Global Sponsor of the CSO

CHICAGO SYMPHONY ORCHESTRA / RICCARDO MUTI ZELL MUSIC DIRECTOR

CHICAGO SYMPHONY

ORCHESTRA

WEDNESDAY, NOVEMBER 15, AT 7:30Lane Tech College Prep High School

COMMUNITY CONCERT

RICCARDO MUTI

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RICCARDO MUTIZell Music DirectorChicago Symphony Orchestra

The members of the Chicago Symphony Orchestra and I are pleased to present our eighth annual community concert at Lane Tech College Prep High School. It is a pleasure to be with you. I am especially glad to conduct this concert here because I believe in the development of young musicians and students and that everyone should have access to music and culture. Concerts like this are important for bringing us together because music and culture provide opportunities to communicate when words are insufficient.

A great orchestra like the Chicago Symphony is a constant reminder of civilization’s highest accomplishments and ideals. I often recall the words of the famous Italian con-ductor Arturo Toscanini, who was my teacher’s teacher. He said, “To be an orchestra means not only to play your own part, but to live in a community, because the orchestra itself represents a society.” This principle has inspired me to share music with as many people as possible because I believe that culture has the power to change us as a society as well as to represent our civilization’s highest ideals.

It is no coincidence that the word “symphony” means “the togetherness of sound.” Music is formed by many lines that, at times, seem to oppose one another—often creat-ing dissonance—when in fact they rely on each other to achieve harmony. If we can support one another in society the way musicians do in a symphony, there is no end to what can be accomplished in our communities.

Thank you for joining us tonight and for supporting the Chicago Symphony Orchestra, one of the finest orchestras in the world. I hope you will continue to do so. As you have welcomed us to your home, we also welcome you to ours in Orchestra Hall at Symphony Center.

JEFF ALEXANDERPresidentChicago Symphony Orchestra Association

Thank you for welcoming the Chicago Symphony Orchestra to Lane Tech College Prep High School for this community concert led by Zell Music Director Riccardo Muti. Lane Tech and the CSO share a very special history that make this evening’s concert especially meaningful. The outstanding band and orchestra program at this school has nurtured several fine musicians, many of whom have become members of the CSO. We are grateful to Lane Tech for its commitment to music education.

The Chicago Symphony Orchestra began a tradition of performing a large-scale, free concert near the start of each season in 2010, as a way to introduce Maestro Muti to the citizens of Chicago and to celebrate the beginning of his tenure as music director. Riccardo Muti and the CSO share a core belief that music has the power to transform lives and bring people closer together; it is a language that unites us. The tradition of community concerts demonstrates our ongoing commitment to and appreciation for this great city we call home.

This concert is a project of the Negaunee Music Institute of the Chicago Symphony Orchestra. Under the visionary leadership of Riccardo Muti and Judson and Joyce Green Creative Consultant Yo-Yo Ma, the Institute creates opportunities for people of all ages with diverse backgrounds to participate actively in the life of the Orchestra. I encourage you to visit cso.org/institute to find out more about community concerts and educational programs.

We hope you enjoy tonight’s performance of works by Schubert and Brahms, and we invite you to hear the CSO again throughout the year at Symphony Center at 220 South Michigan Avenue.

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Dear Guests,

It is with great excitement that Lane Tech welcomes back the Chicago Symphony Orchestra. The CSO is at the forefront of broadening the opportunities for a wide audience to listen to the living history of musical expression. Through outreach, we all have the chance to come together, to sit in the same room, and share in a similar instance. Art provides these opportunities of shared moments that can help enrich our conversations, for it is through shared art that we can experience the excitement of human potential. Lane Tech expresses its gratitude for art education and the positive effect it has on our Chicago community. Our very supportive local school council and the whole school community wants to welcome the CSO!

Sincerely,Brian TennisonPrincipalLane Tech College Prep High School

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The Chicago Symphony Orchestra is grateful to

BANK OF AMERICA

for its generous support as the Global Sponsor of the CSO.

