The 2022–23 Civic Orchestra season is generously sponsored by
The Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
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ONE HUNDRED FOURTH SE ASON
CIVIC ORCHESTRA OF CHICAGO Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
Monday, May 15, 2023, at 8:00
Ken-David Masur Conductor clyne
Masquerade
thorvaldsdóttir
Dreaming
intermission
berlioz
Symphonie fantastique, Op. 14
Dreams—Passions (Largo—Allegro agitato e appassionato assai) A Ball (Waltz: Allegro non troppo) A Scene in the Country (Adagio) March to the Scaffold (Allegretto non troppo) Dream of a Witches’ Sabbath (Larghetto—Allegro)
The 2022–23 Civic Orchestra season is generously sponsored by The Julian Family Foundation, which also provides major funding for the Civic Fellowship program. This project is supported in part by the National Endowment for the Arts. This program is partially supported by a grant from the Illinois Arts Council Agency. C SO.ORG/INSTITUTE
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comments by phillip huscher anna clyne
Born March 9, 1980; London, England
Masquerade Anna Clyne was born in London and raised in the United Kingdom. She holds degrees from Edinburgh University and the Manhattan School of Music, and has lived and worked in Edinburgh, Ontario, and New York City; during her time as the Chicago Symphony Orchestra’s Mead Composer-in-Residence, she became a full-time Chicagoan. Clyne came to know and love the city—she even wrote a Chicago “street portrait,” A Wonderful Day, incorporating the voice of Wooly Barber, a homeless man she heard singing on Michigan Avenue. During her Chicago residency, the Orchestra gave the world premieres of Night Ferry, her first big orchestral score, in 2012, and The Seamstress, a work for violin and orchestra, in 2015. Since her Chicago days, Clyne’s star has been on the rise. She often collaborates on creative projects across the music industry, including Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera; as well as the Nico Project at the Manchester International Festival, a stage work about pop icon Nico’s life. Recent projects have explored Clyne’s fascination with visual arts, including Color Field, inspired by the artwork of Mark Rothko; Abstractions, inspired by five contemporary artworks; and Woman Holding a Balance, a film collaboration with artist Jyll Bradley.
composed 2013 f i rst p e rf o rm a n c e September 7, 2013; Royal Albert Hall, BBC Symphony Orchestra. Marin Alsop conducting i n st ru m e n tat i o n two flutes and piccolo, two oboes, english horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion, harp, strings a p p roxi m at e p e rf o rm a n c e t i m e 5 minutes
Anna Clyne on Masquerade
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asquerade draws inspiration from the original mid-eighteenth–century promenade concerts held in London’s pleasure gardens [Vauxhall Pleasure Gardens]. As is true today, these concerts were a place where people from all walks of life mingled to enjoy a wide array of music. Other forms of entertainment ranged from the sedate to the salacious with acrobatics, exotic street entertainers, dancers, fireworks and masquerades. I am fascinated by the historic and sociological courtship between music and dance. Combined with costumes, masked guises, and elaborate settings, masquerades created an exciting, yet controlled, sense of occasion and celebration. It is this that I wish to evoke in Masquerade.
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a b o v e : Anna Clyne, photo by Christina Kernohan
COMMENTS
The work derives its material from two melodies. For the main theme, I imagined a chorus welcoming the audience and inviting them into their imaginary world. The second theme,
“Juice of Barley,” is an old English country-dance melody and drinking song, which first appeared in John Playford’s 1695 edition of The English Dancing Master.
anna thorvaldsdóttir
Born July 11, 1977; Borgarnes, Iceland
Dreaming Anna Thorvaldsdóttir is an Icelandic composer whose music is composed as much by sounds and nuances as by harmonies and lyrical material. It is written as an ecosystem of sounds often inspired by nature and its many qualities, in particular structural ones like proportion and flow. Thorvaldsdóttir’s works have been nominated and awarded on many occasions. Her orchestral works have garnered her the prestigious Nordic Council Music Prize, the New York Philharmonic’s Kravis Emerging Composer Award, and Lincoln Center’s Emerging Artist Award and Martin E. Segal Award. She holds a doctorate from the University of California in San Diego and is currently based in the London area. Thorvaldsdóttir’s music is frequently performed internationally and has been performed by orchestras and ensembles such as the International Contemporary Ensemble (ICE), New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, BBC Symphony Orchestra, Ensemble Intercontemporain, London’s Philharmonia Orchestra, San Francisco Symphony, Iceland Symphony Orchestra, Orchestre de Paris, Gothenburg Symphony Orchestra, NDR Elbphilharmonie, Bang on a Can All-Stars, Yarn/Wire, the Crossing, the Bavarian Radio Choir, Münchener Kammerorchester, Los Angeles Percussion Quartet, Avanti Chamber Ensemble, Royal Stockholm Philharmonic, Vienna Radio Symphony Orchestra, BBC Scottish Symphony Orchestra, Helsinki Philharmonic, CAPUT Ensemble, Oslo Philharmonic, and Either/Or Ensemble. In April 2018, Esa-Pekka Salonen led the New York Philharmonic in the premiere of Anna’s work Metacosmos. Aion was premiered by the Gothenburg Symphony Orchestra in May 2019, conducted by Anna-Maria Helsing. Her most recent orchestral work, Catamorphosis, was premiered by the Berlin Philharmonic and Kirill Petrenko in January 2021.
