Download - Conducts Strauss, Berio & Prokofiev...Luciano Berio, composer, conductor, editor, linguist, author, and champion of modern music, was one of the outstanding creative figures of the

DEC 8

C I V I C O R C H E S T R A O F C H I C A G O

Yashima

Strauss,

& Prokofiev

Conducts

Berio

FOH_civic2_6.5x9.5_d1_gs_Dec8.indd 1FOH_civic2_6.5x9.5_d1_gs_Dec8.indd 1 11/26/19 3:38 PM11/26/19 3:38 PM

2 ONE HUNDR ED FIRST SE A S ON

The 2019–20 Civic Orchestra of Chicago season is generously sponsored by

The Elizabeth F. Cheney Foundation.

C S O.ORG/IN STIT U TE 3

ONE HUNDR ED FIRST SE A S ON CIVIC ORCHESTRA OF CHICAGOKEN-DAVID MASUR Principal Conductor

Sunday, December 8 2019, at 8:00

Erina Yashima ConductorAnnie Rosen Mezzo-soprano

strauss Till Eulenspiegel’s Merry Pranks, Op. 28

berio Folk SongsBlack is the colorI wonder as I wanderLoosin yelavRossignolet du boisA la femminiscaLa donna idealeBalloMotettu de tristuraMalurous qu’o uno fennoLo fiolaireAzerbaijan Love Songannie rosen

intermis sion

prokofiev Symphony No. 5 in B-flat Major, Op. 100AndanteAllegro moderatoAdagioAllegro giocoso

The 2019–20 Civic Orchestra of Chicago season is generously sponsored by The Elizabeth F. Cheney Foundation.Additional sponsorship support for this performance is provided by the Julian Family Foundation.The Centennial Campaign for the Civic Orchestra of Chicago and Chicago Symphony Orchestra Concerts for Young People is supported by a generous lead gift from the Julian Family Foundation.This program is partially supported by a grant from the Illinois Arts Council Agency.


comments by phillip huscher | richard e. rodda

richard str aussBorn June 11, 1864; Munich, GermanyDied September 8, 1949; Garmisch, Germany

Till Eulenspiegel’s Merry Pranks, Op. 28

c o m p o s e d1894–95

f i r s t p e r f o r m a n c eNovember 5, 1895; Cologne, Germany

i n s t r u m e n tat i o nthree flutes and piccolo, three oboes and english horn, two clarinets, clarinet in D and bass clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, large rattle, strings

a p p r ox i m at e p e r f o r m a n c e t i m e16 minutes

Had Strauss’s first opera, Guntram, succeeded as he hoped, he surely would have gone ahead with his plan to make Till Eulenspiegel’s Merry Pranks his second. But Guntram was a major disappointment and Strauss reconsid-ered. We’ll never know what sort of opera Till Eulenspiegel might have been—the unfin-ished libretto isn’t promising—but as a tone poem it’s close to perfection.

The failure of Guntram hurt—Strauss wasn’t used to bad reviews or public indifference. Now, more than ever, he refused to give up on his hero, Till Eulenspiegel, an incorrigible prank-ster with a certain contempt for humanity, who sets out to get even with society. (There was a real Till Eulenspiegel who lived in the fourteenth century.) But Strauss was no longer certain that the opera stage was the best place to tell this story—“the figure of Master Till Eulenspiegel does not quite appear before my eyes,” he finally confessed—and he returned to the vehicle of his great-est past successes, the orchestral tone poem. Till Eulenspiegel’s Merry Pranks is arguably his greatest achievement in the form.

Ferruccio Busoni once said that in Till Eulenspiegel Strauss reached a mastery of lightness and humor unrivaled in German music since Haydn. The humor wasn’t so surprising—although some listeners had found the deep seriousness of Death and Transfiguration, Strauss’s previous tone poem, worrisome—but to achieve such transparency with an orchestra of unparalleled size seemed miraculous.

At the time of the premiere of Till Eulenspiegel, Strauss resisted fitting a narrative to his music, but he later admitted a few points of reference. He begins by beckoning us to gather round, setting a warm “once-upon-a-time” mood into which the horn jumps with one of the most famous themes in all music—the daring, teasing, cartwheeling tune that characterizes this roguish hero better than any well-chosen words ever could. The portrait is rounded off by the nose-thumbing pranks of the clarinet.

From there the music simply explodes, as the orchestra responds to Till’s every move. When he dons the frock of a priest, the music turns mock-serious; when he escapes, down a handy violin glissando, in search of love, Strauss supplies sumptuous string harmonies Don Juan would envy. Rejected in love, Till

a b ov e : Strauss, postcard photograph, 1910


COMMENTS

takes on academia, but his cavalier remarks and the professors’ ponderous deliberations (intoned by the bassoons and bass clarinet) find no com-mon ground. Till departs with a Grosse Grimasse (Strauss’s term) that rattles the entire orchestra, and then slips out the back way, whistling as he goes.

After a quick review of recent escapades—a recapitulation of sorts—Till is brought before a jury (the pounding of the gavel is provided by the

fff roll of the side drum). The judge’s repeated pro-nouncements do not quiet Till’s insolent remarks. But the death sentence—announced by the brass, falling the interval of a major seventh, the widest possible drop short of an octave—silences him for good. It’s over in a flash.

Then Strauss turns the page, draws us round him once again, and reminds us that this is only a tone poem. And with a smile, he closes the book.

luciano berioBorn October 24, 1925; Oneglia, ItalyDied May 26, 2003; Rome, Italy

Folk Songs

c o m p o s e d1964; 1974

f i r s t p e r f o r m a n c e1964 in Oakland, California, with Cathy Berberian as soloist

i n s t r u m e n tat i o ntwo flutes, oboe, two clarinets, bass clarinet, bassoon, horn, trumpet, trombone, percussion, harp, and strings


Luciano Berio, composer, conductor, editor, linguist, author, and champion of modern music, was one of the outstanding creative figures of the late twentieth century and perhaps the best-known and most fre-quently performed Italian composer after Puccini. Berio was born in 1925 into a family of church musicians in a small town on the Italian Riviera not far from Monaco. After

high school, he briefly studied law in Milan but found his true vocation as a composer when the postwar musical revival allowed him to hear the works of Bartók, Stravinsky, Webern, and other modernists. Study with Giorgio Ghedini in composition and Carlo Maria Giulini in conducting at the Milan Conservatory followed; he spent the summer of 1952 at the Tanglewood Music Festival as a student of Luigi Dallapiccola on a Koussevitzky Foundation Fellowship. In 1955, Berio established the Studio di Fonologia in Milan, an electronic music laboratory founded under the auspices of the Italian Radio, where his duties included editing the new music journal Incontri Musicali (Musical encounters) and running a concert series with Bruno Maderna. Berio lived in the United States from 1963 to 1971, holding teaching positions at Mills College, Harvard, and Juilliard while producing many original compositions, including the eclectic but widely praised Sinfonia in 1968. He returned to Europe in 1971 to join his musical ally Pierre Boulez in the new Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in

a b ov e : Berio, photo by Eric Marinitisch, Universal Edition


COMMENTS

Paris, a daring venture to study acoustical, scientific, and computer technology as related to music. After providing an artistic direction for the program at IRCAM, Berio saw his job there as completed, and he returned to Italy in 1977, devoting his creative energies thereafter princi-pally to large-scale concert and music-theater works. He died in Rome in May 2003.

O ne of the most fruitfully symbiotic twentieth-century creative relationships between composer and performer was

that forged by Berio with the Armenian American mezzo-soprano Cathy Berberian. During their marriage, from 1950 to 1968 (she remained devoted to his music, however, until her death in 1983), together they evolved an unprece-dented style of extended vocal performance that embraced such innovations as fragmented words, elongated syllables, aspirations, clicking, laughter, and other non-verbal sounds as well as conventional lyrical singing, a development that culminated with the remarkable Sequenza III for unaccompanied voice of 1966. Complementing Berio’s daring writing for Berberian are the straightforward “arrangements” (his word) of eleven folk songs from various countries that he created in 1964, while he was teaching at Mills College. Berio retained the original melodies, but embedded them within instrumental accompani-ments that provided his commentaries on the tra-ditional tunes. “It is not my intention to preserve

the authenticity of a folk song,” Berio explained in an interview in 1985.

My transcriptions are analyses. . . . I have always felt a strong sense of uneasiness listen-ing to folk songs with piano accompaniment. It is for this reason, and especially to pay tribute to the artistry and vocal intelligence of Cathy Berberian that, in 1964, I wrote Folk Songs for voice and seven instruments, and later arranged the work for voice and cham-ber orchestra. This is essentially an anthology of eleven folk songs of various origins (United States, Armenia, France, Sicily, Sardinia, etc.) found in old records, in anthologies, or recounted viva voce by friends, which I have reinterpreted rhythmically, metrically, and harmonically. The instrumental discourse’s function is to suggest and comment on what I feel are the expressive (i.e., cultural) roots of each song. These roots are linked not only to the origins of the songs themselves but also to the history of the uses to which they have been put when their meanings have not been willfully destroyed or manipulated. Two of these songs are folk songs only in intent (La donna ideal and Ballo); in fact, I composed them myself in 1947, the former on the joking words of an anonymous Genoese writer, the latter on an anonymous Sicilian text.