Global Sponsor of the CSO

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Program

Wednesday, November 15, 2017, at 7:30Lane Tech College Prep High School

Riccardo Muti Conductor

SchubertSymphony No. 8 in B Minor, D. 759 (Unfinished)Allegro moderatoAndante con moto

BrahmsSymphony No. 2 in D Major, Op. 73Allegro non troppoAdagio non troppoAllegretto grazioso (Quasi andantino)Allegro con spirito

There will be no intermission.

ONE HUNDRED TWENTY-SEVENTH SEASON

Chicago Symphony OrchestraRiccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant

This concert is a project of the Negaunee Music Institute of the Chicago Symphony Orchestra.

The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM and the Chicago Tribune for their generous support as media sponsor for this performance.

This program is partially supported by a grant from the Illinois Arts Council Agency.

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Franz SchubertBorn January 31, 1797; Himmelpfortgrund, northwest of Vienna, AustriaDied November 19, 1828; Vienna, Austria

Symphony No. 8 in B Minor, D. 759 (Unfinished)

COMPOSEDmanuscript dated October 30, 1822

FIRST PERFORMANCEDecember 17, 1865; Vienna, Austria

INSTRUMENTATIONtwo flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, strings

APPROXIMATE PERFORMANCE TIME28 minutes

We don’t know why Schubert never finished his B minor sym-phony. This has been one of music’s great unanswered questions for more than a hundred years, and, despite

some intelligent speculation, we still come up empty-handed today. At least we know that he didn’t finish it. For many years, music lovers persisted in believing that the missing movements sat, forgotten, in some Viennese attic. On the other hand, scholars no longer suggest that Schubert intended to write a two-movement symphony, giving the composer credit for a bold stroke that, for all his daring, is not his.

The facts are scarce and mysterious, which has only heightened the intrigue over the years. There was no mention of this symphony made during the com-poser’s lifetime. It lay buried, like hidden treasure, in Anselm Hüttenbrenner’s clut-tered study until the 1860s—more than thirty years after Schubert’s death—when it was dusted off to take its place as no. 8 among Schubert’s known symphonies.

The full score, clearly written in Schubert’s own hand, is dated 30 October 1822, Vienna, and signed, with his characteristic flourish, Franz Schubert. The manuscript, headed “Symphony in B minor,” includes two movements: a wonderful, singing Allegro moderato and a heartbreaking Andante con moto—both so sublime that the Unfinished nickname is all the more frustrating. On the back of the final page of the Andante are nine measures of a scherzo, fully scored, fol-lowed by four blank pages. In the 1960s, Christa Landon discovered a missing leaf that ought to have come before the empty pages, containing measures 10 through 20

and then stopping abruptly, as if Schubert had been interrupted mid-thought. (A piano sketch of the symphony shows that Schubert had planned the entire scherzo and the beginning of a trio.)

We don’t know what interrupted Schubert, but a number of theories have been proposed. This was, after all, a time of many unfinished instrumental works: from February 1818 to November 1822, he started and set aside three—possibly four—different symphonies. Late in 1822, Schubert contracted syphilis and began to suffer from depression and failing health. He also was nearly paralyzed by a growing awareness of Beethoven’s extraordinary symphonic work—music that blazed new paths in an area in which Schubert felt the least assured. (Schubert often struggled with the compositional process, even though it’s true that a song once came so easily to him that he jotted it down, fully formed, on the back of a menu.)

Perhaps Schubert was trying to face down the giant using the language they both understood best. He was always too shy to contact Beethoven, even though they lived in the same city for years. (When Beethoven was so deaf that he provided books for visitors to write down what they wanted to say, his nephew Karl mentioned, in August 1823: “They greatly praise Schubert, but it is said that he hides himself.”) The two men met only once, when Schubert went to visit Beethoven on his deathbed with Josef and Anselm Hüttenbrenner, the brothers who already had Schubert’s unfinished symphony in their possession.

