Program Book - Strum

Strum June 3–6, 2021

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a note from the chair and the president

DEAR VALUED PATRONS, We are delighted to welcome you back to Symphony Center. The Chicago Symphony Orchestra Association has been anticipating this happy reunion for many, many months. Thank you for being among the first to rejoin us for live concerts since March of 2020. It is our great pleasure to again be able to share the magical performances of the Chicago Symphony Orchestra within these walls.

The continuous artistic guidance of Zell Music Director Riccardo Muti, the dedication of the Orchestra members, collaboration across the organization, and discussions with city and public health officials have made these concerts possible. A thoughtful and thorough planning process led to the creation of “Safe and Sound” measures adopted to welcome listeners back to Symphony Center this spring. Thank you for adhering to these guidelines designed to ensure that your cultural experience is also a healthy one.

For the opening concert on May 27, we welcomed healthcare workers from Rush University System for Health, whose partnership during the pandemic has allowed CSO musicians to safely rehearse and perform a wide variety of digital programs created for CSOtv during the 2020–21 season. We also thank leading epidemiologist Dr. Emily Landon for her invaluable expertise throughout the planning process.

We all have missed that electricity that exists in Orchestra Hall when it is filled with eager listeners and the extraordinary music-making of the Chicago Symphony Orchestra. On behalf of the entire CSOA, please know how deeply moved we are by your presence for these auspicious concerts, and let us look forward to more in person musical experiences to come.

Helen Zell Chair Board of Trustees Chicago Symphony Orchestra Association

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Jeff Alexander President Chicago Symphony Orchestra Association

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SPECIALLY CURATED EPISODES BY CSO MEAD COMPOSER-IN-RESIDENCE MISSY MAZZOLI

Episode 21: Cult of Electromagnetic Connectivity premieres june 10

Episode 22: Requiem

premieres june 24

START STREAMING AT CSO.TV The Chicago Symphony Orchestra thanks the following donors who provide major support for new music programming: the Zell Family Foundation, Cindy Sargent, the Sally Mead Hands Foundation and the Julian Family Foundation.

The Mead Composer-in-Residence is endowed through the generous support of Cindy Sargent and the late Sally Mead Hands.

Sponsorship support for CSO Sessions is generously provided by the Zell Family Foundation; an anonymous donor; Kenneth C. Griffin Charitable Fund; JCS Arts, Health and Education Fund of the DuPage Foundation; the Julian Family Foundation, in honor of Cristina Rocca; Cindy Sargent; Megan and Steve Shebik; Betty W. Smykal; TAWANI Foundation; National Endowment for the Arts; ITW, and PNC.

I am delighted that you have returned to Symphony Center so that the Chicago Symphony Orchestra can share the power of music with you once more in this historic hall. With these concerts, we take an important step toward putting this difficult period behind us. Here the spiritual food of culture brings us together again as it has for so many years.

Music is not entertainment; it is a mission. It stimulates our greatest emotions and activates our intellectual curiosity. It improves the health of our minds and, in so doing, cultivates the health of our society.

Let us heal our hearts with great music.

I know you will enjoy these performances, and I look forward to seeing you in Chicago very soon.

Riccardo Muti Zell Music Director Chicago Symphony Orchestra

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Major support for CSOtv and CSO Sessions during the 2020–21 season is generously provided by

Zell Family Foundation Kenneth C. Griffin Charitable Fund JCS Arts, Health and Education Fund of the DuPage Foundation

Julian Family Foundation Cynthia M. Sargent Megan and Steve Shebik Betty W. Smykal

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

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ONE HUNDRED THIRTIETH SEASON

CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI Zell Music Director

Thursday, June 3, 2021, at 7:30 Friday, June 4, 2021, at 1:30 Saturday, June 5, 2021, at 7:30 Sunday, June 6, 2021, at 3:00

Erina Yashima Conductor

coleridge-taylor

Novelette in A Minor, Op. 52, No. 3

Novelette in D Major, Op. 52, No. 4 First Chicago Symphony Orchestra performances

schubert Symphony No. 5 in B-flat Major, D. 485 Allegro Andante con moto Menuetto: Allegro molto Allegro vivace

montgomery

Strum for String Orchestra First Chicago Symphony Orchestra performances

kodály

Dances of Galánta

There will be no intermission.

These concerts are generously sponsored by the Zell Family Foundation.

The appearance of Erina Yashima is generously sponsored by the Julian Family Foundation.

The CSOA thanks Bank of America and United Airlines for their support of the CSO. The CSOA acknowledges support from the Illinois Arts Council Agency.

Please note that select performances will be recorded for possible future release on CSOtv. 7

ON. Stream the best free and premium digital performances, both newly recorded and archival, in high definition and on demand from your favorite device.

Premium episodes start at just $15. Order three or more and save 20%. featuring From the CSO’s Archives: Great Music From Chicago

START STREAMING AT CSO.TV

comments by phillip huscher samuel coleridge-taylor

Born August 15, 1875; London, England Died September 1, 1912; Croydon, Surrey, England

Novelette in A Minor, Op. 52, No. 3 Novelette in D Major, Op. 52, No. 4 composed 1903 f ir st performa nce unknown i nstr u mentatio n percussion and strings ap proximate perfo rman ce t i m e 9 minutes These are the first Chicago Symphony Orchestra performances.

When Theodore Thomas founded the Chicago Symphony Orchestra in 1891, he was widely known as America’s great programmaker, a conductor with a particular flair for putting on concerts that mixed the classics and popular favorites with unknown works by interesting new composers. As a result, Chicago became one of the first American cities to hear the music of Samuel ColeridgeTaylor. The week before the Chicago Orchestra’s performance of the big tenor aria from Hiawatha’s Wedding Feast, in January 1900, the Chicago Tribune reported that “Mr. Coleridge-Taylor is a young Negro composer residing in England, who has claimed the attention, first, of British musicians, and, latterly, of the musical world at large, by reason of his extraordinary gifts as a composer.”

Samuel’s parents were a white English woman and a medical student from Sierra Leone who met in London. As the paper pointed out, Samuel had already produced a long list of works, including a clarinet quintet that was introduced to Germany by the great violinist Joseph Joachim—the man who premiered Brahms’s Violin Concerto. Coleridge-Taylor was just twenty-five years old.

The Chicago Orchestra was only in its ninth season when Thomas programmed the aria from Coleridge-Taylor’s Hiawatha cantata, a rhapsodic setting of poetry by Longfellow—it was for many years in the repertoire of every tenor. The Boston Symphony would introduce Coleridge-Taylor to its audiences with the aria two years later, and the New York Philharmonic, again with the same music, in 1912. Four months after the Chicago premiere, the Tribune ran a dispatch from its London correspondent, reporting on the first performance there of the complete Hiawatha cantata, calling it “the musical sensation of the London season.” The paper said that the composer had married an English woman and become the father of a son. “He has followed Wagner’s example of naming his first born after one of his heroes, and the abov e: Samuel Coleridge-Taylor. Library of Congress, Prints and Photographs division boy will go through life to

the name of Hiawatha Coleridge-Taylor.” A photo of the composer was headed “New Idol of London Music World.”

