IN MILLENNIUM PARK
2021
GRANT PARK ORCHESTRA AND CHORUS July 28-31 | Book 5
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
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 28, 2021 at 6:30 p.m. Jay Pritzker Pavilion
PRELUDE TO THE AFTERNOON OF A FAUN Grant Park Orchestra Carlos Kalmar, conductor Anthony Trionfo, flute Claude Debussy Prelude to the Afternoon of a Faun Saverio Mercadante Flute Concerto No. 2 in E Minor, op. 57 Allegro maestoso Largo Rondò russo: Allegro vivace scherzando ANTHONY TRIONFO Camille Saint-Saëns Symphony No. 2 in A Minor, op. 55 Allegro marcato Adagio Scherzo presto Prestissimo
Major support for this concert is generously provided by William Blair, our 2021 Diverse American Voices Series Sponsor.
This concert is being broadcast live on 98.7WFMT and streamed live at wfmt.com. Week 5
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Anthony (Toney) Trionfo has performed across the United States, in Canada and South America. He began studying the flute at age eleven and is committed to diversity, equity, and inclusion work. In 2020, he co-curated “Learning to Listen: A discussion addressing the nuances of the Black experience within classical music” in addition to the Sphinx Organization’s “Illuminate!” series. Anthony is also a creator of the Umoja Flute Institute, a non-profit organization dedicated to cultivating flutists of African descent. He’s also on the faculty of MusicAlly, an international virtual learning platform that provides musical instruction to all interested students, regardless of financial constraints, and serves on the Diversity, Equity, and Inclusion Committee of the Aspen Music Festival and School. CLAUDE DEBUSSY (1862-1918) PRELUDE TO THE AFTERNOON OF A FAUN (1894) Scored for: three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, antique cymbals, two harps, and strings Performance time: 10 minutes First Grant Park Orchestra performance: July 3, 1937, Henry Weber, conductor Claude Debussy and renowned French poet Stéphane Mallarmé possessed a strong mutual admiration. In 1890, the composer began working on a musical setting of Mallarmé’s “Afternoon of a Faun,” a dreamy monologue chronicling a half-human, half-goat creature and its sensual adventures after waking from a midday nap. Though the original project dissolved, Debussy continued to daydream about bringing the faun’s thoughts to life through music, and after a few more years’ work, his textless tone poem “Prelude to the Afternoon of a Faun” enjoyed a positive debut. Reception from both Mallarmé and the audience was so positive, in fact, the orchestra played the entire piece again that same evening! Of the music, the poet declared, “I wasn’t expecting anything like that! It prolongs the emotion of my poem and conjures up the scenery more vividly than any color.” The hazy rhythmic feel and lack of a clear tonal center in “Prelude to the Afternoon of a Faun” may sound nebulous, but it’s actually precisely crafted, thus serving as a solid foundation for Debussy’s bountiful sonic palette. The music’s texture is weightless, with slender orchestration that omits trumpets and trombones, uses percussion sparingly, employs restrained woodwind writing, and divides strings into several parts to encourage chords to blossom. Offering his thoughts about how his tone poem connected to Mallarmé’s poem, Debussy shared a few sentiments, intriguing in their lack of specificity: “It is perhaps the dream left over at the bottom of the faun’s flute? ...it is the general impression of the poem. If the music were to follow it more closely, it would run out of breath…. All the same it follows the ascending shape of the poem as well as the scenery…. As for the ending, it’s a prolongation of the [poem’s] last line: ‘Couple farewell, I go to see what you became.’”
