Page 1



  Night Ferry 22:21

MASON BATES Alternative Energy 26:11 2 3 4 5


Ford’s Farm, 1896— Chicago, 2012 Xinjiang Province, 2112— Reykjavik, 2222

7:31 5:38 8:03 4:58

TOTAL: 48:36

Night Ferry and Alternative Energy were commissioned for the Chicago Symphony Orchestra by The Louise Durham Mead Fund. Producer: David Frost Recording engineer: Christopher Willis Editing and mixing: David Frost Mastering engineer: Tim Martyn Photography: Todd Rosenberg Cover design: Todd Land

© 2014 Chicago Symphony Orchestra. All rights reserved. Unauthorized copying, reproduction, hiring, lending, public performance, and broadcasting of this record are prohibited. CSOR 901 1401 These works were recorded February 2, 3, 4, and 7, 2012 (Bates), and February 9, 10, and 11, 2012 (Clyne), in Orchestra Hall at Symphony Center.



ANNA CLYNE / NIGHT FERRY “I come to ferry you hence across the tide To endless night, fierce fires and shramming cold.” —Dante

“To those who by the dint of glass and vapour, Discover stars, and sail in the wind’s eye” —Byron Night Ferry is music of voyages, from stormy darkness to enchanted worlds. It is music of the conjurer and setter of tides, the guide through the “ungovernable and dangerous.” Exploring a winding path between explosive turbulent chaoticism and chamber lyricism, this piece weaves many threads of ideas and imagery. These stem from Riccardo Muti’s suggestion that I look to Schubert for inspiration as Night Ferry premiered with Entr’acte no. 3 from Rosamunde and his Symphony no. 9 (Great). The title, Night Ferry, came from a passage in Seamus Heaney’s Elegy for Robert Lowell, an American poet who, like Schubert, suffered from manic depression:  ou were our Night Ferry thudding in a big sea, Y the whole craft ringing with an armourer’s music the course set wilfully across the ungovernable and dangerous More specifically, Schubert suffered from cyclothymia, a form of manic depression that is characterized by severe mood swings, ranging from agonizing depression to hypomania, a mild form of mania characterized by an elevated mood and often associated with lucid thoughts and heightened creativity. This illness sometimes manifests in rapid shifts between the two states and also in periods of mixed states whereby symptoms of both

extremes are present. This illness shadowed Schubert throughout his adulthood, and it impacted and inspired his art dramatically. His friends report that in it’s most troublesome form, he suffered periods of “dark despair and violent anger”. Schubert asserted that whenever he wrote songs of love, he wrote songs of pain, and whenever he wrote songs of pain, he wrote songs of love. Extremes were an organic part of his make-up. In its essence, Night Ferry is a sonic portrait of voyages: voyages within nature and of physical, mental, and emotional states. I decided to try a new process in creating this work— simultaneously painting the music, whilst writing it. On my wall, I taped seven large canvasses, side-by-side, horizontally, each divided into three sub-sections. This became my visual timeline for the duration of the music. In correlation to composing the music, I painted from left to right, moving forward through time. I painted a section then composed a section, and vice versa, intertwining the two in the creative process. The process of unraveling the music visually helped to spark ideas for musical motifs, development, orchestration, and, in particular, structure. Similarly, the music would also give direction to color, texture, and form. Upon the canvas I layered paint, charcoal, pencil, pen, ribbon, gauze, snippets of text from Coleridge’s The Rime of the Ancient Mariner, fragments of Gustav Doré’s illustrations for this wonderfully evocative poem, and a selection of quotes from artists afflicted with, and blessed by, this fascinating illness.

The first text written on the canvas, to the far left side, in the bottom left corner reads “from a slow and powerful root. . .somewhere on the sea floor.” These are a couple of lines, quoted out of order, from Rumi’s poem, Where Everything is Music. Below is a passage from this beautiful poem, in translation by Coleman Barks. His words unite the profound depth, power, and parallels of nature and the human existence, as conveyed in Heaney’s image of Lowell as a “Night Ferry.”  e have fallen into the place where everything is music. . . W This singing art is sea foam. The graceful movements come from a pearl somewhere on the ocean floor. Poems reach up like spindrift and the edge of driftwood along the beach, wanting! They derive from a slow and powerful root that we can’t see In addition to the above, I also found inspiration from the extraordinary power of the Chicago Symphony Orchestra under Maestro Muti’s baton, and also the unique voices of the individual musicians within the orchestra. Writing for an orchestra is usually an anonymous endeavor, but I am in the fortunate position of knowing the musicians and their musical voices through this residency. I found myself not writing solely for the instruments, but for the specific musicians of the CSO. Thank you to the Chicago Symphony Orchestra for this wonderful opportunity. —Anna Clyne