Three years later, Thomas gave the Chicago Symphony premiere of Coleridge-Taylor’s Ballade, which had been commissioned for London’s Three Choirs Festival at the recommendation of Edward Elgar, who was forced to decline the offer: “I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men.”

When he first visited the United States in 1904, ColeridgeTaylor was warned that he might encounter discrimination. “I can assure you that no one will be able to stop me from paying you my long deferred visit,” he wrote to his sponsor. “As for prejudice, I am well prepared for it. Surely that which you and many others have lived in for so many years will not quite kill me. . . . I am a great believer in my race, and I never lose an opportunity of letting my white friends here know it.” Coleridge-Taylor was treated like visiting royalty in the U.S.—President Theodore Roosevelt invited him to the White House—and he returned to this country in 1906 and 1910. He quickly became a staple of American culture. A group of Black singers in Washington, D.C., founded the ColeridgeTaylor Choral Society. Public schools in Baltimore and Louisville were named for him.

T

he two novelettes for strings performed at this concert (drawn from a set of four) were composed in 1901 and 1902.

Most likely, Coleridge-Taylor took their name from Robert Schumann’s piano miniatures. The first, no. 3, in A minor, features a prominent solo for violin, the instrument Samuel learned to play at an early age. (It was only as a scholarship student at the Royal College of Music that he changed his focus to composition.) The second, no. 4, in D major, is a spirited Allegro that is stamped throughout by the individuality of Coleridge-Taylor’s melodies and rhythmic élan.

In 1912, Coleridge-Taylor composed a violin concerto for Maud Powell, the Illinois native who had made her debut under Theodore Thomas in 1885 and played with him and the Chicago Orchestra at the World’s Columbian Exposition in 1893. It turned out to be his last major score. He died three months after the premiere, at the age of thirty-seven—scarcely older than Mozart at the time of his premature death. It is impossible to know how Coleridge-Taylor’s flourishing career might have continued. He was buried in Bandon Hill Cemetery in London. Four measures from Hiawatha are inscribed on his tombstone, along with a tribute from his close friend, the poet Alfred Noyes: Too young to die: his great simplicity, his happy courage in an alien world, his gentleness, made all that knew him love him.

A footnote on the passing down of names and traditions. Just as Samuel was named after the English poet Samuel Taylor Coleridge, his own name was the source for Coleridge-Taylor Perkinson, the composer, conductor, and pianist who was born in New York City in 1932, and eventually moved to Chicago, where he was the artistic director of the performance program at the Center for Black Music Research at Columbia College until his death in 2004.

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COMMENTS

franz schubert

Born January 31, 1797; Himmelpfortgrund, northwest of Vienna, Austria Died November 19, 1828; Vienna, Austria

Symphony No. 5 in B-flat Major, D. 485 composed 1816 f ir st performa nces autumn of 1816; Vienna, Austria (private) October 17, 1841; Vienna, Austria (public) i nstr u mentatio n flute, two oboes, two bassoons, two horns, strings ap proximate perfo rman ce t i m e 30 minutes f ir st cso performa nces July 23, 1940, Ravinia Festival. Sir John Barbirolli conducting January 21, 22, and February 20, 1943, Orchestra Hall.

Hans Lange conducting most r ecent cso perfo r m a n ces June 30, 2000, Ravinia Festival. Pinchas Zukerman conducting June 19, 20, and 21, 2014, Orchestra Hall. Riccardo Muti conducting cso r e c ording 1960. Fritz Reiner conducting. RCA

The first surviving entries in Schubert’s diary date from mid-1816, just weeks before he began his Fifth Symphony. Schubert mentions Beethoven, Goethe, and Schiller; “the magic notes of Mozart’s music”; the pleasures of a walk in the country on a hot summer’s evening; and a party honoring Salieri. But there’s only one passing reference to writing music—the uncharacteristic, pecuniary admission: “Today I composed for money for the first time.” No doubt writing music was so commonplace for the young composer—so much a natural part of his routine—that it didn’t demand further comment. By 1816, the nineteen-year-old Schubert had already written a lifetime’s music, including 145 songs (many of them now considered classics) in 1815 alone. What Schubert did call attention to was the unusual fact that for once he was paid for what he did daily, and did with a consistency and brilliance that rarely accompanies such prodigality. Generous remuneration, however, was not steady in Schubert’s life, and when he died only twelve years later—music’s youngest tragic loss—he had little more than clothes and bed linens to leave behind.

S chubert began his Fifth Symphony in September 1816. He knew the orchestra from the inside—he began playing in the student ensemble of the Imperial and Royal City College left to r i gh t: Portrait of at the age of twelve, and Franz Schubert, 1827, by Gábor Melegh, Hungarian National Gallery occasionally conducted Jessie Montgomery, photo by Jiyang Chen as well. He wrote his

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first symphony for this orchestra in 1813, around the time he left the college to begin teaching in his father’s school. (He was later accused of trying to evade military conscription; in fact, he was rejected for service because he was shorter than the minimum height of five feet.)

The symphony was finished in early October of 1816; unlike most of Schubert’s orchestral works, it was performed almost at once by a private orchestra that met in a friend’s house. It’s hard to imagine that the crowd that night didn’t find it an enchanting work. It has become the most popular of the six so-called early symphonies— preceding only the Unfinished and the Great—although as Donald Tovey pointed out, “every work Schubert left us is an early work.”

It was known throughout the nineteenth century as the symphony without trumpets and drums (although it omits clarinets as well).

If you wanted to demonstrate the essence of Schubert’s distinctive gifts, the opening of the B-flat symphony would serve perfectly, for its sunny woodwind chords, tripping violin line, and unforced melody demonstrate a natural talent that has never been surpassed. Yet for all the apparent ease and simplicity of its beginning, Schubert’s first movement builds to a brilliant and complex development section, marked by a bold harmonic design and masterful polyphony.

In the slow movement, Schubert manipulates the tonal plan in a way that is totally his, dropping into a new key a major third lower for his second theme, to magical effect. If this music seems Mozartean, at least in its elegant theme, the third movement (labeled a minuet, but more of a scherzo) reminds us that the student orchestra in which Schubert played knew not only Mozart and Haydn, but also the first two symphonies by Beethoven. The quick finale is unabashedly merry, a fitting conclusion to a work that admits darker thoughts but continually keeps them at bay.

jessie montgomery

Born December 8, 1981; New York City

Strum for String Orchestra composed 2006; revised for string orchestra in 2012 f i rst p e rf o rm a n c e April 2006; Ann Arbor, Michigan i n st ru m e n tat i o n strings a p p roxi m at e p e rf o rm a n c e t i m e 7 minutes These are the first Chicago Symphony Orchestra performances.

In April, Jessie Montgomery was named the Chicago Symphony Orchestra’s new Mead Composer-in-Residence. Her three-year appointment begins July 1. Picked by Zell Music Director Riccardo Muti, she will be commissioned to write three new works for the Orchestra—one for each of her three seasons in the post. Like her immediate

COMMENTS

this summer. She has been named to the Metropolitan Opera/ Lincoln Center Theater New Works commissioning program.

Montgomery is an ideal voice in today’s wildly eclectic musical landscape to help lead the Chicago Orchestra’s search for music that reflects the complexity of our world. “I’ve always been interested in trying to find the intersection between different types of music,” she has said. “I imagine that music is a meeting place at which all people can converse about their unique differences and common stories.”

