The 2024–25 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
ONE HUNDRED SIXTH SEASON
CIVIC ORCHESTRA OF CHICAGO
KEN-DAVID MASUR Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
Monday, March 3, 2025, at 7:30
CIVIC ORCHESTRA BRASS AND PERCUSSION
Michael Mulcahy Conductor
DUKAS Fanfare from La Péri
GOUNOD The Golden Calf from Faust (arr. Boyd)
Nick Collins, tuba
FAURÉ Pavane, Op. 50 (arr. Pollard)
RAVEL La valse (arr. Boyd)
INTERMISSION
LANGLAIS
Ceremony
Vivo
Moderato
Calme
Finale
RAVEL Alborada del gracioso (arr. Allen)
TOMASI Fanfares liturgiques
Annunciation
Evangile
Apocalypse (Scherzo)
Procession du Vendredi-Saint
Dustin Nguyen, trombone
The 2024–25 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program. Major support for the Civic Orchestra of Chicago is also provided by John and Leslie Burns; Robert and Joanne Crown Income Charitable Fund; Nancy Dehmlow; Leslie Fund, Inc.; Judy and Scott McCue; Leo and Catherine Miserendino; Barbara and Barre Seid Foundation; the George L. Shields Foundation, Inc.; the Maval Foundation; and Paul and Lisa Wiggin.
The Chicago Symphony Orchestra Association acknowledges support from the Illinois Arts Council.
COMMENTS by Richard E. Rodda
PAUL DUKAS
Born October 1, 1865; Paris, France
Died May 18, 1935; Paris, France
Fanfare from La Péri
COMPOSED 1912
Paul Dukas’s La Péri was one of four ballets commissioned and premiered by Natasha Trouhanova at her gala performance in Paris’s Théâtre du Châtelet on April 22, 1912. (D’Indy’s Istar, Florent Schmitt’s La tragédie de Salomé, and Ravel’s Adélaïde, ou le langage des fleurs, set to the orchestrated version of his Valses nobles et sentimentales, rounded out the glittering program.) The story of La Péri concerns an aged Persian nobleman, Iskender, who wanders the world seeking the Flower of Immortality, which he finds in the hand of a beautiful sleeping Péri (an imaginary fairy-like being in Persian mythology represented as a descendent of the fallen angels who are excluded from Paradise until their penance is accomplished). He plucks the Flower from her grasp, she awakens, and he is filled with longing for her. She dances for him and draws nearer until their faces touch. He surrenders the Flower to her, she disappears, and Iskender is surrounded by the darkness
of mortality. This visionary story drew from Dukas a twenty-minute score of luxuriant opulence.
The fanfare for brass that precedes the ballet is unrelated thematically to what follows and was added just before Trouhanova’s premiere.
this page, from top: Paul Dukas | Sketch for Paul Dukas’s La Péri by Léon Bakst (1866–1924), 1911 | opposite page: Charles Gounod, photographed by Nadar (Gaspard-Félix Tournachon, 1820–1910), 1890. Gallica Digital Library
CHARLES GOUNOD
Born June 17, 1818; Saint Cloud, France
Died October 18, 1893; Paris, France
The Golden Calf from Faust (Arranged by Geoffrey Boyd)
COMPOSED 1852–59
In Gounod’s opera, the aged Faust has signed away his soul to the devil, Mephistopheles, in exchange for the return of his long-lost youth. Faust and Mephistopheles set out on their adventures and come to a village fair, where Wagner, a young soldier, is singing a comic song about a rat. Mephistopheles cuts him off. “I can sing a better song than that,” he boasts and launches into a cynical aria (“The Golden Calf”) about mankind’s worship of Mammon:
The golden calf still stands upright; its might is extolled from one end of the world to the other! To celebrate the shameful idol, king and commoner together, to the murky chink of money dance a mad round about its pedestal, and Satan leads the dance!
The arrangement for brass is by Geoffrey Boyd, who was born in Australia, where he played double bass in the Melbourne Symphony and the Australia Opera Orchestra. After taking advanced training at the Mozarteum in Salzburg, Boyd conducted widely in Germany and England, served as music director for London’s Opera Nova, and worked extensively as an arranger and orchestrator.