MASON BATES / ALTERNATIVE ENERGY Ford’s Farm, 1896— Chicago, 2012 Xinjiang Province, 2112— Reykjavik, 2222

Alternative Energy is an “energy symphony” spanning four movements and hundreds of years. Beginning in a rustic Midwestern junkyard in the late nineteenth century, the piece travels through ever greater and more powerful forces of energy—a present-day particle collider, a futuristic Chinese nuclear plant—until it reaches a future Icelandic rain forest, where humanity’s last inhabitants seek a return to a simpler way of life. The idée fixe that links these disparate worlds appears early in Ford’s Farm, 1896. This melody is heard on the fiddle— conjuring a Henry Ford–like figure—and is accompanied by junkyard percussion and a “phantom orchestra” that trails the fiddler like ghosts. The accelerando cranking of a car motor becomes a special motif in the piece, a kind of rhythmic embodiment of ever more powerful energy. Indeed, this crank motif explodes in the electronics in the second movement’s present-day Chicago, where we encounter actual recordings from the Fermilab particle collider. Hip-hop beats, jazzy brass interjections, and joyous voltage surges bring the movement to a clangorous finish.

Zoom a hundred years into the dark future of the Xinjiang Province, 2112 where a great deal of the Chinese energy industry is based. On an eerie wasteland, a lone flute sings a tragically distorted version of the fiddle tune, dreaming of a forgotten natural world. But a powerful industrial energy simmers to the surface, and over the ensuing hardcore techno, wild orchestral splashes drive us to a catastrophic meltdown. As the smoke clears, we find ourselves even farther into the future: an Icelandic rain forest on a hotter planet. Gentle, out-of-tune pizzicatos accompany our fiddler, who returns over a woody percussion ensemble to make a quiet plea for simpler times. The occasional song of future birds whips around us, a naturalistic version of the crank motif. Distant tribal voices call for the building of a fire—our first energy source. —Mason Bates









RICCARDO MUTI / MUSIC DIRECTOR Riccardo Muti, born in Naples, Italy, is one of the preeminent conductors of our day. In 2010, when he became the tenth music director of the world-renowned Chicago Symphony Orchestra (CSO), he had more than forty years of experience at the helm of the Maggio Musicale Fiorentino in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, and the Teatro alla Scala in Milan. He continues to be in demand as a guest conductor for other great orchestras and opera houses: the Berlin Philharmonic, the Vienna Philharmonic, the Bavarian Radio Symphony Orchestra in Munich, the Vienna State Opera, the Royal Opera House in London, the Metropolitan Opera in New York City, and many others. He also is honorary director for life of the Rome Opera. Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella in his hometown of Naples, graduating with distinction. He subsequently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan, where his principal teachers were Bruno Bettinelli and Antonino Votto. After winning the Guido Cantelli Conducting Competition—by unanimous vote of the jury—in Milan in 1967, his career developed quickly. In 1968, he became principal conductor of Florence’s Maggio Musicale, a position that he held until 1980. Herbert von Karajan invited him to conduct at the Salzburg Festival in Austria in 1971, and Muti has maintained a close relationship with the summer festival and with its great orchestra, the Vienna Philharmonic, for more than forty years. When he conducted the Philharmonic’s 150th anniversary concert in 1992, he was presented with the Golden Ring, a special sign of esteem and affection, and in 2001, his outstanding artistic contributions to the orchestra were further recognized with the Otto Nicolai Gold Medal. He is an honorary member of Vienna’s Gesellschaft der Musikfreunde (Society of the Friends of Music), the Vienna Hofmusikkapelle, the Vienna Philharmonic, and the Vienna State Opera.

