, please do some shopping, some dining, visit a museum and join us in helping to further our city’s reawakening. My thanks to our members, donors, staff, musicians, and board of directors who’ve made our return to Millennium Park a reality. Enjoy tonight’s concert. Tell your friends about us. And come again.
Paul Winberg President and CEO
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GRANT PARK ORCHESTRA
Carlos Kalmar, Artistic Director and Principal Conductor Violin I Jeremy Black, concertmaster Dayna Hepler, assistant concertmaster* Jennifer Cappelli Injoo Choi Dima Dimitrova Pauli Ewing† Hyewon Kim Matthew Lehmann Jayna Park Rika Seko Karen Sinclair Bonnie Terry Jeanine Wynton Krzysztof Zimowski Violin II Liba Shacht, principal Laura Miller, assistant principal Alexander Belavsky Ying Chai Ran Cheng† Karl Davies Ann Lehmann Cristina Muresan Kjersti Nostbakken Irene Radetzky Michael Shelton Thomas Yang
Double Bass Colin Corner, principal Jon McCullough-Benner, assistant principal Andrew Anderson John Floeter Timothy Shaffer Chris White Flute Mary Stolper, principal Alyce Johnson Jennifer Lawson, assistant principal Piccolo Jennifer Lawson Oboe Nathan Mills, principal* Anne Bach, acting principal Kevin Pearl† Lindsay Flowers† English Horn Margaret Butler, acting assistant principal†
Clarinet Dario Brignoli, principal Trevor O’Riordan Viola Gene Collerd, assistant Terri Van Valkinburgh, principal principal Yoshihiko Nakano, assistant principal Bass Clarinet Elizabeth Breslin Gene Collerd Patrick Brennan Amy Hess Bassoon Marlea Simpson Eric Hall, principal* Rebecca Swan Carin Miller Packwood, acting principal† Cello Catherine Chen, Walter Haman, principal acting principal† Peter Szczepanek, Nicole Haywood, assistant principal assistant principal Calum Cook Larry Glazier Contrabassoon Steven Houser Michael Davis* Eric Kutz Martin Gordon† Eran Meir Mark Romatz† Linc Smelser
French Horn Jonathan Boen, principal Stephanie Blaha, assistant principal Neil Kimel Brett Hodge Robert Johnson Trumpet David Gordon, principal Channing Philbrick* William Denton, assistant principal Michael Myers* Michael Brozick† Billy Hunter, Jr.† Trombone Daniel Cloutier, principal Jeremy Moeller, assistant principal Bass Trombone Graeme Mutchler Tuba Andrew Smith, principal Timpani Daniel Karas, principal Percussion Joel Cohen, acting principal Doug Waddell, acting assistant principal Harp Kayo Ishimaru-Fleisher, principal Keyboards Andrea Swan, principal* Orchestra Librarian Michael Shelton, principal Project Inclusion Fellows Allison Lovera, violin Pablo Sanchez, violin Edwardo Rios, viola Cole Randolph, cello * denotes leave-of-absence † denotes seasonal substitute
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CARLOS KALMAR
Artistic Director & Principal Conductor Carlos Kalmar has been Principal Conductor of the Grant Park Music Festival since 2000, and was named Artistic Director in 2011. Under Kalmar’s leadership, the Grant Park Music Festival has become one of the world’s preeminent classical music festivals, and his role has been essential in shaping its artistic vision. In May 2021, Kalmar was named Director of Orchestral and Conducting Programs and Principal Conductor of the Cleveland Institute of Music. He previously served as music director of the Oregon Symphony for nearly 20 years, and served as the Chief Conductor and Artistic Director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the Music Director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonkünstler Orchestra, and the Anhaltisches Theater in Dessau, Germany. Kalmar The position of Artistic keeps an active schedule conducting in concert Director and Principal Conductor is partially halls and opera houses around the world. Carlos underwritten by a generous Kalmar is Uruguayan-Austrian and lives in the gift from Sage Foundation. United States.
CHRISTOPHER BELL Chorus Director
Christopher Bell has served as Chorus Director of the Grant Park Chorus since 2002 and conducts the orchestra and chorus for several concerts each summer. During his tenure, he and the chorus have been recipients of the coveted Margaret Hillis Award for Choral Excellence given by Chorus America, as well as glowing reviews from both critics and audiences alike. In 2013, Bell won the Michael Korn Founders Award for Development of the Professional Choral Art. Largely responsible for the formation of the National Youth Choir of Scotland in 1996, he has been its Artistic Director ever since. Between 2007 and 2018 Bell was chorus director of the Edinburgh Festival Chorus, and between 2018 and 2020 he was Artistic Director of the Washington The position of Chorus. Bell was awarded an Honorary Doctorate in Chorus Director is Music from the Royal Conservatoire in Scotland in partially underwritten 2012 in recognition of his contribution to performing by a generous gift from Joyce Saxon. arts in Scotland. In 2015, he was awarded an Honorary Doctorate from the University of Aberdeen.
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GRANT PARK CHORUS
Christopher Bell, Chorus Director Soprano Laura Lynch Anderson Alyssa Bennett Bethany Clearfield Nathalie Colas Kaitlin Foley Saira Frank Katherine Gray-Noon Katelyn Lee Rosalind Lee Hannah Dixon McConnell Susan Nelson Angela Presutti Korbitz Alexia Rivera Emily Sinclair Catherine Spitzer* Sarah van der Ploeg Sherry Watkins Alto Lindsey Adams Melissa Arning Rebekah Kirsten Askeland Hannah Busch Julie DeBoer Stacy Eckert Margaret Fox Ilana Goldstein Carla Janzen Chelsea Lyons Amy Pickering* Sarah Ponder Emily Price Suzanne A. Shields Cassidy Smith Corinne Wallace-Crane
Tenor Madison Bolt Hoss Brock Erich Buchholz John J. Concepcion Ace Gangoso Klaus Georg Tyler Lee Stephen D. Noon Peder Reiff Matthew W. Schlesinger Joe Shadday Aaron Short Peter J. Sovitzky Alan Taylor Eric West Bass Derek Boemler* Ryan J. Cox Dominic German Robert Heitzinger Jan Jarvis Woo Chan Lee* Eric Miranda John E. Orduña Wilbur Pauley Martin Lowen Poock Dan Richardson Stephen Richardson Benjamin D. Rivera Scott Uddenberg Ronald Watkins Accompanist Paul Nicholson * denotes leave of absence
WHY CHICAGO IS ONE OF THE BEST PLACES FOR SINGERS
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PROJECT INCLUSION STRING QUARTET We’re thrilled to welcome a new class of Project Inclusion fellows this summer. In partnership with the Chicago Sinfonietta, Project Inclusion is a unique artist development opportunity for string players of color aimed at increasing diversity and guiding young professionals toward successful careers in music. Each year outstanding young musicians are selected by the Festival to rehearse and perform with the Grant Park Orchestra, and receive one-on-one mentoring from seasoned professionals. Performing in parks around the city, the Project Inclusion fellows serve as an integral part of the Festival’s summer line-up.