GABRIEL FAURÉ
Born May 12, 1845; Pamiers, Ariège, France
Died November 14, 1924; Paris, France
Pavane, Op. 50 (Arranged by Shawn Pollard)
COMPOSED 1887
Fauré originally composed the Pavane, op. 50 as a purely orchestral work for Jules Danbé, conductor of the Opéra Comique and director of the conservatory concerts. There is no record, however, that Danbé performed the work, and Fauré came up with another plan for it. On September 29, 1887, he wrote to Countess Elisabeth Greffulhe,
Robert de Montesquiou [the model for Proust’s Baron Charlus and an “aristocrat, scholar, aesthete, and dandy,” as he was described in an exhibition about him at the Musée d’Orsay], whom I have had the great fortune to meet in Paris, has most kindly accepted the egregiously thankless and difficult task of setting to this music, which is already complete, words that will make our pavane fit to be both danced and sung. He has given it a delightful text in the manner of Verlaine: sly
coquetries by the female dancers and great sighs by the male dancers that will singularly enhance the music. If the whole marvelous thing with a lovely dance in fine costumes could be performed, what a treat it would be!
Fauré, however, did not see his work staged until 1919, when he included it in the one-act divertissement for Monte Carlo, Masques et Bergamasques, though the score was earlier performed, with voices, at Charles Lamoureux’s concert in Paris on April 28, 1888.
The pavane was a sixteenth-century court dance from Padua (Pava in the local dialect, hence pavane) of a stately, processional nature. Carried across the Alps, the form reached its highest point of artistic perfection in the works of the Elizabethan virginalists and then fell from favor. Fauré’s Pavane, op. 50, is in three-part form, with the return of the haunting opening melody following a stern middle section.
The arrangement for brass is by Shawn Pollard, conductor and professor of instrumental music at Arizona Western College in Yuma.
this page: Gabriel Fauré, oil portrait of the composer painted by John Singer Sargent (1856–1925), ca. 1889 | opposite page: Maurice Ravel, portrait ca. 1925. Bibliothèque nationale de France
MAURICE RAVEL
Born March 7, 1875; Ciboure, France
Died December 28, 1937; Paris, France
La valse (Arranged by Geoffrey Boyd)
COMPOSED 1919–20
Ravel first considered composing a musical homage to Johann Strauss, Jr., as early as 1906. The idea forced itself upon him again a decade later, but during World War I, he could not bring himself to work on a score he had tentatively titled Wien (Vienna), and it was not until January 1919 that he was immersed in the composition of his tribute to Vienna—“waltzing frantically,” as he wrote to a friend. He saw La valse both as “a kind of apotheosis of the Viennese waltz” and as a “fantastic and fatefully inescapable whirlpool.” The “inescapable whirlpool” was World War I, toward which Vienna marched in three-quarter time, salving its social and political conscience with the luscious strains of Johann Strauss. Ravel completed La valse in piano score by the end of 1919, then made a piano duet version and undertook the orchestration,
which he finished in the spring of the following year.
A surrealistic haze shrouds the opening of La valse, a vague introduction from which fragments of themes gradually emerge. In the manner typical of the Viennese waltz, several continuous sections follow, each based on a different melody. At the halfway point of the score, however, the murmurs of the introduction return, and the melodies heard previously in clear and complete versions are now fragmented, played against each other, and unable to regain the rhythmic flow of their initial appearances. The musical panacea of 1855 cannot smother the reality of 1915, however, and the music becomes consumed by the harsh thrust of the roaring triple meter, transformed from a seductive dance into a demonic juggernaut. At the peak of tension, the dance is torn apart by a violent five-note figure, a gesture so alien to the triple meter that it destroys the waltz and brings this brilliant, forceful, and disturbing work to a close.
JEAN LANGLAIS
Born February 15, 1907; La Fontenelle, Brittany, France
Died May 8, 1991; Paris, France
Ceremony
COMPOSED 1989
French organist and composer Jean Langlais, blind from infancy, was born to a stonecutter and a seamstress in a village in Brittany. His musical talent flourished despite his disability, and at age ten, he was admitted to the Institution for Blind Children in Paris, first studying violin and later piano and organ. He became an organ pupil of André Marchal in 1923 and four years later entered the Paris Conservatory to study with the renowned Marcel Dupré; in 1930 he won first prizes in organ and counterpoint at the school. Langlais then joined the faculty of the Institution for Blind Children, where he taught composition and organ and conducted the choir in music by Palestrina, Bach, Josquin, and other early masters. He studied organ privately with Charles Tournemire, with whom he developed a close relationship. In 1931 Langlais married Jeanette Sartre, a painter who transcribed her husband’s music from his Braille notation until her death four decades later.
