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ONE H U NDR ED THI RT Y- FIFTH S EAS ON

Friday, January 9, 2026, at 7:30 Saturday, January 10, 2026, at 7:30

CSO at the Movies André de Ridder Conductor Chicago Symphony Chorus Benjamin Rivera Guest Director A Live Presentation of 2001: A Space Odyssey There will be one intermission.

This concert is part of the CSO at the Movies series, which is generously sponsored by Megan and Steve Shebik. Presented in association with Warner Bros. Discovery, Southbank Centre London, and the British Film Institute The appearance of the Chicago Symphony Chorus has been made possible by a generous gift from The Grainger Foundation. The Chicago Symphony Orchestra Association acknowledges support from the Illinois Arts Council.

2001: A SPACE ODYSSEY (1968) CAST

Keir Dullea.................................................................................. Dr. Dave Bowman Gary Lockwood................................................................................Dr. Frank Poole William Sylvester...................................................................Dr. Heywood R. Floyd Daniel Richter................................................................................. Moon-Watcher Leonard Rossiter.......................................................................Dr. Andrei Smyslov Margaret Tyzack.............................................................................................Elena Robert Beatty.......................................................................... Dr. Ralph Halvorsen Sean Sullivan................................................................................. Dr. Bill Michaels Douglas Rain.............................................................................. HAL 9000 (voice) Frank Miller.................................................................... Mission Controller (voice) Bill Weston...............................................................................................Astronaut Ed Bishop................................................................ Aries-1B Lunar Shuttle Captain Glenn Beck..............................................................................................Astronaut

Produced and directed by Stanley Kubrick Screenplay by Stanley Kubrick and Arthur C. Clarke Based on the story “The Sentinel” by Arthur C. Clarke Cinematography by Geoffrey Unsworth Film Editing by Ray Lovejoy Music by Aram Khachaturian; György Ligeti; Richard Strauss; Johann Strauss, Jr. Original Theatrical Date: April 4, 1968 Oscar Winner: Best Special Visual Effects

Production Personnel: Cathy Astley, Head of Production, Southbank Centre, London; Sophie Kendrick, Senior Production Lead, the British Film Institute

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The Chicago Symphony Orchestra Association is grateful to

Megan and Steve Shebik

for their support of the CSO at the Movies series.

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COMMENTS by Jon Burlingame

2001: A Space Odyssey Of all the movies that feature preexisting musical works on their soundtrack, 2001: A Space Odyssey may be the most famous—and had the greatest impact on multiple generations of filmgoers. American-born, London-based filmmaker Stanley Kubrick spent four years imagining, researching, and producing this landmark science-fiction film in collaboration with legendary sci-fi writer Arthur C. Clarke (whose 1951 short story “The Sentinel,” about an extraterrestrial artifact discovered on the moon, was a starting point). Together, they devised a scenario in three parts: the “dawn of man,” as vegetarian apes in Africa evolve into meat-eating humans with the help of a mysterious black monolith that appears in their midst one day; the year 2001, when space travel is commonplace, both Americans and Russians have established bases on the moon, and an ancient monolith is found beneath the surface; and eighteen months after that, when a pair of astronauts, traveling to Jupiter, find themselves at odds with the sophisticated computer that operates their spacecraft. Released in April 1968, 2001: A Space Odyssey drew mixed reactions

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from critics and was not, at first, a commercial success. But it won an Oscar for its visual effects (and was nominated for three more, including the Clarke-Kubrick script and Kubrick’s direction) and a Hugo Award for Best Dramatic Presentation. The director—a classical-music aficionado—began thinking about music for his film in early 1966, playing pieces by Felix Mendelssohn and Ralph Vaughan Williams against early cuts of scenes in the space station and the moonbus.