Muti succeeded Otto Klemperer as chief conductor and music director of London’s Philharmonia Orchestra in 1973, holding that position until 1982. From 1980 to 1992, he was music director of the Philadelphia Orchestra, and in 1986, he became music director of Milan’s Teatro alla Scala. During his nineteen-year tenure, in addition to directing major projects such as the Mozart–Da Ponte trilogy and Wagner Ring cycle, Muti conducted operatic and symphonic repertoire ranging from the baroque to the contemporary, also leading hundreds of concerts with the Filarmonica della Scala and touring the world with both the opera company and the orchestra. His tenure as music director, the longest of any in La Scala’s history, culminated in the triumphant reopening of the restored opera house with Antonio Salieri’s Europa riconosciuta, originally commissioned for La Scala’s inaugural performance in 1778. Throughout his career, Muti has dedicated much time and effort to young musicians. In 2004, he founded the Orchestra Giovanile Luigi Cherubini (Luigi Cherubini Youth Orchestra) and completed a five-year project with this group to present works of the eighteenth-century Neapolitan School at the Salzburg Whitsun Festival in 2011. Muti has demonstrated his concern for social and civic issues by bringing music as a gesture of unity and hope to such places as hospitals, prisons and war-torn and poverty-stricken areas around the world. As part of Le vie dell’Amicizia (The paths of friendship), a project of the Ravenna Festival in Italy, he has conducted friendship concerts in Sarajevo, Beirut, Jerusalem, Moscow, Yerevan, Istanbul, New York, Cairo, Damascus, El Djem, Meknès, Mazara del Vallo, L’Aquila, Trieste, and Nairobi. He has served as a Goodwill Ambassador for UNHCR, the United Nations Refugee Agency. Muti has received innumerable international honors. He is a Cavaliere di Gran Croce of the Italian Republic, Officer of the French Legion of Honor, and a recipient of the German

Verdienstkreuz. Queen Elizabeth II bestowed on him the title of honorary Knight Commander of the British Empire, Russian President Vladimir Putin awarded him the Order of Friendship, and Pope Benedict XVI made him a Knight of the Grand Cross First Class of the Order of Saint Gregory the Great—the highest papal honor. Muti also has received Israel’s Wolf Prize for the arts, Sweden’s prestigious Birgit Nilsson Prize, Spain’s Prince of Asturias Award for the Arts, and the gold medal from Italy’s Ministry of Foreign Affairs for his promotion of Italian culture abroad. He has received more than twenty honorary degrees from universities around the world. Riccardo Muti’s vast catalog of recordings, numbering in the hundreds, ranges from the traditional symphonic and operatic repertoires to contemporary works. His debut recording with the Chicago Symphony Orchestra and Chorus of Verdi’s Messa da Requiem, released in 2010 by CSO Resound, won two Grammy awards. Considered the greatest interpreter of Verdi in our time, Muti wrote a book on the composer, Verdi, l’italiano, published in Italian and German. His first book, Riccardo Muti: An Autobiography: First the Music, Then the Words, has been published in several languages. During his time with the CSO, Muti has won over audiences in greater Chicago and across the globe through his extraordinary music making as well as his demonstrated commitment to sharing classical music broadly. His first annual free concert as CSO music director attracted more than 25,000 people to Millennium Park. He regularly invites subscribers, students, seniors, and people of low incomes to attend, at no charge, his CSO rehearsals. Maestro Muti’s commitment to artistic excellence and to creating a strong bond between an orchestra and its communities continues to bring the Chicago Symphony Orchestra to ever higher levels of achievement and renown.




London-born Anna Clyne is a composer of acoustic and electro-acoustic music, combining resonant soundscapes with propelling textures that weave, morph and collide in dramatic explosions. Her work, described as “dazzlingly inventive” by Time Out New York, often includes collaborations with cutting edge artists. Along with Mason Bates, she was appointed one of the Chicago Symphony Orchestra’s Mead Composers-in-Residence by Music Director Riccardo Muti, and took up the post in the 2010/11 season for a term of two years. Maestro Muti extended Clyne’s and Bates’s terms through the 2014/15 season, allowing them to continue their work on the MusicNOW contemporary music series and other projects with various partners throughout Chicago in support of the CSOA’s ongoing commitment to collaborating with today’s leading artists and arts institutions. An avid advocate for music education, Clyne teaches composition workshops for local young composers and incarcerated youth as part of the CSO’s Citizen Musician Initiative, and served as the director of the New York Youth Symphony’s award-winning program for young composers Making Score from 2008 to 2010. Clyne was also recently a guest composer at the 2011 Mizzou New Music Summer Festival. Clyne’s Night Ferry was commissioned by the CSO and received its premiere by the Orchestra in February 2012 under the baton of Music Director Riccardo Muti. It was also taken on tour to California. Her double concerto Prince of Clouds, a CSO co-commission, received its Chicago premiere in December 2012. Clyne has had two pieces commissioned by the CSO’s MusicNOW series: Spangled Unicorn (premiered in 2011) and As Sudden Shut (premiered in 2013). A third, Posteponeless Creature, has its world premiere in the 2014/15 season. In August