Jessie Montgomery on Strum for String Orchestra

S Composer and violinist Jessie Montgomery shares a message with members of the CSO community following the announcement of her three-year appointment as the CSO's next Mead Composer-in-Residence.

” I love that new music is an opportunity for us to imagine new possibilities.“

predecessors in the position—including, most recently, Missy Mazzoli—she will be heavily involved in the Orchestra’s MusicNow series, curating its programs of new works, and writing music for the series as well. It is the MusicNOW series, under Mazzoli’s direction, that introduced her string quartet, Break Away, to Chicago audiences two years ago. Montgomery has devoted her career to working in particular with young artists and musicians with diverse backgrounds and ideas, and she is known for immersing herself in the activities of the new-music community, all of which she plans to continue in Chicago.

Montgomery is also keenly aware that she will be working in the hometown of Florence Price—she calls her “the godmother of Black music”—whose music the Chicago Symphony introduced in 1933.

Montgomery is a native of New York City. She started violin lessons at the Third Street Music School Settlement, holds degrees from the Juilliard School (in violin) and New York University (a master’s in composition for film and multimedia), and is now completing her doctorate at Princeton University. Since 1999, she has been closely involved with Sphinx, a Detroit-based nonprofit organization that supports young African American and Latino string players.

Montgomery’s plate is full and overflowing. In July, Bard SummerScape opens with the premiere of I was waiting for the echo of a better day, a site-specific full-length dance work—it will be performed outdoors with the Catskill Mountains as the backdrop— with choreography by Pam Tanowitz. A week later, her L.E.S. Characters will have its first performance at the Grant Park Music Festival here in Chicago. She also has premieres scheduled for the Sun Valley Music Festival in Utah and Grand Teton Music Festival

trum is the culmination of several versions of a string quintet I wrote in 2006. It was originally composed for the Providence String Quartet and guests of Community MusicWorks Players, and then arranged for string quartet in 2008 with several small revisions. In 2012, the piece underwent its final revision with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the Fifteenth Annual Sphinx Competition. The string orchestra arrangement represents the 2012 final version.

Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.

zoltán kodály

Born December 16 1882; Kecskemét, Hungary Died March 6, 1967; Budapest, Hungary

Dances of Galánta composed 1933 f i rst p e rf o rm a n c e October 23, 1933; Budapest, Hungary i n st ru m e n tat i o n two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, snare drum, triangle, glockenspiel, strings a p p roxi m at e p e rf o rm a n c e t i m e 15 minutes f i rst c s o p e rf o rm a n c e s July 9, 1937, Ravinia Festival. Ernest Ansermet conducting December 24 and 26, 1963, Orchestra Hall. Fritz Reiner conducting

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COMMENTS

most r ecent cso perfo r m a n ces August 27, 1998, Ravinia Festival. Asher Fisch conducting October 27, 29, and 30, 2016, Orchestra Hall.

Andrés Orozco-Estrada conducting October 28, 2016, Memorial Chapel at Wheaton College.

Andrés Orozco-Estrada conducting cso r e c ordings 1954. Fritz Reiner conducting. CSO (Chicago Symphony Orchestra: The First 100 Years) 1969. Seiji Ozawa conducting. Angel 1990. Neeme Järvi conducting. Chandos

Galánta is a village near the road from Vienna to Budapest. (Originally part of Hungary, it now lies just over the border, in Slovakia.)

When Zoltán Kodály was three years old, his father moved the family from a neighboring village to Galánta. They stayed in Galánta for seven years, and it was there that Zoltán became acquainted with music. At home his father played violin and his mother, piano; at school he and his classmates sang the songs of the Hungarian countryside. A famous gypsy band provided the first ensemble sound he ever heard.

Years later, when Kodály, now a well-known composer, received a commission for a work to honor the eightieth anniversary of the Budapest Philharmonic, he remembered his time in Galánta as the happiest years of his childhood, and wrote these dances.

Even after his family moved from Galánta to Nagyszombat (now Trnava, in Slovakia) in 1892, Kodály’s interest in Hungarian folk music continued to grow, particularly after he teamed up with Béla Bartók in 1905. Together they began to collect and preserve the hand-me-downs of a dying musical tradition. (Nearly fifty years later, Kodály recalled their mission: “The vision of an educated Hungary, reborn from the people, rose before us. We decided to devote our lives to its realization.”)

In 1905, Kodály returned to Galánta for the first time in over a decade to track down the music of his childhood. He recorded over one hundred fifty songs, a few of which were sung by his former schoolmates. “Knapsack on back and stick in hand,” he later recalled, I set out . . . to roam the countryside without any very definite plan. Sometimes I would just buttonhole people in the street, invite them to come and have a drink, and get them to sing for me; or sometimes I would listen to the women singing as they worked at the harvest; but the most exhausting part was the nightly sessions in the smoky atmosphere of the village pubs.

Kodály published his findings in his doctoral dissertation. “It is impossible to study folk songs satisfactorily,” he wrote, “particularly to investigate their rhythms, unless one hears them actually performed. Moreover, however extensive our knowledge and experience may be, it is only through hearing them sung abov e: Zoltán Kodály

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CSO Principal Clarinet Stephen Williamson demonstrates how crafting one’s own personal narrative can fuel expression.

” It‘s important to have imagery in mind when you play a piece like this. Actually, when you play any piece, you should have some form of imagery, and so I’ve basically come up with my own idea.” by the peasants themselves that we can be certain as to their correct interpretation.”

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ike Bartók’s earlier dance suite, Kodály’s Dances of Galánta is a continuous work in a loose rondo form (the first dance returns after the third and during the last of the five dances). Kodály re-creates the remembered sound of the Galánta gypsy band with the resources of the full symphony orchestra. The clarinet plays a leading role, as it often does in gypsy bands, and there’s a great deal of fast, virtuosic violin music in the style of gypsy fiddling.

The music is based on the eighteenth-century verbunkos, a dance of military origin that mixed Gypsy, Turkish, and Viennese ingredients. Syncopation is prevalent, providing an irresistible rhythmic swing that differentiates this dance music from that of any other culture. Kodály had the style in his blood: what he hadn’t already absorbed he found in two volumes of dances from the Galánta region, published in 1804. Six years before the Dances of Galánta was composed, Béla Bartók wrote: If I were to name the composer whose works are the most perfect embodiment of the Hungarian spirit, I would answer, Kodály. His work proves his faith in the Hungarian spirit. The obvious explanation is that all Kodály’s composing activity is rooted only in Hungarian soil, but the deep inner reason is his unshakable faith and trust in the constructive power and future of his people.

Phillip Huscher has been the program annotator for the Chicago Symphony since 1987.

profiles Erina Yashima Conductor first cso performances November 22 and 23, 2019, Orchestra Hall. Selections from Beethoven’s symphonies nos. 1, 3, 5, 6, and 9, and Piano Concerto no. 3 with Yerin Yang (School and Family concerts)

German-born conductor Erina Yashima began her tenure as assistant conductor of the Philadelphia Orchestra in September 2019. In this role, she assists Music Director Yannick Nézet-Séguin and guest conductors and leads the Philadelphia Orchestra in a variety of concert programs.

