civic3 200203 d2 · 2020-01-29 · boiling point.” at four, he per-formed part of one of...

SAINT-SAËNS ORGAN SYMPHONY

FEB 3

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

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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

Monday, February 3, 2020 at 8:00

Ken-David Masur ConductorPatrick Godon Organ

stravinsky PetrushkaThe Shrovetide FairIn Petrushka’s RoomThe Moor’s RoomThe Grand Carnival

intermis sion

saint-saëns Symphony No. 3 in C Minor, Op. 78 (Organ)Adagio—Allegro moderato—Poco adagioAllegro moderato—Presto—Maestoso—Allegropatrick godon

The 2019–20 Civic Orchestra of Chicago season is generously sponsored by The Elizabeth F. Cheney 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 supported in part by awards from the National Endowment for the Arts and the Illinois Arts Council Agency.


comments by phillip huscher

igor str avinsk yBorn June 17, 1882; Oranienbaum, RussiaDied April 6, 1971, New York City

Petrushka

c o m p o s e dAugust 1910–May 26, 1911

Reorchestrated, 1946

f i r s t p e r f o r m a n c eJune 13, 1911; Paris, France. Sergei Diaghilev’s Ballets Russes, Pierre Monteux conducting (complete ballet)

i n s t r u m e n tat i o n1947 version: three flutes and two piccolos, two oboes and english horn, three clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, percussion, celesta, harp, piano, strings

a p p r ox i m at e p e r f o r m a n c e t i m e34 minutes

The Firebird was Stravinsky’s first big hit, and it made him famous, almost literally overnight, at the age of twenty-eight. Petrushka is that most difficult of artistic creations—the follow-up. The Firebird had not only made Stravinsky the talk of Paris, then the capital of the international art world—capturing the attention of the city’s biggest names, including Debussy and

Proust—but it had scored a huge success for Sergei Diaghilev, who had taken a risk hiring the young, relatively unknown composer to write music for the Ballets Russes’ 1910 season. Naturally, both men wanted another sensation for the next year.

Stravinsky already had an idea. While he was finishing the orchestration of The Firebird, he had dreamed about “a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” These powerful images suggested music to Stravinsky, and he began to sketch almost at once. (Early in his career, most of Stravinsky’s initial musical ideas were inspired by visual imagery.) At first he thought of it as a symphony, but when he played parts of it at the piano for Diaghilev early that summer, the impresario immediately knew that this was music for dance. With Diaghilev’s urging, Stravinsky continued working on the score that would eventually become their biggest sensation, Le sacre du printemps—The Rite of Spring. But, in the meantime, Stravinsky got sidetracked.

When Diaghilev visited Stravinsky in Switzerland at the end of the summer, he was stunned to discover that the composer had begun a completely different work instead. As Stravinsky recalled, Diaghilev “was much astonished when, instead of the sketches of the Sacre, I played him the piece which I had just composed and which later became the second scene of Petrushka.”

For the second time that year, one of Stravinsky’s landmark ballet scores started out not as music to be danced, but as an unnamed abstract symphonic score. But unlike The Rite of Spring, Petrushka moved from sketch to stage without seri-ous interruption. What had begun as just a detour from The Rite now became the main project of the year, and, at the same

to p to b ot to m : Postcard photo of Stravinsky, ca. 1910

Photo of Vaslav Nijinsky as Petrushka. Dover Street Studios; London, England, 1910–11


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time, the score with which Stravinsky found his modernist voice—the voice that made The Rite possible. Musically, it had started innocently enough, almost as a kind of warm-up for The Rite. “I wanted to refresh myself,” Stravinsky later explained, “by composing an orchestral piece in which the piano would play the most import-ant part.” The narrative and the title came later, although Stravinsky admitted that “in composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life.” (Petrushka is a Russian version of the male half of the Punch and Judy puppets.) As with The Rite of Spring, it was Diaghilev who immediately saw the poten-tial in Stravinsky’s dazzling music for another dance classic:

[Diaghilev] was so much pleased with it that he would not leave it alone and began persuading me to develop the theme of the puppet’s sufferings and make it into a whole ballet. When he remained in Switzerland, we worked out together the general lines of the subject and the plot in accordance with ideas which I suggested . . . I began at once to com-pose the first scene of the ballet.

There were still a few details to be worked out, including Stravinsky’s fee (1,000 rubles) and the selection of the painter Alexandre Benois to polish the scenario and to provide costumes and scen-ery. (Michel Fokine soon signed on as choreogra-pher and Pierre Monteux agreed to conduct the premiere.) With this extraordinary team lined up, Stravinsky and Diaghilev now had their sights set on surpassing the success of The Firebird. Aside from Stravinsky’s brush with nicotine poisoning in February 1911, work on Petrushka progressed smoothly. Rehearsals were a different story. The dancers and orchestral musicians, innocent of the terrors of The Rite of Spring, still no more than a pile of sketches, found the complexities of Stravinsky’s score almost unmanageable.

Opening night, however, was a great triumph, crowned by Vaslav Nijinsky’s brilliant dancing of the title role. Brash, bold, exciting, and in-your-face “modern,” Petrushka was another overnight

hit with the public. For the next two years, until the legendary premiere of The Rite of Spring set Paris afire with fresh controversy, Petrushka was the latest word in musical modernism.

T he scenario is in four scenes; the first and last are public, taking place on the Admiralty Square in Saint Petersburg, in

the 1830s; the middle ones are set in private rooms and focus on individual characters. Petrushka opens with a busy crowd scene, a kaleidoscopic panorama of street dancers, drummers, a magi-cian playing a flute, a street musician with his hurdy-gurdy, and three puppets—Petrushka, a ballerina, and the Moor. Stravinsky shifts focus and shuffles events like a modern filmmaker: musical passages are cut and spliced, rhythmic patterns jostle one another. Finally the solo flute charms the three puppets to life and they join in a brilliant Russian dance.