composed 2013 f i rst p e rf o rm a n c e January 14, 2010; Reykjavík, Iceland. Iceland Symphony, Bernharður Wilkinson conducting i n st ru m e n tat i o n two flutes and alto flute, two oboes, three clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp, celesta, strings a p p rox i m at e p e rf o rm a n c e t i m e 17 minutes
a b o v e : Anna Thorvaldsdóttir, photo by Saga Sigurdardottir
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COMMENTS
Anna Thorvaldsdóttir on Dreaming Nature listen flow free individually embrace listen Nature
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quiet soundworld is born from silence, the piece is born from the quiet. The music is in a single movement which from beginning to end embodies a flowing world of sound. The conductor becomes a part of the orchestra as his role and “performance” is at certain moments written in a different way than regular beating of time. After the development of a flowing interplay between the instruments, each
performer gradually begins to perform individually so that the orchestra becomes an ensemble of soloistic events. The motionless presence of the conductor directs the piece in the end—his presence alone is enough to lead the orchestra and the piece into the infinite. Time is redundant. The cycle continues. The inspiration is not in the form of recreating the soundworld or visual presentation already found in nature. It can rather be used as a tool to work with and measure proportions and natural progression. In each chord there is a world of collective sounds where the small sound particles dissolve and create their own world. By attending to the various qualities of the sound, the perception can be changed from one moment to the next. —realization—
hector berlioz
Born December 11, 1803; La Côte-Saint-André, Isère, France Died March 8, 1869; Paris, France
Symphonie fantastique, Op. 14 “I come now to the supreme drama of my life,” Berlioz wrote in his Memoirs, at the beginning of the chapter in which he discovers Shakespeare and the young Irish actress Harriet Smithson. “Shakespeare, coming up on me unawares, struck me like a thunderbolt,” he wrote after attending Hamlet, given in English—a language Berlioz did not speak—at the Odéon Theater on September 11, 1827. But it was Smithson appearing as Ophelia, and then four days later as Juliet, who captured his heart and set in motion one of the grandest creative outbursts in romantic art.
t h i s pa g e : Hector Berlioz, portrait by Émile Signol (1804–1892), 1832. Villa Medici, Rome o p p o s i t e pa g e : Harriet Smithson (1800–1854) as Ophelia in Charles Kemble’s 1827 Paris production of Shakespeare’s Hamlet
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composed January–April 1830 f i rst p e rf o rm a n c e December 5, 1830; Paris, France i n st ru m e n tat i o n two flutes with piccolo, two oboes and two english horns, two clarinets and E-flat clarinet, four bassoons, four horns, two trumpets and two cornets, three trombones and two ophicleides (traditionally played by tubas), timpani, snare drum, bass drum, cymbals, low-pitched bells, two harps, strings a p p rox i m at e p e rf o rm a n c e t i m e 49 minutes
COMMENTS
the Revue musicale, and, for the performance on December 5, 1830, two thousand copies of a leaflet containing the same narrative were distributed in the concert hall, according to Felix Mendelssohn, who would remember that night for the rest of his life because he was so shaken by the music. No one was unmoved. It is hard to know which provoked the greater response—Berlioz’s radical music or its bold story. For Berlioz, who always believed in the bond between music and ideas, the two were inseparable. In an often-quoted footnote to the program as it was published with the score in 1845, he insisted that “the distribution of this program to the audience, at concerts where this symphony is to be performed, is indispensable for a complete understanding of the dramatic outline of the work.”
