This program is a presentation of the complete film Field of Dreams with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the music.
The Chicago Symphony Orchestra thanks Megan and Steve Shebik for sponsoring CSO at the Movies.
PROFILES
James Horner Composer (1953–2015)
Having composed the music for more than 130 film and television productions, James Horner was among the world’s most prolific and beloved film composers. He earned two Academy awards and two Golden Globe awards, eight additional Academy Award nominations, five additional Golden Globe nominations, and six Grammy awards. Horner’s Titanic soundtrack remains the largestselling instrumental score album in history.
Horner is known for his stylistic diversity, and his other film credits include Titanic, Braveheart, Avatar, A Beautiful Mind, Glory, The Perfect Storm, Aliens, Legends of the Fall, Field of Dreams, The Mask of Zorro, Clear and Present Danger, Courage Under Fire, The Missing, Patriot Games, Jumanji, An American Tail, How the Grinch Stole Christmas, Ransom, Honey I Shrunk the Kids, The Land Before Time, Willow, The Rocketeer, Apocalypto, Cocoon, Gorky Park, and Star Treks II and III. His final feature-film projects were director Jean-Jacques Annaud’s Wolf Totem, Patricia Riggen’s The 33, and Antoine Fuqua’s Southpaw.
Born in Los Angeles, Horner spent his formative years in London. His initial interest was avant-garde classical music. Returning to California, Horner continued his education at USC,
where he received a bachelor’s degree in composition, and UCLA, where he pursued doctoral studies in music composition and theory. In 1980 Horner was approached by the American Film Institute to score a short film, after which he left the academic world and began working for Roger Corman at New World Pictures, where he became acquainted with several young directors, including Ron Howard, for whom he would later score such films as Willow, Cocoon, and Apollo 13, among many others; and a young cameraman named James Cameron, with whom he would later collaborate on Aliens, Avatar, and Titanic. Horner went on to work with many of Hollywood’s most noted filmmakers, including Steven Spielberg, William Friedkin, Mel Gibson, Oliver Stone, and Francis Ford Coppola.
An accomplished conductor as well, Horner preferred to conduct his scores directly to picture without the use of click tracks. He also composed several concert works, including A Forest Passage, commissioned by the Cleveland Orchestra; Pas de Deux, a double concerto for violin and cello; and Collage: A Concerto for Four Horns and Orchestra, premiered by the London Philharmonic Orchestra in 2015.
James Horner died in 2015 when the single-engine aircraft he was piloting crashed in northern Ventura County near Los Angeles. He was sixty-one years old. Horner is survived by his wife, Sara, and his daughter, Emily. He left a legacy of some of the most influential and acclaimed music in the history of cinema.
Nicholas Buc Conductor
Nicholas Buc is an award-winning composer, conductor, and arranger with a distinguished career in both film and concert music. He studied composition under Brenton Broadstock and Stuart Greenbaum at the University of Melbourne, earning the inaugural Fellowship of Australian Composers Award. Buc furthered his education with a master’s degree in scoring for film and multimedia from New York University, where he was honored with the Elmer Bernstein Award for Film Scoring.
His compositions have been showcased at festivals and theaters across Australia, Asia, and the United States. In 2022 the Melbourne Youth Orchestra premiered his Trumpet Concerto, commissioned by Josh Rogan. His hundred-minute oratorio, Origins, premiered to a sold-out audience at Melbourne Recital Hall in 2023. He recently scored the Australian feature film Slant (2022) and the Ukrainian documentary Slava (2023).
Buc has collaborated with such renowned artists and ensembles as Wynton Marsalis and the Jazz at
Lincoln Center Orchestra, Nick Cave and Warren Ellis, Chris Botti, Amanda Palmer, Ben Folds, and the Cat Empire. He has served as conductor and arranger for Tina Arena on six Australian tours and has created arrangements for Birds of Tokyo, Lake Street Dive, Missy Higgins, the Avalanches, Eskimo Joe, the Whitlams, and Vera Blue. His television work includes Junior MasterChef Australia (2020), five seasons of The Voice Australia, and the 2021 Australian Football League Grand Final.