—Richard E. Rodda

FOLK SONGS BY LUCIANO BERIO

Black is the color (American, text by John Jacob Niles)Black is the color of my true love’s hair,His lips are something rosy fair,The sweetest smile and the kindest hands;I love the grass whereon he stands.I love my love and well he knows,I love the grass where on he goes;If he no more on earth will be,’Twill surely be the end of me.Black is the color, etc.


COMMENTS

I wonder as I wander (American, text by John Jacob Niles)I wonder as I wander out under the skyHow Jesus our Savior did come for to dieFor poor ordn’ry people like you and like I,I wonder as I wander out under the sky.

When Mary birthed Jesus ’twas in a cow stallWith wise men and farmers and shepherds and all,But high from the Heavens a star’s light did fallThe promise of ages it then did recall.

If Jesus had wanted of any wee thingA star in the sky or a bird on the wingOr all of God’s angels in Heav’n for to singHe surely could have had it ’cause he was the king.

Loosin yelav (Armenian)Loosin yelav ensareetzSaree partzòr gadareetzShegleeg megleeg yeresovPòrvetz kedneen loosni dzov.

Jan a loosin Jan ko loosinJan ko gòlor sheg yereseen.

Xavarn arten tchòkatzavOo el kedneen tchògatzavLoosni loosov halatzvadzMoot amberi metch mònadz.Jan a loosin, etc.

The moon has risenThe moon has risen over the hill,Over the top of the hill,Its red rosy faceCasting radiant light on the ground.

O dear moon with your dear lightAnd your dear, round, rosy face!

Before, the darkness laySpread upon the earth;Moonlight has now chased itInto the dark clouds.O dear moon, etc.

Rossignolet du bois (French)Rossignolet du bois,Rossignolet sauvage,Apprends-moi ton langage,Apprends-moi-z à parler,Apprends-moi la manièreComment il faut aimer.

Comment il faut aimerJe m’en vais vous le dire,Faut chanter des aubadesDeux heures après minuit,Faut lui chanter: ‘ la belle,C’est pour vous réjouir ’.

Little NightingaleLittle nightingale of the woods,Little wild nightingale,Teach me your secret language,Teach me how to speak like you,Show me the way To love aright.

The way to love arightI can tell you straight away,You must sing serenadesTwo hours after midnight,You must sing to her: ‘My pretty one.This is for your delight.’

(Please turn the page quietly.)


COMMENTS

A la femminisca (Sicilian)E Signuruzzu miù faciti bon tempuHa iu l’amanti miù’mmezzu lu mariL’arvuli d’oru e li ntinni d’argentuLa Marunnuzza mi l’av’aiutari.Chi pozzanu arrivòri ‘nsarvamentuE comu arriva ‘na littraMa fari ci ha mittiri du duci paroliComu ti l’ha passatu mari, mari.

On m’avait dit, la belle,Que vous avez des pommes,Des pommes de reinettesQui sont dans vot’ jardin.Permettez-moi, la belle,Que j’y mette la main.

Non, je ne permettrai pasQue vous touchiez mes pommes,Prenez d’abord la luneEt le soleil en main,Puis vous aurez les pommesQui sont dans mon jardin.

They told me, my pretty one,That you have some apples,Some pippin applesGrowing in your garden.Allow me, my pretty one,To touch them.

No, I shall not allow youTo touch my apples.First, hold the moonAnd the sun in your hands,Then you may have the applesThat grow in my garden.

May the Lord send fine weatherMay the Lord send fine weather,For my sweetheart is at sea;His mast is of gold, His sails of silver.May Our Lady give me her helpSo that they get back safely.And if a letter arrives,May there be two sweet words written,Telling me how it goes with you at sea.

La donna ideale (Italian)L’omo chi mojer vor piar,De quattro cosse de’e spiar.La primiera è com’el è naa,L’altra è se l’è ben accostumaa,L’altra è como el è forma,La quarta è de quanto el è dotaa.Se queste cosse ghe comprendiA lo nome di Dio la prendi!

The ideal womanWhen a man has a mind to take a wife,There are four things he should check:The first is her family,The second is her manners,The third is her figure,The fourth is her dowry.If she passes muster on these,Then, in God’s name, let him marry her!

Ballo (Italian)La la la la la la . . .Amor fa disviare li più saggiE chi più l’ama meno ha in sé misuraPiù folle è quello che più s’innamura.La la la la la la . . .Amor non cura di fare suoi dannaggiCo li suoi raggi mette tal cafuraChe non può raffreddare per freddura.

DanceLa la la la la . . .Love makes even the wisest mad,and he who loves most has least judgement.The greater love is the greater fool.La la la la la . . .Love is careless of the harm he does.His darts cause such a feverthat not even coldness can cool it.


COMMENTS

Malurous qu’o uno fenno (Auvergne)Malurous qu’o uno fenno,Maluros qué n’o cat!Qué n’o cat n’en bou unoQué n’o uno n’en bou pas!Tradèra ladèrida rèro, etc.

Urouzo lo fennoQu’o l’omé qué li cau!Urouz inquéro maitoO quèlo qué n’o cat!Tradèra ladèrida rèro, etc.

Motettu de tristura (Sardinian)Tristu passirillantiComenti massimbillas.Tristu passirillantiE puita mi consillasA prongi po s’amanti.

Tristu passirillantiCand’ happess interradaTristu passirillantiFaimi custa cantadaCand’ happess interrada.

Song of sadnessSorrowful nightingaleHow like me you are!Sorrowful nightingale,Console me if you canAs I weep for my lover.

Sorrowful nightingale,When I am buried,Sorrowful nightingale,Sing this songWhen I am buried.

Wretched is heWretched is he who has a wife,Wretched is he who has not!He who hasn’t got one wants one,He who has not, doesn’t!Tralala tralala, etc.

Happy the womanWho has the man she wants!Happier still is sheWho has no man at all!Tralala tralala, etc.

Lo fiolaire (Auvergne)Ton qu’èrè pitchounèloGordavè loui moutous,Lirou lirou lirou . . .Lirou la diri tou tou la lara.

Obio n’o counoulhètoÉ n’ai près un postrou.Lirou lirou, etc.

Per fa lo biroudètoMè domond’ un poutou.Lirou lirou, etc.

E ièu soui pas ingrato:En lièt d’un nin fau dous!Lirou lirou, etc.

The spinnerWhen I was a little girlI tended the sheep.Lirou lirou lirou . . .Lirou la diri tou tou la lara.

I had a little staffAnd I called a shepherd to me.Lirou lirou, etc.

For looking after my sheepHe asked me for a kiss.Lirou lirou, etc.

And I, not one to be mean,Gave him two instead of one.Lirou lirou, etc.


COMMENTS

Azerbaijan Love SongDa maesden bil de maenaes I realized what he saidDi dilamnanai ai naninai Without his having to speak.Go shadaemae hey ma naemaes yar Hey you girlGo shadaemae hey ma naemaes. With your jewelry jingling,Sen ordan chaexman boordan You are from hereTcholaxae mae dish ma naemaes yar And I am from there.Tcholoxae mae dish ma naemaes, Don’t enter my world sweetheart,Kaezbe li nintché dirai nintché Don’t enter my world.Lebleri gontchae de le gontchae Girl, your hips are very slenderNa plitye korshis sva doi Your lips, your voice,Ax kroo gomshoo nyaka mae shi Are tender like a rosebud.Ax pastoi xanaem pastoi She carries a jug of waterJar doo shi ma nie patooshi. Down among the reeds.Go shadaemae hey ma naemaes yar Woman, rake away the fire from my soul.Go shadaemae hey ma naemaes; Hey you girl with your jewelry jingling,Sen ordan chaexman boordan. You are from here and I am from there.Tcholoxae mae dish ma naemaes yar I think to myself,Tcholoxae mae dish ma naemaes, Don’t go into the house.Kaezbe li nintché dirai nintché My eyes see what will happen.Lebleri gontchae derai gontchae. In plain wordsNie didj dom ik diridit It doesn’t matterBoost ni dietz stayoo zaxadit What will be, will be;Ootch to boodit ai palam But half of me wants to goSyora die limtchésti snova, papalam! And the other half doesn’t.

The Chicago Symphony Orchestra Association is grateful to the

Julian Family Foundation

for its generous support of this concert and the Civic Orchestra of Chicago Fellowship program.