Berlioz began the Symphonie fantastique almost at once, and it immediately became a consuming passion. Throughout its composition, he was obsessed with Henriette, the familiar French name for her he had begun to use, even though they wouldn’t meet until long after the work was finished. On April 16, 1830, he wrote to his friend Humbert Ferrand that he had “just written the last note” of his new symphony, one of the most shockingly modern works in the repertoire and surely the most astonishing first symphony any composer has given us. “Here is its subject,” he continued, “which will be published in a program and distributed in the hall on the day of the concert.” Then follows the sketch of a story as famous as any in the history of music: the tale of a man who falls desperately in love with a woman who embodies all he is seeking; is tormented by recurring thoughts of her, and, in a fit of despair, poisons himself with opium; and, finally, in a horrible narcotic vision, dreams that he is condemned to death and witnesses his own execution. Berlioz knew audiences well; he provided a title for each of his five movements and wrote a detailed program note to tell the story behind the music. A few days before the premiere, Berlioz’s full-scale program was printed in
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ven in 1830, the fuss over the program couldn’t disguise the daring of the music. Berlioz’s new symphony sounded like no other music yet written. Its hallmarks can be quickly listed: five movements, each with its own title (as in Beethoven’s Pastoral Symphony), and the use of a signature motif, the idée fixe representing Harriet Smithson that recurs in each movement and is transformed dramatically at the end. But there is no precedent in music—just three years after the death of Beethoven—for his staggeringly inventive use of the orchestra, creating entirely new sounds with the same instruments that had been playing together for years; for the bold, unexpected harmonies; and for melodies that are still, to this day, unlike anyone else’s. There isn’t a page of this score that doesn’t contain something distinctive and surprising. Some of it can be explained—Berlioz developed his idiosyncratic sense of harmony, for example, not at the piano, since he never learned to play more than a few basic chords, but by improvising on the guitar. But explanation doesn’t diminish our astonishment. None of this was lost on Berlioz’s colleagues. According to Jacques Barzun, the composer’s biographer, one can date Berlioz’s “unremitting influence on nineteenth-century composers” C SO.ORG/INSTITUTE
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COMMENTS
from the date of the first performance of the Symphonie fantastique. In a famous essay on Berlioz, Robert Schumann relished the work’s novelty; remembering how, as a child, he loved turning music upside down to find strange new patterns before his eyes, Schumann commented that “right side up, this symphony resembled such inverted music.” He was, at first, dumbfounded, but “at last struck with wonderment.” Mendelssohn was confused, and perhaps disappointed: “He is really a cultured, agreeable man and yet he composes so very badly,” he wrote in a letter to his mother. For Liszt, who attended the premiere—he was just nineteen years old at the time—and took Berlioz to dinner afterwards, the only question was whether Berlioz was “merely a talented composer or a real genius. For us,” he concluded, “there can be no doubt.” (He voted for genius.) When Wagner called the Symphonie fantastique “a work that would have made Beethoven smile,” he was probably right. But he continued: “The first movement of Beethoven’s Fifth Symphony would seem an act of pure kindness to me after the Symphonie fantastique.” In fact, it was Berlioz’s discovery of Beethoven that prompted him to write symphonies in the first place. (There are two more that followed shortly: Harold in Italy in 1834 and Romeo and
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Juliet in 1839.) At the same time, Berlioz also seems to foreshadow Mahler, for whom a symphony meant “the building up of a world, using every available technical means.” The Symphonie fantastique did, for its time, stretch the definition of the symphony to the limit. But it didn’t shatter the model set by Beethoven. For it was a conscious effort on Berlioz’s part to tell his fantastic tale in a way that Beethoven would have understood, and to put even his most outrageous ideas into the enduring framework of the classical symphony. At the premiere, Berlioz himself was onstage— playing in the percussion section, as he often liked to do—to witness the audience cheering and stomping in excitement at the end. Later, in his Memoirs, he admitted that the performance was far from perfect—“it hardly could be, with works of such difficulty and after only two rehearsals”—but that night he knew that he had the public in his camp, and that with the recent, coveted Prix de Rome under his belt, his career was about to skyrocket.
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
negaunee music institute at the cso Tenth Anniversary Season of the Civic Fellowship Program For more than a century, young musicians have received expert training through the Civic Orchestra of Chicago, which offers performance opportunities with top-tier conductors and mentorship from musicians of the Chicago Symphony Orchestra. Currently in its tenth anniversary season, the Civic Fellowship program provides additional professional development for a select group of Civic Orchestra members. The mission of the Fellowship is to prepare participants for multifaceted careers in music through four areas of focus: concert curation, music education, social justice, and project management. Read how three current and former Civic Fellows respond to the question, How has being a Civic Orchestra Fellow helped you professionally and personally? To read the complete interviews, visit cso.org/experience.