The following year, he won a prize from the Amis d’Orgue for interpretation and improvisation and was appointed organist at Saint-Pierre de Montrouge. Langlais studied composition with Paul Dukas at the conservatory for a year before the latter’s death in 1934 (a fellow student was Olivier Messiaen) and won first prize in that discipline in 1938. In 1939, Tournemire, nearing the end of his career, began preparing Langlais to succeed him as organist at SainteClotilde (where César Franck had a distinguished tenure), though World War II prevented him from formally assuming the post until 1945; Langlais remained at Sainte-Clotilde until his retirement in 1988. He began touring worldwide as organist and composer after the war, first appearing in the United States in 1952, returning to this country frequently and writing many works for American performers and institutions. In 1962 Langlais became professor of organ at the Schola Cantorum.
Ceremony was composed in 1989 for the London Gabrieli Brass Ensemble, one of Britain’s longest-established brass chamber groups. The opening movement, with its streams of block chords around which brief solo lines this page: Jean Langlais | opposite page: Maurice Ravel, as photographed by Pierre Petit (1831–1909) in 1907
are wound, utilizes textures frequently heard in organ compositions and improvisations. The second movement is lyrical and mellow, with exchanges between the choirs of low brass and trumpets at the beginning and end and a more animated passage for the entire ensemble at the center. (This “antiphonal” effect may be a tribute to a group named for Giovanni Gabrieli,
MAURICE RAVEL
who pioneered such an instrumental style at San Marco in Venice around 1600.) The third movement, a trio for two trombones and tuba, is based on a chant melody for a Kyrie from the Roman Catholic mass. Instrumental dialogue features prominently in the finale, which closes with a coda requiring considerable ensemble virtuosity.
Born March 7, 1875; Ciboure, Basses-Pyrénées, France
Died December 28, 1937; Paris, France
Alborada del gracioso (Arranged by Michael Allen)
COMPOSED 1905
The alba, or “song at dawn,” is one of music’s most ancient forms—the earliest extant example, from the repertory of the troubadours of Provence in southern France, dates from the eleventh century. These poems deal with a lover’s departure in the early morning after a night spent with his beloved and are often cast in the form of a dialogue between the lover and a watchman who warns of approaching danger. (Wagner revived the form in the second act of Tristan and Isolde during which Brangäne alerts the fated couple of King Marke’s return.) As the alborada, the form was later taken over by the
musicians of Galicia in northern Spain, who made of it a type of dance played on a rustic oboe accompanied by a small drum. Ravel, a native of the Basque region of southern France that shares many aspects of its cultural heritage with its Spanish neighbors, knew the alborada and other Spanish music, and he incorporated its spirit and style into several of his important works, including the Alborada del gracioso (Morning Song of the Jester), the fourth of five pieces written in 1905 for the piano suite Miroirs. In 1918 he made a glittering orchestral transcription of the piece.
The outer sections of Alborada del gracioso evoke thrumming guitars ringing across a sun-baked landscape, while the soulful central section calls up another image—the gracioso, the
COMMENTS
Spanish clown or jester, perhaps evoking a fool in love.
This virtuosic arrangement of Alborado del gracioso was done for Summit Brass in 2004 by Michael Allen, former principal tuba of the Central
HENRI TOMASI
Born August 17, 1901; Marseilles, France
Died January 13, 1971; Paris, France
Fanfares liturgiques
COMPOSED
1941–44
Composer and conductor Henri Tomasi, born into a working-class family of Corsican descent, began studying music at age seven at the city’s conservatory and progressed so rapidly on piano that he complained about feeling “humiliated to be on show like a trained animal” when his father introduced him at social gatherings as a child prodigy. Young Henri supplemented the family’s finances during World War I by playing anywhere there was work, from fancy hotels to brothels and movie houses. In 1921 he received a scholarship from the city of Marseilles to attend the Paris Conservatory to study composition with Georges Caussade and Paul Vidal
above: Henri Tomasi
City Opera Orchestra, Colorado Ballet Orchestra, and Opera Colorado, a founding member of the Boulder Brass, and faculty member of the University of Colorado Boulder.