COMMENTS

sergei prokofievBorn April 23, 1891; Sontsovka, UkraineDied March 5, 1953; Nikolina Gora, near Moscow, Russia

Symphony No. 5 in B-flat Major, Op. 100

c o m p o s e d1944

f i r s t p e r f o r m a n c eJanuary 13, 1945; Moscow, Russia. The composer conducting

i n s t r u m e n tat i o ntwo flutes and piccolo, two oboes and english horn, two clarinets, E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, piano, harp, timpani, triangle, cymbals, tambou-rine, snare drum, woodblock, bass drum, tam-tam, strings


Sergei Prokofiev spent the summer of 1944 at a large country estate provided by the Union of Soviet Composers as a refuge from the war and as a kind of think tank. Prokofiev arrived early in the summer and found that his colleagues included Glière, Shostakovich, Kabalevsky, Khachaturian, and Miaskovsky—summer camp for the most distinguished Soviet

composers of the time.Although Ivanovo, as the retreat was called, often was referred

to as a rest home, there was little leisure once Prokofiev moved in. He maintained a rigorous daily schedule—as he had all his life—and began to impose it on the others as well. “The regu-larity with which he worked amazed us all,” Khachaturian later recalled. Prokofiev ate breakfast, marched to his studio to com-pose, and scheduled his walks and tennis games by the clock. In the evening, he insisted the composers all get together to com-pare notes, literally. Prokofiev was delighted, and clearly not sur-prised, that he usually had the most to show for his day’s work.

It was a particularly productive summer for Prokofiev—he composed both his Eighth Piano Sonata and the Fifth Symphony before he returned to Moscow. The sonata is prime Prokofiev and often played, but the symphony is perhaps the best known and most regularly performed of all his works. It had been fifteen years since Prokofiev’s last symphony, and both that sym-phony and the one preceding it had been by products of theater pieces: the Third Symphony is musically related to the opera The Flaming Angel, and the Fourth to the ballet The Prodigal Son. Not since his Second Symphony, completed in 1925, had Prokofiev composed a purely abstract symphony, or one that he began from scratch.

Although it was written at the height of the war, Prokofiev’s Fifth Symphony isn’t a wartime symphony in the traditional sense—not in the vivid and descriptive manner of Shostakovich’s Seventh, composed during the siege of Leningrad and writ-ten, in Carl Sandburg’s words, “with the heart’s blood”—or his Eighth, which coolly contemplates the horrors of war. Prokofiev’s Symphony no. 5 is intended to glorify the human spirit—“prais-ing the free and happy man—his strength, his generosity, and

a b ov e : Sergei Prokofiev, 1918, New York City. Prints and Photographs Division, Library of Congress


COMMENTS

the purity of his soul.” In its own way, this outlook makes it an even greater product of the war, because it was designed to uplift and console the Soviet people. “I cannot say I chose this theme,” Prokofiev wrote. “It was born in me and had to express itself.” Nonetheless, such optimistic and victorious music cheered the Russian authorities; it might well have been made to order. In his 1946 autobiography, Prokofiev writes: “It is the duty of the composer, like the poet, the sculptor, or the painter, to serve the rest of humanity, to beau-tify human life, and to point the way to a radiant future. Such is the immutable code of art as I see it.” It also was the code of art Soviet composers were expected to embrace during the war, but Prokofiev couldn’t have written a work as pow-erful and convincing as his Fifth Symphony if he didn’t truly believe those words.

The Fifth Symphony would inevitably be known as a victory celebration. Just before the first performance, which Prokofiev conducted, word reached Moscow that the Russian army had scored a decisive victory on the Vistula River. As Prokofiev raised his baton, the sound of cannon was heard from the distance. Buoyed by both the news and the triumphant tone of the music, the

premiere was a great success. It was the last time Prokofiev conducted in public. Three weeks later he had a mild heart attack, fell down the stairs in his apartment, and suffered a slight concussion. Although he recovered his spirits—and eventu-ally his strength and creative powers as well—Prokofiev continued to feel the effects of the acci-dent for the remaining eight years of his life.

T he first movement of the Fifth Symphony is intense and dramatic, but neither aggressive nor violent, like much of the music written

at the time. It’s moderately paced (Prokofiev writes andante) and broadly lyrical throughout. The scherzo, in contrast, is quick and insistent, touched by a sense of humor that sometimes reveals a sharp, cutting edge. The third movement is lyrical and brooding, like much of Prokofiev’s finest slow music. After a brief and sober intro-duction, the finale points decisively toward a radiant future.

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

Richard E. Rodda provides program notes for many American orchestras, concert series, and festivals.

The Civic Orchestra of Chicago empowers its members to realize their potential as creative artists who use music to make connections and build community. One hundred years in the making, the Civic Orchestra continues to grow and thrive alongside the Chicago Symphony Orchestra. This rare alliance, propelled by an expansive vision, has enabled the program to prepare generations of musicians for professional lives in music while presenting free concerts to thousands of people at Symphony Center and across Greater Chicago.The Civic Orchestra and its concerts are made possible thanks to generous donations from friends of the Chicago Symphony Orchestra Association. Please make a gift today to ensure that Civic Orchestra programs can continue to impact young musicians and our community for many years to come.During this 100th anniversary season of the Civic Orchestra of Chicago and the CSO’s concert series for children, consider a gift for these signature Negaunee Music Institute programs as part of a unique centennial sponsorship opportunity. By increasing your support by $1,000 for the current 2019–20 season, you will be recognized as a Centennial Celebration Patron. As a part of this group you will receive unique benefits and recognition this season.

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profiles

Erina Yashima Conductor

German-born conductor Erina Yashima began her tenure as assistant conductor of the Philadelphia Orchestra in September 2019. In this role, she assists Music Director Yannick Nézet-Séguin as well as guest conductors, and leads the

Philadelphia Orchestra in educational and special concerts.

In addition to her commitments with the Philadelphia Orchestra, Yashima makes several notable debuts in the 2019–20 season, includ-ing the Chicago Symphony’s School and Family Concerts, the San Francisco Symphony’s Family Concert, and the Rostov State Philharmonic in her Russia debut. She also leads new productions of Handel’s Rinaldo at the Glimmerglass Festival and Mozart’s Don Giovanni at the Teatro di Pisa in Italy with the Orchestra Arché. In addition, she returned to Romania to open the 2019–20 season of the Transylvania State Philharmonic of Cluj-Napoca with Orff ’s Carmina Burana.

Yashima has been studying and working with Riccardo Muti since 2015. As winner of the Chicago Symphony’s Sir Georg Solti Conducting Apprenticeship, she assisted Maestro Muti and worked closely with the Civic Orchestra of Chicago. In addition, she collaborated with Yo-Yo Ma and such guest conductors as Esa-Pekka Salonen, Christoph Eschenbach, Emmanuel Krivine, Edward Gardner, and Bramwell Tovey.

Equally committed as an opera conductor, Yashima made her debut at the Salzburg Festival with Mozart’s Der Schauspieldirektor. She also led

productions of Mozart’s The Marriage of Figaro in Novara and Ravenna, as well as Rossini’s La Cenerentola in her Italian opera debut in Lucca, Ravenna, and Piacenza with the Luigi Cherubini Youth Orchestra. Previously she served as répé-titeur with conducting duties at the Pfalztheater in Kaiserslautern, where she conducted perfor-mances of My Fair Lady.

As one of three finalists in the prestigious 2018 Nestlé and Salzburg Festival Young Conductors Award, Yashima performed with the Camerata Salzburg at the Salzburg Festival. She was also assistant conductor to Zubin Mehta and the Bavarian Radio Orchestra during their 2018 tour of Asia. She has conducted the Konzerthausorchester Berlin, the Württembergische Philharmonie Reutlingen, the Orchestra Sinfonica di Sanremo, and members of the NDR Radiophilharmonie in various education and chamber music series.

Yashima was a participant in the Italian Opera Academy in Ravenna, where she studied Verdi’s Falstaff for three weeks with Maestro Muti, and in Bernard Haitink’s master class at the Lucerne Festival. She was chosen as finalist at the INTERAKTION workshop by musicians from the Berlin Philharmonic, the Staatskapelle Berlin, and the Staatskapelle Dresden, among others.

As a pre-college piano student of Bernd Goetzke, Yashima started her musical studies at the Institute for the Early Advancement of the Musically Highly Gifted in her hometown of Hanover, where she received her first conduct-ing lessons at the age of fourteen. After studying conducting in Freiburg with Scott Sandmeier and in Vienna with Mark Stringer, she com-pleted her studies at the Hanns Eisler School of Music in Berlin with Christian Ehwald and Hans-Dieter Baum.

P H OTO BY TO D D R O S E N B E R G


PROFILES

Annie Rosen Mezzo-soprano

Mezzo-soprano Annie Rosen’s performances have been widely acclaimed. This season she makes her debut live and in HD at the Metropolitan Opera as Ankhesenpaaten in Glass’s Akhnaten, returns to the Lyric Opera of Chicago as

Wellgunde in her first complete Ring cycle, and debuts with Calgary Opera as Adalgisa in Norma. She also appears in concert at Carnegie Hall. Last season she made her role and company debut as Adalgisa in Norma with Utah Opera, sang her first Suzuki in Madama Butterfly with Central City Opera, and debuted with Chicago Opera Theater in Iolanta and The Scarlet Ibis.