Marian Mayuga Violin, current Civic Fellow While being a member and Fellow of the Civic Orchestra is an incredible honor, it also entails a huge amount of responsibility, both as a musician and a member of the community. As a values-based program, the Civic Fellowship constantly urges us to think about the purpose of our music and whose lives we are impacting. This is the kind of approach I would like to adapt for my future endeavors.
f r o m l e f t: Marian Mayuga. Zachary Good. Photo by DeidreHuckabay. Maria Arrua. Photo by “Spider” Meka Hemmons
Zachary Good Clarinet, Civic Fellow alum My time as a Fellow and the many education and community engagement projects I undertook showed me how my musicianship could inspire positive change in different contexts and that I could be more than just a clarinetist. The skills I gained through Civic, like developing a confident stage presence and curating programs, set me up for a successful career. During my time as a Fellow, Eighth Blackbird—an American contemporary music sextet based in Chicago—were my idols. I am now living my dream as a member of the ensemble!
Maria Arrua Violin, Civic Fellow alum Playing in the Civic Orchestra alongside amazing young musicians continuously motivated me to work hard and get better. . . . During my time in the Fellowship, I was placed to teach group classes at the People’s Music School. I learned to love teaching and connecting with students. . . . I now have my own private violin studio and also teach as an adjunct professor at Illinois Wesleyan University. Visit cso.org/hearcivic to learn about upcoming Civic Fellows performances. Salute the tenth anniversary of the Fellowship by supporting the Civic Orchestra at cso.org/makeagift. The 2022–23 Civic Orchestra season is generously sponsored by The Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
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profiles Ken-David Masur Conductor During the 2022–23 season, Masur leads a range of programs with the Milwaukee Symphony Orchestra, where his programming explores the natural world and its relationship to humanity. He also continues the second year of an MSO artistic partnership with pianist Aaron Diehl, and leads choral and symphonic works including Mendelssohn’s Elijah and Mahler’s Symphony no. 2. With the Civic Orchestra of Chicago, Masur leads concerts throughout the season, including the annual Bach Marathon in December 2022. Other engagements include subscription weeks with the Nashville and Omaha symphony orchestras, and a return to Poland’s Wrocław Philharmonic. Last season, Masur made debuts with the San Francisco Symphony, the Minnesota Orchestra, and the Baltimore Symphony Orchestra, and led performances with the Rochester Philharmonic and the Kristiansand Symphony Orchestra. Following the gala opening of the Bradley Symphony Center, highlights of the MSO season included a semi-staged production of Peer Gynt. In the summer of 2022, Masur debuted at the Pacific Music Festival in Sapporo, Japan, leading three programs with the Festival Orchestra, including members of the Berlin and Vienna philharmonics, and another concert with the Sapporo Symphony. He debuted at Classical Tahoe in three programs that were broadcast on PBS; and led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a celebration of the composer John Williams. Masur has conducted distinguished orchestras around the world, including the Chicago Symphony Orchestra, the Los Angeles
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Philharmonic, Orchestre National de France, the Yomiuri Nippon Symphony, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and other orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia. Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolay Lugansky, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and also as associate conductor of the San Diego Symphony and resident conductor of the San Antonio Symphony. Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has led orchestras and master classes at Tokyo Bunka Kaikan Chamber Orchestra, University of Wisconsin– Milwaukee’s Peck School of the Arts, New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at other leading universities and conservatories throughout the world. Masur is passionate about the growth, encouragement, and application of contemporary music. He has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The festival seeks to engage audiences with its groundbreaking collaborations between the performing, visual, and culinary arts. Ken-David Masur holds the Robert Kohl and Clark Pellett Principal Conductor Chair with the Civic Orchestra of Chicago.
PHOTO BY A DA M DE TOU R
PROFILES
Civic Orchestra of Chicago Founded in 1919 by Frederick Stock, second music director of the Chicago Symphony Orchestra (CSO), the Civic Orchestra of Chicago prepares emerging professional musicians for lives in music. Civic members participate in rigorous orchestral training, September through June each season, with the Robert Kohl and Clark Pellett Principal Conductor Ken-David Masur, musicians of the CSO, and some of today’s most luminary conductors including the CSO’s Zell Music Director Riccardo Muti. The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commitment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM). Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational performances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city, including Chicago Park District field houses and the National Museum of Mexican Art. To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Each year ten to
fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversify their creative and professional skills. From 2010 to 2019, Yo-Yo Ma was a leading mentor to Civic musicians and staff in his role as CSO Judson and Joyce Green Creative Consultant, and the programs and initiatives he established are integral to the Civic Orchestra curriculum today. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving world of music in the twenty-first century. The Civic Orchestra’s long history of presenting full orchestra performances free to the public includes annual concerts at the South Shore Cultural Center (in partnership with the South Shore Advisory Council) as well as numerous Chicago Public Schools. The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra, which offers a wide range of education and community programs that engage more than 200,000 people of diverse ages, incomes, and backgrounds each year, in Chicago and around the world. For more on the Civic Orchestra of Chicago and its Principal Conductor Ken-David Masur, please visit cso.org/civic.