Recent and forthcoming highlights as guest conductor include debuts with the San Francisco Symphony (Music for Families), the Albany Symphony, the Colorado Music Festival, and the Rostov State Philharmonic; new productions of Mozart’s operas Così fan tutte with the Washington National Opera at the Kennedy Center and Don Giovanni at the Teatro di Pisa in Italy; and returns to the Civic Orchestra of Chicago, the Transylvania State Philharmonic of ClujNapoca, and the Brandenburg State Orchestra Frankfurt (Oder).

Yashima had numerous engagements planned for the 2020–21 season that were either canceled or postponed due to COVID-19, including debuts with the Albany Symphony and the Eugene Symphony and her French debut with the Orchestre national d’Îlede-France, new opera productions at the Glimmerglass Festival and the Teatro Filarmonico di Verona, revivals of her Don Giovanni production in Livorno and Lucca, and as cover conductor at the Metropolitan Opera in New York.

Since 2015, Yashima has been studying and working with Riccardo Muti. As winner of the Chicago Symphony Orchestra’s Sir Georg Solti Conducting Apprenticeship, she has assisted Maestro Muti and worked closely with the Civic Orchestra of Chicago. She also has collaborated with cellist Yo-Yo Ma

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and assisted such guest conductors as Esa-Pekka Salonen, Christoph Eschenbach, Emmanuel Krivine, Edward Gardner, and Bramwell Tovey.

Equally committed as opera conductor, Yashima made her Salzburg Festival debut in 2017 with Mozart’s The Impresario, for children. She led the composer’s The Marriage of Figaro in Novara and Ravenna in 2019 as well as Rossini’s La Cenerentola in her Italian opera debut in 2017 in Lucca and Ravenna and again in Piacenza in 2018 with the Luigi Cherubini Youth Orchestra.

In 2015, she served as répétiteur with conducting duties at the Pfalztheater Kaiserslautern, where she led performances of My Fair Lady.

As one of three finalists of the prestigious Nestlé and Salzburg Festival Young Conductor’s Award, Yashima performed with the Camerata Salzburg at the Salzburg Festival 2018. She was assistant conductor of the Bavarian Radio Symphony Orchestra during its tour of Asia under Zubin Mehta in 2018. Other orchestras with which Yashima has performed include Konzerthausorchester Berlin, Württembergische Philharmonie Reutlingen, and Orchestra Sinfonica di Sanremo. She also has joined members of the NDR Radiophilharmonie Hannover in various educational and chamber music series.

In 2015, Yashima was a participant in the Riccardo Muti Italian Opera Academy in Ravenna, where she worked with Maestro Muti on Verdi’s Falstaff, and in Bernard Haitink’s master class at the Lucerne Festival. That same year, she was chosen as finalist at the INTERAKTION workshop by musicians from the Berlin Philharmonic, Staatskapelle Berlin, and Staatskapelle Dresden, among others.

As a precollege piano student of Bernd Goetzke, Erina Yashima began her studies at the Institute for the Early Advancement of the Musically Highly Gifted (IFF) in her hometown of Hannover, where she received her first conducting lessons at the age of fourteen. After studying conducting in Freiburg with Scott Sandmeier and in Vienna with Mark Stringer, she completed her education at the Hanns Eisler School of Music Berlin under the guidance of Christian Ehwald and Hans-Dieter Baum.

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

Anonymous Donors

Margot and Josef Lakonishok

Randy L. and Melvin R. † Berlin

The League of the CSOA

Robert J. Buford

Jim † and Kay Mabie

Rosemarie and Dean L. Buntrock

Nancy Lauter McDougal and Alfred L. † McDougal

Christopher L. Culp †

Cathy and Bill Osborn

Nancy Dehmlow

COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)

David W. Grainger

Megan and Steve Shebik

Judson † and Joyce Green

Richard and Helen Thomas

Dietrich and Erika Gross

Virginia C. Vale †

Ms. Dinah Jacobs Mr. & Mrs. † William R. Jentes Robert Kohl and Clark Pellett

Catherine and Frederick Waddell The Women’s Board of the CSOA

Helen Zell

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

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chicago symphony orchestra Now celebrating its 130th season, the Chicago Symphony Orchestra is consistently hailed as one of the world’s leading orchestras. In September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. His vision for the Orchestra—to deepen its engagement with the Chicago community, to nurture its legacy while supporting a new generation of musicians, and to collaborate with visionary artists—signals a new era for the institution.

The Chicago Symphony Orchestra’s distinguished history began in 1889, when Theodore Thomas, then the leading conductor in America and a recognized music pioneer, was invited by Chicago businessman Charles Norman Fay to establish a symphony orchestra here. Thomas’s aim to establish a permanent orchestra with performance capabilities of the highest quality was realized at the first concerts in October 1891. Thomas served as music director until his death in 1905—just three weeks after the dedication of Orchestra Hall, the Orchestra’s permanent home designed

by Daniel Burnham.

Frederick Stock, recruited by Thomas to the viola section in 1895, became assistant conductor in 1899, and succeeded the Orchestra’s founder. His tenure lasted thirty-seven years, from 1905 to 1942— the longest of the Orchestra’s music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. Stock also established youth auditions, organized the first subscription concerts especially for children, and began a series of popular concerts.

Three distinguished conductors headed the Orchestra during the following decade: Désiré Defauw was music director from 1943 to 1947; Artur Rodzinski assumed the post in 1947–48; and Rafael Kubelík led the ensemble for three seasons from 1950 to 1953. The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony Orchestra are still considered performance hallmarks. It was Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. For the five seasons from 1963 to 1968, Jean Martinon held the position of music director.

Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. He then held the title of music director laureate and returned to conduct the Orchestra for several weeks each season until his death in September 1997. Solti’s

arrival launched one of the most successful musical partnerships of our time, and the CSO made its first overseas tour to Europe in 1971 under his direction, along with numerous award-winning recordings.

Daniel Barenboim was named music director designate in January 1989, and he became the Orchestra’s ninth music director in September 1991, a position he held until June 2006. His tenure was distinguished by the opening of Symphony Center in 1997, highly praised operatic productions at Orchestra Hall, numerous appearances with the Orchestra in the dual role of pianist and conductor, twenty-one international tours, and the appointment of Duain Wolfe as the Chorus’s second director.

From 2006 to 2010, Bernard Haitink held the post of principal conductor, the first in CSO history. Pierre Boulez’s long-standing relationship with the CSO led to his appointment as principal guest conductor in 1995. He was named Helen Regenstein Conductor Emeritus in 2006, a position he held until his death in January 2016. Only two others have served as principal guest conductors: Carlo Maria Giulini, who began to appear in Chicago regularly in the late 1950s, was named to the post in 1969, serving until 1972; Claudio Abbado held the position from 1982 to 1985.

Cellist Yo-Yo Ma served as the CSO’s Judson and Joyce Green Creative Consultant from 2010 to 2019. In this role, he partnered with Riccardo Muti, staff, and musicians to provide development for the Negaunee Music Institute at the CSO. Jessie Montgomery is the Mead Composer-in-Residence designate and will begin her term in July 2021. She follows ten highlyregarded composers in this role, including John Corigliano and Shulamit Ran, winners of the Pulitzer Prize for Music, and Missy Mazzoli, who will complete her three-year tenure this June. In addition to composing works for the CSO, the holder of the position curates the contemporary MusicNOW series.