MEET THE FELLOWS
Allison Lovera Violin
Pablo Sanchez Violin
Edwardo Rios Viola
Cole Randolph Cello
Coming to a Park Near You! Project Inclusion String Quartet concerts at six parks this summer Thursdays at 6:30, July 15 -August 19 gpmf.org
2021 GRANT PARK ORCHESTRAL ASSOCIATION
BOARD OF DIRECTORS OFFICERS Adam Grais, Board Chair Kate Donaldson, Vice Chair LaRue Robinson, Secretary Jerry Goldstone, Treasurer Paul Winberg, President and CEO
DIRECTORS Peter M. Ascoli
Michael S. Ferrell
Sheli Z. Rosenberg
Amy Lee Boonstra
Chantal E. Forster
Brian Sedlak
Vern Broders
Paul E. Freehling
Stephen Smith
Penny Brown
Eileen Friestad
Jason Spigner
Cari Bucci Hulings
Freddi L. Greenberg
Curtis J. Tarver, II
Robert J. Buford
Tom Hanson
Maureen Sullivan Taylor
Michaelle Burstin
Ann Hickey
Beatrice Mensah Tayui
Margaret M. Cameron
Sandra Kamin
Lisa Tesarik
Michael W. Cusick
Tim King
Andria van der Merwe
Nancy Dehmlow
Jill Mueller
David Whitney
Rhoda Sweeney Drucker
Julian Oettinger
Virginia Willcox
James B. Fadim
Thomas B. Orlando
Karen Zupko
PAST CHAIRS Stephen Smith, 2016-2020 Chuck Kierscht, 2013-2016 Beth Rodriguez, 2010-2012 Fred Brandstrader, 2008-2009 Melinda McMullen, 2001-2007
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STAFF PRESIDENT AND CEO
Paul Winberg
ARTISTIC DIRECTOR AND PRINCIPAL CONDUCTOR
Carlos Kalmar
CHORUS DIRECTOR
Christopher Bell
DEVELOPMENT CHIEF DEVELOPMENT OFFICER
Emily Canham
ASSOCIATE DIRECTOR OF DEVELOPMENT
Jennifer Nahn
SPECIAL EVENTS ASSISTANTS
ARTISTIC GENERAL MANAGER
Chris Collins
ORCHESTRA PERSONNEL MANAGER
Linda Oper
CHORUS PERSONNEL MANAGER
Melissa Hilker
ARTISTIC ASSISTANTS
Jesse Bruer Osiris Ramos
SCORE READER
Jordan Thomas
EDUCATION AND COMMUNITY ENGAGEMENT MANAGER
Hilary Mercer
ARTISTIC/EDUCATION ASSISTANT
Kate McDuffie LIBRARIAN
Michael Shelton MUSIC LIBRARY ASSISTANTS
Laura Adkins Allie Chambers
COVER LIBRARIAN
Eliza Bangert
Tisha Grudzien Tammy Owins
FINANCE AND ADMINISTRATION CHIEF FINANCIAL OFFICER
Hannah Lehman
PRODUCTION KOBOTECH, INC.: PRESIDENT
Dan Kobayashi MANAGING DIRECTOR
MARKETING AND PATRON SERVICES
Leigh Levine
CHIEF MARKETING OFFICER
Ellen Willett
Jill Hurwitz
ASSOCIATE DIRECTOR OF PATRON SERVICES
Alexis Lacey
PATRON SERVICES ASSISTANTS
Andrea Kennard Tab Mocherman
PATRON SERVICES VOLUNTEER
Hazel Lewis
PRODUCTION MANAGER
STAGE MANAGERS
Lorianne Trephibio Amalie Vega TECHNICAL DIRECTOR
Skye Fort
ASSISTANT PRODUCTION MANAGER
Jenna Thiel
STAGE CREW
MARKETING MANAGER
David Dragovich Spencer Batho
FRONT OF HOUSE MANAGER
PROJECT INCLUSION AUDIO SUPERVISOR
Noel Morris
Alaina Bartkowiak
Giselle Castro
DEPUTY FRONT OF HOUSE MANAGER
PROJECT INCLUSION STAGE MANAGER
GROUP SALES
SOUND SYSTEM TECHNICIANS
Matt Willer
Tami Manton Group Theater Tix
Tyia Morgan
Jonathan Laney John Lisiecki Alexander McIntire Jessica O’Neal Chris Willis Jim Frazier
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FREE CONCERTS IN YOUR NEIGHBORHOOD Can’t make it to a concert in Millennium Park? We’ll bring the concerts to you!
P R OJ E C T I N C LU S I O N ST R I N G Q UAR TET
Night Out in the Park Concerts THURS, JULY 15, 6:30 PM
HARRISON PARK, 1824 S. Wood Street
THURS, JULY 22, 6:30 PM
CHICAGO WOMEN’S PARK, 1801 S. Indiana Avenue
THURS, JULY 29, 6:30 PM
INDIAN BOUNDARY PARK, 2500 W. Lunt Street
THURS, AUGUST 5, 6:30 PM
ELEANOR BOATHOUSE, 2828 S. Eleanor Street
THURS, AUGUST 12, 6:30 PM
NICHOLS PARK, 1355 E. 53 Street
THURS, AUGUST 19, 6:30 PM
LAKE SHORE PARK, 808 N. Lake Shore Drive
WED, AUGUST 4, 12:15 PM
DAME MYRA HESS MEMORIAL CONCERT CHICAGO CULTURAL CENTER, Preston Bradley Hall, 78 E. Washington Street
TUES, AUGUST 17, 5:45 PM
RUSH HOUR CONCERTS SEASON FINALE ST. JAMES CATHEDRAL, 65 E. Huron Street
PLUS
V I S I T I N G M AST E R S Watch our guest artists at work virtually as they hold master classes with young professionals and students from around the city. Featuring: JOYCE YANG, piano
PREMIERING ONLINE JULY 13
MASUMI PER ROSTAD, viola
PREMIERING ONLINE JULY 20
ANTHONY TRIONFO, flute
PREMIERING ONLINE AUGUST 3
AUGUSTIN HADELICH, violin
PREMIERING ONLINE AUGUST 11
All master classes available for viewing at gpmf.org/visitingmasters
GRANT PARK ORCHESTRA AND CHORUS Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director Wednesday, July 21, 2021 at 6:30 p.m. Jay Pritzker Pavilion
BRUCKNER E MINOR MASS Grant Park Orchestra and Chorus Carlos Kalmar, conductor Christopher Bell, chorus director
Lili Boulanger Psalm 24, The Earth is the Lord’s Jonathan Dove The Passing of the Year Invocation The narrow bud opens her beauties to the sun Answer July Hot sun, cool fire Ah, Sun-flower! Adieu! farewell earth’s bliss! Ring out, wild bells Anton Bruckner Mass No. 2 in E Minor, WAB 27 Kyrie Gloria Credo Sanctus Benedictus Agnus Dei
Major support for this concert is generously provided by William Blair, our 2021 Diverse American Voices Series Sponsor and by Walter E. Heller Foundation with a grant given in memory of Alyce DeCosta. Organ provided by Triune Music/S.B. Smith & Associates.