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PROFILES
Civic Orchestra of Chicago
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
violins Gabriela Lara Matthew Weinberg Subin Shin Ran Huo Janani Sivakumar Marian Antonette Mayuga* Jonah Kartman Sungjoo Kang Annie Pham Nelson Mendoza Hernandez* Hsuan Chen Diego Diaz+ Kimberly Bill Dylan Marshall Feldpausch* Diane Yang* Munire Mierxiati Jesús Linárez Kristian Brusubardis Hee Yeon Kim* Crystal Qi Hee Woo Seo Valentina Guillen Menesello Robbie Herbst Liya Ma Yu-Kun Hsiang Kenichi Kiyama Grace Walker Kina Ono Laura Schafer Lina Yamin viol as Pedro Mendez Teddy Schenkman* Aditi Prakash Amanda Kellman Megan Yeung Carlos Lozano Sanchez Derrick Ware Larissa Mapua Calvin Dai Rachel Mossburg Michael Ayala Yulong Han
cellos Annamarie Wellems Lindsey Sharpe* Lidanys Graterol Jaime An Abby Monroe Cameron Slaugh Hana Takemoto Charlotte Ullman Miles Link J Holzen basses Hannah Novak Bennett Norris Olivia Reyes Nate Beaver Caleb Edwards Ben Foerster Victor Stahoviak Jake Platt flutes Aalia Hanif Katarina Ignatovich Eric Leise piccolo/alto flute Aalia Hanif oboes James Jihyun Kim Kyung Yeon Hong Natalie Johnson english horn Natalie Johnson cl arinets Irina Chang Antonio Garrasi Daniel Solowey bass cl arinets Nico Chona+ bassoons Seo Young (Michelle) Min Mackenzie Brauns* Peter Houdalis William George
* Civic Orchestra Fellow + Civic Orchestra Alumni
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contrabassoon Peter Houdalis horns Jacob Medina Michael Stevens Nelson Yovera Perez Ryan Williamson Sylvia Denecke trumpets Michael Leavens Quincy Erickson Abner Wong Sean Whitworth trombones Felix Regalado Hugo Saavedra Arciniegas* bass trombone Zhen Lei tubas Nick Collins Ben Poirot timpani David Miller Tomas Leivestad percussion Thaddeus Chung Charley Gillette George Tantchev Sehee Park celesta Marissa Kerbel harps Natalie Man Emily Stone librarian Anna Thompson
negaunee music institute at the cso the board of the negaunee music institute
civic orchestra artistic leadership
Leslie Burns Chair Liisa Thomas Vice Chair
Coaches from the Chicago Symphony Orchestra Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Baird Dodge Principal Second Violin Danny Lai Viola Max Raimi Viola John Sharp Principal Cello The Eloise W. Martin Chair Kenneth Olsen Assistant Principal Cello The Adele Gidwitz Chair Richard Hirschl Cello Daniel Katz Cello Brant Taylor Cello Alexander Hanna Principal Bass The David and Mary Winton Green Principal Bass Chair Stefán Ragnar Höskuldsson Principal Flute The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Flute Jennifer Gunn Flute and Piccolo The Dora and John Aalbregtse Piccolo Chair William Welter Principal Oboe The Nancy and Larry Fuller Principal Oboe Chair Stephen Williamson Principal Clarinet John Bruce Yeh Assistant Principal Clarinet and E-flat Clarinet Keith Buncke Principal Bassoon William Buchman Assistant Principal Bassoon David Cooper Principal Horn Daniel Gingrich Associate Principal Horn Esteban Batallán Principal Trumpet The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor Mark Ridenour Assistant Principal Trumpet Michael Mulcahy Trombone John Hagstrom Trumpet The Bleck Family Chair Tage Larsen Trumpet The Pritzker Military Museum & Library Chair Charles Vernon Bass Trombone Gene Pokorny Principal Tuba The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld David Herbert Principal Timpani The Clinton Family Fund Chair Vadim Karpinos Assistant Principal Timpani, Percussion Cynthia Yeh Principal Percussion Sarah Bullen Former Principal Harp Mary Sauer Former Principal Keyboard Peter Conover Principal Librarian