Since 1916, recording has been a significant part of the Orchestra’s activities. Current releases on CSO Resound, the Orchestra’s independent recording label, include the Grammy Award–winning release of Verdi’s Requiem led by Riccardo Muti.

Recordings by the CSO have earned sixty-three Grammy awards from the National Academy of Recording Arts and Sciences. cso.org

15

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

Paul M. Angell Family Foundation

The Elizabeth F. Cheney Foundation Julius N. Frankel Foundation The Grainger Foundation John D. and Catherine T. MacArthur Foundation

The Negaunee Foundation Tawani Foundation National Endowment for the Arts Illinois Arts Council Agency

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

16

CHICAGO SYMPHONY ORCHESTRA

Chicago Symphony Orchestra Riccardo Muti Zell Music Director

Duain Wolfe Chorus Director and Conductor Missy Mazzoli Mead Composer-in-Residence violins Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Stephanie Jeong Associate Concertmaster The Cathy and Bill Osborn Chair David Taylor Yuan-Qing Yu Assistant Concertmasters* So Young Bae Cornelius Chiu Alison Dalton Gina DiBello Kozue Funakoshi Russell Hershow Qing Hou Blair Milton Sando Shia Susan Synnestvedt Rong-Yan Tang

basses Alexander Hanna Principal The David and Mary Winton Green Principal Bass Chair Daniel Armstrong Joseph DiBello Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland

Baird Dodge Principal Lei Hou Ni Mei Fox Fehling Hermine Gagné Rachel Goldstein Mihaela Ionescu Sylvia Kim Kilcullen Melanie Kupchynsky Wendy Koons Meir Matous Michal Simon Michal Aiko Noda Joyce Noh Nancy Park Ronald Satkiewicz Florence Schwartz

piccolo Jennifer Gunn The Dora and John Aalbregtse Piccolo Chair

viol as Li-Kuo Chang Acting Principal The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor Catherine Brubaker Youming Chen Sunghee Choi Wei-Ting Kuo Danny Lai Diane Mues Lawrence Neuman Max Raimi Weijing Wang c ellos John Sharp Principal The Eloise W. Martin Chair Kenneth Olsen Assistant Principal The Adele Gidwitz Chair Karen Basrak Loren Brown Richard Hirschl Daniel Katz Katinka Kleijn David Sanders Gary Stucka Brant Taylor

harps Sarah Bullen Principal Lynne Turner flutes Stefán Ragnar Höskuldsson Principal The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Jennifer Gunn

oboes William Welter Principal The Nancy and Larry Fuller Principal Oboe Chair Michael Henoch Assistant Principal The Gilchrist Foundation Chair Lora Schaefer Scott Hostetler

trumpets Esteban Batallán Principal The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor Mark Ridenour Assistant Principal John Hagstrom The Pritzker Military Museum & Library Chair Tage Larsen trombones Jay Friedman Principal The Lisa and Paul Wiggin Principal Trombone Chair Michael Mulcahy Charles Vernon bass trombone Charles Vernon tuba Gene Pokorny Principal The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld timpani David Herbert Principal The Clinton Family Fund Chair Vadim Karpinos Assistant Principal

english horn Scott Hostetler

percussion Cynthia Yeh Principal The Dinah Jacobs (Mrs. Donald P. Jacobs) Principal Percussion Chair Patricia Dash Vadim Karpinos James Ross

cl arinets Stephen Williamson Principal John Bruce Yeh Assistant Principal Gregory Smith

librarians Peter Conover Principal Carole Keller Mark Swanson

e-fl at cl arinet John Bruce Yeh

orchestra personnel John Deverman Director Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel

bassoons Keith Buncke Principal William Buchman Assistant Principal Dennis Michel Miles Maner contrabassoon Miles Maner horns David Cooper Principal Daniel Gingrich Associate Principal James Smelser David Griffin Oto Carrillo Susanna Gaunt

stage technicians Christopher Lewis Stage Manager Blair Carlson Paul Christopher Ramon Echevarria Ryan Hartge Peter Landry Todd Snick

* Assistant concertmasters are listed by seniority. ‡ On sabbatical The Louise H. Benton Wagner Chair currently is unoccupied.

The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabetically.

Section percussionists also are listed alphabetically.

17

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

o f f icia l a irline o f the cso

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

18

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

listen at cso.org/radio

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

Go beyond the music

Watch. Read. Listen. experience.cso.org

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

chicago symphony orchestra association board of trustees

OFFICERS

Helen Zell Chair Mary Louise Gorno Vice Chair, Chair-Elect Steven Shebik Vice Chair Liisa Thomas Vice Chair Renée Metcalf Treasurer Jeff Alexander President Renay Slifka Secretary of the Board Stacie Frank Assistant Treasurer Dale Hedding Vice President for Development HONOR ARY TRUSTEES

The Honorable Richard M. Daley Lady Valerie Solti † TRUSTEES

John Aalbregtse Peter J. Barack H. Rigel Barber Randy Lamm Berlin Roderick Branch Susan Bridge* Kay Bucksbaum Robert J. Buford Leslie Henner Burns Debra A. Cafaro

Marion A. Cameron George P. Colis Keith S. Crow Dr. Christopher L. Culp † Stephen V. D’Amore Timothy A. Duffy Brian W. Duwe Graham C. Grady Lori Julian Geraldine Keefe Donna L. Kendall Thomas G. Kilroy James Kolar Randall S. Kroszner Josef Lakonishok Patty Lane Renée Metcalf Britt M. Miller Mary Pivirotto Murley Sylvia Neil Shelley Ochab* Gerald Pauling Michael A. Perlstein* Jose Luis Prado Dr. Irwin Press Col. Jennifer N. Pritzker Dr. Mohan Rao Burton X. Rosenberg Kristen C. Rossi E. Scott Santi Steven E. Shebik

Marlon R. Smith Walter Snodell Daniel E. Sullivan, Jr. Scott Swanson Nasrin Thierer Liisa Thomas Terrence J. Truax Frederick H. Waddell Paul R. Wiggin Craig R. Williams Robert Wislow Helen Zell Gifford R. Zimmerman LIFE TRUSTEES

William Adams IV Mrs. Robert A. Beatty Arnold M. Berlin Laurence O. Booth William G. Brown Dean L. Buntrock Bruce E. Clinton Richard Colburn Richard H. Cooper Anthony T. Dean Charles Douglas John A. Edwardson Thomas J. Eyerman James B. Fadim David W. Fox, Sr. Richard J. Franke

Cyrus F. Freidheim, Jr. H. Laurance Fuller Mrs. Robert W. Galvin Paul C. Gignilliat Joseph B. Glossberg Richard C. Godfrey William A. Goldstein Mary Louise Gorno Howard L. Gottlieb Chester A. Gougis Mary Winton Green Dietrich Gross David P. Hackett Joan W. Harris John H. Hart Thomas C. Heagy Jay L. Henderson Debora de Hoyos Mrs. Roger B. Hull Judith W. Istock William R. Jentes Paul R. Judy Richard B. Kapnick Donald G. Kempf, Jr. George D. Kennedy Mrs. John C. Kern Robert Kohl Fred A. Krehbiel Charles Ashby Lewis Eva F. Lichtenberg John S. Lillard