When Schubert abandoned work on the B minor symphony, he gave it to Josef Hüttenbrenner, probably in 1823, after ripping out the unfinished scherzo. (The first nine measures remained simply because they were written on the back of the Andante.) At some point, Josef gave

Above: Drawing of Schubert by Josef Kupelwieser (1791–1866), who, with his brother Leopold, belonged to the composer’s circle of friends, 1821

Friends Johann Jenger and Anselm Hüttenbrenner (center) with Schubert. Drawing by another friend, Josef Teltscher (1801–1837), ca. 1827

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the manuscript to his brother Anselm, who shoved it to the back of a drawer. (A score by Schubert that remained in Josef ’s possession—music for Goethe’s Claudine von Villa Bella—was used by his servants as kindling sometime in 1848.) On March 8, 1860, in a letter to Johann Herbeck, an influential Viennese musician, Josef casually mentioned that Anselm “possesses a treasure in Schubert’s B minor symphony, which we rank with his Great C major symphony, his instrumental swan song, and with all the symphonies of Beethoven—only it is unfinished.” Herbeck would never forget the morning some five years later when he actually held the manuscript in his hands.

The attempts to round off Schubert’s score—as if two polished, mag-nificent movements were somehow unsatisfactory—began with the very first performance on December 17, 1865, when the finale of Schubert’s Third Symphony was tacked on to ensure a rousing fin-ish. Over the years, other endings have been proposed. (In 1928, the Columbia Gramophone Company even considered hosting a competition for the best comple-tion of the Unfinished Symphony.) There have always been those who claimed that Schubert actually finished the symphony, and, as recently as 1942, it was suggested that Anselm Hüttenbrenner had lost the

manuscript of the last two movements. Today, convinced by the evidence that Schubert’s Unfinished Symphony was, in fact, never finished, we are more willing to accept the brilliance of what we have rather than long for what we do not.

Imagine the joy of uncovering one of music’s true masterworks. Even Eduard Hanslick, as demanding (and sometimes as nasty) as any critic in the nineteenth century, quickly turned to butter when he reviewed the first performance in 1865:

When, after the few introductory measures, clarinets and oboes in unison begin to sound their sweet song above the peaceful murmur of the violins, then each and every child recognizes the composer, and a half-suppressed outcry “Schubert” buzzes through the hall. He has hardly entered, but it is as if one knows him by his step, by his manner of lifting the latch.

W e now know Schubert perhaps best of all by that sweet song, and there are genera-

tions of schoolchildren who may never forget those unfortunate words—“This is the symphony that Schubert wrote and never finished”—that eager music teachers have added to the lovely cello

melody that follows. The pathos and beauty of this entire stretch of music is extraordinary, but even more remark-able is the way Schubert sustains the spell throughout the movement and on into the second. Schubert’s sketches show that he originally wanted to end his first movement in B major—which would have broken the mood—but he thought better of it, leaving us instead in the dark recesses of B minor.

The slow movement—and it is only relatively slow, for Schubert specifies Andante con moto (with motion)—is in the unexpected key of E major, where he would again uncover great riches in the Adagio of the C major string quintet. In this lovely movement, a few especially eloquent details stand out: the high-flying clarinet solo that gently sails over shifting chords, and a wonderful moment of total stillness, disturbed only by the octave call of the horn, just before Schubert leads us back to the opening.

And it is here, with this perfect Andante, that we must stop. Schubert’s plans for the third-movement scherzo look promising—it begins with a strong theme, first played in octaves by the full orchestra. There is no telling what might have emerged had he polished this raw material into something as fine as the two movements we know so well.