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SAVERIO MERCADANTE (1795-1870) FLUTE CONCERTO NO. 2 IN E MINOR, OP. 57 (1814) Scored for: strings and solo flute Performance time: 19 minutes First Grant Park Orchestra performance Italian composer, conductor, and teacher Saverio Mercadante studied several instruments, but wrote more concertos, chamber music, and solo works for flute than any other instrument. His E minor flute concerto is perhaps his best-known work, though Mercadante also was a prolific and influential operatic composer. He wrote his Second Flute Concerto before the age of 20, after forging his birth certificate in order to be able to study music at the Naples Conservatory—a conservatory to which he would later be appointed director. Having led the school’s orchestra and established himself as a dependable composer, Mercadante transitioned easily from his schooling to a lifelong career in music. Though he went on to write more than 60 operas, Mercadante focused heavily on writing for flute for a period of roughly six years. During this time, he wrote several concertos, a duo concerto, and almost 20 other chamber works featuring flute. Part of this attention was due to his school’s curriculum focus on instrumental music, and Mercadante also was wonderfully inspired by his colleagues, including two flutist classmates who went on to play in the Teatro San Carlo orchestra, and to one of whom he dedicated several of his compositions. The concerto’s structure is built on the musical traditions of the time in which it was written, including each movement’s individual structure, which certainly makes sense for a composer at the beginning of his career. The piece skillfully demonstrates his ability to write crisp and deliberate counterpoint; counterpoint is generally defined as a musical building block that considers the combination of multiple melodies and how they interact, both linearly and vertically. Mercadante’s E-minor flute concerto is brilliant in its balance between showcasing the soloist’s technical capabilities while remaining elegant and in cooperation with the orchestra. As was typical in the 19th century, the orchestra begins the concerto with a spritely introduction, and the solo flute and ensemble then trade moments in the spotlight with an abundance of flowing opportunities for the flute to showcase its agility. Though it in no way sounds showy, the concerto—particularly, the first movement— is quite a technical challenge for the soloist. In the Allegro maetoso, for example, Mercadante included several different demanding passages, including sections with large leaps between notes, syncopations, and unexpected accents on beats that could feel unnatural to a player. The middle movement, a statuesque Largo, is a buoyant, longphrased aria for flute with orchestra used mostly as a supporting entity. Mercadante’s jaunty closing Rondo—a musical form that consists of a melody that repeats but is separated out by other musical material—effortlessly combines a virtuosic yet listenerfriendly solo part supported by gentle accompaniment from the orchestra. Although Mercadante became most known for his works for voice, his flute repertoire is proof that he knows how to make other instruments sing.
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CAMILLE SAINT-SAËNS (1835-1921) SYMPHONY NO. 2 IN A MINOR, OP. 55 (1859) Scored for: double woodwinds plus piccolo and English horn, two horns, two trumpets, timpani and strings Performance time: 23 minutes First Grant Park Orchestra performance: July 28, 1965, Irwin Hoffman, conductor At the time Saint-Saëns wrote his Second Symphony, he did not yet have a reputation as a monumental composer. Debussy called him “the musician of tradition.” Art is always subjective, of course, but Saint-Saëns’ works were criticized as lacking inspiration and passion. One crucial element of his music has never come into question, however: his compositional technique. Saint-Saëns pored over other composers’ scores, which helped develop his prowess as an orchestrator. Early on in his career, Gounod praised him as being able to write “at will in the style of Rossini, Verdi, Schumann, or Wagner. He is a musician armed with every weapon. He knows the masters by heart.” As he grew older, Saint-Saëns found his own musical style. He wrote his Second Symphony at the age of 27, and it served as an exercise in his growth as a composer, revealing a well-informed musician with intimate knowledge of orchestration and sophisticated symphonic structures. The music is delicately layered with a focus on rhythm and its exploration, which was very important to Saint-Saëns throughout his compositions. His Second Symphony includes rhythmic repetition, cross-rhythms— which occur when contrasting rhythms are played simultaneously—and melodies filled with dotted figures that drive forward with flair. Saint-Saëns also enjoyed beginning his themes on the middle or last beat of a measure, which can be heard in this work. The symphony begins with descending and ascending arpeggios and a theme introduced by the violin and oboe. Music framed in intervals of a third sets the foundation for the entire opening movement, reinforced by another fierce, declamatory main melody first heard in the violins. Muted violins and violas begin the Adagio and present its main material. The jovial Scherzo celebrates Saint-Saëns’ love of 17th-century french dance forms, with um-pa-pa rhythms and syncopations, as well as carefully placed doubling in instrumentation to provide fullness. The final movement, marked to be played prestissimo—a very quick tempo—is energized by continued attention to jaunty rhythms. This lighthearted music slows, then builds to a satisfying point of arrival, led this time by cello and double bass. To tie everything together in classic fashion, Saint-Saëns brings back material from previous movements. Later in life, Saint-Saëns found great success as a composer (he had always been successful as a pianist and organist, and performed for over 75 years), and his music enjoyed a revival in popularity, particularly in America and England. A critic also named him “the first Frenchman who may be said to have successfully competed with German composers on their own ground.” While some may critique Saint-Saëns’ music as cleaving too steadfastly to already-existing forms, the composer said it best: “He who does not get absolute pleasure from a simple series of well-constructed chords, beautiful only in their arrangement, is not really fond of music.” ©2021 Laura Sauer 4
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GRANT PARK ORCHESTRA AND CHORUS Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director Friday, July 30, 2021 at 6:30 p.m. Saturday, July 31, 2021 at 6:30 p.m. Harris Theater
REFLECTIONS ON CARMEN Grant Park Orchestra Carlos Kalmar, conductor Franz Joseph Haydn Symphony No. 8 in G Major, Le soir Allegro molto Andante Menuet La tempesta: Presto Caroline Shaw Entr’acte Rodion Shchedrin Carmen - Suite (after Bizet) Introduction Dance First Intermezzo Changing of the Guard Carmen’s Entrance and Habanera Scene Second Intermezzo Bolero [the Farandole, from L’Arlésienne] Torero Torero and Carmen [Danse bohémienne from La jolie fille de Perth] Adagio Fortune-Telling Finale
Major support for this concert is generously provided by William Blair, our 2021 Diverse American Voices Series Sponsor.