Donald G. Lubin James W. Mabie † John F. Manley Ling Z. Markovitz R. Eden Martin Arthur C. Martinez Judith W. McCue Lester H. McKeever David E. McNeel John D. Nichols James J. O’Connor William A. Osborn Mrs. Albert Pawlick Jane DiRenzo Pigott John M. Pratt John W. Rogers, Jr. Jerry Rose Frank A. Rossi Earl J. Rusnak, Jr. Cynthia M. Sargent John R. Schmidt Thomas C. Sheffield, Jr. Rita Simó † Robert C. Spoerri Carl W. Stern Roger W. Stone William H. Strong Louis C. Sudler, Jr. Richard L. Thomas Richard P. Toft Penny Van Horn

* Ex-officio Trustee † Deceased List as of May 17, 2021

chicago symphony orchestra association governing members

GOVERNING MEMBERS EXECUTIVE COMMITTEE ( 2 0 2 0 – 2 1)

Michael Perlstein Chair Jared Kaplan † Immediate Past Chair Nancy Dehmlow Vice Chair of Member Engagement Charles Emmons, Jr. Vice Chair of the Annual Fund Jay Rothenberg Vice Chair of Nominations & Membership GOVERNING MEMBERS ( 2 0 2 0 – 2 1)

Anonymous (5) Dora J. Aalbregtse Floyd Abramson Fraida Aland Sandra Jo Allen Robert A. Alsaker Megan P. Anderson Dr. Edward Applebaum David Arch Dr. Kent F. Armbruster Dr. Andrew J. Aronson

Carey August Marta Holsman Babson Ed Bachrach Mara Mills Barker Judith Barnard Merrill Barnes Peter Barrett Roberta Barron Roger S. Baskes Robert H. Baum Dr. Robert A. Beatty Arlene Bennett † Edward H. Bennett III Meta S. Berger Ann Berlin Phyllis Berlin Ronald Bevil William E. Bible Mrs. Arthur A. Billings Tomás G. Bissonnette Dianne Blanco Judy Blau Merrill Blau Dr. Phyllis C. Bleck Ann Blickensderfer Terry Boden

Suzanne Borland James G. Borovsky Adam Bossov Janet S. Boyer John D. Bramsen Roderick Branch Jill Brennan Bob Brink † Mrs. William Gardner Brown John D. Brubaker † Sue Brubaker Patricia M. Bryan Gilda Buchbinder Samuel Buchsbaum Rosemarie Buntrock Elizabeth Nolan Buzard Lutgart Calcote Thomas D. Campbell Vera Capp Mary Anne Carpenter Wendy Alders Cartland Judy Castellini Tina Chapekis Mrs. William C. Childs Linton J. Childs Frank Cicero, Jr.

Dana Green Clancy Patricia A. Clickener Mitchell Cobey Jean M. Cocozza Robin Tennant Colburn Lew Collens Jane B. Colman Mrs. Earle M. Combs III Dr. Thomas H. Conner Cecilia Conrad Jenny L. Corley Patricia Cox Mrs. William A. Crane Sarah Crane Mari Hatzenbuehler Craven R. Bert Crossland Rebecca E. Crown Catherine Daniels Mrs. Robert J. Darnall Dr. Tapas K. Das Gupta Michael C. Dawson Roxanne Decyk Nancy Dehmlow Duane M. DesParte Janet Wood Diederichs Paul Dix

Lisa Dollar Buehler Mrs. William F. Dooley Ann Drake Dr. David Dranove Robert R. Duggan Frank A. Dusek Judge Frank H. Easterbrook Dorne Eastwood Mrs. Larry K. Ebert Louis M. Ebling III Jon Ekdahl Kathleen H. Elliott Mrs. Samuel H. Ellis Charles Emmons, Jr. Janice Engle Scott Enloe Dr. James Ertle Dr. Marilyn D. Ezri Tarek Fadel Melissa Sage Fadim Jeffrey S. Farbman Sally S. Feder Signe Ferguson Hector Ferral, M.D. Harve Ferrill † Constance M. Filling

† Deceased Italics indicate Governing Members who have served at least five terms (fifteen years or more).

The Governing Members are the CSOA’s first philanthropic society, which celebrated its 125th anniversary in the 2019–20 season. Its support funds the CSOA’s artistic excellence and community engagement.

In return, members enjoy exclusive benefits and recognition. For more information, please contact 312-294-3337 or governingmembers@cso.org.

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

21

intermission @ the cso A podcast series hosted by CSO trumpet John Hagstrom “The topics are inherently fascinating.

Love the music selections — well done!”

Phil Ponce, host of WTTW’s Chicago Tonight

Available on Apple Podcasts, Google Play, Simplecast, Spotify, Stitcher or other popular platforms.

listen today John Hagstrom The Pritzker Military Museum & Library Chair

InterMISSION at the CSO is produced by Hagstrom and audio editor Rich Sigler.

Support for interMISSION @ the CSO is generously provided by Phyllis Bleck and Bruce Oltman.

GOVERNING MEMBERS

Daniel Fischel Jennifer J. Fischer Adrian Radmore Foster David S. Fox Rhoda Lea Frank Paul E. Freehling Mitzi Freidheim Marjorie Friedman Heyman Philip M. Friedmann Malcolm M. Gaynor Robert D. Gecht Frank Gelber Lynn Gendleman Dr. Mark Gendleman Rabbi Gary S. Gerson Dr. Bernardino Ghetti Karen Gianfrancisco Ellen Gignilliat James J. Glasser Madeleine Condit Glossberg Judy Goldberg Mary Anne Goldberg Anne Goldstein Jerry A. Goldstone Marcia Goltermann Mary Goodkind Dr. Alexia Gordon Michael D. Gordon Donald J. Gralen Dr. Ruth Grant Mary L. Gray Freddi L. Greenberg Joyce Greening Dr. Jerri Greer D. Kendall Griffith Jerome J. Groen Jacalyn Gronek Mrs. John Growdon John P. Grube James P. Grusecki Joel R. Guillory, Jr., M.D. Dr. John W. Gustaitis, Jr. Anastasia Gutting Gary Gutting † Lynne R. Haarlow Mrs. Ernst A. Häberli Joan M. Hall Dr. Howard Halpern Mrs. Richard C. Halpern Anne Marcus Hamada Joel L. Handelman John Hard Mrs. William A. Hark Dr. Dane Hassani James W. Haugh Thomas Haynes James Heckman Mr. Dale Hedding Patricia Herrmann Heestand Mary Mako Helbert Dr. Scott W. Helm Marilyn P. Helmholz Richard H. Helmholz Dr. Arthur L. Herbst Jeffrey W. Hesse Konstanze L. Hickey Thea Flaum Hill Mary P. Hines Suzanne Hoffman Anne Hokin William J. Hokin † Wayne J. Holman III Richard S. Holson III Fred Holubow