Week 4
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LILI BOULANGER (1893-1918) PSALM 24, THE EARTH IS THE LORD’S (1916) Scored for: four horns, three trumpets, four trombones, tuba, timpani, harp, organ, and chorus Performance time: 5 minutes First Grant Park Orchestra performance The story of Lili Boulanger is equal parts inspiring and tragic. Born to a musical family, the talented young musician composed a number of masterworks during her short life before she passed away at the age of twenty-four. Her older sister, Nadia, who went on to become one of the most influential composition teachers of the twentieth century and guru to generations of American composers from Aaron Copland to Philip Glass, claimed her sister was “the first important woman composer.” Obviously, her statement is hyperbolic, but had Lili lived a full life, who knows what glass ceilings she could have broken? Lili’s father, Ernest Boulanger, was a moderately successful composer himself who taught singing at the Paris Conservatoire. He discovered Lili’s talent early on; from five years old, she began tagging along to Nadia’s music theory classes at the Conservatoire. The musical prodigy also studied numerous instruments, but she ultimately devoted herself to composition, seeing it as a familial rite of passage. In 1913, she became the first woman to win first prize in the prestigious Prix de Rome, which had been awarded to the likes of Debussy, Bizet, and Berlioz. After this, Lili devoted what little time she had left to coming to terms with her failing health through composition. She had always been frail, having had bronchial pneumonia at the age of two, which weakened her immune system and led to a lifelong battle with intestinal tuberculosis (now known as Crohn’s disease). Her highly emotional psalm settings, written in 1916, serve as acts of defiance against both her declining health and the First World War that raged around her. Psalm 24 La terre appartient à l’Eternel, et tout ce qui s’y trouve, la terre habitable et ceux qui l’habitent Car il la fondée sur les mers et l’a établie sur les fleuves. Qui est-ce qui montera à la montagne de l’Eternel Et qui est-ce qui demeurera au lieu de sa sainteté? Ce sera l’homme qui a les mains pures et le coeur net dont l’âme n’est point portée à la fausseté Et qui ne jure point pour tromper Il recevra la benediction de l’Eternel et la justice de Dieu son sauveur Telle est la generation de ceux qui le cherchent qui cherchent Ta face en Jacob Portes, élevez vos têtes, Portes, éternelles haussez-vous et le Roi de gloire entrera Qui est ce Roi de gloire? C’est l’Eternel fort et puissant dans les combats Portes, élevez vos têtes 2
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The earth is the Lord's, and the fulness thereof; the world, and they that dwell therein. For he hath founded it upon the seas, and established it upon the floods. Who shall ascend into the hill of the Lord? Or who shall stand in his holy place? He that hath clean hands, and a pure heart; who hath not lifted up his soul unto vanity, nor sworn deceitfully. He shall receive the blessing from the Lord, and righteousness from the God of his salvation. This is the generation of them that seek him, that seek thy face, O Jacob. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates; even lift them up, ye everlasting doors;
élevez-vous aussi, Portes éternelles Et le Roi de gloire entrera Qui est ce Roi de gloire? C’est l´Eternel des armées C’est Lui qui est le Roi, le Roi de gloire
and the King of glory shall come in. Who is this King of glory? The Lord of hosts, he is the King, the King of glory
John J. Concepcion, tenor soloist
JONATHAN DOVE (b. 1959) THE PASSING OF THE YEAR (2000) Scored for: piano and chorus Performance time: 18 minutes First Grant Park Orchestra performance British composer Jonathan Dove is one of the most prominent composers of vocal music today, having written a number of highly successful operas along with solo songs and both secular and sacred choral music. Dove dedicated The Passing of the Year to his late mother who died when she was only fifty-four. The seven-movement song cycle, which takes it texts from poems by William Blake, Emily Dickinson, Alfred Lord Tennyson, and others, is a celebration of nature and the changing of the seasons, but it also acts as a metaphor for the changing seasons of life, from birth to the joyful anticipation of the afterlife. The first song, “Invocation,” sets a single line from William Blake’s poem “Hear the Voice.” The minimalist polyrhythmic oscillation of the piano and the expansive vocal harmonies are pregnant with excitement, as if seeds in the ground are ready to burst into life at any moment. In “The narrow bud opens her beauties to the sky,” the voices emerge one by one out of a single solo voice, like a blossom unfolding. Dove then subtly incorporates the medieval English round “Sumer is icumen in,” which, appropriately, appears in canon in the two bass parts. The third movement, “Answer July,” demonstrates the interconnectedness of nature and the important role each season and actor play in creating the beauty of summer. The voices chase each other in short, playful phrases over a galloping piano accompaniment in a way that is reminiscent of another great British composer of vocal music, Benjamin Britten. By the fourth movement, “Hot sun, cool fire,” we are immersed in a sultry summer night where the heat makes it difficult to move. In fact, the sopranos and altos of the second choir move so slowly, they can’t get through the whole text. This languorousness is contrasted by the sizzling tremolo in the piano, which eventually erupts into a blazing sunlit crescendo. In the next movement, “Ah sun-flower,” the gradually climbing vocal lines depict a sunflower that is stretching ever upward to the sun but never quite reaches it. The emotional heart of the piece comes in the sixth song, “Adieu! farewell earth’s bliss.” One choir sings a doleful refrain of “Lord have mercy,” moving in alternation with plodding chords in the piano in a way that evokes the footsteps of a funeral march, while the other choir sings a meditation on the inevitability of death. Dove then contrasts the rich, double-choir harmonies with moments of stark unison to highlight the words “I am sick/I must die.” In the final movement, “Ring out, wild bells,” a repeat of the opening “O Earth, O Earth, return!” gives way to an eruption of bell sounds in both the piano and the choir to ring in the New Year. The piano is at its most virtuosic here, and the choir sings a rare moment of stirring homophony. The evocation of change ringing continues as numerous canons converge in joyful celebration of the promise of a new beginning. Week 4
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The Passing of the Year Invocation (William Blake) O Earth, O Earth, return! The narrow bud opens her beauty to the sun (William Blake) The narrow bud opens her beauties to The sun, and love runs in her thrilling veins; Blossoms hang round the brows of morning, and Flourish down the bright cheek of modest eve, Till clust’ring Summer breaks forth into singing,
And feather’d clouds strew flowers round her head. The spirits of the air live on the smells Of fruit; and joy, with pinions light, roves round The gardens, or sits singing in the trees. Summer is icumen in Lhude sing cuccu
Laura Lynch Anderson, soprano soloist Tyler Lee, tenor soloist Answer July (Emily Dickinson) Answer July – Where is the Bee – Where is the Blush – Where is the Hay?
Nay – said the May – Show me the Snow – Show me the Bells – Show me the Jay!
Ah, said July – Where is the Seed – Where is the Bud – Where is the May – Answer Thee – Me –
Quibbled the Jay – Where be the Maize – Where be the Haze – Where be the Bur? Here – said the Year –
Hot sun, cool fire (George Peele) Hot sun, cool fire, temper’d with sweet air, Black shade, fair nurse, shadow my white hair: Shine, sun; burn, fire; breathe, air, and ease me; Black shade, fair nurse, shroud me and please me: Shadow, my sweet nurse, keep me from burning, Make not my glad cause, cause of [my] mourning Let not my beauty’s fire Enflame unstaid desire, Nor pierce any bright eye That wand’reth lightly.
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Ah, Sun-flower! (William Blake) Ah, Sun-flower! Weary of time, Who countest the steps of the Sun, Seeking after that sweet golden clime Where the traveller’s journey is done:
Where the Youth pined away with desire, And the pale Virgin shrouded in snow Arise from their graves, and aspire Where my Sun-flower wishes to go.
Adieu! farewell earth’s bliss! (Thomas Nashe) Adieu! farewell earth’s bliss! This world uncertain is: Fond are life’s lustful joys, Death proves them all but toys. None from his darts can fly: I am sick, I must die – Lord, have mercy on us! Rich men, trust not in wealth, Gold cannot buy you health; Physic himself must fade; All things to end are made;
The plague full swift goes by: I am sick, I must die – Lord, have mercy on us! Beauty is but a flower Which wrinkles will devour: Brightness falls from the air; Queens have died young and fair Dust hath closed Helen’s eye: I am sick, I must die – Lord, have mercy on us!