The Friday concert is being streamed live at gpmf.org. Week 5
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FRANZ JOSEPH HAYDN (1732-1809) SYMPHONY NO. 8 IN G MAJOR, LE SOIR (1761) Scored for: flute, two oboes, bassoon, two horns, continuo and strings Performance time: 23 minutes First Grant Park Orchestra performance: August 18, 1941, Hans Lange, conductor Joseph Haydn’s Symphony No. 8, Le soir (“Evening”) comes as the final symphony in a set of three, following Symphony No. 6, Le matin (“Morning”) and Symphony No. 7, Le midi (“Noon”). The young composer had recently been hired as ViceKapellmeister at Prince Paul Anton Esterházy’s court in Eisenstadt, Austria. The prince, an Italian Baroque music enthusiast, asked Haydn to compose a semi-programmatic set akin to Vivaldi’s Four Seasons that tracked the passing of a day instead of a year. Eager to please his patron in his debut as court composer, Haydn wrote the set during his first few months at court in 1761. Though Haydn is often considered the “father” of the symphony, the genre had already begun to evolve from elements of the Baroque concerto, church sonata, and Italian opera overture. This early symphony nods to the style and form of Baroque concerti grossi in which musical material passes between a small group of soloists (the concertino) and full orchestra (the ripieno). This retrospective style could be Haydn’s way of flattering the prince’s musical tastes, but it also allows the individual musicians to shine. Haydn had the rare opportunity of having a premier orchestra at his fingertips to compose for, as Prince Esterházy had assembled a newly expanded orchestra for his court with some of the most talented instrumentalists out of Vienna. In a move to curry favor with his musicians as their new leader, Haydn showcases the talents of the orchestra as a whole in his Symphony No. 8 while also highlighting the individual players, particularly concertmaster and violin virtuoso Luigi Tomasini. The opening movement, marked Allegro molto, features a staccato melody in 3/8 time, which passes in variation between the strings and winds. The second movement is a heartfelt Andante that uses a traditional concertino group of two solo violins, echoed by paired solo bassoon and solo cello. This movement also gives the solo first violin plenty of moments to shine on its own. A pleasant Minuet and Trio follow, featuring a provincial double bass solo. The finale is the only explicitly programmatic moment of the symphony. In a nod to Vivaldi, Haydn titles this movement “La tempesta,” or the storm. Here, the sixteenth-note octaves in the first violin depict the approaching storm, the staccato notes in the orchestra below like the first droplets of rain. Then, a forte cascading figure in unison comes in like a heavy downpour. Later, tremolos in the lower strings suggest distant rumbles of thunder. In addition to appeasing the musicians, this symphony and the other two in the set must have assured Prince Esterházy that he had made an excellent decision in hiring the young composer. As it happens, Haydn would go on to serve the Esterházy court for the next thirty years in what would be one of the most fruitful musical patronages in history.