John Aalbregtse David Arch James Borkman Jacqui Cheng Ricardo Cifuentes Richard Colburn Charles Emmons Judy Feldman Lori Julian Rumi Morales Mimi Murley Margo Oberman Gerald Pauling Harper Reed Veronica Reyes Steve Shebik Marlon Smith Eugene Stark Ex-officio Members Jeff Alexander Jonathan McCormick Vanessa Moss
negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute Katy Clusen Senior Manager, School & Family Programs Antonio Padilla Denis Manager, Civic Orchestra of Chicago Rachael Cohen Coordinator, Institute Programs Emory Freeman Operations Coordinator, Civic Orchestra of Chicago Katie Eaton Coordinator, School Partnerships Autumn Stolle Institute Programs Assistant Frances Atkins Content Director Kristin Tobin Designer & Print Production Manager
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honor roll of donors Negaunee Music Institute at the Chicago Symphony Orchestra
The Negaunee Music Institute connects individuals and communities to the extraordinary musical resources of the Chicago Symphony Orchestra. The following donors are gratefully acknowledged for making a gift in support of these educational and engagement programs. To make a gift or learn more, please contact Kevin Gupana, Associate Director of Giving, Educational and Engagement Programs, 312-294-3156. $ 1 5 0,0 0 0 A N D A B O V E
The Julian Family Foundation The Negaunee Foundation $ 1 0 0,0 0 0 – $ 1 4 9, 9 9 9
Anonymous Allstate Insurance Company $ 75 ,0 0 0 – $ 9 9, 9 9 9
The Elizabeth F. Cheney Foundation John Hart and Carol Prins Megan and Steve Shebik $ 5 0,0 0 0 – $ 74 , 9 9 9
Anonymous Robert and Joanne Crown Income Charitable Fund Lloyd A. Fry Foundation Judy and Scott McCue Nancy Lauter McDougal † and Alfred L. McDougal † Polk Bros. Foundation Barbara and Barre Seid Foundation Shure Charitable Trust Michael and Linda Simon Mr. Irving Stenn, Jr. $ 3 5 ,0 0 0 – $ 4 9, 9 9 9
Kinder Morgan Bowman C. Lingle Trust National Endowment for the Arts Lisa and Paul Wiggin $ 2 5 ,0 0 0 – $ 3 4 , 9 9 9
Anonymous Abbott Fund Crain-Maling Foundation Leslie Fund, Inc. The James and Madeleine McMullan Family Foundation Dr. & Mrs. Eugene and Jean Stark $ 2 0,0 0 0 – $ 2 4 , 9 9 9
Anonymous Mary Winton Green Richard P. and Susan Kiphart Family
Margo and Michael Oberman PNC Charles and M. R. Shapiro Foundation The George L. Shields Foundation, Inc. $ 1 5 ,0 0 0 – $ 1 9, 9 9 9
Carey and Brett August Robert and Isabelle Bass Foundation, Inc. The Buchanan Family Foundation Bruce and Martha Clinton for The Clinton Family Fund Sue and Jim Colletti Ellen and Paul Gignilliat Illinois Arts Council Agency The League of the Chicago Symphony Orchestra Association Mr. Philip Lumpkin The Maval Foundation Sandra and Earl Rusnak, Jr. Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Dr. Marylou Witz $ 1 1, 5 0 0 – $ 1 4 , 9 9 9
Nancy A. Abshire Mr. † & Mrs. David A. Donovan Mrs. Carol Evans, in memory of Henry Evans Jim and Ginger Meyer Ksenia A. and Peter Turula Theodore and Elisabeth Wachs $ 7, 5 0 0 – $ 1 1, 4 9 9
Anonymous Robert H. Baum and MaryBeth Kretz John D. and Leslie Henner Burns Mr. Lawrence Corry Mr. & Mrs. † Allan Drebin Nancy and Bernard Dunkel Ms. Nancy Felton-Elkins and Larry Elkins Mr. & Mrs. Joseph B. Glossberg Chet Gougis and Shelley Ochab Halasyamani/Davis Family Robert Kohl and Clark Pellett Mr. Glen Madeja and Ms. Janet Steidl Ling Z. and Michael C. Markovitz Drs. Robert and Marsha Mrtek Ms. Susan Norvich Ms. Emilysue Pinnell D. Elizabeth Price COL (IL) Jennifer N. Pritzker, IL ARNG (Retired) Robert E. † and Cynthia M. † Sargent Catherine M. and Frederick H. Waddell $ 4 , 5 0 0 – $ 7, 4 9 9
Anonymous Joseph Bartush Ms. Marion A. Cameron-Gray Ann and Richard Carr Harry F. and Elaine Chaddick Foundation