The two middle scenes are more intimate, rely-ing less on the full orchestra and built of more modestly scaled materials. In the first of these scenes, the spotlight falls on Petrushka, alone in his room, pondering his grotesque appearance and despairing over his inability to win the love of the ballerina. This is the music Stravinsky had first played for Diaghilev, with a piano solo “exasper-ating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retal-iates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.”

When he first began sketching Petrushka, Stravinsky was haunted by the image of a musi-cian rolling two objects over the black and the white keys of the piano, which led him to the idea of a bitonal effect made by combining the white-note C major arpeggio with the black-note F-sharp major arpeggio. This double-sided sonority dominates Petrushka’s scene (the first music Stravinsky wrote), and, as the work pro-gressed, it came to represent the conflicting sides of his character—the human versus the puppet.

The Moor’s scene builds to a romantic encoun-ter with the ballerina (she enters to a dazzling


COMMENTS

high trumpet solo). The lovers dance to waltzes borrowed, without apparent apology, from Joseph Lanner, an Austrian composer who was a friend of Johann Strauss, Sr. They are interrupted by the jealous Petrushka.

The finale is another surging crowd scene, characterized by various kinds of music push-ing and shoving against each other. Petrushka enters, pursued by the Moor, who strikes him with

his saber. Petrushka falls and the crowd grows silent. But when the magician is summoned, he demonstrates that Petrushka is merely a puppet stuffed with sawdust. The square empties. Then, as the magician drags the puppet off, he sees Petrushka’s ghost on the roof of the set, thumbing his nose. This, according to Stravinsky, “is the real Petrushka, and his appearance at the end makes the Petrushka of the preceding play a mere doll.”

camille saint-saënsBorn October 9, 1835; Paris, FranceDied December 16, 1921; Algiers, Algeria

Symphony No. 3 in C Minor, Op. 78 (Organ)

c o m p o s e d1886

f i r s t p e r f o r m a n c eMay 19, 1886. The composer conducting

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

a p p r ox i m at e p e r f o r m a n c e t i m e34 minutes

Although Franz Liszt never heard this piece—it was premiered in London two months before his death—he had admired the score during his last visit to Paris, while Saint-Saëns was still working on it. In July 1886, when Saint-Saëns learned that Liszt had died (in Bayreuth, where he had gone to visit his daughter Cosima Wagner and to attend Tristan and Isolde and Parsifal), he

decided to publish this new symphony with a dedication to the older composer’s memory.

Liszt’s music served as a model to Saint-Saëns throughout his career. The unconventional form of this C minor symphony, with two movements folded into each of its two main sections, and its use of a signature theme that is transformed as the work proceeds, are clearly indebted to the innovations of Liszt’s own scores. Saint-Saëns may even have taken the idea of including the organ in a piece of symphonic music from one of Liszt’s tone poems, The Battle of the Huns. (Saint-Saëns never misunderstood Liszt’s true importance to the history of music: “The world per-sisted to the end,” he wrote, “in calling him the greatest pianist in order to avoid the trouble of considering his claims as one of the most remarkable of composers.”)

Saint-Saëns’s own musical life had a Mozartean beginning. At the age of two, as he later recalled, he observed “the symphony of the kettle,” with “its slow crescendo so full of surprises, and the appearance of a microscopic oboe whose sound rose little by

a b ov e : Saint-Saëns, cabinet photograph, ca. 1880, by Eugène Pirou (1841–1909), Paris

at r i g h t : Saint-Saëns, ca. 1846, around the age of ten


COMMENTS

little until the water had reached a boiling point.” At four, he per-formed part of one of Beethoven’s violin sonatas in a Paris salon, and he began to compose at six. He made his public debut in the Salle Pleyel in Paris at ten, play-ing a piano concerto by Mozart and a movement from Beethoven’s C minor piano concerto, and offer-ing, as an encore, to perform from memory any one of Beethoven’s thirty-two sonatas the audi-ence requested. “This young man knows every-thing, but he lacks inexperience,” Berlioz wrote.

Saint-Saëns quickly grew into an artist of matu-rity and taste, both as a performer and as a com-poser. Berlioz called him “an absolutely shattering master pianist,” and Proust wrote that his playing was free of the “writhings, shakings of the head, and tossing of hair that adulterate the purity of music with the sensuality of dance.” (Saint-Saëns played his Second Piano Concerto with the Chicago Symphony Orchestra in November 1906.)

Saint-Saëns lived a full half century longer than Mozart, however, and he kept composing and per-forming to the very end. (He played in public for the last time just four months before his death.) His career is one of music’s longest and most productive. During his lifetime, composers as diverse as Mahler, Tchaikovsky, and Debussy were born and died. When Saint-Saëns himself died, at eighty-six, he had made his mark as a writer of operas, symphonies, concertos, and a trea-sure trove of smaller miscellaneous pieces. Today the public knows but a mere sliver of this vast output—particularly the Carnival of the Animals he never took seriously and refused to publish; two or three of his concertos; Samson and Delilah (alone of his dozen operas); and this, the so-called Organ Symphony.

This symphony was popular from the start. After Saint-Saëns conducted the Paris premiere, Charles Gounod remarked “There goes the French Beethoven!”—an indication more of Saint-Saëns’s status at the time rather than a true barometer of his musical vision or depth. Saint-Saëns himself recognized that his considerable gifts—including

a genuine flair for sumptuous orchestral color, suave and unfor-gettable melody, and brilliant craftsmanship—while untouched by most of his contemporaries, were not those of a pioneer. “First among composers of the second rank,” was, reportedly, his own sur-prisingly honest and self-effacing, if offhand evaluation.