Ring out, wild bells (Alfred Lord Tennyson) O Earth, O Earth, return! Ring out, wild bells, to the wild sky, The flying cloud, the frosty light: The year is dying in the night; Ring out, wild bells, and let him die.
Ring out the want, the care, the sin, The faithless coldness of the time; Ring out, ring out my mournful rhymes, But ring the fuller minstrel in.
Ring out the old, ring in the new, Ring, happy bells, across the snow: The year is going, let him go; Ring out the false, ring in the true.
Ring out old shapes of foul disease; Ring out the narrowing lust of gold Ring out the thousand wars of old, Ring in the thousand years of peace.
Ring out the grief that saps the mind, For those that here we see no more; Ring out the feud of rich and poor, Ring in redress to all mankind.
Week 4
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ANTON BRUCKNER (1824-1896) MASS NO. 2 IN E MINOR, WAB 27 (1866) Scored for: two oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, and chorus Performance time: 44 minutes First Grant Park Orchestra performance Though one typically thinks of Anton Bruckner as a composer of monumental symphonies, sacred music dominated much of the composer’s career. It served as a direct expression of his deeply held Catholic faith instilled in him as a choirboy at St. Florian’s Monastery. Bruckner began his career not as a musician, but as a village schoolteacher. In his final teaching post, which happened to be at his former childhood haunt of St. Florian’s, he took over the monastery’s organist position alongside his teaching duties in 1850. His organ chops improved, and he began seriously studying counterpoint. In 1856, he was appointed organist of Linz Cathedral, for which he would write his Mass in E Minor ten years later. Much of Bruckner’s sacred music reflects the ethos of the Cecilian reform movement that was gaining traction in the Catholic church at the time. The aim of the movement was to restore the dignity and purity of church music, which its proponents believed had become corrupted by the “worldliness” of post-Enlightenment secular music. Cecilians argued that the only way to achieve this was to go back to Gregorian chant and the music of sixteenth-century masters such as Palestrina. Fortunately, Bruckner had grown up singing this music at St. Florian’s and was not entirely unsympathetic to the Cecilians’ cause. However, he did butt heads with major figures in the movement after they edited dissonances out of his music, leading Bruckner to purportedly call Cecilianism “an illness.” Nevertheless, the Mass in E Minor marks Bruckner’s most sustained engagement with the principles of Cecilianism. In it, he synthesizes Romantic harmonies with sixteenthcentury counterpoint to create a work that stands apart from his other mass settings, which are more in line with the lavish Viennese Classical Mass style of Haydn, Mozart, and Beethoven. Bruckner demonstrates his intimate understanding of the sixteenth-century style so revered by the Cecilians throughout the mass. He emphasizes perfect intervals, uses contrapuntally-informed suspensions, and even quotes the Sanctus from Palestrina’s Missa Brevis, borrowing a melodic figure of falling thirds and a descending scale in overlapping entrances in his own Sanctus. In addition, large sections of the mass have no, or very restrained, instrumental accompaniment, giving it the air of a Renaissance motet at times. This occurs most notably in the opening of the Kyrie, which is largely a capella except at key moments. However, the choral writing becomes more adventurous and even quasi-operatic, particularly in the Gloria and Credo. The harmonies become more Romantic and ambiguous, and the “Amen” of the Gloria is scored as a hair-raisingly intricate chromatic fugue. Bruckner’s Mass in E Minor is his only mass setting to enjoy consistent performance today, despite its retrospective style and unusual scoring for fifteen-piece wind band in place of a traditional symphony orchestra. When the mass premiered in 1869, it was performed in the square outside Linz Cathedral. The outdoor performance requirements could explain Bruckner’s unique choice of orchestration. Plus, it makes it an especially appropriate selection for an outdoor music festival. ©2021 Katherine Buzard 6
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Mass in E minor
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Gloria Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen.
And on earth peace, good will towards men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen.
Hoss Brock, tenor soloist Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est. Et resurrexit tertia die, secundum scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos,
I believe in one God, The Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, Only begotten Son of God, Begotten of his Father before all worlds. God of God, light of light, Very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made. Who for us men and for our salvation came down from heaven. And was incarnate by the Holy Ghost of the Virgin Mary: And was made man. And was crucified also for us under Pontius Pilate: suffered, and was buried. And the third day He rose again according to the scriptures. And ascended into heaven, and sitteth at the right hand of the Father And He shall come again Week 4
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Cujus regni non erit finis. Et in Spiritum sanctum, Dominum et vivificantem: Qui ex Patre, Filioque procedit. Qui cum Patre, et Filio simul adoratur, et conglorificatur: Qui locutus est per Prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remisionem peccatorum. Et exspecto resurrectionem mortuorum Et vitam venturi saeculi. Amen.
with glory to judge the living and the dead: His kingdom shall have no end. And (I believe in) the Holy Ghost, Lord and giver of life: Who proceeds from the Father and Son. Who with the Father and Son together is worshipped and glorified: Who spoke by the Prophets. And in one holy catholic and apostolic church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead And the life of the world to come. Amen.
Aaron Short, tenor Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Holy, holy, holy Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest.
Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Blessed is he who comes in the name of the Lord. Hosanna in the highest.
Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who take away the sins of the world, have mercy on us. Lamb of God, who take away the sins of the world, have mercy on us. Lamb of God, who take away the sins of the world, grant us peace.
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GRANT PARK ORCHESTRA AND CHORUS Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director Friday, July 23, 2021 at 6:30 p.m. Saturday, July 24, 2021 at 6:30 p.m. Jay Pritzker Pavilion
DVOŘÁK NEW WORLD SYMPHONY Grant Park Orchestra Eun Sun Kim, conductor Natasha Paremski, piano David Gordon, trumpet Texu Kim Blow, Fly, Pop!! Dmitri Shostakovich Piano Concerto No. 1 in C Minor, op. 35 Allegro moderato Lento Moderato Allegro brio NATASHA PAREMSKI DAVID GORDON Antonín Dvořák Symphony No. 9 in E Minor, op. 95, From the New World Adagio - Allegro molto Largo Molto vivace Allegro con fuoco
This concert is generously sponsored by David Whitney and Juliana Chyu, and William Blair, our 2021 Diverse American Voices Series Sponsor. Major support for our Guest Conductor Series is provided by Walter E. Heller Foundation with a grant given in memory of Alyce DeCosta.