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Pressure from MGM, which was distributing the film, caused Kubrick to briefly consider an original score. In January 1968, Alex North (with whom Kubrick collaborated on Spartacus) composed and recorded forty minutes of music for the first hour of the film, in some cases modeled on what he was told was Kubrick’s “temporary” track of classical excerpts. Ultimately, Kubrick rejected North’s efforts and returned to his original selections, forcing MGM to clear synchronization rights with music publishers and record labels. For his title sequence, depicting sunrise over the earth and moon in alignment, Kubrick chose the majestic opening fanfare of Also sprach Zarathustra, a tone poem written by German composer Richard Strauss in 1896. The music recurs twice more in the film, when Moon-Watcher (the ape leader in the “Dawn of Man” sequence) discovers he can use a bone as a tool, a key step forward in mankind’s evolution; and during the final moments of

the film, as the astronaut Dave Bowman is transformed into the Star Child and views Earth, contemplating his, and our, future. The appearance of the monolith in ancient Africa is accompanied by the Kyrie from György Ligeti’s Requiem (1965) for soprano, mezzo-soprano, two mixed choirs, and orchestra. This music returns when a team of American astronauts visits the site near the moon’s Tycho crater where another monolith was “deliberately buried,” as Dr. Heywood Floyd (William Sylvester) puts it, some four million years ago; and when, in the film’s final act, Dave Bowman (Keir Dullea) encounters a giant monolith orbiting Jupiter and, as a result, enters the Stargate. Kubrick’s choice could not have been more brilliant; few listeners in 1968 had experienced the complex polyphony of the piece, and its clusters of converging vocal lines convey a mysterious and even frightening mood to those key moments.

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The oldest music in 2001 is The Beautiful Blue Danube Waltz, written in 1866 by Austrian composer Johann Strauss, Jr., and such a sensation that Strauss’s Viennese publisher was inundated with a million orders for the sheet music within its first year. Kubrick’s original choice for the Pan Am space clipper and its docking with the space station was Mendelssohn’s A Midsummer Night’s Dream, but a last-minute change of mind was

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prompted by the director’s feeling that the inherent grace and elegance of Strauss’s waltz was the perfect musical illustration for the weightlessness of zero gravity and the beauty of spaceflight. Kubrick reprises the piece during the film’s end titles. Kubrick again turned to Ligeti for Heywood Floyd’s low-altitude moonbus trip from Clavius Base to the Tycho location of the newly discovered lunar monolith. Lux aeterna, from 1966, was

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written for sixteen-voice mixed choir and again features the composer’s signature micropolyphony; its eerie, ethereal voices leave us wondering where we are heading and why. As we cut to the Jupiter mission and the massive ship Discovery One, we hear the Adagio from Soviet Armenian composer Aram Khachaturian’s Suite no. 1 from Gayane—drawn from the 1939 ballet but arranged as a suite in 1943. We watch astronaut Frank Poole (Gary Lockwood) jog along a circular pathway, see the reddish glow of the HAL 9000 computer’s camera “eye” for the first time, and feel the loneliness of these men on their long voyage. Works by Ligeti underscore the Stargate sequence, as Bowman—having witnessed Poole’s murder, shut down HAL and learned the truth about their mission—embarks on a journey into a colorful, time-and-space-bending “ultimate trip” into the unknown. Atmosphères, from 1961, with its tone clusters and sound masses, untethers us from reality, and a distorted excerpt from Aventures (1962), for three singers and seven instrumentalists, accompanies Bowman’s arrival at his unexpected destination.

The 2001 soundtrack created a stir in both film and classical-music circles. The album reached no. 2 on Billboard’s classical album chart. More significantly, Kubrick’s bold musical choices opened the eyes and ears of filmmakers to the potential of concert music in new dramatic contexts (from George Gershwin in Manhattan to Carl Orff in Excalibur and Samuel Barber in Platoon). Kubrick himself would, after 2001, rarely use new music in his films: instead, there were adaptations inspired by Ludwig van Beethoven for A Clockwork Orange, George Frideric Handel and Franz Schubert for Barry Lyndon, Béla Bartók and Krzysztof Penderecki for The Shining, and Dmitri Shostakovich for Eyes Wide Shut. Jon Burlingame is the nation’s leading writer on music for films and television. He writes regularly for Variety, with prior contributions on the topic for such leading newspapers as the New York Times, Los Angeles Times, and the Washington Post, and such publications as Premiere, Emmy, and the Hollywood Reporter. He has won three Deems Taylor awards, presented by ASCAP, for outstanding music journalism. He teaches film-music history courses at the University of Southern California’s Thornton School of Music.