Neither a conventional symphony nor a true tone poem, the Organ Symphony borrows ele-ments from both traditions. The form itself is unusual. “This symphony is divided into two parts,” Saint-Saëns wrote at the time of the pre-miere. “Nevertheless, it embraces in principle the four traditional movements, but the first is altered in its development to serve as the introduction to the Poco adagio, and the scherzo is connected by the same process to the finale.” In other words, more experimentation with the standard chap-ters of symphony and sonata—with the fusing of movements and the blurring of dividing lines—of the sort begun earlier in the nineteenth century and vigorously pursued by Liszt in particular.

T he score opens with a brief, slow introduction—just long enough to announce a rising four-note motif that is

Saint-Saëns’s main musical material. This theme is already changed, in character if not in con-tent, by the first agitated measures of the main Allegro section that follows. A second, more lyrical melody eventually is combined with the main motif before the music loses momentum as it prepares the way for the Poco adagio, reached without pause. Here, an “extremely peaceful, contemplative theme,” as the composer described it, is presented low in the strings over soft organ chords. The calm and beauty are eventually disturbed, though not shattered, by the turbu-lence of the Allegro. The two dissimilar musical worlds coexist happily by the end of the move-ment, when nervous pizzicato triplets from the Allegro accompany the Poco adagio’s serene and untroubled melody.


COMMENTS

The second movement begins with a scherzo-like tempestuous transformation of the symphony’s main material, dispelled briefly by “arpeggios and scales, swift as lightning,” on the piano. (Saint-Saëns himself was a highly accom-plished performer on the piano and organ, and this symphony includes substantial and prom-inent roles for both instruments, although it is the organ, so unexpected in a symphony, that has given the work its popular subtitle.) This peculiar combination of fury and “tricky gaiety” is later undercut by a powerful, “grave, austere” theme in the trombones, tuba, and basses. “There is a strug-gle for mastery,” Saint-Saëns writes, “which ends in the defeat of the restless, diabolical element.”

This solemn theme rises “and rests there as in the blue of a clear sky,” signaling a significant

change in the symphony’s direction. A mighty chord from the full organ “announces the approaching triumph of calm and lofty thought.” The initial theme, now entirely transformed by the strings and shimmering piano chords, leads into a development of majesty, energy, and lyricism. There are several detours—including an unex-pected pastoral episode for oboe, flute, english horn, and clarinet—and further transformations, but Saint-Saëns’s triumphant, heaven-storming destination is now in sight.

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

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.

To make your gift:

Go online to cso.org/give

Call 312-294-3100

Make a gift during your next ticket purchase


profiles

Ken-David Masur Conductor

In this 2019–20 season, Ken-David Masur cele-brates the beginning of his tenure as music director of the Milwaukee Symphony Orchestra and principal conductor of the Civic Orchestra of Chicago. Masur has conducted

distinguished orchestras around the world, including the Boston Symphony Orchestra, Los Angeles Philharmonic, the Chicago and Detroit symphonies, l’Orchestre National de France, the Yomiuri Nippon Symphony in Tokyo, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and orches-tras throughout the United States, France, Germany, Korea, Japan, and Scandinavia. In addition to regular appearances at Ravinia, Tanglewood, and the Hollywood Bowl, Masur has conducted internationally at festivals such as the Verbier Festival in Switzerland, the Festival of Colmar in France, Denis Matsuev’s White Lilac Festival in Russia, the Tongyeong Festival in South Korea, and the TV Asahi Festival in Tokyo, Japan.

Masur recently concluded a landmark tenure as associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, and Nikolaj Luganski. For eight years, Masur served as principal guest conductor of the Munich Symphony, and previously as associate conductor of the San Diego Symphony as well as resident conductor of the San Antonio Symphony.

Masur is passionate about the growth, encour-agement, and application of contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The Festival seeks to engage curious audiences with its ground-breaking collaborations between the performing, visual, and culinary arts.

In Chicago, Ken-David Masur assumes his new post this season as the new principal conductor of the Civic Orchestra of Chicago, the professional training orchestra of the Chicago Symphony and the Negaunee Music Institute. Music education and working with the next generation of young artists being of major importance to him, he has led orchestras and masterclasses at the New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at leading universities and conser-vatories in Asia, Europe, and South America.

Ken-David Masur has recently made recordings with the English Chamber Orchestra and violin-ist Fanny Clamagirand, and with the Stavanger Symphony. As founding music director of the Bach Society Orchestra and Chorus at Columbia University, he toured Germany and released a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. WQXR recently named Masur’s recording with the Stavanger Symphony of Gisle Kverndokk’s Symphonic Dances one of the Best New Classical Releases of July 2018. Masur received a Grammy Award nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album Salon Buenos Aires.

P H OTO BY A DA M D E TO U R


PROFILES

Patrick Godon Organ

Patrick Godon made his debut as soloist with the Chicago Symphony Orchestra (CSO) in May 2007, playing one of the solo piano parts, along with Mary Sauer, in Colin McPhee’s Tabuh-Tabuhan: Toccata for Orchestra and Two Pianos,

with Alan Gilbert conducting. Since 2016 Patrick has performed regularly with the CSO on piano, celesta, organ, and synthesizer. He made his debut with the CSO as second keyboard at Ravinia in 2003. He was invited to play guest principal keyboard on the CSO’s 2018 East Coast Tour, January 2017 European Tour; second keyboard on the CSO’s 2005 European Tour and for nine CSO Carnegie Hall performances.