Friday’s concert is being broadcast live on 98.7WFMT and streamed live at wfmt.com. Week 4
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Following “a company debut of astonishing vibrancy and assurance” (San Francisco Chronicle) in Rusalka, Korean conductor Eun Sun Kim has been named the Caroline H. Hume Music Director Designate of San Francisco Opera. Her presence in North America was first established with performances of Verdi’s Requiem with the Cincinnati Symphony and La traviata with Houston Grand Opera, with the latter earning her an appointment as the company’s first Principal Guest Conductor in twenty-five years. Ms. Kim has enjoyed recent successes with orchestras and opera companies across North American and Europe. Ms. Kim studied composition and conducting in her hometown of Seoul, South Korea, before continuing her studies in Stuttgart. With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique. Natasha is a regular return guest of many major orchestras around the United States and abroad. A passionate chamber musician, she is a regular recital partner of Grammy winning cellist Zuill Bailey with whom she has recorded a number of CDs. She has been a guest of many chamber music festivals and has toured extensively across the United States, Europe, Asia and South America. David Gordon, whose playing has been described as “spectacular” by The Chicago Tribune, is Principal Trumpet of the Seattle Symphony Orchestra, Seattle Opera and the Grant Park Orchestra. As a guest artist, he has played Principal Trumpet for the London Symphony Orchestra, the Orchestre Philharmonique de Radio-France, the Seoul Philharmonic Orchestra, and more, and has performed as a soloist and chamber musician around the world. A committed educator, David is a faculty member at the University of Washington, and regularly presents master classes nationwide. Texu Kim (b. 1980) Blow, Fly, Pop!! (2016) Scored for: two flutes, oboes, and clarinets, one bassoon, two horns, trumpet, timpani, percussion, piano, and strings Performance time: 8 minutes First Grant Park Orchestra performance Blow, Fly, Pop!!’s orchestration is unlike any other; beyond strings, winds, brass, and percussion, a group prepared to play this piece must have balloons, a gym ball, glasses of water with straws, pencil boards, and a bubble gun at the ready. Inspired by blowing bubbles, Texu Kim’s unconventional use of everyday objects as instruments brings the experience of this children’s pastime to life in a new way. Kim chooses to write music inspired by children’s games and common experiences to “invite a wider audience to contemporary music. These topics are universal...contemporary, and down to earth, and tied to positive images and pleasant memories, which goes well with my own personality and my goal as a composer: writing music that is FUN.” 10 | gpmf.org
DMITRI SHOSTAKOVICH (1906-1975) PIANO CONCERTO NO. 1 IN C MINOR, OP. 35 (1933) Scored for: trumpet, strings, and solo piano Performance time: 21 minutes First Grant Park Orchestra performance: July 22, 1966, Julius Rudel, conductor with pianist Jeffrey Siegel and trumpet player Frank Kaderabak as soloists Shostakovich wrote his First Piano Concerto at age 27, 11 years after the Soviet Union officially formed. The piece does not betray his youth, however; he had previously written three symphonies, several suites, and chamber and solo piano works, among other pieces. Shostakovich had already discovered many of the compositional seeds that would bloom into his inimitable musical style. His work faced great criticism and censorship throughout his lifetime. All art forms were encouraged to adhere to Socialist Realism, which was defined in the 1930s (Shostakovich wrote this concerto in 1933) as “the truthful and historically concrete representation of reality in its development.” This translated musically to mean that pieces should focus on lyricism with an effort to keep the tone triumphant and maintain a broad appeal rooted in classic 19th-century Russian musical styles. Shostakovich’s concerto certainly did not fit that bill completely, but it does display more loyalty to melody and a full-throated romantic style than in his later works. Incorporating these elements allowed him some degree of freedom in his music, but just a few years after this concerto was written, the government violently purged artists whose works they felt did not communicate clear devotion to the Soviet Union. Shostakovich played solo piano for the First Piano Concerto’s premiere. The piece had originally been conceived as a trumpet concerto, and its full title is Concerto for Piano, Trumpet and String Orchestra. He remained close-mouthed about any emotional inspirations for his work, simply sharing, “I cannot describe the content of my concerto with any means other than those with which the concerto is written.” Shostakovich’s Piano Concerto No. 1 is borderline sarcastic, yet also elegiac. In the opening movement, piano and orchestra unwind a theme that soon becomes rhythmically charged and tinged with a circus-y feel. Shostakovich wrote incidental music and film scores that demanded melodious writing, and his abilities to write lyrically permeate the second movement, a haunting waltz accompanied by a trumpet solo appropriate for a funeral. The two-minute third movement does not serve as a palette cleanser for its preceding dark dance; rather, a wandering piano part opens into a leaden dirge for strings. The Allegro con brio reveals Shostakovich’s devil-may-care approach to composition. Brazen, frantic writing gallops between piano, trumpet and orchestra, and this final movement includes snippets of Tchaikovsky’s Romeo and Juliet, Rossini’s Barber of Seville and a piano work by Haydn. Only a few years after Shostakovich wrote his Piano Concerto No. 1, Pravda (Russian for “truth”), the official publication of the Soviet Union’s Communist Party, warned him to better conform to mainstream artistic ideals in an article titled “Muddle Instead of Music.” In efforts of self-preservation, he asserted that his music was inspired by positive nationalistic connotations, but his sentiments didn’t always match his music. Sharing one’s art is always an act of bravery, but in the case of Shostakovich, remaining steadfast to his own musical voice meant that he faced mortal danger and cultural condemnation. Week 4
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ANTONÍN DVOŘÁK SYMPHONY NO. 9 IN E MINOR, OP. 95, FROM THE NEW WORLD Scored for: piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings Performance time: 40 minutes First Grant Park Orchestra performance: July 2, 1935, with Eric De Lamarter conductor Though many consider Dvořák’s Ninth Symphony—his symphony “From the New World”—a sort of American anthem, it is, at its heart, an ode to the composer’s homeland. Dvořák and his family moved to America in 1892 after the composer had accepted a post as Director of the National Conservatory of Music of America in New York. Ironically, the conservatory’s founder wanted the Czech composer to help American counterparts establish a sonic blueprint for American classical music. In addition to teaching, he forged ahead with writing a symphony that included musical characteristics he called “distinctly American.” What exactly these characteristics are, however, remains enigmatic. Dvořák repeatedly encouraged American composers to embrace the music of their country when writing new works: ”This must be the real foundation of any serious and original school of composition to be developed in the United States.” He declared that his Symphony No. 9 was written “under the direct influence of a serious study of the national music of the North American Indians.” Dvořák encountered Native music while spending summers in Spillville, Iowa, and from research and melodies provided by friends and musicologists. He shared that the middle movements of the New World Symphony were influenced by Longfellow’s poem The Song of Hiawatha and an Indigenous dance he had heard, but this glosses over the fact that, just like the music of any culture, that of Native peoples differs greatly depending upon the tribe and region from which it originates. Dvořák also was inspired by African American spirituals; gospel and Creole tunes, and declared that the symphony’s outer movements were inspired by spirituals. Harry Burleigh, one of Dvořák’s students who became an important composer himself, introduced the Bohemian to spirituals. Another of Dvořák’s students eventually added text to the main theme of the Ninth Symphony’s Largo, which went on to be published in many church hymnals as “Goin’ Home.” The melody is commonly mistaken as an African American spiritual. Dvořák did not include any direct quotes from Native or African American spirituals, and as years passed, frequently changed his explanations of how American music influenced his Ninth Symphony, later confessing that it was not an homage; rather, it embodied his own “impressions and greetings from the New World.” If it were ever questioned, the Ninth Symphony cements Dvořák’s place as one of the great melodists. There are obvious connections to Bohemian folk music, which could easily be interpreted as a nod to American folk traditions as well. The suspense and drama of this work are reminiscent of grand opera, and moods change quickly with several episodic “storms” placed throughout. Through it all, there is a feel of great triumph. Dvořák’s Symphony No. 9 did not build or define the American musical palette; what it did was far more powerful. This work encouraged American composers to turn inward toward their own country’s music, rather than seeking to imitate styles from across the ocean. Who could have guessed a homesick Czech composer would be one of this country’s greatest advocates for American Indian and Black music, which are the foundation of our nation’s artistic voice? ©2021 Laura Sauer 12 | gpmf.org
ADVOCATE FOR THE ARTS
AWARDS BENEFIT
WEDNESDAY, OCTOBER 27, 2021 Fairmont Chicago Millennium Park Reception 6pm Dinner 7pm
·
Honoring
ROBERT A. WISLOW CHAIRMAN AND CO-FOUNDER PARKSIDE REALTY, INC.