An advocate for new and experimental work, Rosen joined the Lyric Opera of Kansas City’s Explorations series last season to present a fully staged version of Sarah Kirkland Snider’s one-woman song cycle Penelope. Other fringe work has included a collaboration with L.A.-based director Annie Saunders and the International Contemporary Ensemble to help create The Wreck, a site-specific devised opera based on the poetry of Anne Sexton and the compositions of Mariana Sadovska; a fully staged interpretation of Gyorgy Kurtag’s Kafka Fragments for solo voice and solo violin in New York City; and a collabora-tion with the Hong Kong Ballet in Kurt Weill’s The Seven Deadly Sins.

In 2016 Rosen began a two-year apprentice-ship at the Lyric Opera of Chicago’s Ryan Opera Center. For her first assignment, she jumped in as Mélisande in Pelléas et Mélisande in rehearsal with the Chicago Symphony Orchestra con-ducted by Esa-Pekka Salonen; she then made her Lyric Opera debut as Tisbe in La Cenerentola,

conducted by Sir Andrew Davis. Later in the season, Rosen created the role of Edith Thibault in the world premiere of Bel Canto, which aired on PBS Great Performances series in January 2017. Other work as a Ryan Center artist included understudying Adalgisa in Norma and per-forming Ascagne in Les Troyens, Wellgunde in Das Rheingold, and Second Lady in The Magic Flute. Prior to the Ryan Center, Rosen spent the 2012–13 season under the auspices of the Opera Foundation’s American Berlin Scholarship at the Deutsche Oper Berlin, where she performed roles including Mercédès in Carmen and Sméraldine in Love for Three Oranges. Rosen then made her Italian debut as Giannetta in a new production of The Elixir of Love at the Teatro Regio di Torino.

On the concert stage, Rosen enjoys a relation-ship with the New York Festival of Song, with whom she most recently performed as a guest alumna at Wolf Trap Opera in a tribute to Steven Blier. She was a founding member of the New York City-based chamber ensemble Cantata Profana, with whom she has performed Berio’s Folk Songs, Ligeti’s Nouvelles aventures, and Thomas Adès’ Life Story. Some of her other recital repertoire has included chants of Hildegard von Bingen, solo cantatas by Handel, song cycles by Berlioz and Shostakovich, and world premieres of Hindi and Farsi songs by Indian-American com-poser Reena Esmail.

Rosen was a semifinalist in the 2012 Metropolitan Opera National Council Auditions. She holds additional awards from the Gerda Lissner Foundation, the Santa Fe Opera and Central City Opera, and the Connecticut Opera Guild. She is a recipient of the Shoshana Foundation’s Richard F. Gold Career Grant and the Louis Sudler Prize in the Performing and Creative Arts. A New Haven, Connecticut, native, Rosen earned degrees in musicology and perfor-mance from Yale University and Mannes College.

P H OTO BY S I M O N PAU LY P H OTO G R A P H Y, 2 0 1 6


PROFILES

Civic Orchestra of Chicago

Since 1919, young artists have sought member-ship in the Civic Orchestra of Chicago to develop their talents and to further prepare for careers as professional musicians. Founded by Frederick Stock, second music director of the Chicago Symphony Orchestra, the Civic Orchestra is the only training orchestra of its kind affiliated with a major American orchestra.

The Civic Orchestra offers emerging profes-sional musicians unique access to the Chicago Symphony Orchestra (CSO) through immer-sive experiences with the musicians of the CSO and some of today’s most sought-after conduc-tors, including world-renowned CSO Zell Music Director Riccardo Muti. From 2010 to June 2019, Yo-Yo Ma was a leading mentor to Civic musi-cians and staff in his role as CSO Judson and Joyce Green Creative Consultant and the programs, and initiatives he established are integral to the Civic Orchestra curriculum today. Civic Orchestra musicians develop as exceptional orchestral play-ers and engaged artists, cultivating their ability to succeed in the rapidly evolving world of music in the twenty-first century.

The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commit-ment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM).

Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational per-formances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city including Chicago Park District field houses and the National Museum of Mexican Art.

To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Now engaging nine members of the Civic Orchestra, fellows participate in a rigorous curriculum above and beyond their orchestral activities that is designed to build and to diversify their creative and professional skills.

The Civic Orchestra’s long history of pre-senting full orchestra performances without charge includes concerts at the South Shore Cultural Center (in partnership with the South Shore Advisory Council), the Apostolic Church of God, Cristo Rey Jesuit High School, and the New Regal Theater, as well as numerous Chicago Public Schools.

The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra, which offers a wide range of education and community programs that engage more than 200,000 people of diverse ages, incomes, and backgrounds each year, in Chicago and around the world. For more information on the Institute and its programs, please visit cso.org/institute.


PROFILES

Civic Orchestra of ChicagoKen-David Masur Principal Conductor

** Civic Fellow + Civic Alumni

v i o l i n sJohn Heffernan**

ConcertmasterGenevieve Smelser

Assistant ConcertmasterJoy Vucekovich PrincipalElliot Lee** Assistant PrincipalJamie AndrusyakSarah Bowen+Joshua BurcaHannah CartwrightHannah Christiansen**Joe DeAngeloDiego DiazAlexandria HillAkane HinamotoMunjung Jung+Pauline KempfLuke LentiniAllison LoveraAmanda MarshallMarianne MartinoliTabitha Oh**Maki OmoriAnna PiotrowskiCrystal QiOwen RuffNaomi SchrankKristen SetoBrent TaghapMatthew WeinbergSofie Yang+Tong Yu+

v i o l a sBenjamin Wagner PrincipalYe Jin Goo Assistant PrincipalElizabeth BellisarioSae Rheen KimRachel MostekSofia NikasEnrique OlveraHanna PedersonBethany Pereboom**Taisiya SokolovaSeth Van Embden

c e l lo sNajette Abouelhadi PrincipalJames Cooper

Assistant PrincipalEva María Barbado GutiérrezPhilip Bergman**Noémie GolubovicJordan GunnDara HankinsJingjing HuMartin MeyerInYoung Park

b a s s e sWesley Jones PrincipalLindsey Orcutt

Assistant PrincipalAdam AttardNick DeLaurentisEmmett JacksonMaggie LinIsaac PolinskyVincent Trautwein

f l u t e sRachael DoboszEvan FojtikAlexandria Hoffman**Eric Leise

o b o e sAshley ErtzSamuel WaringLillia WoolschlagerLaura Yawney**

c l a r i n e t sLaurie BlanchetNicolas ChonaAlex DergalJuan Gabriel Olivares**

b a s s o o n sChia-Yu HsuCameron KeenanTsz Ho LiuNicholas Ritter

h o r n sAbigail BlackFiona ChisholmKayla HowellKatherine SeyboldKelsey Williams

t r u m p e t sDavid NakazonoDan PriceMichael Terrasi

t ro m b o n e sBrian JohnstonIgnacio del Rey

b a s s t ro m b o n eRobinson Schulze

t u b aJarrett McCourt

t i m pa n iJason Yoder

p e rc u s s i o nJoseph BrickerTaylor HamptonBenjamin KraussBoyan TantchevCarley Yanuck

h a r pEleanor Kirk

k e y b oa r dPei-yeh Tsai

i n t e r i m l i b r a r i a nElizabeth Bellisario


negaunee music institute at the cso

t h e b oa r d o f t h e n e gau n e e m u s i c i n s t i t u t e

Liisa Thomas ChairLori Julian Vice ChairBenjamin Wise Secretary

John AalbregtseJames BorkmanLeslie Henner BurnsRichard ColburnCharles EmmonsJudy FeldmanMary Winton GreenJudith W. McCueRumi MoralesMimi MurleyÁlvaro R. ObregónGerald PaulingMohan RaoEarl J. Rusnak, Jr.Steven E. ShebikPenny Van HornPaul Wiggin

Ex-officio MembersJeff AlexanderJonathan McCormickVanessa Moss

c i v i c o rc h e s t r a a rt i s t i c l e a d e r s h i p

Coaches from the Chicago Symphony Orchestra

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

Baird Dodge Principal Second ViolinLi-Kuo Chang Acting Principal Viola

The Louise H. Benton Wagner ChairJohn Sharp Principal Cello

The Eloise W. Martin ChairRichard Hirschl CelloDaniel Katz CelloBrant Taylor CelloAlexander Hanna Principal Bass

The David and Mary Winton Green Principal Bass Chair

Sarah Bullen Principal HarpEmma Gerstein FluteJennifer Gunn Flute and PiccoloScott Hostetler Oboe and English HornStephen Williamson Principal ClarinetWilliam Buchman Assistant

Principal BassoonDaniel Gingrich Associate Principal HornMark Ridenour Assistant

Principal TrumpetJay Friedman Principal Trombone

The Lisa and Paul Wiggin Principal Trombone Chair

Charles Vernon Bass TromboneGene 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 PercussionThe Dinah Jacobs (Mrs. Donald P. Jacobs) Principal Percussion Chair