Constance M. Filling and Robert D. Hevey Jr. Italian Village Restaurants Mr. & Mrs. Stan Jakopin Dr. June Koizumi Dr. Lynda Lane The Osprey Foundation Benjamin J. Rosenthal Foundation Dr. Scholl Foundation Jessie Shih and Johnson Ho Dr. Nanajan Yakoub $ 3,500–$ 4,499
Anonymous Arts Midwest GIG Fund Charles H. and Bertha L. Boothroyd Foundation Dr. Edward A. Cole and Dr. Christine A. Rydel Mr. & Mrs. Dwight Decker Camillo and Arlene Ghiron Dr. Ronald L. Hullinger Ms. Ethelle Katz Dr. Leo and Catherine Miserendino $2,500–$ 3,499
Anonymous Ms. Sandra Bass Mr. James Borkman Mr. Douglas Bragan Mr. Ray Capitanini Patricia A. Clickener Mr. Clinton J. Ecker and Ms. Jacqui Cheng Ms. Paula Elliott Brooks and Wanza Grantier William B. Hinchliff Mrs. Gabrielle Long Mr. Zarin Mehta Mrs. Frank Morrissey David † and Dolores Nelson Mr. David Sandfort Gerald and Barbara Schultz David and Judith L. Sensibar Margaret and Alan Silberman Mr. Larry Simpson Dr. & Mrs. R. Solaro Ms. Mary Walsh Mr. Kenneth Witkowski $ 1, 5 0 0 – $ 2 , 4 9 9
Dora J. and R. John Aalbregtse Richard J. Abram and Paul Chandler Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein Ms. Marlene Bach Mr. Carroll Barnes Mr. & Mrs. William E. Bible Cassandra L. Book Adam Bossov Ms. Danolda Brennan Mr. Lee M. Brown and Ms. Pixie Newman Bradley Cohn
† Deceased Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of April 2023
14 ONE HUNDRED FOURTH SEASON
HONOR ROLL OF DONORS
Elk Grove Graphics Charles and Carol Emmons Dr. & Mrs. Sanford Finkel, in honor of the Civic horn section Mr. Conrad Fischer Mrs. Roslyn K. Flegel David and Janet Fox Scott and Amber Halvorson James and Megan Hinchsliff Clifford Hollander and Sharon Flynn Hollander Michael and Leigh Huston Cantor Aviva Katzman and Dr. Morris Mauer Mr. & Mrs. Norman Koglin Bob and Marian Kurz Dona Le Blanc Dr. Herbert and Francine Lippitz Ms. Molly Martin Adele Mayer Mr. Aaron Mills Mr. & Mrs. Dennis Moffat Edward and Gayla Nieminen Dianne M. and Robert J. Patterson, Jr. Mr. & Mrs. Jeffery Piper Erik and Nelleke Roffelsen Ms. Cecelia Samans Mr. David Samson Jane A. Shapiro Ms. Denise Stauder Michael and Salme Steinberg Walter and Caroline Sueske Charitable Trust Mr. Peter Vale Abby and Glen Weisberg M.L. Winburn $ 1,0 0 0 – $ 1 , 4 9 9
Anonymous (6) Ms. Margaret Amato David and Suzanne Arch Jon W. and Diane Balke Mr. & Mrs. John Barnes Howard and Donna Bass Daniel and Michele Becker Marjorie Benton Ann Blickensderfer Mr. Thomas Bookey Mr. Donald Bouseman Ms. Jeanne Busch Darren Cahr Robert and Darden Carr Drs. Virginia and Stephen Carr Mr. Rowland Chang Lisa Chessare Mr. Ricardo Cifuentes David Colburn Mr. & Mrs. Bill Cottle Alan R. Cravitz Constance Cwiok Mr. Adam Davis
Mr. & Mrs. Barnaby Dinges Tom Draski DS&P Insurance Services, Inc. Mr. & Mrs. Robert Dulski Judith E. Feldman Ms. Lola Flamm Arthur L. Frank, M.D. Mr. Robert Frisch Peter Gallanis Eunice and Perry Goldberg Enid Goubeaux Mr. & Mrs. John Hales Dr. Robert A. Harris Mr. David Helverson Dr. & Mrs. Jerome Hoeksema Mr. Matt James Mr. Randolph T. Kohler Mr. Steven Kukalis Ms. Foo Choo Lee Dr. & Mrs. Stuart Levin Diane and William F. Lloyd Mr. † & Mrs. Gerald F. Loftus Sharon L. Manuel Mr. & Mrs. William McNally Mr. Robert Middleton Stephen W. and Kathleen J. Miller Mr. & Mrs. Stephen Morales Mrs. MaryLouise Morrison Catherine Mouly and LeRoy T. Carlson, Jr. Mr. George Murphy Mr. Bruce Oltman Ms. Joan Pantsios Mr. & Mrs. Gerald L. Pauling II Kirsten Bedway and Simon Peebler Ms. Dona Perry Quinlan & Fabish Susan Rabe Dr. Hilda Richards Dr. Edward Riley Mary K. Ring Christina Romero and Rama Kumanduri Mr. Nicholas Russell † Ms. Mary Sauer Barbara and Lewis Schneider Mr. & Mrs. Steve Schuette Mr. & Mrs. Thomas Scorza Stephen A. and Marilyn Scott Mr. & Mrs. James Shapiro Richard Sikes Dr. Sabine Sobek Mr. & Mrs. Ronald Stepansky Donna Stroder Sharon Swanson Ms. Joanne Tarazi Ms. Joanne C. Tremulis Mr. & Ms. Terrence Walsh Mr. & Mrs. Joel Weisman Ms. Zita Wheeler William Zeng Irene Ziaya and Paul Chaitkin