and conducting with Philippe Gaubert; he also studied privately with Vincent d’Indy. Tomasi established parallel careers as composer and conductor soon after leaving the school, and from 1930 to 1935, he worked for the French National Radio as music director of its programs beamed to Indochina and other Eastern lands, an experience that stimulated his interest in world music and influenced the settings and style of several of his compositions. Tomasi was inducted into the French army in 1939 and served as a band director near Nice until the Germans overran the country the following year. He continued to compose during World War II and also conducted the Orchestre National, which had been moved from Paris to Marseilles because of the hostilities. Tomasi was named principal conductor of the Monte Carlo Opera in 1946 and enjoyed considerable success
conducting many of France’s finest orchestras until the loss of hearing in his right ear forced him to retire from the concert stage in 1957. He thereafter devoted himself to composition until his death in Paris on January 13, 1971.
Tomasi adapted the Fanfares liturgiques from his opera Don Juan de Mañara, based on a spiritual “mystery play” from 1913 by the FrenchLithuanian playwright and diplomat Oscar Vladislas de Lubicz-Milosz, in which the legendary libertine Don Juan renounces his dissipated ways to find redemption in the monastic life. Tomasi composed the opera between 1941 and 1944 when he found a quiet workplace and solace from the stresses of the war and a troubled marriage in long residencies at the Dominican Monastère de la Sainte-Baume, near Marseilles. Don Juan de Mañara was first heard in a concert performance in Paris in 1952 and finally staged in 1956 in Munich.
The Fanfares liturgiques, which in the opera accompany Don Juan’s visionary acceptance into the monastery, were extracted from the complete score for their concert premiere in May 1947 by the Orchestra of the Monte Carlo Opera under the composer’s
direction. Each of the four movements is associated with a significant aspect of Christian belief. Annonciation (Annunciation) evokes the visit by the Archangel Gabriel to the Virgin Mary to announce that she has been chosen to be the mother of Jesus Christ: bold summons at the beginning and end accompany His arrival and departure, and a hushed strain for horns at the center suggests His profound message. In Evangile (Gospel), trumpet fanfares herald a priestly oration from the solo trombone, which receives a hymn-like response from the assembled brass choir. The jogging rhythms of Apocalypse suggest the fearsome descent upon the world of the prophesied four horsemen, while the noble Procession du Vendredi-Saint (Good Friday Procession), based on a repeating, chant-like phrase rolling inexorably through the ensemble’s lowest registers, seems to offer the hope of redemption.
Richard E. Rodda, a former faculty member at Case Western Reserve University and the Cleveland Institute of Music, provides program notes for many American orchestras, concert series, and festivals.
PROFILES
Michael Mulcahy Conductor
Chicago Symphony Orchestra trombonist
Michael Mulcahy appears worldwide as a soloist, conductor, and teacher. He was appointed to the CSO by Sir Georg Solti in 1989, having been principal trombonist of the Tasmanian and Melbourne symphony orchestras and solo trombonist of the Cologne Radio Symphony Orchestra.
He made his solo debut with the Orchestra under Daniel Barenboim in 2000 and subsequently performed as soloist under Pierre Boulez in music by Elliott Carter. In October 2016 Mulcahy gave the world premiere of Carl Vine’s Five Hallucinations for Trombone and Orchestra, a joint commission of the Chicago Symphony and the Sydney Symphony Orchestra. In February 2018 he gave the world premiere of Jennifer Higdon’s Low Brass Concerto, a CSO commission that the Orchestra subsequently took on its East Coast tour.
Mulcahy is the winner of several international competitions, including the Australian Broadcasting Corporation Instrumental Competition, ARD International Music Competition in Munich, Viotti International Competition in Italy, and International Instrumental Competition in the former East German city of Markneukirchen.
He has been principal trombonist of Chicago’s Music of the Baroque and the Grand Teton Music Festival since 1992. He is also principal trombonist of the Australian World Orchestra, performing under conductors Alexander Briger, Zubin Mehta, Sir Simon Rattle, and Riccardo Muti. He was a founding member of the National Brass Ensemble in 2014.