Johannes BrahmsBorn May 7, 1833; Hamburg, GermanyDied April, 3, 1897; Vienna, Austria

Symphony No. 2 in D Major, Op. 73

COMPOSED1877, summer

FIRST PERFORMANCEDecember 30, 1877; Vienna, Austria

INSTRUMENTATIONtwo flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, strings

APPROXIMATE PERFORMANCE TIME47 minutes

Within months after the long-awaited premiere of his First Symphony, Brahms produced another one. The two were as different as night and day—logically

enough, since the first had taken two decades of struggle and soul-searching

and the second was written over a summer holiday. If it truly was Beethoven’s symphonic achievement that stood in Brahms’s way for all those years, nothing seems to have stopped the flow of this new symphony in D major. Brahms had put his fears and worries behind him.

This music was composed at the picture-postcard village of Pörtschach, on the Wörthersee (Lake Wörth), where Brahms had rented two tiny rooms for his summer holiday. The rooms apparently

Above: Brahms, photographed by Fritz Luckhardt (1843–1894), Vienna, ca. 1876

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were ideal for composition, even though the hallway was so narrow that Brahms’s piano couldn’t be moved up the stairs. “It is delightful here,” Brahms wrote to Fritz Simrock, his publisher, soon after arriving, and the new symphony bears witness to his apparent delight. Later that summer, when Brahms’s friend Theodor Billroth, an amateur musician, played through the score for the first time, he wrote to the composer at once: “It is all rippling streams, blue sky, sunshine, and cool green shadows. How beautiful it must be at Pörtschach.” Eventually listen-ers began to call this Brahms’s Pastoral Symphony, again raising the comparison with Beethoven. But if Brahms’s Second Symphony has a true companion, it is the violin concerto he would write the fol-lowing summer in Pörtschach—cut from the same D major cloth and reflecting the mood and even some of the thematic material of the symphony.

When Brahms sent the first move-ment of his new symphony off to Clara Schumann, she predicted that this music would fare better with the public than the tough and stormy First, and she was right. The first per-formance, on December 30, 1877, in Vienna under Hans Richter, was a triumph, and the third movement had to be repeated. When Brahms conducted the second performance, in Leipzig just after the beginning of the new year, the audience was again enthusi-astic. But Brahms’s real moment of glory came late in the summer of 1878, when his new symphony was a great success in his native Hamburg, where he had twice

failed to win a coveted music post. Still, it would be another decade before the Honorary Freedom of Hamburg—the city’s high-est honor—was given to him, and Brahms remained ambivalent about his birthplace for the rest of his life. In the meantime, the D major symphony found receptive listeners nearly everywhere it was played.

F rom the opening bars of the Allegro non troppo—with

their bucolic horn calls and woodwind chords—we prepare for the radiant sunlight and pure skies that Billroth promised. And, with one soaring phrase from the first violins, Brahms’s great pastoral scene unfolds before us. Although another of Billroth’s letters to the composer suggests that “a happy, cheerful mood permeates the whole work,” Brahms knows that even a sunny day contains moments of darkness and doubt—moments when pastoral serenity threatens to turn tragic. It’s that underlying tension—even drama—that gives this music its remark-able character. A few details stand out: two particularly bracing passages for the three trombones in the development section, and much later, just before the coda, a wavering horn call that emerges, serene and magical. This is followed, as if it were the most logical thing in the world, by a jolly bit of dance-hall waltz-ing before the music flickers and dies.

Eduard Hanslick, one of Brahms’s champions, thought the Adagio “more conspicuous for the development of the themes than for the worth of the themes themselves.” Hanslick wasn’t the first critic to be wrong—this movement has very little to do with development as we know it—although it’s unlike him to be so far off the mark when dealing with music by Brahms. Hanslick did notice that the

third movement has the relaxed character of a serenade. It is, for all its initial grace and charm, a serenade of some complex-ity, with two frolicsome presto passages (smartly disguising the main theme) and a wealth of shifting accents.