2013, Clyne’s Masquerade had its world premiere on the famed Last Night of the Proms by the BBC Symphony Orchestra under Marin Alsop. Other premieres in 2013 include Clyne’s The Violin, a multimedia collaboration with artist Josh Dorman and violinists Cornelius Dufallo and Amy Kauffman, and The Lost Thought, performed by Trio Mediæval with conductor Julian Wachner. Clyne’s Violin Concerto, a CSO commission, will be premiered in May 2015 by the CSO with violinist Jennifer Koh and conductor Ludovic Morlot. Her other commissions include works for the Los Angeles Philharmonic, Carnegie Hall, Houston Ballet, London Sinfonietta, Southbank Centre, ETHEL, Bang on a Can, Metropolis Ensemble, American Composers Orchestra, and the Los Angeles Chamber Orchestra. Clyne’s work has been championed by some of the world’s finest conductors, including Marin Alsop, Pablo HerasCasado, George Manahan, Jeffrey Milarsky, Riccardo Muti, Leonard Slatkin, Alan Pierson, Andre de Ridder, Esa-Pekka Salonen, and Osmo Vänskä, as well as by Alex Ross of The New Yorker, who curated performances of her work with the Seattle Chamber Players and the Australian Chamber Orchestra. As a passionate collaborator, Clyne has worked with many of today’s most inventive and pioneering artists, including choreographers Nicolo Fonte/Houston Ballet (USA), Kitty McNamee/Hysterica Dance Company (USA), Matthew Neenan/BalletX (USA), Pascal Rekoert/ Flexicurve (Holland); musician Björk (Iceland); painter, Y.J.Cho (Taiwan); artist, Josh Dorman (USA); sound artists Jody Elff (USA), Jeremy Flower (USA); filmmaker Michael Bates (Australia), visual artists Joshua Bryan (UK/Japan), Luke Dubois (USA), Jon Niborg Speier, (USA), Rokhshad Nourdeh (France), Joshue Ott/Superdraw (USA), and writers Tom Bolt (USA) and Scott Jacobson of The Daily Show (USA). Her work has been performed in such diverse venues as the Barbican Centre, Chicago’s Orchestra Hall, the University of Edinburgh, Walt Disney Concert Hall, and in New York’s (Le) Poisson Rouge, Museum of Modern Art, Galapagos Art Space, and Carnegie Hall. Clyne’s work

has also been featured on the d.u.m.b.o. Dance Festival, New York Musical Theatre Festival, River to River Festival, Beijing Modern Festival, Edinburgh Fringe Festival, and the Soundings Electronic Music Festival. Clyne is the recipient of several prestigious awards. These include a Charles Ives Fellowship from the American Academy of Arts and Letters, eight consecutive ASCAP Plus Awards which merited her recent catalogs of work for their “unique prestige value,” a Clutterbuck Award from the University of Edinburgh, awards from Meet the Composer, The American Music Center, The Foundation for Contemporary Arts, Jerome Foundation, International Artist Sponsorship, and a 2006 Commission Prize from ASCAP and SEAMUS “in recognition of outstanding achievement and demonstrated ability.” She was also a finalist for the ASCAP Morton Gould Composer Award, and was nominated for a 2010 British Composer Award. Her first recording, Blue Moth, was released in February 2012 by Tzadik Records.It showcased a diverse range of her instrumental and ensemble-with-tape compositions, including Roulette, fits + starts, and Steelworks. Born in London and raised in the U.K., Clyne began her musical studies on a piano with randomly missing keys. At the age of 11, she wrote and performed her first fully notated piece for flute and piano. Clyne holds a bachelor of music with honors degree from Edinburgh University and a master of music degree from the Manhattan School of Music, where she received an academic-based scholarship. Her principal teachers include Julia Wolfe, Marina Adamia, and Marjan Mozetich. She is a member of the American Music Center, American Composers Forum, Electronic Music Foundation, and the American Society for Composers, Authors and Publishers (ASCAP). Her music is published by Boosey & Hawkes. Anna Clyne lives in Chicago. For more information about Anna Clyne, visit