Michael Mulcahy’s interest in conducting was sparked by an invitation from the West German Radio Orchestra to direct a concert of music by Arvo Pärt. He serves as director of the CSO Brass, conducts annually for the Grand Teton Music Festival, and makes guest appearances with the Sydney, Tasmanian, and New World symphonies, as well as the Royal Danish Orchestra. He has also served as music director for National Music Camp in Australia.
Born in Sydney, Australia, Michael Mulcahy began studying trombone with his father, Jack Mulcahy, and completed his studies with Baden McCarron of the Sydney Symphony and Geoffrey Bailey at the State Conservatorium of New South Wales. He became a senior lecturer at the Canberra School of Music at the Australian National University in 1987. Currently, Mulcahy leads the trombone studio at Northwestern University’s Bienen School of Music and is a visiting artist at the Australian National Academy of Music.
PHOTO BY TODD ROSENBERG
Civic Orchestra of Chicago
The Civic Orchestra of Chicago is a training program of the Chicago Symphony Orchestra’s Negaunee Music Institute that prepares young professionals for careers in orchestral music. It was founded during the 1919–20 season by Frederick Stock, the CSO’s second music director, as the Civic Music Student Orchestra, and for over a century, its members have gone on to secure positions in orchestras across the world, including over 160 Civic players who have joined the CSO. Each season, Civic members are given numerous performance opportunities and participate in rigorous orchestral training with its principal conductor, Ken-David Masur, distinguished guest conductors, and a faculty of coaches comprised of CSO members. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving music world.
The Civic Orchestra serves the community through its commitment to present free or low-cost concerts of the highest quality at Symphony
Center and in venues across Greater Chicago, including annual concerts at the South Shore Cultural Center and Fourth Presbyterian Church. The Civic Orchestra also performs at the annual Crain-Maling Foundation CSO Young Artists Competition and Chicago Youth in Music Festival. Many Civic concerts can be heard locally on WFMT (98.7 FM), in addition to concert clips and smaller ensemble performances available on CSOtv and YouTube. Civic musicians 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.
To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Each year, up to twelve Civic members are designated as Civic Fellows and participate in intensive leadership training designed to build and diversify their creative and professional skills. The program’s curriculum has four modules: artistic planning, music education, social justice, and project management.
A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors. Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire, and transform lives through music.
Civic Orchestra of Chicago Brass and Percussion
Michael Mulcahy Conductor
HORNS
Layan Atieh
Emmett Conway
Dena Levy
Mark Morris
Emily Whittaker
TRUMPETS
Hamed Barbarji
Sarah Heimberg
Maria Merlo
Sean-David Whitworth
Abner Wong
TROMBONES
Noah Eder
Arlo Hollander
Dustin Nguyen
* Civic Orchestra Fellow + Civic Orchestra Alumni
BASS TROMBONE, CONTRABASS TROMBONE
Joe Maiocco
TENOR TUBA
Oliver Stark
TUBA
Nick Collins
Ben Poirot
TIMPANI
Tomas Leivestad
PERCUSSION
Alex Chao
Charley Gillette
Cameron Marquez*
LIBRARIAN
Benjimen Neal
NEGAUNEE MUSIC INSTITUTE AT THE CSO
the board of the negaunee music institute
Leslie Burns Chair
Steve Shebik Vice Chair
John Aalbregtse
David Arch
James Borkman
Jacqui Cheng
Ricardo Cifuentes
Richard Colburn
Dunni Cosey Gay
Charles Emmons
Judy Feldman
Lori Julian
Toni-Marie Montgomery
Rumi Morales
Mimi Murley
Margo Oberman
Gerald Pauling
Harper Reed
Melissa Root
Amanda Sonneborn
Eugene Stark
Dan Sullivan
Ex Officio Members
Jeff Alexander
Jonathan McCormick
Vanessa Moss
negaunee music institute administration
Jonathan McCormick Managing Director
Katy Clusen Associate Director, CSO for Kids
Katherine Eaton Coordinator, School Partnerships
Carol Kelleher Assistant, CSO for Kids
Anna Perkins Orchestra Manager, Civic Orchestra of Chicago
Zhiqian Wu Operations Coordinator, Civic Orchestra of Chicago
Rachael Cohen Program Manager
Charles Jones Program Assistant
Frances Atkins Content Director
Kristin Tobin Designer & Print Production Manager
Petya Kaltchev Editor
civic orchestra artistic leadership
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor 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
Teng Li Principal Viola
The Paul Hindemith Principal Viola Chair
Brant Taylor Cello
The Blickensderfer Family Chair
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
William Welter Principal Oboe
Stephen Williamson Principal Clarinet
Keith Buncke Principal Bassoon
William Buchman Assistant Principal Bassoon
Mark Almond Principal Horn
Esteban Batallán Principal Trumpet
The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor
John Hagstrom Trumpet
The Bleck Family Chair
Tage Larsen Trumpet
Michael Mulcahy Trombone
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
Justin Vibbard Principal Librarian
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.