The finale is jubilant and electrify-ing; the clouds seem to disappear after the hushed opening bars, and the music blazes forward, almost unchecked, to the very end. For all Brahms’s concern about measuring up to Beethoven, he seldom mentioned his admiration for Haydn and his ineffable high spirits, but that’s who Brahms most resembles here. There is, of course, the great orchestral roar of triumph that always suggests Beethoven. But many moments are pure Brahms, like the ecstatic clarinet solo that rises above the bustle only minutes into the move-ment, or the warm and striding theme in the strings that immediately follows. The extraordinary brilliance of the final bars—as unbridled an outburst as any in Brahms—was not lost on his great admirer Antonín Dvořák when he wrote his Carnival Overture.

Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.

Brahms’s close friend, Theodor Billroth, talented amateur musician and famous surgeon

A view of Pörtschach on the Wörthersee. Engraving of a print by Markus Pernhart (1824–1871)

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Riccardo Muti Conductor

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 Chicago

Symphony Orchestra (CSO), he already had more than forty years of experience at the helm of the Maggio Musicale Fiorentino, Philharmonia Orchestra, Philadelphia Orchestra, and Teatro alla Scala. He is a guest conductor for orches-tras and opera houses all over the world: the Berlin Philharmonic, the Vienna Philharmonic, the Bavarian Radio Symphony Orchestra, the Vienna State Opera, the Royal Opera House, the Metropolitan Opera, and many others.

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, also graduating with distinction. His principal teachers were Bruno Bettinelli and Antonino Votto, principal assistant to Arturo Toscanini at La Scala. After he won the Guido Cantelli Conducting Competition—by unanimous vote of the jury—in Milan in 1967, Muti’s 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-five 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 outstand-ing artistic contributions to the orchestra were further recognized with the Otto Nicolai Gold Medal. He is also a recipient

of a silver medal from the Salzburg Mozarteum for his contribution to the music of W.A. Mozart and the Golden Johann Strauss Award by the Johann Strauss Society of Vienna. He is an hon-orary 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.

Since 1997, as part of Le vie dell ’Amicizia (The paths of friendship), a project of the Ravenna Festival in Italy, Muti has annually conducted large-scale concerts in war-torn and poverty-stricken areas around the world, using music to bring hope, unity, and attention to present day social, cultural, and humanitarian issues. In March 2017, Muti conducted two concerts in Florence, Italy, as part of the first-ever G7 Culture Summit.

Throughout his career, Muti has dedi-cated much time and effort to training young musicians. In 2004, he founded the Orchestra Giovanile Luigi Cherubini (Luigi Cherubini Youth Orchestra), based in his native Italy. He regularly tours with the ensemble to prestigious concert halls and opera houses all over the world. In 2015, he founded the Riccardo Muti Italian Opera Academy in Ravenna, Italy,

to train young conductors, répétiteurs, and singers in the Italian opera repertoire. He was invited to bring a similar program to South Korea in 2016, establishing the first of its kind in Asia.

Muti has received innumerable interna-tional 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, Japan’s Order of the Rising Sun Gold and Silver Star, and the gold medal from Italy’s Ministry of Foreign Affairs for his promotion of Italian culture abroad as well as the prestigious “Presidente della Repubblica” award from the Italian government. Muti has received more than twenty honor-ary degrees from universities around the world.

Considered one of the greatest inter-preters of Verdi in our time, Muti wrote a book on the composer, Verdi, l ’ italiano, published in Italian, German, and Japanese. His first book, Riccardo Muti: An Autobiography: First the Music, Then the Words, also has been published in several languages.

Riccardo Muti’s vast catalog of record-ings, numbering in the hundreds, ranges from the traditional symphonic and oper-atic 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. His second recording with the CSO and Chorus, Verdi’s Otello, released in 2013 by CSO Resound, won the 2014 International Opera Award for the Best Complete Opera.

www.riccardomutimusic.com

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Chicago Symphony Orchestra

Now celebrating its 127th season, the Chicago Symphony Orchestra is consis-tently hailed as one of the world’s leading orchestras. In September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. His vision for the Orchestra—to deepen its engagement with the Chicago community, to nurture its legacy while supporting a new genera-tion of musicians, and to collaborate with visionary artists—signals a new era for the institution.