In 2015 he began performing regularly as organist with the CSO. He has played under lead-ing conductors including Marin Alsop, Daniel Barenboim, Pierre Boulez, Cliff Colnot, David Conlon, Andrew Davis, Charles Dutoit, Christoff Eschenbach, Bernhard Haitink, Lorin Maazel, Riccardo Muti, Ken Nagano, David Robertson, Esa-Pekka Salonen, Leonard Slatkin, and Michael Tilson Thomas. He has served as rehearsal pianist for Daniel Barenboim and Deborah Voigt for performances of Schoenberg’s Erwartung. Godon also performs as orchestral keyboardist with the Virginia, Delaware, Milwaukee, and Peoria sym-phony orchestras. He is in demand as a collabora-tive pianist and has performed many live broad-casts on Chicago classical station WFMT.

In July of 2011, Godon became the music director of the Tower Chorale, based out of

Western Springs. The Tower Chorale is a one hundred-voice choir and has been in existence for more than thirty years. Godon is also artistic director and pianist for the International Chamber Artists (ICA), a chamber music ensemble that he founded in 2006. ICA showcases a diverse group of professional musicians and performs a wide variety of repertoire. In August 2018, the Church of the Holy Spirit in Lake Forest, Illinois, named Godon its new organist and choirmaster. He oversees the music program and leads both the St. Gregory’s youth choir and senior choir. From July 2003 to August 2018, Godon was the director of music at St. Gregory the Great Church in the Andersonville/Edgewater neighborhood, where he composed and arranged a variety of music for liturgies. He currently oversees the music pro-gram and leads the St. Gregory’s Youth Choir, Senior Choir, and Evensong Choir. He will be conducting a special service of Bach’s masterpiece, the St. Matthew Passion at CHS on Good Friday, April 10, at noon. The CHS Senior Choir has been invited to be the choir-in-residence at Canterbury Cathedral in August 2021.

Patrick Godon records demo CDs as pianist and organist for World Library Publications and for the Gregorian Institute of America, which are sent to church musicians nationwide.

A native of Fargo, North Dakota, Patrick Godon began his studies with former Chicago Symphony Orchestra Principal Piano Mary Sauer in 1997. He holds both Bachelor of Music and Master of Music degrees in Piano Performance from DePaul University. A nine-year member of the Civic Orchestra of Chicago, Godon served as principal pianist from 2002–07. He has performed in Civic’s chamber music masterclasses for Mitsuko Uchida and Thomas Kakuska of the Alban Berg Quartet.

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


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 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 sElliot Lee** ConcertmasterJoy Vucekovich

Assistant ConcertmasterJohn Heffernan** PrincipalMarianne Martinoli

Assistant PrincipalJamie AndrusyakFahad AwanJack BogardJoshua BurcaHannah CartwrightHannah Christiansen**Joe DeAngeloDiego DiazAlexandria HillAkane HinamotoPauline KempfLuke LentiniAllison LoveraAmanda MarshallTabitha Oh**Maki OmoriRachel PetersAnna PiotrowskiCrystal QiOwen RuffArianna SchickelNaomi SchrankKristen SetoBrent TaghapMatthew WeinbergYu Xin

v i o l a sChloé Thominet PrincipalBenjamin Wagner

Assistant PrincipalKelly BartekElizabeth BellisarioRebecca Boelzner+Ye Jin GooRachel MostekSofia NikasHanna PedersonBethany Pereboom**Taisiya SokolovaSeth Van Embden

c e l lo sJames Cooper PrincipalPhilip Bergman**

Assistant PrincipalNajette AbouelhadiEva María Barbado GutiérrezEthan BrownNoémie GolubovicJordan GunnDara HankinsJingjing HuMiles Link

b a s s e sIsaac Polinsky PrincipalLindsey Orcutt

Assistant PrincipalAdam AttardNick DeLaurentisEmmett JacksonWesley JonesMaggie LinVincent Trautwein

f l u t e sEvan FojtikAlexandria Hoffman**Eric Leise

o b o e sErik AndrusyakSamuel WaringLaura Yawney**

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

b a s s o o n sChia-Yu HsuNicholas RitterBen Roidl-Ward

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 nBoyan TantchevGeorge TantchevRyan Wood

h a r pAutumn Selover

k e y b oa r dTyler KivelPei-yeh Tsai

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 Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor

John Sharp Principal CelloThe Eloise W. Martin Chair

Richard 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

Dan Price Trumpet

Hometown: Naperville, Illinois

What is your most memorable musical moment?Playing with the CSO for the first time. I was incredibly nervous until the very end of

the symphony when all I had to do was play loud. That moment of belting with the brass section that I grew up listening to was pure bliss.

Who is your favorite composer and/or what is your favorite piece?It’s incredibly hard to say—probably Gustav Mahler as my favorite composer and his Second Symphony as my favorite piece.

If I weren’t a professional musician, I would be . . .Either a scientist or an entrepreneur.

What inspired you to choose your instrument?I always liked playing the melody, and trumpet was the instrument I sounded best on when we chose what we would play in fifth grade.

What are your interests and/or hobbies outside of music?I like cooking, hiking, reading, history, science, and philosophy.

Pei-yeh Tsai Keyboard

Hometown: Kaohsiung, Taiwan

What is your most memorable musical moment?I grew up in Taiwan and never touched a Steinway until I came to audition in

America. It was such an eye-opening experience. I couldn’t believe how many different colors a good instrument could make.

Who is your favorite composer and/or what is your favorite piece?My favorite composer is Bartók and my favor-ite piece that I’ve played so far is Rachmaninov’s Second Piano Concerto.

If I weren’t a professional musician, I would be . . .A race car driver.

What inspired you to choose your instrument?I would never have to carry or tune my own instrument. Well, unless the venue has no piano that is!

What are your interests and/or hobbies outside of music?Backpacking, photography, and I used to make miniature car models.

Do you have any musical or non-musical accomplishments that you would like us to know about?I have hiked all the highest peaks in several states.