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PROFILES André de Ridder Conductor André de Ridder is the general music director of Theater Freiburg and designated music director of both English National Opera and the New Zealand Symphony Orchestra, titles he assumes from September 2027. He is in demand internationally for his impressive stylistic versatility, from baroque to contemporary music. His projects and collaborations take him to such orchestras as the New York Philharmonic, Frankfurt Radio Symphony Orchestra, Tonhalle-Orchester Zürich, Helsinki Philharmonic Orchestra, BBC Symphony Orchestra, Orchestre de Paris, and the Royal Concertgebouw Orchestra Amsterdam. Over the course of the 2025–26 season, de Ridder conducts operas including John Adams’s Doctor Atomic, Gluck’s Iphigénie en Tauride, and David Lang’s the loser at Theater Freiburg, in addition to Weil’s The Rise and Fall of the City of Mahagonny at English National Opera. De Ridder also makes guest appearances with the Netherlands Radio Philharmonic Orchestra, Belgian National Orchestra, National Symphony Orchestra Dublin, the Hallé in Manchester, and Sydney Symphony Orchestra, as well as the New Zealand Symphony Orchestra. He curates and performs at Oulu Music Festival in Finland and continues his curatorship of Unclassified Live at

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London’s Southbank Centre, a series of genre-defying performances featuring the BBC Concert Orchestra. The conductor has formed close relationships with some of the most prominent opera composers of our time, including Michel van der Aa, Daníel Bjarnason, Nico Muhly, and Kaija Saariaho. De Ridder regularly guest conducts at such opera houses as Theater Basel and Staatstheater Stuttgart, and he recently made his Cologne Opera debut for performances of York Höller’s Der Meister and Margarita. He regularly collaborates with such directors as Kasper Holten, Barrie Kosky, Marco Storman, and Enda Walsh. De Ridder is an artistic director and cofounder of s t a r g a z e, which performs projects ranging from Bach to avant-garde electronics and contemporary classical music. The group has gained a significant following and is regularly invited by leading concert halls, including the Barbican Centre in London, the Cologne Philharmonie, Philharmonie de Paris, and Elbphilharmonie Hamburg. His discography includes an album of orchestral music by Bryce Dessner and Jonny Greenwood and The Four Seasons Recomposed by Max Richter, both for Deutsche Grammophon, which was awarded an ECHO Klassik Classic Without Borders Award and has topped the classical charts in over twenty countries. For Transgressive Records, De Ridder also acted as producer on the release of Africa Express Presents Terry Riley’s In C Mali. This followed a trip to Bamako, Mali, with Damon Albarn P H OTO BY M A R C O B O R G G R E V E

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and his Africa Express project, where de Ridder initiated and led a recording of Riley’s In C with local musicians joined by traveling Western artists, including Brian Eno and Albarn. De Ridder was artistic director of Musica Nova Helsinki from 2017 to 2021, and in 2018 he was the recipient of a Royal Philharmonic Society Award for his innovative work as artistic curator of the Spitalfields Music Festival in London’s East End. HarrisonParrott represents André de Ridder for general management.

Chicago Symphony Chorus

The Chicago Symphony Chorus regularly performs with the Chicago Symphony Orchestra in Orchestra Hall and at the Ravinia Festival. The history of the Chorus began in 1957, when sixth music director Fritz Reiner invited Margaret Hillis to establish a chorus to equal the quality of the Orchestra. Hillis accepted the challenge, and the Chicago Symphony Chorus debuted in March and April 1958, in Mozart’s Requiem under Bruno Walter and Verdi’s Requiem under Reiner. Hillis served the Chorus for thirty-seven years. In 1994 ninth music director TO D D R O S E N B E R G P H OTO G R A P H Y