James Holzhauer Carol Honigberg Janice L. Honigberg Nancy A. Horner Mrs. Arnold Horween Frances G. Horwich Dr. Mary L. Houston Heidi Huizenga Patricia J. Hurley Barbara Ann Huyler Michael L. Igoe Sandra Ihm Craig T. Ingram Verne G. Istock Nancy Witte Jacobs Dr. Todd Janus John Jawor Justine Jentes Mrs. William R. Jentes † Brian Johnson Ronald B. Johnson Dr. Patricia Collins Jones Edward T. Joyce Eric Kalnins Carol K. Kaplan Jared Kaplan † Claudia Norris Kapnick Lonny H. Karmin Barry D. Kaufman Kenneth V. Kaufman Marie Kaufman Don Kaul Ellen Kelleher Molly Keller Jonathan Kemper Nancy Kempf Linda J. Kenney, PhD John C. Kern † Elizabeth I. Keyser Emmy King Susan Kiphart Dr. Jay H. Kleiman Carol Evans Klenk Jean Klingenstein Janet L. Knauff Henry L. Kohn, Jr. Joseph Konen Jack Kozik Dr. Mark Kozloff David Kravitz Dr. Michael Krco MaryBeth Kretz Dr. Vinay Kumar Rubin P. Kuznitsky John LaBarbera Maria Lans Stephen M. Lans William J. Lawlor III Flora Lazar Sunhee Lee Eleanor Leichenko Sheila Fields Leiter Jeffrey P. Lennard Laurence H. Levine Mrs. Bernard Leviton Dr. Edmund J. Lewis Gregory M. Lewis Carolyn Lickerman Mrs. Paul Lieberman Dr. Philip R. Liebson Patricia M. Livingston John S. Lizzadro, Sr. Jane Loeb Amy Lubin

Mrs. Duncan MacLean Dr. Michael S. Maling David A Marshall Judy Marth Patrick A. Martin BeLinda I. Mathie Howard M. McCue III Ann Pickard McDermott Dr. James L. McGee Dr. John P. McGee II † Sharon McGee Mrs. Lester McKeever John McKenna Mrs. Peter McKinney Mrs. C. Bruce McLagan Mrs. James M. McMullan James E. McPherson Paul Meister Mary Mittler Dr. Toni-Marie Montgomery Charles A. Moore Emilie Morphew, M.D. Kate Morrison Christopher Morrow Daniel R. Murray Eileen M. Murray Stuart C. Nathan Mrs. Ray E. Newton, Jr. Edward A. Nieminen Dr. Zehava L. Noah Kenneth R. Norgan Gerard M. Nussbaum Martha C. Nussbaum William A. Obenshain Shelley Ochab Maria Ochs Mrs. James J. O’Connor Eric A. Oesterle Mrs. Norman L. Olson Joy O’Malley Thomas Orlando Beatrice F. Orzac Gerald Ostermann James J. O’Sullivan, Jr. Bruce L. Ottley China I. Oughton † Evelyn E. Padorr Dr. Pamela Papas Bruno A. Pasquinelli Timothy J. Patenode Robert J. Patterson, Jr. Michael Payette Frances Penn Mrs. Richard S. Pepper Jean E. Perkins Michael A. Perlstein Bonnie Vaughn Perry Dr. William Peruzzi Robert C. Peterson Ellard Pfaelzer, Jr. Sue N. Pick Stanley M. Pillman Virginia Johnson Pillman Betsey N. Pinkert Emilysue Pinnell-Reichardt Harvey R. Plonsker John F. Podjasek III Judy Pomeranz Stephen Potter Carol Prins Elizabeth R. B. Pruett John Wells Puth Duane Quaini Diana Mendley Rauner

Susan Regenstein Mari Yamamoto Regnier Mary Thomson Renner Burton R. Rissman Charles T. Rivkin Carol Roberts John H. Roberts William C. Roberts David Robin Dr. Diana Robin Bob Rogers Kevin M. Rooney Harry J. Roper Saul Rosen Sheli Z. Rosenberg Michael Rosenthal Dr. Roseanne Rosenthal Betsy Rosenzweig Doris Roskin Lisa Ross Dr. H. Jay Rothenberg, M.D. Roberta H. Rubin Susan B. Rubnitz Sandra K. Rusnak David W. “Buzz” Ruttenberg Mary A. Ryan Mrs. Patrick G. Ryan Richard O. Ryan William G. Ryan Norman K. Sackar Anthony Saineghi Agustin G. Sanz Inez Saunders David A. Savner Karla Scherer David M. Schiffman Judith Feigon Schiffman Rosita Schloss Shirley Schlossman Douglas M. Schmidt Al Schriesheim Donald L. Schwartz Dr. Penny Bender Sebring Chandra Sekhar Dr. Ronald A. Semerdjian Mrs. Richard J. L. Senior Ilene W. Shaw Pam Sheffield Dr. James C. Sheinin Richard W. Shepro Jessie Shih Elizabeth Shoemaker Morrell McK. Shoemaker, Jr. † Stuart Shulruff Honorable Richard J. Siegel, Ret. Adele Simmons Linda B. Simon Larry G. Simpson Craig Sirles Miyam Slater Valerie Slotnick Mrs. Jackson W. Smart, Jr. Charles F. Smith Diane W. Smith Louise K. Smith Mary Ann Smith Stanton Kinnie Smith, Jr. Stephen R. Smith Mrs. Ralph Smykal David A. Sneider Diane Snyder Kimberly Snyder Kathleen Solaro Ida N. Sondheimer

Linda Spain Orli Staley William D. Staley Helena Stancikas Grace Stanek Dr. Eugene Stark Leonidas Michael Stefanos Momoko Steiner Mrs. Richard J. Stern Liz Stiffel Mary Stowell Lawrence E. Strickling Patricia Study Cheryl Sturm Nancy K. Szalay Gregory Taubeneck David A. Thomson † Dr. Robert Thomson Scott Thomson † Carla M. Thorpe Joan Thron Mrs. Ray S. Tittle, Jr. Anne Coulter Tobey John T. Travers David Trushin Paula Turner Robert W. Turner Henry J. Underwood Zalman Usiskin Mrs. James D. Vail III Dr. Cynthia M. Valukas John E. Van Horn Mrs. Peter E. Van Nice Mrs. Herbert A. Vance † William C. Vance Julia Vander Ploeg Thomas D. Vander Veen Dr. Michael Viglione Catherine M. Villinski Christian Vinyard Theodore Wachs Mark Wagner Bernard T. Wall Nicholas Wallace Paul S. Watford Dr. Catherine L. Webb Mrs. Jacob Weglarz Mrs. Joseph M. Weil † Dr. Jamie Weiner Chickie Weisbard Richard Weiss Barbara Weller Barbara H. West † Carmen Wheatcroft Mrs. H. Blair White M. L. Winburn Stephen R. Winters Peter Wolf Laura Woll Dr. Hak Yui Wong Courtenay R. Wood Michael H. Woolever Debbie K. Wright Ronald Yonover Owen Youngman David J. Zampa Dr. John P. Zaremba Anne Zenzer Richard E. Ziegler † Gifford Zimmerman Karen Zupko

† Deceased Italics indicate Governing Members who have served at least five terms (fifteen years or more).