MEET THE MUSICIANS

Chloé Thominet Viola

Hometown: Pontoise, France

What is your most memorable musical moment?Performing Schoenberg’s string sextet Verklärte Nacht (Transfigured night) a few

summers ago in Taos, New Mexico was one of the most rewarding but also emotionally and physi-cally draining musical experiences of my life.

Who is your favorite composer and/or what is your favorite piece?The repertoire is infinite, and I always find myself discovering new pieces, but Hindemith’s Viola Sonata, op. 11, no. 4, remains one of my all-time favorites.

If I weren’t a professional musician, I would be . . .A baker!

What inspired you to choose your instrument?My big sister played the viola as a teenager, auto-matically making it the most desirable instrument to play!

What are your interests and/or hobbies outside of music?I love cooking, baking, and spending time with my friends and family.

Isaac Polinsky Double Bass

Hometown: Lynbrook, New York

What is your most memorable musical moment?During the summer going into my senior year in high school I went to an orchestra

camp (NYSSSA) in Saratoga Springs, New York. The Philadelphia Orchestra plays there during the summer, and I remember going to their concerts multiple times a week. This was a truly inspiring experience. That was when I knew in my mind that I wanted to play in a professional orchestra.

Who is your favorite composer and/or what is your favorite piece?My favorite composer is Beethoven. His sympho-nies are my favorite music to play in orchestra. His bass parts are satisfying to play because they are very melodic.

If I weren’t a professional musician, I would be . . .Doing something where I could spend my time outdoors in a beautiful location.

What inspired you to choose your instrument?I chose the bass in elementary school. I was drawn to the bass’s large size and deep yet mellow sound. I always enjoyed being the foundation of the music I was playing.

What are your interests and/or hobbies outside of music?I like to cook and am a big fan of the Bon Appetit YouTube cooking shows, especially It’s Alive with Brad Leone. I have tried several fermentations: kombucha, pickles, sauerkraut, and a few others that didn’t totally work out!



Celebrating a Century: The Civic Orchestra of Chicago Turns 100

S econd music director Frederick Stock founded the Civic Music Student Orchestra during the 1919–20 season, and the original

objective continues to resonate: “To give an opportunity to capable players to acquire orches-tral routine and experience, fitting themselves for positions in the symphony orchestras of the country [and] to take orchestral concerts to outlying districts. . . .”

This spring, the Civic Orchestra of Chicago, still the CSO’s prestigious training ensemble, cele-brates its 100th anniversary with special events. To mark its centennial, two programs will be led by Civic Orchestra Principal Conductor Ken-David

Masur. On Sunday, March 1, the Civic Centennial Celebration Benefit Concert features cellist Yo-Yo Ma. Additionally, there will be a special Anniversary Concert on Sunday, March 29, that includes Tchaikovsky’s Fifth Symphony, which was performed on the Civic Orchestra’s inaugural concert on that same date, 100 years ago.

CIVIC CENTENNIAL CELEBR ATION BENEFIT CONCERT March 1, 2020Presented by the Negaunee Music Institute, the League, and the Women’s Board of the Chicago Symphony Orchestra Association, the Civic Centennial Celebration celebrates all those that

comprise the fabric of the Civic community, includ-ing alumni, supporters, leadership, and, of course, the current musicians.

“I congratulate the Civic Orchestra of Chicago on its centennial and com-mend all who are part of its legacy—past, present, and future,” said Zell Music Director Riccardo Muti. “Providing a strong future for music has

c lo c kw i s e f r o m to p l e f t : The Civic Music Student Orchestra’s first program, given on March 29, 1920; second CSO music director Frederick Stock (Fernand de Gueldre photo); the first image of the Civic Music Student Orchestra, ca. March 1920 (William T. Barnum photo)

CSO_Wrap3_Feb-Apr20_Civic3_assets_d2.indd 1CSO_Wrap3_Feb-Apr20_Civic3_assets_d2.indd 1 1/27/20 4:57 PM1/27/20 4:57 PM



Celebrating a Century: The Civic Orchestra of Chicago Turns 100

S econd music director Frederick Stock founded the Civic Music Student Orchestra during the 1919–20 season, and the original

objective continues to resonate: “To give an opportunity to capable players to acquire orches-tral routine and experience, fitting themselves for positions in the symphony orchestras of the country [and] to take orchestral concerts to outlying districts. . . .”

This spring, the Civic Orchestra of Chicago, still the CSO’s prestigious training ensemble, cele-brates its 100th anniversary with special events. To mark its centennial, two programs will be led by Civic Orchestra Principal Conductor Ken-David

Masur. On Sunday, March 1, the Civic Centennial Celebration Benefit Concert features cellist Yo-Yo Ma. Additionally, there will be a special Anniversary Concert on Sunday, March 29, that includes Tchaikovsky’s Fifth Symphony, which was performed on the Civic Orchestra’s inaugural concert on that same date, 100 years ago.

CIVIC CENTENNIAL CELEBR ATION BENEFIT CONCERT March 1, 2020Presented by the Negaunee Music Institute, the League, and the Women’s Board of the Chicago Symphony Orchestra Association, the Civic Centennial Celebration celebrates all those that

comprise the fabric of the Civic community, includ-ing alumni, supporters, leadership, and, of course, the current musicians.

“I congratulate the Civic Orchestra of Chicago on its centennial and com-mend all who are part of its legacy—past, present, and future,” said Zell Music Director Riccardo Muti. “Providing a strong future for music has

c lo c kw i s e f r o m to p l e f t : The Civic Music Student Orchestra’s first program, given on March 29, 1920; second CSO music director Frederick Stock (Fernand de Gueldre photo); the first image of the Civic Music Student Orchestra, ca. March 1920 (William T. Barnum photo)


NEGAUNEE MUSIC INSTITUTE AT THE CSO

remained at the core of this ensemble of young artists. They are the hope for the preservation of our culture and represent its highest ideals.”