$150,000 AND ABOVE
Lori Julian for The Julian Family Foundation
The Negaunee Foundation
$100,000–$149,999
Abbott Fund
Allstate Insurance Company
Megan and Steve Shebik
$75,000–$99,999
John Hart and Carol Prins
Barbara and Barre Seid Foundation
$50,000–$74,999
Anonymous
BMO
Robert and Joanne Crown Income Charitable Fund
Lloyd A. Fry Foundation
Judy and Scott McCue
Ms. Deborah K. McNeil
Polk Bros. Foundation
Michael and Linda Simon
Lisa and Paul Wiggin
$35,000–$49,999
Bowman C. Lingle Trust
National Endowment for the Arts
Margo and Michael Oberman
$25,000–$34,999
Anonymous
Carey and Brett August
John D. and Leslie Henner Burns
Crain-Maling Foundation
Nancy Dehmlow
Kinder Morgan
The Maval Foundation
Ms. Cecelia Samans
Shure Charitable Trust
Gene and Jean Stark
$20,000–$24,999
Anonymous
Mary and Lionel Go
Halasyamani/Davis Family
Illinois Arts Council Agency
Richard P. and Susan Kiphart Family
Mr. Philip Lumpkin
PNC
D. Elizabeth Price
Sandra and Earl Rusnak, Jr. †
Charles and M. R.
Shapiro Foundation
The George L. Shields Foundation, Inc.
Dr. Marylou Witz
$15,000–$19,999
Nancy A. Abshire
Mr. & Mrs. John Baldwin
Robert and Isabelle Bass Foundation, Inc.
Sue and Jim Colletti
Dr. Leo and Catherine Miserendino
$11,5000–$14,999
Barker Welfare Foundation
Mr. † & Mrs. David A. Donovan
Nancy and Bernard Dunkel
Benjamin J. Rosenthal Foundation
Ksenia A. and Peter Turula
$7,500–$11,499
Anonymous
Robert H. Baum and MaryBeth Kretz
Fred and Phoebe Boelter
The Buchanan Family Foundation
Mr. Lawrence Corry
Mrs. Carol Evans, in memory of Henry Evans
Ellen and Paul Gignilliat
Mr. & Mrs. Joseph B. Glossberg
Chet Gougis and Shelley Ochab
Mary Winton Green
The League of the Chicago Symphony Orchestra Association
Mr. Glen Madeja and Ms. Janet Steidl
Ms. Susan Norvich
Ms. Emilysue Pinnell
Mary and Joseph Plauché
Ms. Liisa M. Thomas and Mr. Stephen L. Pratt
Theodore and Elisabeth Wachs
$4,500–$7,499
Dora J. and R. John Aalbregtse
Joseph Bartush
Charles H. and Bertha L. Boothroyd Foundation
Ann and Richard Carr
Harry F. and Elaine Chaddick Foundation
CIBC
Dr. Brenda A. Darrell and Mr. Paul S. Watford
Tarek and Ann Fadel
Ms. Dawn E. Helwig
Mr. James Kastenholz and Ms. Jennifer Steans
Dr. June Koizumi
Leoni and Bill McVey
Jim and Ginger Meyer
Stephen and Rumi Morales
Drs. Robert and Marsha Mrtek
David † and Dolores Nelson
The Osprey Foundation
Lee Ann and Savit Pirl
Robert J. Richards and Barbara A. Richards
Dr. Scholl Foundation
Dr. & Mrs. R. Solaro
Ms. Joanne C. Tremulis
Laura and Terrence Truax
Mr. Paul R. Wiggin
$3,500–$4,499
Anonymous (2)
Mr. & Mrs. Paul Clusen
Mr. Clinton J. Ecker and Ms. Jacqui Cheng
Charles and Carol Emmons
Judith E. Feldman
Ms. Mirjana Martich and Mr. Zoran Lazarevic
Mr. Bruce Oltman
$2,500–$3,499
Anonymous
David and Suzanne Arch
Adam Bossov
Ms. Danolda Brennan
Ms. Rosalind Britton
Mr. Ray Capitanini
Lisa Chessare
Mr. Ricardo Cifuentes
Patricia A. Clickener
Mr. & Mrs. Dwight Decker
David and Janet Fox
Mr. † & Mrs. Robert Heidrick
William B. Hinchliff
Michael and Leigh Huston
Dr. Victoria Ingram and Dr. Paul Navin
Ronald E. Jacquart
Ms. Stephanie Jones
Dr. Linda Novak