The Governing Members are the CSOA’s first philanthropic society, which celebrated its 125th anniversary in the 2019–20 season. Its support funds the CSOA’s artistic excellence and community engagement.

In return, members enjoy exclusive benefits and recognition. For more information, please contact 312-294-3337 or governingmembers@cso.org.

23

Contemporary children’s literature comes to life with animation and performances by CSO musicians.

available now:

M Y M A G IC B R E AT H

May There Always Be Sunshine

coming soon:

o l 's Sch oOUT!

premieres june 3

START STREAMING AT CSO.ORG/KIDS Support for Chicago Symphony Orchestra Association programming for children and families is provided by Abbott Fund, Archer Daniels Midland Company, John Hart and Carol Prins, Kinder Morgan, PNC, Megan and Steve Shebik, Michael and Linda Simon, the Walter and Caroline Sueske Charitable Trust and an anonymous family foundation.

Allstate Insurance Company is the CSOA Youth Education Program Sponsor.

Produced in collaboration with:

administration Jeff Alexander President PRESIDENT’S OFFICE

Guillermo Muñoz Küster Executive Assistant to the President Renay Johansen Slifka Secretary of the Board of Trustees Mónica Lugo Executive Assistant to the Music Director Human Resources Lynne Sorkin Director Natalie Chan Coordinator A R T I S T I C A D M I N I S T R AT I O N

Guillermo Muñoz Küster Executive Assistant & Associate Artist Coordinator, CSO James M. Fahey Director, Programming, Symphony Center Presents Randy Elliot Director, Artistic Administration Monica Wentz Manager, Artistic Planning & Special Projects Lena Breitkreuz Artist Coordinator, Symphony Center Presents Caroline Eichler Artist Coordinator, CSO Phillip Huscher Scholar-in-Residence & Program Annotator Pietro Fiumara Artists Assistant Chorus Carolyn D. Stoner Manager Shelley Baldridge Assistant Manager & Librarian O R C H E S T R A A N D B U I L D I N G O P E R AT I O N S

Vanessa Moss Vice President Heidi Lukas Director Michael Lavin Assistant Director, Operations, SCP & Rental Events Jeffrey Stang Production Manager, CSO Joseph Sherman Production Manager, SCP & Rental Events Charles Braico House Manager Michael Manning Manager, Audio Media & Operations Charlie Post Audio Engineer Rosenthal Archives Frank Villella Director Orchestra Personnel John Deverman Director Anne MacQuarrie Manager, CSO Auditions & Orchestra Personnel Facilities John Maas Director Engineers Tim McElligott Chief Engineer Michael McGeehan Lead Engineer Kevin Walsh Dan Platt Electricians Robert Stokas Chief Electrician Doug Scheuller Stage Technicians Christopher Lewis Stage Manager Blair Carlson Paul Christopher Ramon Echevarria Ryan Hartge Peter Landry Todd Snick

Negaunee Music Institute at the CSO Jonathan McCormick Director, Education & the Negaunee Music Institute Jon Weber Director, School & Family Programs Molly Walker Orchestra Manager, Civic Orchestra of Chicago Katy Clusen Manager, School & Family Programs Sarah Vander Ploeg Coordinator, School & Community Partnerships Robert Curl Operations Coordinator, Civic Orchestra of Chicago F I N A N C E A N D A D M I N I S T R AT I O N

Stacie Frank Vice President & Chief Financial Officer Renay Johansen Slifka Executive Assistant Accounting Kerri Gravlin Director, Financial Planning & Analysis Sarah Lombardi Controller Paulette Jean Volf, Janet Kosiba Assistant Controllers Janet Hansen Payroll Manager Marianne Hahn Accounting Manager Monique Henderson Senior Accountant Hyon Yu General Ledger Manager Cynthia Maday Accounts Payable Manager Ted Sofios Payroll Assistant Information Technology Daniel Spees Director Douglas Bolino Client Systems Administrator Jackie Spark Lead Technologist Kirk McMahon Technologist SALES AND MARKETING

Ryan Lewis Vice President Melanie Kalnins Director, Marketing & Business Analysis Sheila Jones Director, Community Stewardship/ African American Network Web Systems and Applications Steve Burkholder Manager Marketing Elisabeth Madeja Director Lauren Matson Manager, Retention Marketing Alexis Diller Manager, Digital Engagement Jerry Downey Coordinator, Loyalty Marketing Olivia Serrano Coordinator, Audience Development Creative Todd Land Director Sophie Weber Creative Services Manager Eddie Limperis Designer Emily Herrington Junior Designer Content Frances Atkins Director Laura Emerick Digital Content Editor Gerald Virgil Senior Editor Kristin Tobin Designer & Print Production Manager

Communications and Public Relations Eileen Chambers Director Dana Navarro Manager Clay Baker Coordinator Sales and Ticketing Joseph Fernicola III Director Patron Services Pavan Singh Manager Patrice Fumbanks Supervisor, Hospitality Lead Aislinn Gagliardi Supervisor, Patron Loyalty Lead Preferred Services Robert Coad Manager, VIP Services Brian Koenig Manager, Group Services Box Office Joseph Garnett Manager Steve Paulin Assistant Manager The Symphony Store Tyler Holstrom Manager DEVELOPMENT

Dale Hedding Vice President Jeremiah Strickler Executive Assistant Bobbie Rafferty Director, Individual Giving & Affiliated Donor Groups Allison Szafranski Director, Leadership Gifts Alfred Andreychuk Director, Endowment Gifts & Planned Giving Charles Palys Major Gifts Officer & Administrator Rebecca Hill Major Gifts Officer Dakota Williams Associate Director, Education & Community Engagement Giving Karen Bullen Manager, Endowment Gifts & Planned Giving Emily McClanathan Manager, Strategic Development Communications Erin Gernon Prospect Research Specialist & Moves Management Coordinator Neomia Harris Senior Assistant, Individual Giving Programs & Planned Giving Institutional Advancement Susan Green Director, Foundation & Government Relations Nick Magnone Director, Corporate Development Jennifer Urevig Manager, Corporate Development Jennifer Harazin Coordinator, Institutional Giving Donor Engagement and Development Operations Liz Heinitz Senior Director, Development Operations & Annual Giving Lisa McDaniel Director, Donor Engagement Caitlyn Cushing Associate Director, Donor & Development Services Kimberly S. Duffy Senior Donor Engagement Manager Jocelyn Weberg Manager, Annual Giving Kristopher Simmons, Ariana Strahl Managers, Donor Engagement Julia McGehee Coordinator, Donor & Development Services Jamie Forssander Coordinator, Donor Engagement

25

NEGAUNEE MUSIC INSTITUTE

The Negaunee Music Institute invites you to a special virtual performance by artists representing various educational and community engagement programs of the CSOA.

SHOWCASE

Featuring: •

Musicians from the Chicago Symphony Orchestra

•

Musicians from the Civic Orchestra of Chicago

•

Students from the Percussion Scholarship Program

•

Fellows from the Chicago Musical Pathways Initiative

•

Parents and guest artists from Notes for Peace

•

and more

MONDAY, JUNE 14, 6:30 PM Join us for the premiere on June 14 via Facebook or YouTube.