The concert features Yo-Yo Ma as soloist in Dvořák’s Cello Concerto. Ma served as the CSOA’s Judson and Joyce Green Creative Consultant from 2010 through 2019 and has long advocated for the Civic Orchestra’s musicians and mission. “I have had the wonderful experience of working with so many young people through the Civic Orchestra,” said Ma. “Together, we have thought through the stage in between student and professional life and explored what it means to be a musician, a citizen, and to serve our communities. We have talked about what it means to be a member of a larger group that truly, deeply collaborates, and at the same time act as an individual leader to start something new.”

The weekend also features Masur leading a pri-vate reading session where past and current mem-bers will gather onstage in Orchestra Hall with Ma as the special guest. Other alumni weekend events include attending a CSO concert as well as a Q&A session with notable alumni, such as violinist Rachel Barton Pine and current members of the CSO.

CIVIC ANNIVERSARY CONCERT March 29, 2020 Ken-David Masur leads the Civic in its Anniversary Concert, held 100 years to the day of the ensemble’s first performance. This spe-cial program opens with Sinfonia (for Orbiting Spheres), a 2013 work by CSO Mead Composer-in-Residence Missy Mazzoli, which mimics the shape of a solar system. CSO Horns Oto Carrillo, Daniel Gingrich, David Griffin, and James Smelser—all are Civic Orchestra alumni—appear as soloists in Schumann’s virtuosic Konzertstück for Four Horns and Orchestra, and Tchaikovsky’s Symphony no. 5 closes the program with its colorful orchestration and popular second-movement theme.

“I was fortunate enough to be a member of the Civic Orchestra for three years,” said CSO Associate Principal Horn Daniel Gingrich. “It was

a tremendous opportunity for me. As a member of Civic, I was coached by Dale Clevenger, long-time principal horn of the Chicago Symphony Orchestra. Being able to study with Chicago Symphony musicians really catapulted my career, beyond what I could have expected anywhere else.” The kismet of his current mentorship role with Civic is not lost on Gingrich. “I love that things have come full circle and I am able to be the horn coach. [It’s great to] see more young people learning and getting this experience and, hopefully, being able to go on and enjoy a life in music, the way I have.”

THE CIVIC ORCHESTR A’S LEGACYMore than 7,000 musicians have been members of the Civic Orchestra, and many have gone on to perform with the finest ensembles in the world. Over 160 alumni have become members of the CSO—including fourteen in the current roster.

Today’s Civic members experience an in-depth study of orchestral repertoire, perform as an orchestra and in chamber ensembles, and partic-ipate in the co-creation and implementation of their own musical projects throughout the com-munity. It is a curriculum designed to produce well-rounded musicians for the modern orchestral landscape—a philosophy emphasized under the leadership of Riccardo Muti.

“That the word ‘civic’ is part of this orchestra’s name is symbolic. It indicates that the musician is both a reflection of his or her society and one who can serve and lead within the community,” said Muti, who will lead his sixteenth open rehearsal with the orchestra on April 27. “Music has the ability to bring people together: people who do not speak the same language and otherwise would not understand each other in terms of culture, ethnicity, or religion. Music is our greatest tool. In this orchestra, musicians are instilled with the fundamental civic principles of a partici-patory, respectful society. All contribute to the total harmony.”

To learn more about the Civic Orchestra of Chicago, visit cso.org/civic.



honor roll of donors

† DeceasedItalics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association.Gifts listed as of January 2020

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 EAnonymous (1)The Elizabeth F. Cheney FoundationJudson and Joyce GreenJulian Family Foundation

$ 1 0 0, 0 0 0 – $ 1 4 9, 9 9 9Allstate Insurance CompanyJohn Hart and Carol PrinsJudy and Scott McCueNancy Lauter McDougal and

Alfred L. McDougal †Megan and Steve ShebikShure Charitable Trust

$ 7 5 , 0 0 0 – $ 9 9, 9 9 9Rhoades Foundation Fund at

The Chicago Community Foundation

$ 5 0, 0 0 0 – $ 74 , 9 9 9Anonymous (1)Robert and Joanne Crown Income

Charitable FundLloyd A. Fry FoundationEllen and Paul GignilliatNational Endowment for the ArtsPolk Bros. FoundationBarbara and Barre Seid FoundationMichael and Linda Simon

$ 3 5 , 0 0 0 – $ 4 9, 9 9 9Leslie Fund, Inc.Bowman C. Lingle TrustMichael G. Woll Fund at

The Pauls Foundation

$ 2 5 , 0 0 0 – $ 3 4 , 9 9 9AnonymousAbbott FundBarker Welfare FoundationPNCThe George L. Shields FoundationWintrust Financial Corp.Helen and Sam Zell

$ 2 0, 0 0 0 – $ 2 4 , 9 9 9Anonymous (1)John and Fran EdwardsonIllinois Arts Council AgencyRichard P. and Susan Kiphart FamilyPrince Charitable TrustsCharles and M. R. Shapiro Foundation

$ 1 5 , 0 0 0 – $ 1 9, 9 9 9Anonymous (2)Bruce and Martha Clinton for

The Clinton Family FundSue and Jim CollettiRobert Kohl and Clark PellettSandra and Earl Rusnak, Jr.Dr. Marylou Witz

$ 7, 5 0 0 – $ 1 4 , 9 9 9Nancy A. AbshireRobert & 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 OchabMary Winton GreenThe League of the Chicago Symphony

Orchestra AssociationMs. Susan NorvichGerald † and Mona PennerD. Elizabeth PriceMrs. John Shedd Reed †Robert E. † and Cynthia M. SargentThe Siragusa Family FoundationMs. Liisa M. Thomas and