Daniel Barenboim appointed Duain Wolfe, who served as the Chorus’s director and conductor until his retirement in 2022. Donald Palumbo was appointed as the Chorus’s third director in 2025. The Chorus first performed in Carnegie Hall in 1967 in Henze’s Muses of Sicily and Ravel’s Daphnis and Chloe under seventh music director Jean Martinon, and most recently in 2015 with Riccardo Muti for Scriabin’s Prometheus and Prokofiev’s Alexander Nevsky. Touring internationally with the Orchestra, the Chorus traveled to London and Salzburg in 1989 with Sir Georg Solti for performances of Berlioz’s The Damnation of Faust and to Berlin in 1999 with Barenboim for Brahms’s A German Requiem and Pierre Boulez for Schoenberg’s Moses und Aron. World premieres featuring the Chorus have included Ned Rorem’s Goodbye My Fancy, John Harbison’s Four Psalms, and Bernard Rands’s apókryphos. With visiting orchestras, the Chorus has collaborated with the Berlin Philharmonic under Claudio Abbado, the Boston Symphony Orchestra and Seiji Ozawa, the Israel Philharmonic Orchestra with Zubin Mehta, and the Staatskapelle Berlin under Barenboim. Since first recording commercially in 1959—Prokofiev’s Alexander Nevsky under Reiner—the Chorus has amassed a discography that includes hallmarks of the choral repertoire and several complete operas. The Chorus most recently received a 2010 Grammy Award for Best Choral Performance for Verdi’s CS O.O RG

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Requiem, led by Riccardo Muti on CSO Resound. The Chorus has received an additional nine Grammy awards for Best Choral Performance for Verdi’s Requiem, Beethoven’s Missa solemnis, Brahms’s A German Requiem, Berlioz’s The Damnation of Faust, Haydn’s Creation, and Bach’s Mass in B minor with Solti; Brahms’s Requiem and Orff’s Carmina Burana with James Levine; and Bartók’s Cantata profana with Boulez. The Chorus also has appeared on two movie soundtracks with the Orchestra: Fantasia 2000 led by Levine, and John Williams’s score for Lincoln conducted by the composer. Recordings on CSO Resound featuring the Chorus include Mahler’s Second and Third symphonies, Poulenc’s Gloria and Ravel’s Daphnis and Chloe under Bernard Haitink; and Berlioz’s Lélio, Verdi’s Otello, Schoenberg’s Kol Nidre, choruses by Verdi and Boito’s Prologue to Mefistofele, Shostakovich’s Symphony no. 13 (Babi Yar), and most recently Mascagni’s Cavalleria rusticana under Riccardo Muti.

Benjamin Rivera Guest Chorus Director Chicago native Benjamin Rivera has dedicated his career to the inspiring and wonderfully varied art of ensemble singing. As a professional musician, he began as a member of the Chicago Symphony

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Chorus, where he served for more than twenty seasons. Rivera also sang with Chicago a cappella, the Grant Park Chorus, and several other ensembles, appearing frequently as a soloist and performing on dozens of recordings. Since transitioning to full-time conducting, Rivera now holds positions in three states. His current roles include chorus director and regular conductor of the Fort Wayne Philharmonic in Indiana; chorus master of the Florentine Opera in Wisconsin; and choirmaster of the Church of the Ascension, high holidays choir director at Temple Sholom, and assistant director of the Chicago Symphony Chorus in Illinois. Rivera has prepared ensembles for performances with the Chicago Symphony, National Symphony, and St. Louis Symphony orchestras, along with the Grant Park Music Festival, collaborating with numerous international conductors and performers. He has conducted offstage forces in performances with the Chicago Symphony, both in Orchestra Hall and at the Ravinia Festival, and he is a frequent guest director with a wide range of volunteer and professional choruses. Especially adept with languages, Rivera frequently coaches ensembles in German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park and Roosevelt universities, respectively, and a doctor of musical arts in conducting from Northwestern University. Benjamin Rivera lives with his family in Beverly, a neighborhood on the southwest side of Chicago. P H OTO C O U R T E SY O F T H E A R T I S T

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Chicago Symphony Chorus

Donald Palumbo Director Cheryl Frazes Hill Associate Director Jennifer Kerr Budziak Assistant Director Benjamin Rivera Assistant Director SOPRANOS