Mary Sauer Former Principal KeyboardPeter Conover Principal Librarian

n e gau n e e m u s i c i n s t i t u t e at t h e c s o

Jonathan McCormick Director, Education & Negaunee Music Institute

Jon Weber Director, School & Family Programs

Molly Walker Orchestra Manager, Civic Orchestra of Chicago

Nicolas Gonzalez Manager, Civic Orchestra Fellowship Program

Katy Clusen Manager, School & Family Programs

Benjamin Wise Manager, Communications & Programs Assistant

Sarah Vander Ploeg Coordinator, School & Community Partnerships

Robert Curl Operations Coordinator, Civic Orchestra of Chicago

Frances Atkins Content DirectorKristin Tobin Designer & Print

Production Manager


meet the musicians

Kelsey Williams Horn

Hometown: Newark, New York

What is your most memorable musical moment?In 2018, I was fortunate enough to go on tour with the Northwestern University

Symphony Orchestra throughout Asia. Our concert in Shanghai will always remain a special memory for me. The horn section was so tight and the whole orchestra was in the zone. We finished Mahler’s Fifth Symphony, and I couldn’t contain myself. I remember stomping my foot as soon as the audience started applauding. I couldn’t stop smiling.

Who is your favorite composer and/or what is your favorite piece?Brahms’s Piano Concerto no. 2 is my favorite. I’m always a sucker for pretty much anything Brahms.

If I weren’t a professional musician, I would be . . .I would be a park ranger for the National Park Service. I love exploring, backpacking, and hiking our beautiful National Parks.

What inspired you to choose your instrument?I actually wanted to play saxophone, but my mom had already made arrangements with my begin-ning band teacher to start me on horn. I was the last person to find out.

What are your interests and/or hobbies outside of music?I love doing anything outdoorsy. I recently got into climbing. It might be my new obsession!

Taylor Hampton Percussion

Hometown: Gastonia, North Carolina

What is your most memorable musical moment?Something that is pervasive throughout all of my most memorable moments is the

shared experience with other musicians. Nothing is more rewarding than putting in hours of work and compromise with colleagues and performing with serious communication and passion.

Who is your favorite composer and/or what is your favorite piece?It depends on my mood. Bernstein’s Kaddish Symphony is definitely in my current rotation of favorites.

If I weren’t a professional musician, I would be . . .Doing something related to operations at a uni-versity or other institution.

What inspired you to choose your instrument?I played piano as a young child and that transfers to percussion in an interesting way. My middle school band director was a percussionist and a colorful personality who I have always looked up to.

What are your interests and/or hobbies outside of music?Krav Maga! It’s very fun and practical and a great workout. Are podcasts a hobby? If so, that’s big for me. I’m also a Saturday Night Live enthusiast.

Do you have any musical or non-musical accomplishments that you would like us to know about?Hopefully I’ll be leveling up at my Krav Maga gym soon!


MEET THE MUSICIANS

Elliot Lee Violin

Hometown: Acton, Massachusetts

What is your most memorable musical moment?My most memorable musical moment would have to be my master’s recital where I

challenged myself to memorize the entire pro-gram. It was probably the most fun I have ever had performing for an audience, and it’s going to push me to keep challenging myself.

Who is your favorite composer and/or what is your favorite piece?My favorite composer is Beethoven but my favor-ite piece is the Chaconne from Bach’s Partita in D minor.

If I weren’t a professional musician, I would be . . .An engineer of some kind. Mechanical engineer-ing was my first interest in college.

What inspired you to choose your instrument?I was very young when I started, but I really stuck with it because I just enjoyed playing in different venues and environments.

What are your interests and/or hobbies outside of music?Ultimate Frisbee, biking, and hiking

Do you have any musical or non-musical accomplishments that you would like us to know about?My ultimate Frisbee team, New York Empire, just won the AUDL (American Ultimate Disc League) championship in San Jose this past year—just throwing that out there for all the ultimate Frisbee lovers who happen to be Civic concertgoers as well.

Nick DeLaurentis Double Bass

Hometown: Agoura Hills, California

What is your most memorable musical moment?I played Beethoven’s Eighth Symphony at Walt Disney Concert Hall in high school

and the experience of playing such incredi-ble music in such a beautiful hall is what really inspired me to pursue classical music as a career.

Who is your favorite composer and/or what is your favorite piece?Ravel is my favorite composer and Turangalîla-symphonie by Olivier Messiaen is my favorite piece.

If I weren’t a professional musician, I would be . . .An environmental activist/conservationist.

What inspired you to choose your instrument?I actually wanted to play the cello but my middle school string teacher made me play bass. I ended up loving it because I love how bass lines function in the grand scheme of harmony.

What are your interests and/or hobbies outside of music?When I’m not playing bass I spend a lot of my time writing, arranging, and performing my own music as an alternative singer-songwriter. I also love to run, surf, and play basketball.



World Premiere by Mason Bates Blends Music and Digital Animation

I t has been more than twenty years since the Chicago Symphony Orchestra teamed up with Mickey, Minnie, Donald, and the gang

to provide the soundtrack to Walt Disney’s Fantasia 2000, for which the CSO earned a Grammy Award nomination. The CSO will again cross paths with cutting-edge technology in the world premiere and CSO co-commission of Mason Bates’s Philharmonia Fantastique: The Making of the Orchestra. Bates, the CSO’s Mead Composer-in-Residence from 2010 to 2015, cocreated the piece with award-winning writer and director Gary Rydstrom and story artist and

animator Jim Capobianco. This program will run as part of the CSO School and Family Concerts series, March 26–28, 2020, under the direction of Edwin Outwater.

The commission is in celebration of the 100th anniversary of the founding of the CSO’s series for children that began during the 1919–20 season, established by the Orchestra’s second music director, Frederick Stock. This program-ming continues today along with other exten-sive educational and community-engagement programming produced by the Negaunee Music Institute.

c lo c kw i s e f r o m l e f t : Images from a live-action photo shoot for the forthcoming Philharmonia Fantastique. Left to right: composer Mason Bates, writer and director Gary Rydstrom, story artist and animator Jim Capobianco Photos by Marko Bajzer



World Premiere by Mason Bates Blends Music and Digital Animation

I t has been more than twenty years since the Chicago Symphony Orchestra teamed up with Mickey, Minnie, Donald, and the gang

to provide the soundtrack to Walt Disney’s Fantasia 2000, for which the CSO earned a Grammy Award nomination. The CSO will again cross paths with cutting-edge technology in the world premiere and CSO co-commission of Mason Bates’s Philharmonia Fantastique: The Making of the Orchestra. Bates, the CSO’s Mead Composer-in-Residence from 2010 to 2015, cocreated the piece with award-winning writer and director Gary Rydstrom and story artist and

animator Jim Capobianco. This program will run as part of the CSO School and Family Concerts series, March 26–28, 2020, under the direction of Edwin Outwater.

The commission is in celebration of the 100th anniversary of the founding of the CSO’s series for children that began during the 1919–20 season, established by the Orchestra’s second music director, Frederick Stock. This program-ming continues today along with other exten-sive educational and community-engagement programming produced by the Negaunee Music Institute.

c lo c kw i s e f r o m l e f t : Images from a live-action photo shoot for the forthcoming Philharmonia Fantastique. Left to right: composer Mason Bates, writer and director Gary Rydstrom, story artist and animator Jim Capobianco Photos by Marko Bajzer

NEGAUNEE MUSIC INSTITUTE AT THE CSO

Philharmonia Fantastique is a concerto for orchestra and animation with kinetic, cutting- edge, multimedia work that integrates film and prerecorded sound with live performance. The collaboration between the piece’s creators—innovators in the worlds of music, storytelling, and animation, respectively—similarly demon-strates this groundbreaking intersection of artistic disciplines. Bates’s work “flies inside musical instruments to explore the age-old connection of creativity and technology,” said the composer, “and the centennial of the Chicago Symphony Orchestra’s education programs is the perfect launching point for this multimedia work.”

In the new piece, an energetic, colorful sprite leads the audience on a tour through the music, taking listeners inside the instruments of the orchestra, exploring how individual instruments produce a sound, and how they work together in an ensemble. The story unfolds through music and visuals alone, creating a piece free of language barriers, accessible, and entertaining for audi-ences of all ages.

“The CSOA is very pleased to continue our relationship with Mason Bates through this new commission,” said CSOA President Jeff Alexander. “Mason is one of the most singular and creative voices in orchestral music today, and he is gifted with a collaborative spirit and a pas-sion for education and innovation. Philharmonia Fantastique presents a wonderful opportunity to welcome a new generation of listeners into the inspiring world of orchestral music, and we look forward to sharing this music with our audiences.”

“Discovering the music of Mason Bates during his time with the CSO was so joyful,” said Helen Zell, CSOA Board Chair and sponsor of the CSO commission. “His music takes audiences on jour-neys of the imagination, and I look forward to the ways that his new work will engage listeners.”