Mr. & Mrs. Jeffery Piper
Mr. & Mrs. Stephen Racker
Erik and Nelleke Roffelsen
Mr. David Sandfort
Gerald and Barbara Schultz
Mr. & Mrs. Thomas Scorza
Jessie Shih and Johnson Ho
Carol S. Sonnenschein
Mr. † & Mrs. Hugo Sonnenschein
Mr. Peter Vale
Mr. Kenneth Witkowski
Ms. Camille Zientek
ENDOWED FUNDS
Anonymous (5)
Dr. & Mrs. Bernard H. Adelson Fund
Marjorie Blum-Kovler Youth Concert Fund
Civic Orchestra Chamber Access Fund
The Davee Foundation
Frank Family Fund
Kelli Gardner Youth Education Endowment Fund
Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein
Mary Winton Green
John Hart and Carol Prins Fund for Access
William Randolph Hearst Foundation Fund
Richard A. Heise
Julian Family Foundation Fund
The Kapnick Family
Lester B. Knight Charitable Trust
Robert Kohl and Clark Pellett Chair Fund
The Malott Family School Concerts Fund
Eloise W. Martin Endowed Funds
Murley Family Fund
The Negaunee Foundation
Margo and Michael Oberman Community Access Fund
Nancy Ranney and Family and Friends
Helen Regenstein Guest Conductor Fund
Edward F. Schmidt Family Fund
Shebik Community Engagement Programs Fund
The Wallace Foundation
Zell Family Foundation
CIVIC ORCHESTRA 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 helped to support these stipends for the 2024–25 season.
Ten 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 Lori Julian for the Julian Family Foundation
Nancy A. Abshire
Mason Spencer,* viola
Dr. & Mrs. Bernard H.
Adelson Fund
Elena Galentas, viola
Fred and Phoebe Boelter
Daniel W. Meyer, bass
Rosalind Britton^
Sam Day, cello
John and Leslie Burns**
Layan Atieh, horn
Will Stevens, oboe
Robert and Joanne Crown
Income Charitable Fund
Charley Gillette, percussion
Kyungyeon Hong, oboe
Buianto Lkhasaranov, cello
Matthew Musachio,* violin
Sam Sun, viola
Mr. † & Mrs. David Donovan
Bennett Norris, bass
Charles and Carol Emmons^
Will Stevens, oboe
David and Janet Fox^
Carlos Lozano Sanchez, viola
Ellen and Paul Gignilliat
Tiffany Kung, bass
Mr. & Mrs. Joseph B. Glossberg
Hannah Novak, bass
Richard and Alice Godfrey
Darren Carter, violin
Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein
Alex Chao, percussion
Chet Gougis and Shelley Ochab
Nick Reeves, cello
Mary Winton Green
Walker Dean, bass
Jane Redmond Haliday Chair
Munire Mona Mierxiati, violin
Lori Julian for the Julian Family Foundation
David Caplan, cello
Lina Yamin,* violin
League of the Chicago Symphony Orchestra Association
Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association.
Gifts listed as of December 2024
Showcasing Education & Community Engagement at the CSO
MAR 17
Be inspired by the musicians learning, growing, and serving Chicago through the programs produced by the Negaunee Music Institute at the Chicago Symphony Orchestra. Enjoy a showcase of extraordinary performances by the Civic Orchestra of Chicago, musicians from the CSO, Percussion Scholarship Program students, and Young Artists Competition winner Jaden TeagueNúñez. Plus, hear works from the Notes for Peace program and Young Composers Initiative. Transform lives by supporting these vital education and community engagement activities.