MASON BATES / MEAD COMPOSER-IN-RESIDENCE Beethoven & Bates Festival. Each of his three largest works—Alternative Energy, Liquid Interface, and The B-Sides—will be paired with a piece by Beethoven, and all three works will be recorded and released in 2014.

Recently awarded the Heinz Medal in the Humanities, Mason Bates writes music that fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno. Frequently performed by orchestras large and small, his symphonic music has been the first to receive widespread acceptance for its expanded palette of electronic sounds. Along with Anna Clyne, Bates was appointed by Music Director Riccardo Muti as one of Chicago Symphony Orchestra’s Mead Composers-in-Residence beginning in the 2010/11 season for a term of two years. Muti then extended both Bates’s and Clyne’s terms through the 2014/15 season. Bringing classical music to new audiences is a central part of Bates’s activities as a curator. With his fellow Mead Composer-in-Residence Anna Clyne, he has transformed the Chicago Symphony’s MusicNOW series into an imaginative concert experience drawing huge crowds, with cinematic program notes and immersive stagecraft. Another new take on new music is Mercury Soul, which embeds sets of classical music into a fluid evening of DJing and immersive stagecraft. Sold-out performances from San Francisco’s famed Mezzanine club to Miami’s New World Symphony have brought a new vision of the listening experience to widespread audiences. A collaboration with director Anne Paterson and Maestro Benjamin Shwartz, it has been performed at Chicago’s Metro with members of the CSO, as well as in spaces from commercial clubs to Frank Gehry-designed concert halls. During the 2013/14 season, the San Francisco Symphony continues its exploration of Bates’s music with its

Carnegie Hall’s 2012/13 season opened with Riccardo Muti leading the CSO in Alternative Energy, an “energy symphony” that spans four movements and depicts hundreds of years in the history of industrial development. Premiered by the CSO in February 2012 to rave reviews, the work subsequently toured California with Muti and the CSO; it received its Canadian premiere in February by the Toronto Symphony. In December 2013, Carbon and Carbide had its world premiere on the CSO’s MusicNOW series, which will mark the third world-premiere, MusicNOWcommissioned piece by Bates on the series since he became composer-in-residence. A new violin concerto for Anne Akiko Meyers and the Pittsburgh Symphony premiered in December 2012 under the baton of Leonard Slatkin and will have its first CSO performance in April 2014. Bates’s Anthology of Fantastic Zoology, a CSO commission, will be premiered with the CSO and Riccardo Muti in June 2015. Performances of his works, both old and new, can be heard across the country. Alternative Energy is appearing on programs ranging from the Cabrillo Festival to the Hartford and Tucson Symphonies. His fast-paced opener Mothership, which premiered at the Sydney Opera House by the YouTube Symphony to an online audience of 1.8 million, can be heard in many around the country each season. Continuing performances of works such as Rusty Air in Carolina, an electro-acoustic tone poem about the ambience of the South, and the sinfonietta Omnivorous Furniture have demonstrated that electronic sounds can be a welcome addition to the orchestral palette with minimal logistics. While Bates often performs the electronica onstage with orchestras, dozens of repeat performances of his symphonic music happen without him.