ENDOWED FUNDS
Anonymous (3) Cyrus H. Adams Memorial Youth Concert Fund Dr. & Mrs. Bernard H. Adelson Fund Marjorie Blum-Kovler Youth Concert Fund CNA The Davee Foundation Frank Family Fund Kelli Gardner Youth Education Endowment Fund Mary Winton Green William Randolph Hearst Foundation Fund for Community Engagement Richard A. Heise Peter Paul Herbert Endowment Fund Julian Family Foundation Fund The Kapnick Family Lester B. Knight Charitable Trust The Malott Family School Concerts Fund The Eloise W. Martin Endowed Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra The Negaunee Foundation Nancy Ranney and Family and Friends Shebik Community Engagement Programs Fund Toyota Endowed Fund The Wallace Foundation Zell Family Foundation CIVIC ORCHESTR A OF CHICAGO SCHOLARSHIPS
Members of the Civic Orchestra receive an annual stipend to help offset some of their living expenses during their training in Civic. The following donors have generously underwritten a Civic musician(s) for the 2022–23 season. Eleven Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra. Major funding for this program is generously provided by The Julian Family Foundation. Nancy A. Abshire Amanda Kellman, viola Dr. & Mrs. Bernard H. Adelson Fund Megan Yeung, viola Mr. Lawrence Belles and The Elizabeth F. Cheney Foundation+ Michael Stevens, horn
† Deceased ** Civic Orchestra Fellow + Partial Sponsor Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of April 2023
C SO.ORG/INSTITUTE
15
HONOR ROLL OF DONORS
Sue and Jim Colletti Hee Yeon Kim,** violin
Jane Redmond Haliday Chair Hana Takemoto, cello
Lawrence Corry Jonah Kartman, violin
The Julian Family Foundation Nelson Mendoza,** violin Ryan Williamson, horn
Robert and Joanne Crown Income Charitable Fund Irina Chang, clarinet Kunjing Dai, viola Antonio Garrasi, clarinet James Jihyun Kim, oboe David Miller, timpani Bennett Norris, bass
Ms. Susan Norvich Nick Collins, tuba Benjamin Poirot, tuba Michael and Margo Oberman Kyung Yeon Hong, oboe
Lester B. Knight Charitable Trust Jaime An, cello Isaac Hopkins, trumpet Miles Link, cello Jake Platt, bass Crystal Qi, violin
Sandra and Earl J. Rusnak, Jr. Sylvia Denecke, horn
Mr. † & Mrs. David A. Donovan Jacob Medina, horn
League of the Chicago Symphony Orchestra Association Lindsey Sharpe,** cello
Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney Foundation Benjamin Foerster, bass
Leslie Fund Inc. Aalia Hanif, flute Francisco Malespin,** cello
The George L. Shields Foundation Inc. Stephanie Block, viola Laura Schafer, violin Haley Slaugh, cello
Mr. & Mrs. Paul C. Gignilliat Larissa Mapua, viola
Phillip G. Lumpkin Dylan Feldpausch,** violin
Mr. & Mrs. Joseph B. Glossberg Michael Leavens, trumpet
Mr. Glen Madeja and Ms. Janet Steidl Abigail Monroe, cello
Richard and Alice Godfrey Robbie Herbst, violin Chet Gougis and Shelley Ochab Liam Jackson, bassoon Mary Winton Green Victor Stahoviak, bass
Barbara and Barre Seid Foundation Alexander Mullins, bass trombone Hugo Saavedra,** trombone
The David W. and Lucille G. Stotter Chair Grace Walker, violin Ruth Miner Swislow Charitable Fund Kimberly Bill, violin Lois and James Vrhel Endowment Fund Caleb Edwards, bass
Judy and Scott McCue Andrew Port,** oboe
Dr. Marylou Witz Marian Mayuga,** violin
Nancy Lauter McDougal † and Alfred L. McDougal † Emily Nardo, violin
Anonymous Diane Yang,** violin
Dr. Leo and Catherine Miserendino Olivia Reyes, bass
† Deceased ** Civic Orchestra Fellow + Partial Sponsor
Anonymous Kina Ono, violin