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

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

especially for children, and began a series of popular concerts.

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

Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. He then held the title of music director laureate and returned to conduct the Orchestra for several weeks each season until his death in September 1997. Solti’s arrival launched one of the most successful musical partnerships of our time, and the CSO made its first overseas tour to Europe in 1971 under his direction, along with numerous award-winning recordings.

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

the appointment of Duain Wolfe as the Chorus’s second director.

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

In January 2010, Yo-Yo Ma was appointed the CSO’s Judson and Joyce Green Creative Consultant by Riccardo Muti. In this role, he partners with Muti, staff, and musicians to provide program development for the Negaunee Music Institute at the CSO.

Mead Composers-in-Residence Samuel Adams and Elizabeth Ogonek were appointed by Riccardo Muti and began their three-year terms in the fall of 2015. In addition to composing, they curate the contemporary MusicNOW series.

Since 1916, recording has been a significant part of the Orchestra’s activi-ties. Current releases on CSO Resound, the Orchestra’s independent recording label, include the Grammy Award–winning release of Verdi’s Requiem led by Riccardo Muti. Recordings by the CSO have earned sixty-two Grammy awards from the National Academy of Recording Arts and Sciences.

www.cso.org

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Chicago Symphony OrchestraRiccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative ConsultantDuain Wolfe Chorus Director and ConductorSamuel Adams, Elizabeth Ogonek Mead Composers-in-Residence

VIOLINSRobert Chen

ConcertmasterThe Louis C. Sudler Chair, endowed by an anonymous benefactor

Stephanie JeongAssociate ConcertmasterThe Cathy and Bill Osborn Chair

David TaylorYuan-Qing Yu

Assistant Concertmasters*So Young BaeCornelius ChiuAlison DaltonGina DiBelloKozue FunakoshiRussell HershowQing HouBlair MiltonPaul Phillips, Jr.Sando ShiaSusan SynnestvedtRong-Yan Tang

Baird DodgePrincipal

Sylvia Kim KilcullenAssistant Principal

Lei HouNi MeiFox FehlingHermine GagnéRachel GoldsteinMihaela IonescuMelanie KupchynskyWendy Koons MeirMatous MichalSimon MichalAiko NodaJoyce NohNancy Park†Ronald SatkiewiczFlorence Schwartz

VIOLASCharles Pikler§

PrincipalThe Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor

Li-Kuo ChangAssistant PrincipalThe Louise H. Benton Wagner Chair

John BartholomewCatherine BrubakerYouming ChenSunghee ChoiWei-Ting KuoDanny LaiDiane MuesLawrence NeumanMax RaimiWeijing Wang

CELLOSJohn Sharp

PrincipalThe Eloise W. Martin Chair

Kenneth OlsenAssistant PrincipalThe Adele Gidwitz Chair

Karen BasrakLoren BrownRichard HirschlDaniel KatzKatinka Kleijn§Jonathan PegisDavid SandersGary StuckaBrant Taylor

BASSESAlexander Hanna

PrincipalThe David and Mary Winton Green Principal Bass Chair

Daniel ArmstrongRoger Cline†Joseph DiBelloMichael HovnanianRobert KassingerMark KraemerStephen LesterBradley Opland