Master of Ceremonies RON MAGERS Co-Chairs AMY LEE BOONSTRA KATE DONALDSON ADAM GRAIS LARUE ROBINSON
The Advocate for the Arts Award honors those who have made outstanding contributions to Chicago’s cultural landscape, investing in the life of the City—today and in the future. Join us for an evening of special performances as we celebrate great friends of the arts and raise crucial support for the Festival’s free concerts and programs in Millennium Park and across the city. For more information, please visit: www.gpmf.org/advocate-for-the-arts or call 312.553.2000
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MAJOR CONTRIBUTORS
The Grant Park Music Festival is grateful to the following donors for their generous support of artists, concerts, special events, and programs. Listings include gifts of $5,000 or more. AMERICAN ACCENTS SERIES SPONSOR
OFFICIAL HOTEL
FESTIVAL SPONSOR
CONCERT SPONSOR
FESTIVAL SPONSOR
COMMUNITY CONNECTIONS SPONSOR
FESTIVAL SPONSOR
DIVERSE AMERICAN VOICES SERIES SPONSOR
Season Support Paul M. Angell Family Foundation Julius N. Frankel Foundation Walter E. Heller Foundation MacArthur Foundation Smart Family Foundation and Joan and Robert Feitler
Guest Artists and Orchestra Chairs Amy and Brian Boonstra Marlea Simpson, viola Jerry and Jeannette Goldstone Joyce Yang, piano Jim Goodridge and Joan Riley Eric Kutz, cello
Concert Sponsors Elizabeth F. Cheney Foundation Colleen and Lloyd Fry and the Lloyd A. Fry Foundation Lori Julian Mazza Foundation Ginger and Jim Meyer
Project Inclusion Peter and Lucy Ascoli Colleen and Lloyd Fry and the Lloyd A. Fry Foundation The Grais Family Barbara Dana Klein Caroline Robinson, MD, FAAD on behalf of Tone Dermatology Dr. Scholl Foundation
Artistic Director and Principal Conductor Chair Sage Foundation Chorus Director Chair Joyce Saxon
Classical Campers Robert and Isabelle Bass Foundation, Inc. ComEd
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CORPORATE, FOUNDATION AND GOVERNMENT SUPPORT Chicago Park District Board of Commissioners Michael P. Kelly General Superintendent & CEO
$250,000+ Chicago Park District Department of Cultural Affairs and Special Events $100,000-$249,999 Paul M. Angell Family Foundation Walter E. Heller Foundation Sage Foundation Smart Family Foundation and Joan and Robert Feitler $50,000-$99,999 AbelsonTaylor Julius N. Frankel Foundation MacArthur Foundation William Blair $25,000-$49,999 BMO Harris Bank Elizabeth F. Cheney Foundation ComEd Colleen and Lloyd Fry and the Lloyd A. Fry Foundation Mazza Foundation National Endowment for the Arts
City of Chicago Department of Cultural Affairs and Special Events
$10,000-$24,999 Ameriprise Financial Services, Inc. Robert and Isabelle Bass Foundation, Inc. CIBC Hattie A. and Marie V. Fatz Foundation Illinois Arts Council Agency Periscope Pritzker Traubert Foundation Dr. Scholl Foundation $5,000-$9,999 Amsted Industries Foundation Henry Crown and Company Jones Day Caroline Robinson, MD, FAAD on behalf of Tone Dermatology Tawani Foundation
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IMPRESARIO SOCIETY The generosity of the Grant Park Music Festival’s Impresario Society provides annual support for the Festival’s ambitious programming, bringing world-class conductors and soloists to the stage. The Grant Park Music Festival is proud to acknowledge this distinguished group of individuals for their extraordinary support between June 1, 2020, and May 31, 2021.
IMPRESARIO TITANIUM $25,000+ Anonymous Peter and Lucy Ascoli Robert J. Buford Nancy Dehmlow Sally and Michael Feder
Sheli Z. and Burton X. Rosenberg Joyce Ruth Saxon Linda and Steve Smith Andrew and Kimberly Stephens
IMPRESARIO PLATINUM $15,000-$24,999 Anonymous Amy and Brian Boonstra Henry and Gilda Buchbinder Kate Donaldson and Ryan Whitacre James Fadim and Melissa Sage Fadim Paul and Sue Freehling Jeannette and Jerry Goldstone
IMPRESARIO GOLD $10,000-$14,999 Anonymous Vern Broders and Francia Harrington Penny Brown and Jeffrey Rappin Cari Bucci-Hulings and Sims Hulings Margaret M. Cameron and John Gibson Ann and Richard Carr Michael W. Cusick Mike and Kara Ferrell Chantal E. Forster and Michael Duff James and Eileen Friestad Nancy Garfien Stephanie and Adam Grais Nancy and Tom Hanson Kay and Malcolm Kamin Sandra Kamin
IMPRESARIO SILVER $5,000-$9,999 Julie and Roger Baskes Susan D. Bowey Michaelle Burstin and Doug Smith Joyce Chelberg Pamela Crutchfield The AMD Family Fund Janet and Craig Duchossois Sondra Berman Epstein Lewis and Mary Flint Ginny and Peter Foreman Christopher Foster and Pauline Merrill
Lori Julian Peggy and Yung Bong Lim Jim and Ginger Meyer Julian Oettinger Freddi Greenberg and Dan Pinkert Bryan Traubert and Penny Pritzker David H. Whitney and Juliana Y. Chyu Barbara Dana Klein Elise and Ron Magers Jill and Jeff Mueller Thomas B. Orlando LaRue Robinson Caroline Robinson, MD, FAAD on behalf of Tone Dermatology Brian L. Sedlak Fred Drucker and Hon. Rhoda Sweeney Drucker Angela Lustig and Dale Taylor Terry Taylor and Maureen Sullivan Taylor Lisa Tesarik Andria van der Merwe Karen Zupko and Associates
Colleen and Lloyd Fry Jim Goodridge and Joan Riley The Grainger Foundation William R. Jentes Gera-Lind Kolarik Sung Ja Lee Stephen A. MacLean Barbara and Jim MacGinnitie Greg and Alice Melchor Sandra Allen and Jim Perlow
Col. (IL) J. N. Pritzker, IL ARNG (Retired) Maridee Quanbeck Luba Romantseva and Benjamin Blander Doris Roskin Margaret Silliker and John Ryan Cecelia Samans Lisa Skolnik Paul Winberg and Bruce Czuchna Susan and Robert Wislow Helen Zell
2 02 1 G R A N T PA R K M U S I C F E S T I VA L IMPRESARIO BRONZE $2,500-$4,999 Anonymous Anne Barlow Johnston Helaine A. Billings Shaun and Andy Block Philip D. Block III Family Fund at The Chicago Community Foundation Lauren Streicher and Jason Brett Bryce and Anne Carmine Marilyn and Terry Diamond Barbara Duffy and Anthony Capps Jeffrey Dykstra and Michelle Harrington Robert Edger and Gunnbjorg Lavoll Jean and Harry Eisenman John and Geraldine Fiedler Amanda C. Fox Arthur L. Frank Raymond A. Frick Jr. Allan R. Glass and Sheila M. Glass Howard Gottlieb and Barbara Greis
Marilynn and Ronald Grais Ken and Paula Herbart David Hiller Clifford Hollander and Sharon Flynn Hollander Howard Isenberg Paula R. Kahn Marion Kierscht Judy Marth Susanna McColley and Russell Brown Dorothy Meyers Nancy Meyerson Craig and Judi Miller Dave Miller Rick Nichols and Jerry Case Bill and Jean O’Neill Allen Pavia and Janice Tomlinson Caryle and Robert Perlman Sandra and Michael Perlow Avi and Joan Porat Cynthia Stone Raskin Anita Rogers Carolyn O. Rusnak
Sandra and Earl J. Rusnak, Jr. John Sabl and Alice Young Sabl Michael and Judith Sawyier Michael Schneiderman and Jane Buckwalter Susan H. Schwartz Stephen and Susan Seder Mark and Robin Seigle Carol S. Sonnenschein Ira and Sheila Stone David J. Varnerin Elizabeth K. Ware Donna and Phillip Zarcone Barbara Zenner
DONOR SPOTLIGHT: STEVE SMITH Steve Smith grew up in a musical family and sang in “the occasional church choir,” he said, but had taken a decidedly non-musical career path. Earning his J.D. degree from The University of Chicago Law School, he eventually landed at AMSTED Industries, Inc. where he now serves as Chairman, President and Chief Executive Officer. It wasn’t until he was invited to join the board of the Grant Park Music Festival that certain aspects of his past began to surface in unexpected ways. Steve Smith with his wife, Linda As it happens, his father, Virgil Smith, had been a professor of music with a tidy piano-tuning business on the side. Once upon a time, Virgil Smith actually tuned instruments for the Grant Park Music Festival. Fast-forward to 2013, Steve Smith joined the Festival board and became board chair (2017-2020). “It was a natural circle,” he said. “I went deeper into the music once I joined the board. And now it’s a passion.”