Philharmonia Fantastique: The Making of the Orchestra is co-commissioned by the Chicago Symphony Orchestra, San Francisco Symphony, Dallas Symphony Orchestra, Pittsburgh Symphony Orchestra, and National Symphony Orchestra. The CSO commission is made possible through the generous support of Helen Zell.

to p to b ot to m : A trio of students gets ready to enter Orchestra Hall for a CSO School Concert. Maestro Prestissimo B. Sharpenflat, aka Dan Kerr-Hobert from The Second City, attempts to steal the spotlight from the CSO musicians and (actual) conductor Edwin Outwater during a Family Matinee performance. Photos by Todd Rosenberg

Mason Bates currently serves as the first composer-in-residence of the Kennedy Center for the Performing Arts. His opera The (R)evolution of Steve Jobs premiered at the Santa Fe Opera in 2017; the live recording of that production was recognized with Best Opera Recording at the 2019 Grammy Awards telecast.

Writer and director Gary Rydstrom has been nomi-nated for eighteen Academy awards, winning seven for his work in sound and sound editing in films, including Jurassic Park, Titanic, and Saving Private Ryan. Story artist and animator Jim Capobianco has worked on many major animated films, including The Lion King, Fantasia 2000, Finding Nemo, and Inside Out. He received an Academy Award nomination for Best Original Screenplay for Ratatouille.

CSO School and Family Concerts, presented by the Negaunee Music Institute, engage approximately 40,000 audience members each season. These affordable and age-appropriate concerts feature the extraordinary musicians of the Chicago Symphony Orchestra to inspire the next generation of audience members and music lovers.


honor roll of donors

Negaunee Music Institute at the Chicago Symphony OrchestraThe 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 education and engagement programs. To make a gift or learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at [email protected] or 312-294-3156.

$ 1 5 0, 0 0 0 A N D A B O V EAnonymousThe Elizabeth F. Cheney FoundationJudson and Joyce GreenThe Julian Family FoundationThe Negaunee Foundation

$ 1 0 0, 0 0 0 – $ 1 4 9, 9 9 9Allstate Insurance CompanyShure Charitable TrustMegan and Steve Shebik

$ 7 5 , 0 0 0 – $ 9 9, 9 9 9John Hart and Carol PrinsJudy and Scott McCueNancy Lauter McDougal and

Alfred L. McDougal †

$ 5 0, 0 0 0 – $ 74 , 9 9 9Anonymous (2)Robert and Joanne Crown Income

Charitable FundLloyd A. Fry FoundationEllen and Paul GignilliatPolk Bros. FoundationRhoades Foundation Fund at The Chicago

Community FoundationBarbara and Barre Seid FoundationMichael and Linda Simon

$ 3 5 , 0 0 0 – $ 4 9, 9 9 9Bowman C. Lingle TrustNational Endowment for the ArtsMichael G. Woll Fund at

The Pauls Foundation

$ 2 5 , 0 0 0 – $ 3 4 , 9 9 9AnonymousAbbott FundBarker Welfare FoundationLeslie Fund, Inc.Wintrust Financial Corp.Helen and Sam Zell

$ 2 0, 0 0 0 – $ 2 4 , 9 9 9AnonymousIllinois Arts Council AgencyRichard P. and Susan Kiphart FamilyCharles and M. R. Shapiro FoundationThe George L. Shields Foundation

$ 1 5 , 0 0 0 – $ 1 9, 9 9 9Bruce and Martha Clinton for The Clinton

Family FundSue and Jim CollettiJohn and Fran EdwardsonRobert Kohl and Clark PellettSandra and Earl Rusnak, Jr.Dr. Marylou Witz

$ 7, 5 0 0 – $ 1 4 , 9 9 9Robert & Isabelle Bass Foundation, Inc.Robert H. Baum and MaryBeth KretzMr. Lawrence BellesThe Buchanan Family FoundationMr. Lawrence CorryMr. Jerry J. CritserMr. † & Mrs. David A. DonovanMr. & Mrs. † Allan DrebinMr. & Mrs. Robert GeraghtyMr. & Mrs. Joseph B. GlossbergRichard and Alice GodfreyChet Gougis and Shelley OchabMs. Susan NorvichGerald † and Mona PennerMrs. John Shedd Reed †Robert E. † and Cynthia M. SargentThe Siragusa FoundationMs. Liisa M. Thomas and

Mr. Stephen L. PrattPenny and John Van Horn

$ 4 , 5 0 0 – $ 7, 4 9 9AnonymousAnn and Richard CarrHarry F. and Elaine Chaddick FoundationMr. & Mrs. Bernard DunkelDr. Alexia GordonMr. James Kastenholz and

Ms. Jennifer SteansKinder MorganDr. June KoizumiMs. Barbara Lieber †Mr. Philip LumpkinThe Navarre Law FirmDavid and Dolores NelsonMr. & Mrs. William J. O’NeillD. Elizabeth PriceMs. Cecelia SamansSegal ConsultingTheodore and Elisabeth Wachs

$ 2 , 5 0 0 – $ 4 , 4 9 9Ms. Patti AcurioArts Midwest Touring FundJack and Carol Aten FundDaniel and Michele Becker

Charles H. and Bertha L. Boothroyd Foundation

Mr. James BorkmanMr. Douglas BraganAlfredo and Ada Capitanini FoundationMr. & Mrs. Donald and Linda CassilDr. Edward A. Cole and

Dr. Christine A. RydelMrs. Carol Evans, in memory of

Henry EvansMs. Irene FoxCamillo and Arlene GhironWilliam B. HinchliffDr. Ronald L. HullingerItalian Village RestaurantsEsther G. Klatz †Anne E. Leibowitz FundMr. Russ LymanMr. Edward MackLeo and Catherine MiserendinoMr. Carl and Maria MooreMr. & Mrs. Stephen MoralesMrs. Frank MorrisseyMr. & Mrs. Thomas D. PhilipsbornMary and Joseph PlauchéBenjamin J. Rosenthal FoundationJessie Shih and Johnson HoMr. Larry SimpsonLaurence and Caryn StrausWalter and Caroline Sueske

Charitable TrustDan and Paula Wise

$ 1 , 0 0 0 – $ 2 , 4 9 9Anonymous (7)Mr. Edward Amrein, Jr. and

Mrs. Sara Jones-AmreinAthena FundJon W. and Diane BalkeMr. & Mrs. John BarnesMs. Barbara BarzanskyHoward and Donna BassMichael and Gail BauerPatti and Nebil BenaissaMr. & Mrs. William E. BibleMs. Ludmila BidwellMr. & Mrs. Andrew BlockAdam BossovMr. Donald BousemanMyrna R. BromleyMr. Lee M. Brown, Mr. John B. Newman,

and Ms. Pixie NewmanMr. & Mrs. Samuel BuchsbaumMr. & Mrs. Kenneth J. Burns, Jr.Mr. & Mrs. Candelario CelioJayson and Elizabeth CheeverPatricia A. ClickenerMr. Daniel CorriganMr. & Mrs. Bill CottleConstance CwiokMelissa and Gordon DavisLinda and Peter DiDonatoMs. Joan D. Donovan

† DeceasedItalics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association.Gifts listed as of October 14, 2019

HONOR ROLL OF DONORS

Ms. Christine DudlakGary and Deborah EdidinNancy M. EibeckElk Grove GraphicsMs. Paula ElliottCharles and Carol EmmonsMrs. Walter D. FacklerTarek and Ann FadelJoy FettDr. & Mrs. Sanford Finkel, in honor of the

Civic Horn SectionEvelyn T. FitzpatrickMs. Lola FlammMrs. Roslyn K. FlegelBeth Healy & Mike FordneyJerry Freedman & Elizabeth SacksMr. M. FrenkelDr. Francisco GarciniGregory GrobarcikHalasmani/Davis FamilyMr. & Mrs. John HalesMs. Agnes HamosMrs. Louise HartMrs. Valerie HeintzMs. Dawn E. HelwigMr. Thomas C. HennigerJames & Megan HinchsliffDr. & Mrs. James HollandMs. Sharon Flynn HollanderMichael and Leigh HustonJohn D. and Leslie Henner BurnsJudith E. FeldmanThomas and Reseda KalowskiCatherine Baker and Timothy KentMr. & Mrs. † Algimantas KezelisMr. Howard KiddMs. Ruby LawMr. & Mrs. Stewart LiechtiDr. Herbert & Francine LippitzMs. Alma LizcanoLuluMr. Glen J. Madeja and Ms. Janet SteidlRobert & Doretta MarwinDr & Mrs. Daniel MassMs. Catherine MastersRosa and Peter McCullaghJim and Ginger MeyerFloyd and Elizabeth MillerMorrison C. WarrenWayne L. Mory and Marcia SnyderAllison MoultonEdward and Gayla NieminenMarjory OlikerMr. Bruce OltmanDianne M. and Robert J. Patterson, Jr.Eugene and Lois PavalonMs. Ana Luz Perez DuranDr. & Mrs. Pradeep RattanDr. Dorit RavivAl and Lynn ReichleDr. Hilda Richards