HARPSSarah Bullen

PrincipalLynne Turner

FLUTESStefán Ragnar Höskuldsson

PrincipalThe Erika and Dietrich M. Gross Principal Flute Chair

Richard GraefAssistant Principal

Emma GersteinJennifer Gunn

PICCOLOJennifer Gunn

OBOESMichael Henoch

Assistant PrincipalThe Gilchrist Foundation Chair

Lora SchaeferScott Hostetler

ENGLISH HORNScott Hostetler

CLARINETSStephen Williamson

PrincipalJohn Bruce Yeh

Assistant PrincipalGregory SmithJ. Lawrie Bloom

E-FLAT CLARINETJohn Bruce Yeh

BASS CLARINETJ. Lawrie Bloom

BASSOONSKeith Buncke

PrincipalWilliam Buchman

Assistant PrincipalDennis MichelMiles Maner

CONTRABASSOONMiles Maner

HORNSDaniel Gingrich

Acting PrincipalJames SmelserDavid GriffinOto CarrilloSusanna Gaunt

TRUMPETSMark Ridenour

Assistant PrincipalJohn HagstromTage Larsen

TROMBONESJay Friedman

PrincipalThe Lisa and Paul Wiggin Principal Trombone Chair

Michael MulcahyCharles Vernon

BASS TROMBONECharles Vernon

TUBAGene Pokorny

PrincipalThe Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

TIMPANIDavid Herbert

PrincipalThe Clinton Family Fund Chair

Vadim KarpinosAssistant Principal

PERCUSSIONCynthia Yeh

PrincipalPatricia DashVadim KarpinosJames Ross

LIBRARIANSPeter Conover

PrincipalCarole KellerMark Swanson

ORCHESTRA PERSONNELJohn Deverman

DirectorAnne MacQuarrie

Manager, CSO Auditions and Orchestra Personnel

STAGE TECHNICIANSKelly Kerins

Stage ManagerDave HartgeJames HoganPeter LandryChristopher LewisTodd SnickJoe Tucker

* Assistant concertmasters are listed by seniority.

†On sabbatical

§On leave

The Nancy and Larry Fuller Principal Oboe Chair currently is unoccupied.

The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor, currently is unoccupied.

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

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ALL-ACCESS Free Chamber Music Series

Chicago Symphony Orchestra

Reserve your free tickets at cso.org/allaccesschamber or by calling 312-294-3000

Wednesday, November 29, 6:30orchestra hall at symphony centerThe Wesley Chamber Players Jennifer Gunn fluteJ. Lawrie Bloom clarinetDaniel Gingrich hornDennis Michel bassoon Winston Choi pianoglinka Trio pathétiquerimsky-korsakov Quintetspohr Quintet in C Minor

Wednesday, February 21, 6:30orchestra hall at symphony centermusic803 Rachel Goldstein violinWei-Ting Kuo violaGary Stucka celloStephen Lester double bass Mio Nakamura pianohaydn Baryton Trio in D Major, Hob.XI. 11dohnányi Serenade in C Major for String Trio, Op. 10vaughan williams Piano Quintet in C Minor

Sunday, April 15, 3:00kenwood academy high schoolKittel Quartet Cornelius Chiu violinBaird Dodge violinWei-Ting Kuo violaGary Stucka cello beethoven String Quartet in C-sharp Minor, Op. 131smetana String Quartet No. 1 in E Minor (From My Life)

Wednesday, May 9, 6:30orchestra hall at symphony centerChicago Loop Quintet Stephanie Jeong violinSo Young Bae violin Sunghee Choi violaWeijing Wang violaKatinka Kleijn cellomozart String Quintet No. 4 in G Minor, K. 516brahms String Quintet No. 2 in G Major, Op. 111

Sunday, May 20, 3:00 south shore cultural centerMeridian String Quartet Cornelius Chiu violinKozue Funakoshi violinDanny Lai violaDaniel Katz cello bartók String Quartet No. 3brahms String Quartet No. 2 in A Minor

Featuring musicians from the Chicago Symphony Orchestra at Symphony Center’s Orchestra Hall and around Chicago!

The All-Access series is generously underwritten by an anonymous donor.

All-Access at South Shore Cultural Center is presented in partnership with The Advisory Council of South Shore Cultural Center and The Chicago Park District.

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