Highly sought after for live film concerts, Buc has conducted the world premieres of major films, including Star Wars: The Last Jedi, Close Encounters of the Third Kind, The Lion King, Beauty and the Beast, Shrek 2, Harry Potter and the Deathly Hallows Part 2, and Field of Dreams.
Nicholas Buc’s 2024–25 season sees the North American premiere of his children’s work, Daughter of the Inner Stars, with the Vancouver Symphony. This season also features exciting debut engagements with the Chicago Symphony Orchestra, Lyric Opera of Chicago, the Toronto and Kansas symphony orchestras, and the Auckland Philharmonia, along with reappearances with the Seattle and Grand Rapids symphony orchestras and the Orlando Philharmonic Orchestra, as well as all the Australian symphony orchestras.
PRODUCTION CREDITS
Field of Dreams in Concert is produced by Film Concerts Live, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
Producers: Steven A. Linder and Jamie Richardson
Associate Producers: Rob Stogsdill and Sophie Greaves
Production Assistant: Katherine Miron
Worldwide Representation: IMG Artists, LLC
Technical Director: Mike Runice
Music Composed by James Horner
Score Adapted and Orchestrated for Live Performance by Mark Graham
Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Epilogue Media
Technical Consultant: Laura Gibson
Sound Remixing for Concert Performance by XTracks
The score for Field of Dreams has been adapted and orchestrated for live concert performance.
With special thanks to: Universal Pictures, Phil Alden Robinson, Lawrence Gordon, Sara Horner, Michael Silver, Patrick Koors, Lawrence Liu, Chuck Nilsen, Mike Pastrano, Alex Levy, Trevor Motycka, Adam Michalak, Keith Ukrisna, Timothy Loo, Mike Matessino, Byron Kane, and the musicians and staff of the Chicago Symphony Orchestra Association.
REFRESHMENTS AT SYMPHONY CENTER
You can order drinks and snacks before the performance or during intermission at various bars located throughout Symphony Center, including the Bass Bar in the Rotunda and most of the lobby spaces in Orchestra Hall.
CHICAGO SYMPHONY ORCHESTRA
The Chicago Symphony Orchestra— consistently hailed as one of the world’s best—marks its 134th season in 2024–25. 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.
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.
Pianist Daniil Trifonov is the CSO’s Artistin-Residence for the 2024–25 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.
Chicago Symphony Orchestra
Klaus Mäkelä Zell Music Director Designate
Daniil Trifonov Artist-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* 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
Baird Dodge Principal
Danny Yehun Jin Assistant Principal
Lei Hou
Ni Mei
Hermine Gagné
Rachel Goldstein ‡
Mihaela Ionescu
Melanie Kupchynsky
Wendy Koons Meir
Joyce Noh §
Ronald Satkiewicz
Florence Schwartz
VIOLAS
Teng Li Principal
The Paul Hindemith Principal Viola Chair
Catherine Brubaker
Youming Chen
Sunghee Choi
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
Daniel Katz
Katinka Kleijn
Brant Taylor
The Blickensderfer Family Chair
Riccardo Muti Music Director Emeritus for Life
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
HARP
Lynne Turner
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
OBOES
William Welter Principal
Lora Schaefer Assistant Principal
Scott Hostetler
ENGLISH HORN
Scott Hostetler
CLARINETS
Stephen Williamson Principal
John Bruce Yeh Assistant Principal
The Governing Members Chair
Gregory Smith
E-FLAT CLARINET
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
Mark Ridenour Assistant Principal
John Hagstrom
The Bleck Family Chair
Tage Larsen
TROMBONES
Jay Friedman Principal
The Lisa and Paul Wiggin Principal Trombone Chair
Michael Mulcahy Acting
Associate Principal
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
PERCUSSION
Cynthia Yeh Principal
Patricia Dash
Vadim Karpinos
LIBRARIANS
Justin Vibbard Principal
Carole Keller
Mark Swanson
CSO FELLOWS
Jesús Linárez Violin
The Michael and Kathleen Elliott Fellow
Olivia Reyes Bass
ORCHESTRA PERSONNEL
John Deverman Director
Anne MacQuarrie Manager, CSO
Auditions and Orchestra Personnel
STAGE TECHNICIANS
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 Gilchrist Foundation and Louise H. Benton Wagner chairs currently are 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.