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INDIVIDUAL CONTRIBUTORS
The Grant Park Music Festival gratefully acknowledges those who have contributed to the annual fund, special events and memberships. Listings include contributors’ total giving of $500 or more received between June 1, 2020 and May 31, 2021.
BENEFACTOR $1,000-$2,499 Anonymous (6) Beverly and Ron Adilman Susan Adler Howard Adolph Karim Ahamed Doug and Mary Claire Allvine Tom and Sudy Altholz Marcia Lazar Sarah and Vincent Anderson Anthony Barash and Terri Hanson Robin and Peter Baugher Carlos Bekerman Milt and Heide Bentley Sandra and Howard Binder Nancy and Howard Blum David and Roberta Blumenfeld Patricia Bronte Edward and Barbara Burnes Dennis Jay Carlin Rowland Chang Melinda Cheung Shevlin and Diane Ciral Shirlee and Eugene Cohen Chris Collins Harold and Marilyn Collins Cathy and Ted Davis Lynn Straus Rebecca Deaton William DeWoskin and Wendy S. Gross Leon Diamond John and Pat Dietzen Sharon Dooley and Ralph Tamura Mary and Richard Dowd Shelia Dulin Bernard and Nancy Dunkel Patrick E. and Carol J. Dwyer Win Eggers Pierre and Charlene Elian Larry and Marlene Elowe
Esther and Ron Emmerman James and Virginia Ertle Judy Feldman Roger and Eleanor Feldman Joseph Fernicola, III Gene and Honor Ferretti Elaine Fishman James and Sylvia Franklin Elizabeth Frye and Howard Sankary Stephen Gabelnick Jane Gately William Gauger Harriet Gershman Roger and Donna Godel Susan Goldman Susan and Sheldon Good Ken and Margie Granat Mark and Carolyn Grenchik Anthony and Susan Grosch Danielle and Robert Hamada Joan W. Harris Marty Hauselman Susanne Henning John and Linda Hillman James and Margot Hinchliff Larry and Sue Hochberg Sig Hoffman George Honig and Olga Weiss Thomas Hunter Tony and Myra Jeskey Sherry and Peter John Robert Kallman Arnold Kanter Jane Keane Regina Keifer Harry and Sharon Kenny William Kirchmeyer Robert Kleinschmidt James and Carol Klenk Norman Kohn Ann Kowalsky
Karen Z. Gray-Krehbiel and John H. Krehbiel, Jr. Arthur Kroft Bruce J. Nelson and Axel Kunzmann Carol and Marvin Lader Greg and Denise Landis Kathryn Lange Stephen M. and Maria Lans Leah Laurie James Lava Carol and Wally Lennox Bernice and Edmund J. Leracz Claire Levenberg Stanley and Judith Lipnick Jo Lisowski Leslie Logsdon and Duncan Bourne Ann Lousin Ling Z. and Michael C. Markovitz Doretta and Robert Marwin Robert and Marilyn McClean John and Etta McKenna Harold D. McRae Sherry and Mel Lopata Ronald and Pauline Milnarik Jacqueline Miranda Leona and David Mirza Thomas L. and Rosemarie Mitchell David Moscow Elaine and Allan Muchin Peter Kachergis and Amy Munice Ted and Angie Naron John Neal John Newlin Martha Nussbaum Kyu and Cynthia Oh Thomas O’Keefe Bruce Ottley Judith Paice and John Jendras
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INDIVIDUAL CONTRIBUTORS
Alan Paige Geun S. and Yoo Ja Paik Mel and Lynn Pearl Howard Alport and Sherry Peller Marilyn Perno James Perry and Robert Horton Joel and Judith Perzov Phil Lumpkin and William Tedford Thomas and Betty Philipsborn Richard Pincus and Janice Linn Stewart and Evelyn Pinsof Jeanie Pollack and Fred Lane Richard and Joyce Prince Jeaneane and John Quinn Larry Rassin Hedy Ratner Patricia Rink and John Dreiske Beth and Gabriel Rodriguez Jadwiga Roguska-Kyts Raymond and Antoinette Roos Irwin and Harriet Ross Joseph O. Rubinelli, Jr.