Mr. Stephen L. PrattPenny and John Van Horn

$ 4 , 5 0 0 – $ 7, 5 0 0AnonymousMs. Marion A. CameronAnn and Richard CarrDr. Edward A. Cole and

Dr. Christine A. RydelMari Hatzenbuehler CravenMr. & Mrs. Bernard DunkelMrs. Carol Evans, in memory of

Henry EvansDr. Alexia GordonHalasmani/Davis FamilyMr. James Kastenholz and

Ms. Jennifer SteansMr. Philip LumpkinKinder MorganDr. June KoizumiMs. Barbara Lieber †Mr. Edward Mack

The Navarre Law FirmDavid † and Dolores NelsonMr. & Mrs. William J. O’NeillMs. Cecelia SamansDr. Scholl FoundationSegal ConsultingTheodore and Elisabeth Wachs

$ 2 , 5 0 0 – $ 4 , 4 9 9Ms. Patti AcurioArts Midwest Touring FundDaniel and Michele BeckerCharles H. and Bertha L.

Boothroyd FoundationMr. James BorkmanMr. Douglas BraganAlfredo and Ada Capitanini FoundationMr. & Mrs. Donald and Linda CassilMr. & Ms. Keith ClaytonMs. Irene FoxCamillo and Arlene GhironWilliam B. HinchliffDr. Ronald L. HullingerItalian Village RestaurantsEsther G. Klatz †Anne E. Leibowitz FundDr. Herbert and Francine LippitzMr. Russ LymanDr. Leo and Catherine MiserendinoMr. Carl and Maria MooreMr. & Mrs. Stephen MoralesMrs. Frank MorrisseyThe Osprey FoundationMr. & Mrs. Thomas D. PhilipsbornMary and Joseph PlauchéAl and Lynn ReichleBenjamin J. Rosenthal FoundationDavid and Judith L. SensibarJessie Shih and Johnson HoMr. Larry SimpsonLaurence and Caryn StrausDan and Paula Wise

$ 1 , 0 0 0 – $ 2 , 4 9 9Anonymous (8)Dora J. and R. John AalbregtseRobert and Marianna AlpsMr. Edward Amrein, Jr. and

Mrs. Sara Jones-AmreinJack and Carol Aten FundAthena FundCatherine Baker and Timothy KentJon W. and Diane BalkeMr. & Mrs. John BarnesMs. Barbara BarzanskyHoward and Donna BassMichael and Gail BauerPatti and Nebil BenaissaMr. & Mrs. William E. BibleMs. Ludmila BidwellAnn BlickensderferMr. & Mrs. Andrew BlockCassandra L. Book



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 EAnonymous (1)The Elizabeth F. Cheney FoundationJudson and Joyce GreenJulian Family Foundation

$ 1 0 0, 0 0 0 – $ 1 4 9, 9 9 9Allstate Insurance CompanyJohn Hart and Carol PrinsJudy and Scott McCueNancy Lauter McDougal and

Alfred L. McDougal †Megan and Steve ShebikShure Charitable Trust

$ 7 5 , 0 0 0 – $ 9 9, 9 9 9Rhoades Foundation Fund at

The Chicago Community Foundation

$ 5 0, 0 0 0 – $ 74 , 9 9 9Anonymous (1)Robert and Joanne Crown Income

Charitable FundLloyd A. Fry FoundationEllen and Paul GignilliatNational Endowment for the ArtsPolk Bros. FoundationBarbara and Barre Seid FoundationMichael and Linda Simon

$ 3 5 , 0 0 0 – $ 4 9, 9 9 9Leslie Fund, Inc.Bowman C. Lingle TrustMichael G. Woll Fund at

The Pauls Foundation

$ 2 5 , 0 0 0 – $ 3 4 , 9 9 9AnonymousAbbott FundBarker Welfare FoundationPNCThe George L. Shields FoundationWintrust Financial Corp.Helen and Sam Zell

$ 2 0, 0 0 0 – $ 2 4 , 9 9 9Anonymous (1)John and Fran EdwardsonIllinois Arts Council AgencyRichard P. and Susan Kiphart FamilyPrince Charitable TrustsCharles and M. R. Shapiro Foundation

$ 1 5 , 0 0 0 – $ 1 9, 9 9 9Anonymous (2)Bruce and Martha Clinton for

The Clinton Family FundSue and Jim CollettiRobert Kohl and Clark PellettSandra and Earl Rusnak, Jr.Dr. Marylou Witz

$ 7, 5 0 0 – $ 1 4 , 9 9 9Nancy A. AbshireRobert & 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 OchabMary Winton GreenThe League of the Chicago Symphony

Orchestra AssociationMs. Susan NorvichGerald † and Mona PennerD. Elizabeth PriceMrs. John Shedd Reed †Robert E. † and Cynthia M. SargentThe Siragusa Family FoundationMs. Liisa M. Thomas and

Mr. Stephen L. PrattPenny and John Van Horn

$ 4 , 5 0 0 – $ 7, 5 0 0AnonymousMs. Marion A. CameronAnn and Richard CarrDr. Edward A. Cole and

Dr. Christine A. RydelMari Hatzenbuehler CravenMr. & Mrs. Bernard DunkelMrs. Carol Evans, in memory of

Henry EvansDr. Alexia GordonHalasmani/Davis FamilyMr. James Kastenholz and

Ms. Jennifer SteansMr. Philip LumpkinKinder MorganDr. June KoizumiMs. Barbara Lieber †Mr. Edward Mack

The Navarre Law FirmDavid † and Dolores NelsonMr. & Mrs. William J. O’NeillMs. Cecelia SamansDr. Scholl FoundationSegal ConsultingTheodore and Elisabeth Wachs

$ 2 , 5 0 0 – $ 4 , 4 9 9Ms. Patti AcurioArts Midwest Touring FundDaniel and Michele BeckerCharles H. and Bertha L.