Mary K. RingMr. David SandfortMr. Laurence SaviersMrs. Rebecca ScheweMr. & Mrs. Steve SchuetteGerald and Barbara SchultzSchwab Fund for Charitable GivingMr. & Mrs. Thomas ScorzaStephen A. and Marilyn ScottDr. Rita Simó and Mr. Tomás BissonnetteMs. Triste SmithDr. Sabine SobekDr. & Mrs. R. SolaroDavid, Anna, and Alexandra SosaMr. Alexander SozdatelevMs. Denise StauderMr. Frederick Sturm and

Ms. Deborah GillaspieSharon SwansonMrs. Florence & Ron TestaAyana TomekaMs. Corina TsangMr. Peter ValeDr. Joyce Van CuraMs. Darla VollrathAbby and Glen WeisbergMs. Zita WheelerMs. Susan WhitingM.L. WinburnMark & Randi WoodworthDavid and Eileen ZampaIrene Ziaya and Paul Chaitkin

E N D O W E D F U N D SAnonymous (3)Cyrus H. Adams Memorial Youth

Concert FundDr. † & Mrs. † Bernard H. AdelsonMarjorie Blum-Kovler Youth Concert FundCNAThe Davee FoundationKelli Gardner Youth Education

Endowment FundMary Winton GreenWilliam Randolph Hearst Foundation

Fund for Community EngagementRichard A. HeisePeter Paul Herbert Endowment FundThe Kapnick FamilyLester B. Knight Charitable TrustThe Malott Family Very Special

Promenades FundThe Eloise W. Martin Endowed

Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee FoundationNancy Ranney and Family and FriendsToyota Endowed FundThe Wallace FoundationZell Family Foundation

C E N T E N N I A L S E A S O N S P O N S O R SThe Centennial Campaign for the Civic Orchestra of Chicago and Chicago Symphony Orchestra concert series for children is supported with a generous lead gift from The Julian Family Foundation.

The 2019–20 Civic Centennial season is sponsored by The Elizabeth F. Cheney Foundation.

Additional support for the Centennial season is provided by an Anonymous Family Foundation, Dora J. and R. John Aalbregtse, Robert Kohl and Clark Pellett, Judy and Scott McCue, Nancy Lauter McDougal and Alfred L. McDougal †, The Negaunee Foundation, Megan and Steve Shebik, Michael and Linda Simon, and Penny and John Van Horn.

Thank you to our Centennial Celebration Patrons: Anonymous, Ms. Patti Acurio, Mr. & Mrs. William E. Bible, Mr. James Borkman, Ann and Richard Carr, Mr. & Mrs. Bernard Dunkel, Gary and Deborah Edidin, Tarek and Ann Fadel, Camillo and Arlene Ghiron, Dr. Alexia Gordon, Halasmani/Davis Family, Ms. Ruby Law, Mr. Philip Lumpkin, Mr. Edward Mack, Mrs. Frank Morrissey, Allison Moulton, Mr. & Mrs. William O’Neill, Mr. & Mrs. Thomas D. Philipsborn, Gerald and Barbara Schultz, Megan and Steve Shebik, Dr. & Mrs. R. Solaro, Laurence and Caryn Straus, Ayana Tomeka, Ms. Corina Tsang, In Memory of Edward Zasadil, and Helen Zell.

To make your gift in support of the Centennial season, please contact the CSO Development office at [email protected] or 312-294-3100.



honor roll of donors

Negaunee Music Institute at the Chicago Symphony OrchestraThe 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 education and engagement programs. To make a gift or learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at [email protected] or 312-294-3156.

$ 1 5 0, 0 0 0 A N D A B O V EAnonymousThe Elizabeth F. Cheney FoundationJudson and Joyce GreenThe Julian Family FoundationThe Negaunee Foundation

$ 1 0 0, 0 0 0 – $ 1 4 9, 9 9 9Allstate Insurance CompanyShure Charitable TrustMegan and Steve Shebik

$ 7 5 , 0 0 0 – $ 9 9, 9 9 9John Hart and Carol PrinsJudy and Scott McCueNancy Lauter McDougal and

Alfred L. McDougal †

$ 5 0, 0 0 0 – $ 74 , 9 9 9Anonymous (2)Robert and Joanne Crown Income

Charitable FundLloyd A. Fry FoundationEllen and Paul GignilliatPolk Bros. FoundationRhoades Foundation Fund at The Chicago

Community FoundationBarbara and Barre Seid FoundationMichael and Linda Simon

$ 3 5 , 0 0 0 – $ 4 9, 9 9 9Bowman C. Lingle TrustNational Endowment for the ArtsMichael G. Woll Fund at

The Pauls Foundation

$ 2 5 , 0 0 0 – $ 3 4 , 9 9 9AnonymousAbbott FundBarker Welfare FoundationLeslie Fund, Inc.Wintrust Financial Corp.Helen and Sam Zell

$ 2 0, 0 0 0 – $ 2 4 , 9 9 9AnonymousIllinois Arts Council AgencyRichard P. and Susan Kiphart FamilyCharles and M. R. Shapiro FoundationThe George L. Shields Foundation

$ 1 5 , 0 0 0 – $ 1 9, 9 9 9Bruce and Martha Clinton for The Clinton

Family FundSue and Jim CollettiJohn and Fran EdwardsonRobert Kohl and Clark PellettSandra and Earl Rusnak, Jr.Dr. Marylou Witz

$ 7, 5 0 0 – $ 1 4 , 9 9 9Robert & Isabelle Bass Foundation, Inc.Robert H. Baum and MaryBeth KretzMr. Lawrence BellesThe Buchanan Family FoundationMr. Lawrence CorryMr. Jerry J. CritserMr. † & Mrs. David A. DonovanMr. & Mrs. † Allan DrebinMr. & Mrs. Robert GeraghtyMr. & Mrs. Joseph B. GlossbergRichard and Alice GodfreyChet Gougis and Shelley OchabMs. Susan NorvichGerald † and Mona PennerMrs. John Shedd Reed †Robert E. † and Cynthia M. SargentThe Siragusa FoundationMs. Liisa M. Thomas and

Mr. Stephen L. PrattPenny and John Van Horn

$ 4 , 5 0 0 – $ 7, 4 9 9AnonymousAnn and Richard CarrHarry F. and Elaine Chaddick FoundationMr. & Mrs. Bernard DunkelDr. Alexia GordonMr. James Kastenholz and

Ms. Jennifer SteansKinder MorganDr. June KoizumiMs. Barbara Lieber †Mr. Philip LumpkinThe Navarre Law FirmDavid and Dolores NelsonMr. & Mrs. William J. O’NeillD. Elizabeth PriceMs. Cecelia SamansSegal ConsultingTheodore and Elisabeth Wachs

$ 2 , 5 0 0 – $ 4 , 4 9 9Ms. Patti AcurioArts Midwest Touring FundJack and Carol Aten FundDaniel and Michele Becker

Charles H. and Bertha L. Boothroyd Foundation

Mr. James BorkmanMr. Douglas BraganAlfredo and Ada Capitanini FoundationMr. & Mrs. Donald and Linda CassilDr. Edward A. Cole and

Dr. Christine A. RydelMrs. Carol Evans, in memory of

Henry EvansMs. Irene FoxCamillo and Arlene GhironWilliam B. HinchliffDr. Ronald L. HullingerItalian Village RestaurantsEsther G. Klatz †Anne E. Leibowitz FundMr. Russ LymanMr. Edward MackLeo and Catherine MiserendinoMr. Carl and Maria MooreMr. & Mrs. Stephen MoralesMrs. Frank MorrisseyMr. & Mrs. Thomas D. PhilipsbornMary and Joseph PlauchéBenjamin J. Rosenthal FoundationJessie Shih and Johnson HoMr. Larry SimpsonLaurence and Caryn StrausWalter and Caroline Sueske

Charitable TrustDan and Paula Wise

$ 1 , 0 0 0 – $ 2 , 4 9 9Anonymous (7)Mr. Edward Amrein, Jr. and

Mrs. Sara Jones-AmreinAthena FundJon W. and Diane BalkeMr. & Mrs. John BarnesMs. Barbara BarzanskyHoward and Donna BassMichael and Gail BauerPatti and Nebil BenaissaMr. & Mrs. William E. BibleMs. Ludmila BidwellMr. & Mrs. Andrew BlockAdam BossovMr. Donald BousemanMyrna R. BromleyMr. Lee M. Brown, Mr. John B. Newman,

and Ms. Pixie NewmanMr. & Mrs. Samuel BuchsbaumMr. & Mrs. Kenneth J. Burns, Jr.Mr. & Mrs. Candelario CelioJayson and Elizabeth CheeverPatricia A. ClickenerMr. Daniel CorriganMr. & Mrs. Bill CottleConstance CwiokMelissa and Gordon DavisLinda and Peter DiDonatoMs. Joan D. Donovan