Many purely acoustic works complement his diverse catalogue, such as Sirens, an a cappella work recently recorded by the superstar chorus Chanticleer. The solo piano work White Lies for Lomax, commissioned by Tanglewood Music Center, won the Van Cliburn Composers Invitational and is heard regularly on recitals. A great deal of his music has been performed by the musicians of Young Concert Artists, the acclaimed New York organization where he served as composer-in-residence. Raised in Virginia, where he studied piano with Hope Armstrong Erb and composition with Dika Newlin, Bates enrolled in the Columbia-Juilliard program in New York City. Earning degrees in music composition and English literature, he studied primarily with John Corigliano and also with David Del Tredici and Samuel Adler. He worked with Edmund Campion at the University of California, Berkeley, where the Center for New Music and Audio Technologies became an important influence on his approach to electro-acoustic composition. Awards include the Rome and Berlin Prizes, a Charles Ives scholarship and fellowship from the American Academy of Arts and Letters, the Jacob Druckman Memorial Prize from Aspen Music Festival, ASCAP and BMI awards, and fellowships from Tanglewood, Creative Capital, and the Guggenheim Foundation. For more information about Mason Bates, visit



CHICAGO SYMPHONY ORCHESTRA Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Duain Wolfe Chorus Director and Conductor Anna Clyne and Mason Bates Mead Composers-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†

Cornelius Chiu Nathan Cole Alison Dalton Kozue Funakoshi Russell Hershow Qing Hou Nisanne Howell Blair Milton Paul Phillips, Jr. Sando Shia Susan Synnestvedt Rong-Yan Tang Akiko Tarumoto Baird Dodge

Principal  The Marshall and Arlene Bennett Family Foundation Chair

Albert Igolnikov

Assistant Principal

Lei Hou Fox Fehling Hermine Gagné Rachel Goldstein Mihaela Ionescu Melanie Kupchynsky Ni Mei Wendy Koons Meir Aiko Noda Joyce Noh Nancy Park Ronald Satkiewicz Florence Schwartz-Lee Jennie Wagner

Violas Charles Pikler






Acting Principal

Li-Kuo Chang

Lynne Turner


Assistant Principal  The Louise H. Benton Wagner Chair

John Bartholomew Catherine Brubaker Karen Dirks Lee Lane Diane Mues Lawrence Neuman Yukiko Ogura Daniel Orbach Max Raimi Thomas Wright

Cellos John Sharp

Principal   The Eloise W. Martin Chair

Kenneth Olsen

Assistant Principal   The Adele Gidwitz Chair

Karen Basrak Loren Brown Richard Hirschl Katinka Kleijn Jonathan Pegis David Sanders Gary Stucka Brant Taylor

Sarah Bullen


Principal  The Erika and Dietrich M. Gross Chair

Daniel Armstrong Roger Cline Joseph DiBello Michael Hovnanian Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland

Assistant Principal

Dennis Michel

Dale Clevenger Principal

Louise Dixon Jennifer Gunn

Associate Principal


Jennifer Gunn Oboes

Eugene Izotov

Principal  The Nancy and Larry Fuller Chair

Michael Henoch‡ Assistant Principal

Lora Schaefer Scott Hostetler English Horn

Scott Hostetler Clarinets

James Smelser David Griffin Oto Carrillo Susanna Drake Trumpets

Christopher Martin

Principal  The Adolph Herseth Principal Trumpet Chair, endowed byan anonymous benefactor

Mark Ridenour Assistant Principal

John Hagstrom Tage Larsen Trombones

Jay Friedman Principal

James Gilbertsen

John Bruce Yeh‡

Michael Mulcahy Charles Vernon

Gregory Smith J. Lawrie Bloom E-Flat Clarinet

John Bruce Yeh Bass Clarinet

J. Lawrie Bloom

Cynthia Yeh Patricia Dash Vadim Karpinos James Ross

Daniel Gingrich§

Stephen Williamson Assistant Principal

Percussion Principal


Richard Graef‡ Assistant Principal

Vadim Karpinos

William Buchman‡

Mathieu Dufour



David McGill

Associate Principal

Bass Trombone

Charles Vernon Tuba

Gene Pokorny

Principal  The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld


Mary Sauer Principal


Peter Conover Principal

Carole Keller Mark Swanson Extra Musicians

Ying Chai, violin Yuka Kadota, violin Clara Takarabe, viola Lila Watanabe, violin

*Concertmaster on Night Ferry. †Assistant concertmasters are listed by seniority. ‡Principal on this recording. § Principal on Night Ferry.



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Chicago Symphony Orchestra & Riccardo Muti - Riccardo Muti Conducts Mason Bates and Anna Clyne_Bookl  

Mason Bates‘ futuristic world vision is inherent in the title of his new work, “Alternative Energy.” Anna Clyne sets her “Night Ferry” in a...

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