Boothroyd FoundationMr. James BorkmanMr. Douglas BraganAlfredo and Ada Capitanini FoundationMr. & Mrs. Donald and Linda CassilMr. & Ms. Keith ClaytonMs. Irene FoxCamillo and Arlene GhironWilliam B. HinchliffDr. Ronald L. HullingerItalian Village RestaurantsEsther G. Klatz †Anne E. Leibowitz FundDr. Herbert and Francine LippitzMr. Russ LymanDr. Leo and Catherine MiserendinoMr. Carl and Maria MooreMr. & Mrs. Stephen MoralesMrs. Frank MorrisseyThe Osprey FoundationMr. & Mrs. Thomas D. PhilipsbornMary and Joseph PlauchéAl and Lynn ReichleBenjamin J. Rosenthal FoundationDavid and Judith L. SensibarJessie Shih and Johnson HoMr. Larry SimpsonLaurence and Caryn StrausDan and Paula Wise

$ 1 , 0 0 0 – $ 2 , 4 9 9Anonymous (8)Dora J. and R. John AalbregtseRobert and Marianna AlpsMr. Edward Amrein, Jr. and

Mrs. Sara Jones-AmreinJack and Carol Aten FundAthena FundCatherine Baker and Timothy KentJon W. and Diane BalkeMr. & Mrs. John BarnesMs. Barbara BarzanskyHoward and Donna BassMichael and Gail BauerPatti and Nebil BenaissaMr. & Mrs. William E. BibleMs. Ludmila BidwellAnn BlickensderferMr. & Mrs. Andrew BlockCassandra L. Book



HONOR ROLL OF DONORS

Adam BossovMr. Donald BousemanMyrna R. BromleyMr. Lee M. Brown, Mr. John B. Newman

and Ms. Pixie NewmanMr. & Mrs. Samuel BuchsbaumJohn D. and Leslie Henner BurnsMr. & Mrs. Kenneth J. Burns, Jr.Darren CahrDrs. Virginia and Stephen CarrMr. & Mrs. Candelario CelioJayson and Elizabeth CheeverPatricia A. ClickenerMr. Daniel CorriganMr. & Mrs. Bill CottleConstance CwiokMelissa and Gordon DavisLinda and Peter DiDonatoMr. William Dietz, Jr.Ms. Joan D. DonovanDS&P Insurance Services, Inc.Daniel and Christine DudlakGary and Deborah EdidinNancy M. EibeckElk Grove GraphicsMs. Paula ElliottCharles and Carol EmmonsMrs. Walter D. FacklerTarek and Ann FadelJudith E. FeldmanJoy FettDr. & Mrs. Sanford Finkel, in honor of the

Civic Horn SectionEvelyn T. FitzpatrickMs. Lola FlammMrs. Roslyn K. FlegelBeth Healy and Mike FordneyJerry Freedman and Elizabeth SacksMr. M. FrenkelDr. Francisco GarciniEvgenia GolubevaMike and Mary GradyGregory GrobarcikMr. & Mrs. John HalesMs. Agnes HamosMrs. Louise HartMrs. Valerie HeintzMs. Dawn E. HelwigMr. Thomas C. HennigerJames and Megan HinchsliffDr. & Mrs. James HollandMs. Sharon Flynn HollanderMichael and Leigh HustonThomas and Reseda KalowskiMr. & Mrs. † Algimantas KezelisMr. Howard KiddAnna Z. KleymenovaMs. Ruby LawMr. & Mrs. Stewart LiechtiMs. Alma LizcanoMr. † & Mrs. Gerald F. LoftusLuluMr. Glen Madeja and Ms. Janet Steidl

Sharon L. ManuelRobert and Doretta MarwinDr. & Mrs. Daniel MassMs. Catherine MastersRosa and Peter McCullaghJim and Ginger MeyerMr. Robert MiddletonFloyd and Elizabeth MillerWayne L. Mory and Marcia SnyderAllison MoultonEdward and Gayla NieminenMarjory OlikerMr. Bruce OltmanAndrea OwensDianne M. and Robert J. Patterson, Jr.Eugene and Lois PavalonMs. Ana Luz Perez DuranMr. George QuinlanDr. & Mrs. Pradeep RattanDr. Dorit RavivDr. Hilda RichardsMs. Karen L. RigottiMary K. RingMr. Alexander RipleyMr. 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. SolaroMs. Sondra SonnebornDavid, Anna, and Alexandra SosaMr. Alexander SozdatelevMrs. Julie StaglianoMs. Denise StauderMr. Frederick Sturm and

Ms. Deborah GillaspieWalter and Caroline Sueske

Charitable TrustSharon SwansonMrs. Florence and Ron TestaAyana TomekaMs. Corina TsangMr. Peter ValeDr. Joyce Van CuraMs. Darla VollrathMorrison C. WarrenAbby and Glen WeisbergMs. Zita WheelerMs. Susan WhitingJamie Wigglesworth AIAM.L. WinburnMark and Randi WoodworthDr. Nanajan YakoubDavid 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. Donald and Linda Cassil, Dr. Edward A. Cole and Dr. Christine Rydel, Mr. & Mrs. Bernard Dunkel, Gary and Deborah Edidin, Tarek and Ann Fadel, Camillo and Arlene Ghiron,



† Deceased ** Fellow § Partial sponsorItalics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association.Gifts listed as of January 2020

HONOR ROLL OF DONORS

Dr. Alexia Gordon, Halasmani/Davis Family, Ms. Ruby Law, Mr. Philip Lumpkin, Mr. Edward Mack, Mrs. Frank Morrissey, Allison Moulton, Mr. Bruce Oltman, 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, Dr. Nanajan Yakoub, 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


civic3 200203 d2 · 2020-01-29 · boiling point.” at four, he per-formed part of one of...

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