Ms. Christine DudlakGary and Deborah EdidinNancy M. EibeckElk Grove GraphicsMs. Paula ElliottCharles and Carol EmmonsMrs. Walter D. FacklerTarek and Ann FadelJoy FettDr. & Mrs. Sanford Finkel, in honor of the

Civic Horn SectionEvelyn T. FitzpatrickMs. Lola FlammMrs. Roslyn K. FlegelBeth Healy & Mike FordneyJerry Freedman & Elizabeth SacksMr. M. FrenkelDr. Francisco GarciniGregory GrobarcikHalasmani/Davis FamilyMr. & Mrs. John HalesMs. Agnes HamosMrs. Louise HartMrs. Valerie HeintzMs. Dawn E. HelwigMr. Thomas C. HennigerJames & Megan HinchsliffDr. & Mrs. James HollandMs. Sharon Flynn HollanderMichael and Leigh HustonJohn D. and Leslie Henner BurnsJudith E. FeldmanThomas and Reseda KalowskiCatherine Baker and Timothy KentMr. & Mrs. † Algimantas KezelisMr. Howard KiddMs. Ruby LawMr. & Mrs. Stewart LiechtiDr. Herbert & Francine LippitzMs. Alma LizcanoLuluMr. Glen J. Madeja and Ms. Janet SteidlRobert & Doretta MarwinDr & Mrs. Daniel MassMs. Catherine MastersRosa and Peter McCullaghJim and Ginger MeyerFloyd and Elizabeth MillerMorrison C. WarrenWayne L. Mory and Marcia SnyderAllison MoultonEdward and Gayla NieminenMarjory OlikerMr. Bruce OltmanDianne M. and Robert J. Patterson, Jr.Eugene and Lois PavalonMs. Ana Luz Perez DuranDr. & Mrs. Pradeep RattanDr. Dorit RavivAl and Lynn ReichleDr. Hilda Richards

Mary K. RingMr. David SandfortMr. Laurence SaviersMrs. Rebecca ScheweMr. & Mrs. Steve SchuetteGerald and Barbara SchultzSchwab Fund for Charitable GivingMr. & Mrs. Thomas ScorzaStephen A. and Marilyn ScottDr. Rita Simó and Mr. Tomás BissonnetteMs. Triste SmithDr. Sabine SobekDr. & Mrs. R. SolaroDavid, Anna, and Alexandra SosaMr. Alexander SozdatelevMs. Denise StauderMr. Frederick Sturm and

Ms. Deborah GillaspieSharon SwansonMrs. Florence & Ron TestaAyana TomekaMs. Corina TsangMr. Peter ValeDr. Joyce Van CuraMs. Darla VollrathAbby and Glen WeisbergMs. Zita WheelerMs. Susan WhitingM.L. WinburnMark & Randi WoodworthDavid and Eileen ZampaIrene Ziaya and Paul Chaitkin

E N D O W E D F U N D SAnonymous (3)Cyrus H. Adams Memorial Youth

Concert FundDr. † & Mrs. † Bernard H. AdelsonMarjorie Blum-Kovler Youth Concert FundCNAThe Davee FoundationKelli Gardner Youth Education

Endowment FundMary Winton GreenWilliam Randolph Hearst Foundation

Fund for Community EngagementRichard A. HeisePeter Paul Herbert Endowment FundThe Kapnick FamilyLester B. Knight Charitable TrustThe Malott Family Very Special

Promenades FundThe Eloise W. Martin Endowed

Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee FoundationNancy Ranney and Family and FriendsToyota Endowed FundThe Wallace FoundationZell Family Foundation

C E N T E N N I A L S E A S O N S P O N S O R SThe Centennial Campaign for the Civic Orchestra of Chicago and Chicago Symphony Orchestra concert series for children is supported with a generous lead gift from The Julian Family Foundation.

The 2019–20 Civic Centennial season is sponsored by The Elizabeth F. Cheney Foundation.

Additional support for the Centennial season is provided by an Anonymous Family Foundation, Dora J. and R. John Aalbregtse, Robert Kohl and Clark Pellett, Judy and Scott McCue, Nancy Lauter McDougal and Alfred L. McDougal †, The Negaunee Foundation, Megan and Steve Shebik, Michael and Linda Simon, and Penny and John Van Horn.

Thank you to our Centennial Celebration Patrons: Anonymous, Ms. Patti Acurio, Mr. & Mrs. William E. Bible, Mr. James Borkman, Ann and Richard Carr, Mr. & Mrs. Bernard Dunkel, Gary and Deborah Edidin, Tarek and Ann Fadel, Camillo and Arlene Ghiron, Dr. Alexia Gordon, Halasmani/Davis Family, Ms. Ruby Law, Mr. Philip Lumpkin, Mr. Edward Mack, Mrs. Frank Morrissey, Allison Moulton, Mr. & Mrs. William O’Neill, Mr. & Mrs. Thomas D. Philipsborn, Gerald and Barbara Schultz, Megan and Steve Shebik, Dr. & Mrs. R. Solaro, Laurence and Caryn Straus, Ayana Tomeka, Ms. Corina Tsang, In Memory of Edward Zasadil, and Helen Zell.

To make your gift in support of the Centennial season, please contact the CSO Development office at [email protected] or 312-294-3100.



C I V I C O R C H E S T R A O F C H I C A G O S C H O L A R S H I P SMembers 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 underwritten a Civic musician(s) for the 2019–20 season.

Nine 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 The Julian Family Foundation.

To learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at [email protected] or 312-294-3156.

Dr. † & Mrs. † Bernard H. AdelsonRachel Mostek, viola

Robert H. Baum and MaryBeth KretzPei-yeh Tsai, keyboard

Mr. Lawrence Belles and The Elizabeth F. Cheney FoundationFahad Awan, violin

Sue and Jim CollettiBethany Pereboom,** viola

Lawrence CorryElizabeth Bellisario, viola

Robert and Joanne Crown Income Charitable FundAbigail Black, hornNicolas Chona, clarinetEvan Fojtik, fluteJingjing Hu, celloMartin Meyer, celloSofia Nikas, viola

Mr. † & Mrs. David A. DonovanLindsey Orcutt, bass

Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney FoundationErik Andrusyak, oboe

Mr. and Mrs. Robert Geraghty and The Elizabeth F. Cheney FoundationHannah Cartwright, violin

Mr. & Mrs. Paul C. GignilliatJamie Andrusyak, violinDaniel Price, trumpet

Mr. & Mrs. Joseph B. GlossbergEnrique Olvera, viola

Richard and Alice GodfreyJoy Vucekovich, violin

Chet Gougis and Shelley OchabHanna Pederson, viola

Mary Winton GreenAdam Attard, bass

Jane Redmond Haliday ChairNoémie Golubovic, cello

The Julian Family FoundationTaylor Hampton, percussionLaura Yawney,** oboe

Lester B. Knight Charitable TrustLaurie Blanchet, clarinetAkane Hinamoto, violinEric Leise, fluteNicholas Ritter, bassoonArianna Schickel, violin

Robert Kohl and Clark PellettJohn Heffernan,** violin

League of the Chicago Symphony Orchestra AssociationAlexandria Hoffman,** flute

Leslie Fund Inc.Tabitha Oh,** violinJuan Gabriel Olivares,** clarinet

Phillip G. Lumpkin §Najette Abouelhadi, cello

Judy and Scott McCue and The Elizabeth F. Cheney FoundationKristen Seto, violin

Nancy Lauter McDougal and Alfred L. McDougal †Brian Johnston, trombone

Dr. Leo and Catherine Miserendino §Chia-Yu Hsu, bassoon

Ms. Susan NorvichEleanor Kirk, harp

Mrs. Mona Penner in memory of Gerald PennerRachel Peters, violin

Sandra and Earl J. Rusnak, Jr.Anna Piotrowski, violin

Barbara and Barre Seid FoundationJoseph Bricker, percussionIgnacio del Rey, trombone

The George L. Shields Foundation Inc.Eva María Barbado Gutiérrez, celloBen Roidl-Ward, bassoonBenjamin Wagner, viola

The David W. and Lucille G. Stotter ChairPauline Kempf, violin

Ruth Miner Swislow Charitable FundBrent Taghap, violin

Lois and James Vrhel Endowment FundEmmett Jackson, bass

Dr. Marylou WitzHannah Christiansen,** violin

Michael G. † and Laura WollKelsey Williams, horn

Michael G. Woll Fund at The Pauls FoundationYe Jin Goo, violaMichael Terrasi, trumpetSamuel Waring, oboeJason Yoder, timpani

Helen ZellElliot Lee,** violin

AnonymousPhilip Bergman,** cello

AnonymousMaggie Lin, bassRobinson Schulze, bass trombone

† Deceased ** FellowItalics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association.Gifts listed as of October 14, 2019

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