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CAROLINE SHAW (b. 1982) ENTR’ACTE (2017) Scored for: string orchestra Performance time: 11 minutes First Grant Park Orchestra performance You might be thinking that this next piece, written by a composer who has collaborated with the likes of Kanye West, couldn’t be more dissimilar to the early Haydn Symphony you just heard. But the pieces have more in common than you might expect. Caroline Shaw, who was the youngest-ever recipient of the Pulitzer Prize for Music when she won in 2013 at the age of thirty, wrote Entr’acte in 2011 for the Brentano Quartet who was in residence at Princeton University where Shaw was a graduate student. She recalls being inspired by their performance of Haydn’s String Quartet Op. 77 No. 2, specifically the “spare and soulful shift to the D-flat major trio in the minuet.” The somewhat abrupt and playful transitions Haydn was prone to using served as a jumping-off point for Entr’acte. Shaw writes, “I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.” What follows is a “riffing” on the Classical minuet and trio that nods to forms, techniques, and harmonies of previous centuries but blows them wide open with a refreshing infusion of dissonances, idiosyncratic rhythms, and extended string technique effects. Entr’acte loosely retains the ternary form of a Classical minuet and trio, repeating the opening thematic material of the minuet after the contrasting trio section. However, she inverts the traditional formula that Haydn uses for these movements by contrasting a more somber minuet with a livelier trio instead of the other way around. Entr’acte begins with a mournful, almost resigned sighing theme in the vein of a Baroque lament. The quintessentially Baroque harmonies gradually dissolve into dissonant meanderings. The sweeping minuet then gives way to ebullient pizzicatos in four-part harmony in the trio, the constantly changing pulse and meter giving it a quasi-improvisational quality. The middle section continues on the theme of abrupt transitions by shifting between numerous disparate musical ideas. At one moment, Shaw introduces a special extended technique pizzicato that Shaw instructs should be “soft but open, like the lute stop of a harpsichord.” This is contrasted with a long section of bariolage, or rapid alternation of notes on adjacent strings that was a common feature of Baroque music, in the viola, layered with rustic vertical chords in the violins. Eerie sighing gestures follow, almost as if the players are melting in the hot sun of the high harmonics. This suddenly gives way to the repeat of the opening minuet theme. The violins then disappear into the sky in “whispered arpeggios,” leaving the cello to roll off chords in a long soliloquy as if “recalling fragments of an old tune or story,” Shaw instructs. The resulting piece is something that is at once comfortingly familiar and wildly new. As Shaw writes, “The colors are vivid and familiar, and the shapes of the leaves follow a pattern that you seem to know until you don’t.”
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RODION SHCHEDRIN (b. 1932) Carmen Suite (after Bizet) (1967) Scored for: timpani, percussion, and strings Performance time: 44 minutes First Grant Park Orchestra performance If you’re expecting a bland, straightforward medley of themes from Bizet’s 1875 opera Carmen, prepare to be delightfully surprised. Cuban choreographer Alberto Alonso approached Bolshoi prima ballerina Maya Plisetskaya about creating a one-act ballet based on the Carmen story. After approaching numerous composers, including Dmitri Shostakovich, with no success, they realized the solution was right under their noses: Plisetskaya’s own husband, composer Rodion Shchedrin. Shchedrin found it impossible to extricate Bizet’s music from the story of Carmen. He did not want to create what he termed a “slavish obeisance to the genius of Bizet,” but rather “a creative meeting of the two minds.” Numerous arrangements of Bizet’s score had been written over the years, but Shchedrin’s suite would be the most ambitious and original yet. One way he achieved this was by scoring his ballet for string orchestra and fortyseven percussion instruments. This unique orchestration casts Bizet’s familiar melodies in new colors, and the virtuosic percussion emphasizes the rhythmic precision of Bizet’s Spanish-inflected score. Because Bizet’s opera is so well known, the smallest rhythmic, harmonic, or textural changes to the melodies stand out. Shchedrin often presents these melodies in fragments, leaving the audience to fill in the blanks. For instance, the famous Toreador song, which appears in the ninth number Torero, suddenly disappears, leaving only the accompaniment underneath. Shchedrin recalled the first cellist asking during a preliminary rehearsal, “But who is singing the melody?” The conductor replied, “Everyone sings inside. Everyone is a Toreador for himself.” In addition to the enduring melodies of Carmen, Shchedrin incorporates music from some of Bizet’s other stage works, including the famous Farandole from L’Arlésienne and a theme from La jolie fille de Perth. The ballet loosely follows the plot of the opera: soldier Don José has been told to marry a girl from his village named Micäela. However, he quickly becomes so enamored of Carmen, the seductive cigarette girl, that he abandons his military duties to run away with her and her Romani companions. The elusive Carmen eventually becomes bored with José and tells him to go home. She runs off with the dashing toreador Escamillo: Don José stabs her in a jealous rage. Both Bizet’s opera and Shchedrin’s ballet faced critical backlash after their premieres. Bizet’s Carmen famously scandalized critics and audience members with its obscenity and the immorality of its central characters. Soviet authorities were similarly outraged by Shchedrin’s interpretation when it premiered at the Bolshoi Theater in 1967, claiming he had made a mockery of Bizet’s masterpiece and that the ballet overly sexualized Carmen (which leads one to wonder what sort of productions they had seen of the opera). As a result, the press acted as if the premiere had never happened, and the ballet was replaced by The Nutcracker in its second night. Shostakovich came to Shchedrin’s rescue and eventually convinced the authorities to let it run. The Carmen Suite has since become Shchedrin’s best-known work, and as you will hear, holds its own off the ballet stage. ©2021 Katherine Buzard 8
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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
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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.
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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.