Alexandra Ioan Katelyn Lee Angela Presutti Korbitz Alexia Rivera A LT O S

Diane Busko Bryks Stacy Eckert Miya Higashiyama Carla Janzen Norton Kathryn Kinjo Duncan Emily Price* Cassidy Smith* Elizabeth Vaughan

TENORS

Madison Bolt Micah A. Dingler Ace T. Gangoso Klaus Georg* BASSES

Dimitri German David Govertsen Leo Radosavljevic Peter Wesoloski

CHORUS MANAGER

Melissa Hilker

A S S I S TA N T M A N A G E R AND LIBRARIAN

Olive Haugh

REHEARSAL PIANISTS

John Goodwin Sharon Peterson Chuck Foster

The Chorus was prepared for these performances by Benjamin Rivera. *Section leader

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CHICAGO SYMPHONY ORCHESTRA The Chicago Symphony Orchestra— consistently hailed as one of the world’s best—marks its 135th season in 2025–26. The ensemble’s history began in 1889, when Theodore Thomas, the leading conductor in America and a recognized music pioneer, was invited by Chicago businessman Charles Norman Fay to establish a symphony orchestra. Thomas’s aim to build a permanent orchestra of the highest quality was realized at the first concerts in October 1891 in the Auditorium Theatre. Thomas served as music director until his death in January 1905, just three weeks after the dedication of Orchestra Hall, the Orchestra’s permanent home designed by Daniel Burnham. Frederick Stock, recruited by Thomas to the viola section in 1895, became assistant conductor in 1899 and succeeded the Orchestra’s founder. His tenure lasted thirty-seven years, from 1905 to 1942—the longest of the Orchestra’s music directors. Stock founded the Civic Orchestra of Chicago— the first training orchestra in the U.S. affiliated with a major orchestra—in 1919, established youth auditions, organized the first subscription concerts especially for children, and began a series of popular concerts. Three conductors headed the Orchestra during the following decade: Désiré Defauw was music director from 1943 to 1947, Artur Rodzinski in 1947–48, and Rafael Kubelík from 1950 to 1953. The next ten years belonged to Fritz Reiner, whose recordings with the CSO are still considered hallmarks. Reiner invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. For five seasons from 1963 to 1968, Jean Martinon held the position of music director. Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. His arrival launched one of the most successful musical partnerships of our time. The CSO made its first overseas tour to Europe in 1971 under his direction and released numerous award-winning recordings. Beginning in 1991, Solti held the title of music director laureate and returned to conduct the Orchestra each season until his death in September 1997.

Daniel Barenboim became ninth music director in 1991, a position he held until 2006. His tenure was distinguished by the opening of Symphony Center in 1997, appearances with the Orchestra in the dual role of pianist and conductor, and twenty-one international tours. Appointed by Barenboim in 1994 as the Chorus’s second director, Duain Wolfe served until his retirement in 2022. In 2010, Riccardo Muti became the Orchestra’s tenth music director. During his tenure, the Orchestra deepened its engagement with the Chicago community, nurtured its legacy while supporting a new generation of musicians and composers, and collaborated with visionary artists. In September 2023, Muti became music director emeritus for life. In April 2024, Finnish conductor Klaus Mäkelä was announced as the Orchestra’s eleventh music director and will begin an initial five-year tenure as Zell Music Director in September 2027. In July 2025, Donald Palumbo became the third director of the Chicago Symphony Chorus. Carlo Maria Giulini was named the Orchestra’s first principal guest conductor in 1969, serving until 1972; Claudio Abbado held the position from 1982 to 1985. Pierre Boulez was appointed as principal guest conductor in 1995 and was named Helen Regenstein Conductor Emeritus in 2006, a position he held until his death in January 2016. From 2006 to 2010, Bernard Haitink was the Orchestra’s first principal conductor. Mezzo-soprano Joyce DiDonato is the CSO’s Artist-in-Residence for the 2025–26 season. The Orchestra first performed at Ravinia Park in 1905 and appeared frequently through August 1931, after which the park was closed for most of the Great Depression. In August 1936, the Orchestra helped to inaugurate the first season of the Ravinia Festival, and it has been in residence nearly every summer since. Since 1916, recording has been a significant part of the Orchestra’s activities. Recordings by the Chicago Symphony Orchestra and Chorus— including recent releases on CSO Resound, the Orchestra’s recording label launched in 2007—have earned sixty-five Grammy awards from the Recording Academy.