SUSTAINER $500-999 Anonymous (7) Shelley Torres and Bill Aldeen Barry Alpern Abby Anderegg Janet Murphy Anixter Naomi Aronson and David Youngerman L. Claude Aschinberg Donald and Diane Atkinson Marc Baranchik Alan Bath Donna and Robert Bauer Bill Bein Jonathon Bell Daniel Bender
Noreen and James Ryan Dr. Timothy Sanborn and Hon. Julia Nowicki (Ret.) Harold and Deloris Sanders Lynn Gilfillan and Harry Sangerman Jane and John Santogrossi Raymond and Inez Saunders Lewis and Barbara Schneider Edward and Trudy Schwartz Michael Schwartz Surendra Shah Mary Beth Shea Tom and Pam Sheffield Larry Simpson Fritz Skeen and Helen Morse Richard Skolly and Kate Feinstein Sabine Sobek Marc Stackler Lee and Norma Stern Marjorie Stinespring Brenda Bock Sussna Ana Tannebaum
George F. and Karen S. Bergstrom Barbara Blair Frances and Neal Block Pamela J. Block John and Claudia Boatright Fern Bomchill Craig Bomgaars Evelyn Bosenberg Patrick Bova and James Darby Dale Boyer and Scot O’Hara Marshall K. Brown and Louise Nora Marty Brown Alice Brunner Pedro Bukata
Charles Tausche Kimberly Taylor Susan C. Taylor Michele Thompson Peter M. Vale Henry and Ramona Valiulis Nancy Vincent John and Joan von Leesen Leonard and Mary Anne Wall Ann Wasoff Gene and Peggy Wedoff Robert and Ellen Wehofer Peter and Tina Tabachnick Weil Robert Williams and Johanna Wingelaar Joan Winstein Tom and Molly Witten Hak Wong and Mike Hess Susan Schaalman Youdovin and Charlie Shulkin Herb and Linda Young Helene Zimmer-Loew Dr. Judith R. Zito Eileen and Larry Zoll Charles and Gail Zugerman
Friedrich and Susan Burian Edward and Sandra Burkhardt Kathleen Capodice Robert and Gayle Chedister John Cipriano Mitchell Cobey and Janet Reali Jan Costenbader Angela D’Aversa Ute & Todd Doersch Christopher and Krista Dorgan Donald W. B. Drapeau Grace Drease and Chris Kleihege
Anne Egger Patricia and Robert Erickson Patrick and Nicole Fisher Geoffrey A Flick Sarah Flosi George Foster Paul Francis Hilary Freeman Dietrich Freigang Frida Freudman Malcom and Judy Gaynor Stephen and Elizabeth Geer Sandy and Frank Gelber Noel Gewarges Carl and Rosemary Gilmore
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INDIVIDUAL CONTRIBUTORS
Lenore Glanz Joseph Glaser and Jessica Schneider Bill and Maureen Glass David Glickstein Lionel and Mary Go Barbra Goering Ms. Ellen Gorney Mark C. Gossett Rosemarie Guadnolo and John F. Horbath Deborah J. Gubin Karl and Barbara Gwiasda Stephen C. and Jo Ellen Ham Charles Hanusin Keith Harley Robert Heitsch Dawn E. Helwig Billy N. Hensley Bill Hinchliff Mr. Matthew Hinerfeld Avelene M. Hollins Elizabeth Ireland Joan Istrate Judy Jayne Soo Jong Daniel Justus Gilbert & Elaine Kanter Steven and Nancy Karas Judi Katz and Dan Kelly Judith L. Kaufman Robert Kohl Brian and Kelly Krob Jeffrey and Sandra Kroin Susan Kurland Dianne Larkin Robin Lavin Gloria and Don LeBoyer Peter and Judith Lederer Richard Levy
Hazel J. Lewis Levinthal Gabrielle and Knox Long Paula and Albert Madansky Lisa Manley and Christina Mitchell Marci Eisenstein and John Treece Ira Marcus Michael Markman Donna and Larry Mayer Janet McDermott James E. McPherson Marilu Meyer Britt Miller Loren R. Miller III Michael Miller and Sheila Naughten Ronald Miller Priscilla Mims Lee and Barbara Mitchell Robert and Lois Moeller Charles Moore Bryan and Kim Murphy Michael W. Myers Jen Nahn Stephen Nightingale and Elizabeth Wiley Susan Noel Elizabeth Parker and Keith Crow Todd Patterson Diane Pero Jean and Bill Peterman Janie Petkus Nick Petros Edward and Elaine Pierson Robert and Rosita Pildes Donald and Elaine Pizza Frederick and Diana Prince
Ruth Ramsey Terry and Sally Ransford Deborah Raymer Raymond and Jane Leuthold Sara Rosenbluth Harry and Mia Rubinstein Bobbie Rudnick Ray and Ann Rusnak David W. Ruttenberg Jill Sadler Ronald Schankin Nancy Schmitt Jorge and Martha Schneider Leon Schrauben Thomas and Judy Scorza Richard and Betty Seid Mridu Sekhar Mary Setnicar Jeffrey S. and Elizabeth Sharp Lynn Singer Patricia Skigen Maureen Slavin Janet Carl Smith and Mel Smith Terrence Smith Richard and Rosemary Snow Diane Snyder Alice Solomon Sondra and Charles Sonneborn Laraine and David Spector Amy and Todd Steenson Naomi Stonehill Barbara A. Strassberg Alan and Barbara Sturges Roz Supera Anthony and Mona Taylor
Larry and Alison Thomas Ron Tonn Jude & Susan Troppoli Liat and Tali Tzur Christine and Harald Uhlig Peter M Vale Saundra Van Dyke Susan Van Der Meulen Donna Vos James Wagner Jay and Jane Ward April Ware Howard Wax Joe Weintraub Maxine Weintraub Gary and Modena Wilson Jan Wiltsie Laura Woll Christopher and Julie Wood JoAnne Yashar Lolli Zarlin Agnes Zellner Frank and Cindy Zimmerman
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TRIBUTE GIFTS
Gifts in the name of a friend, loved one or colleague are a unique expression of thoughtfulness. Listed below are gifts of $500 and above, received between June 1, 2020 and May 31, 2021. In memory of Jayne Alofs Jon Bell Sally and Michael Feder Lionel and Mary Go James E. McPherson Thomas Orlando In memory of Sondra Berman Epstein Jason Brett and Lauren Streicher David Joel Chizewer Kate Donaldson and Ryan Whitacre Rhoda Sweeney Drucker and Fred Drucker In memory of Dorthe J. Flick Geoffrey A. Flick In memory of Morton H. Kaplan Hedy M. Ratner In memory of Burton Schultze Amy and Todd Steenson
In memory of Deborah Sobol Rowland Chang In memory of Richard and Vanya Wang Anonymous In honor of Amy Boonstra Elizabeth Parker and Keith Crow In honor of Paul and Sue Freehling Marjorie Stinespring In honor of Adam Grais Anthony Barash and Terri Hanson Mark and Robin Seigle In honor of Tristan, Rocky, Alexander and Diego Lopez Alan and Sandra Paige In honor of Emily Canham and Jen Nahn Paul and Sue Freehling
NIKOLAI MALKO SOCIETY
The Grant Park Music Festival is honored to acknowledge members of the Nikolai Malko Society, representing individuals who have generously included the Festival in their planned giving arrangements. Their gifts ensure the legacy of free classical music in Chicago for generations to come. Anonymous Peter M. Ascoli Pamela J. Block Don and Chris Casey Nelson D. Cornelius* Sondra Berman Epstein* Gene and Honor Ferretti Raymond A. Frick Jr. Michael Goldberger James Goodridge and Joan Riley Marcia Lazar
Hazel J. Lewis Levinthal Sheldon Marcus Ginger Meyer Alice Mills* Julian Oettinger Michael and Susan “”Holly”” Reiter Joyce Ruth Saxon David Shayne Mette Shayne* Claude M. Weil Matt S. Zwicky
In Memoriam *Denotes estates of individuals who were Nikolai Malko Society members and whom the Grant Park Music Festival remembers with gratitude for their generosity and visionary support.
JOIN THE
NIKOLAI MALKO SOCIETY Make a planned gift and ensure the legacy of free classical music in Chicago for generations to come.
To learn how you can include the Grant Park Music Festival in your planned giving, call our Development Department at 312.742.4763
Support All of the Programs of the Festival
The Grant Park Music Festival reaches beyond the stage to touch as many lives as possible, wherever they live.
Classical Campers Night Out in the Parks Project Inclusion Young Artists Showcase are a few of the ways that we are creating a new sense of neighborhood that welcomes everyone with the power of music.
Support the Festival at gpmf.org or Donate today Text GPMF to 56512 to connect everyone with the power of music
Our city reunited through music
This city comes to life when we’re all together. A free outdoor summer concert series where we can reconnect sounds like music to our ears. AbelsonTaylor is proud to sponsor the 2021 Grant Park Music Festival.