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Chicago Symphony Orchestra Klaus Mäkelä Zell Music Director Designate Joyce DiDonato Artist-in-Residence

Riccardo Muti Music Director Emeritus for Life

VIOLINS Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Stephanie Jeong Associate Concertmaster The Cathy and Bill Osborn Chair David Taylor* Assistant Concertmaster The Ling Z. and Michael C. Markovitz Chair Yuan-Qing Yu* Assistant Concertmaster So Young Bae Cornelius Chiu Gina DiBello Kozue Funakoshi Russell Hershow Qing Hou Gabriela Lara Matous Michal Simon Michal Sando Shia Susan Synnestvedt Rong-Yan Tang

BASSES Alexander Hanna Principal The David and Mary Winton Green Principal Bass Chair Alexander Horton Assistant Principal Daniel Carson Ian Hallas Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland Andrew Sommer

Baird Dodge Principal Danny Yehun Jin Assistant Principal Lei Hou Ni Mei Hermine Gagné Rachel Goldstein Mihaela Ionescu Melanie Kupchynsky § Wendy Koons Meir Ronald Satkiewicz ‡ Florence Schwartz

OBOES William Welter Principal Lora Schaefer Assistant Principal The Gilchrist Foundation, Jocelyn Gilchrist Chair Scott Hostetler

VIOLAS Teng Li Principal The Paul Hindemith Principal Viola Chair Catherine Brubaker Youming Chen Sunghee Choi Paolo Dara Wei-Ting Kuo Danny Lai Weijing Michal Diane Mues Lawrence Neuman Max Raimi CELLOS John Sharp Principal The Eloise W. Martin Chair Kenneth Olsen Assistant Principal The Adele Gidwitz Chair Karen Basrak § The Joseph A. and Cecile Renaud Gorno Chair Richard Hirschl Olivia Jakyoung Huh Daniel Katz Katinka Kleijn Brant Taylor The Ann Blickensderfer and Roger Blickensderfer Chair

FLUTES Stefán Ragnar Höskuldsson § Principal The Erika and Dietrich M. Gross Principal Flute Chair Emma Gerstein Jennifer Gunn PICCOLO Jennifer Gunn The Dora and John Aalbregtse Piccolo Chair

ENGLISH HORN Scott Hostetler CLARINETS Stephen Williamson Principal John Bruce Yeh Assistant Principal The Governing Members Chair Gregory Smith E - F L AT C L A R I N E T John Bruce Yeh BASSOONS Keith Buncke Principal William Buchman Assistant Principal Miles Maner HORNS Mark Almond Principal James Smelser David Grifﬁn Oto Carrillo Susanna Gaunt Daniel Gingrich ‡ TRUMPETS Esteban Batallán Principal The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor John Hagstrom The Bleck Family Chair Tage Larsen

TROMBONES Timothy Higgins 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 T I M PA N I David Herbert Principal The Clinton Family Fund Chair Vadim Karpinos Assistant Principal PERCUSSION Cynthia Yeh Principal Patricia Dash Vadim Karpinos LIBRARIANS Justin Vibbard Principal Carole Keller Mark Swanson CSO FELLOWS Ariel Seunghyun Lee Violin Jesús Linárez Violin The Michael and Kathleen Elliott Fellow ORCHESTRA PERSONNEL John Deverman Director Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel S TA G E T E C H N I C I A N S Christopher Lewis Stage Manager Blair Carlson Paul Christopher Chris Grannen Ryan Hartge Peter Landry Joshua Mondie

* Assistant concertmasters are listed by seniority. ‡ On sabbatical § On leave The CSO’s music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation. The Louise H. Benton Wagner chair is currently unoccupied. The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the ﬁrst desk (ﬁrst two desks in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are listed alphabetically.

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