one hundred twenty-third season chicago symphony … · robert chen violin mozart divertimento in d...

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Program

Thursday, October 3, 2013, at 8:00Saturday, October 5, 2013, at 8:00Tuesday, October 8, 2013, at 7:30Friday, October 11, 2013, at 1:30

riccardo muti Conductorrobert Chen Violin

mozartDivertimento in D Major, K. 136AllegroAndantePresto

HindemithViolin ConcertoAt a moderate tempoSlowLively

RObeRT Chen

IntermIssIon

ProkofievSuite from Romeo and JulietMontagues and CapuletsJuliet the Young GirlMadrigalMinuetMasksRomeo and JulietDeath of TybaltFriar LaurenceRomeo and Juliet before PartingRomeo at Juliet’s Tomb

These concerts are generously sponsored by Cindy Sargent.

Sponsorship of the music director and related programs is provided in part by a generous gift from the Zell Family Foundation.

CSO Tuesday series concerts are sponsored by United Airlines.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.

Global Sponsor of the CSO

One hunDReD TwenTY-ThiRD SeASOn

Chicago symphony orchestrariccardo muti Music Director Pierre Boulez helen Regenstein Conductor emeritusYo-Yo ma Judson and Joyce Green Creative Consultant

CSO3_SepOct13.indd 33 9/25/13 11:23 AM

Generous support for the Verdi Celebration provided by

MATTHEW AND KAY BUCKSBAUM

SYLVIA NEIL AND DAN FISCHEL

JIM AND KAY MABIE

GILCHRIST FOUNDATION

JULIE AND ROGER BASKES

WHITNEY AND ADA ADDINGTON

BRUCE AND MARTHA CLINTON, FOR THE CLINTON FAMILY FUND

NIB FOUNDATION

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Wolfgang mozartBorn January 27, 1756, Salzburg, Austria.Died December 5, 1791, Vienna, Austria.

divertimento in d major, k. 136

ComPosed1772

fIrst PerformanCedate unknown

fIrst Cso PerformanCesJuly 1, 1965, Ravinia Festival. Seiji Ozawa conducting

March 22, 23 & 24, 1979, Orchestra hall. János Ferencsik conducting

most reCent Cso PerformanCesFebruary 14, 15, 16 & 19, 2008, Orchestra hall [no conductor]

InstrumentatIonstrings

aPProxImate PerformanCe tIme15 minutes

Mozart’s fi rst composi-tions, an Andante and an Allegro for keyboard, were written down by Leopold, one of history’s proudest stage fathers, when Wolfgang was just fi ve years old. Even earlier, the boy had tried to write what he called a

concerto in his own system of notation, which as a family friend recalled, consisted mainly of a “smudge of notes, most of which were written over inkblots that he had rubbed out.” After 1761, music began to fl ow, with increasing frequency, from his little hands. Inevitably, however, despite Wolfgang’s astonishing talent—“Everyone whom I have heard says that his genius is incomprehen-sible,” Leopold wrote when his son was only six—many of the earliest works in his offi cial catalog are little more than child’s play.

Eventually, however, signs of Wolfgang’s true promise and unique, once-in-a-generation gift began to emerge. Of the fi rst three hundred numbers in Köchel’s famous catalog, most of them identifying compositions written before Mozart turned twenty-one, a handful of works stand out. K. 183, a remarkable symphony in G minor—his twenty-fi fth, according to the standard numbering—is the earliest of his symphonies to have found a place in the standard repertoire. K. 271, a piano concerto known as the Jeunnehomme, is the fi rst of Mozart’s land-mark pieces in that form that is still regularly played today. Th ere are other notable works from

these years—Exsultate, jubilate for soprano and orchestra; the Haff ner Serenade, the Turkish Violin Concerto—all of which have appeared on Chicago Symphony programs over the years.

W ith the exception of Mozart’s First Symphony (K. 16), the D major divertimento on this week’s

program is the earliest piece by Mozart the Chicago Symphony has performed. It is one of three works for strings written early in 1772. Th e sixteen-year-old Mozart may well have thought of them as string quartets—with one player per part—but, over the years, they have just as often been played by string orchestra, as they are this week. (Th e divertimento title apparently isn’t Mozart’s own.) Th e three works are also sometimes called “Salzburg sympho-nies,” but that too is misleading. In any case, they are the fi rst important works in which Mozart wrote for the classic combination of two violin parts with viola over a bass line. Th e Divertimento in D major, the fi rst in the set, has three movements: an energetic Allegro with an unusually fl orid fi rst violin part; a tender, graceful Andante; and an urgently paced fi nale with a showy, contrapuntal midsection.

It’s possible that this is one of the quartets Leopold off ered to the publishing house of Breitkopf and Härtel in February of 1772, with-out success. Th e prestigious Viennese company’s lack of interest in an untested teenage composer is hardly surprising. In fact, during Mozart’s life-time, only some 130 of the 626 works in Köchel’s catalog were printed and sold.

Comments by Phillip huscher


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Paul HindemithBorn November 16, 1895, Hanau, Germany.Died December 28, 1963, Frankfurt, Germany.

violin Concerto

ComPosed1939

fIrst PerformanCeMarch 4, 1940, Amsterdam

fIrst Cso PerformanCesOctober 28 & 29, 1948, Orchestra hall. Ruth Posselt as soloist, Pierre Monteux conducting

most reCent Cso PerformanCesnovember 15, 16 & 17, 1984, Orchestra hall. Mark Peskanov as soloist, Leonard Slatkin conducting

InstrumentatIonsolo violin, two fl utes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, percussion, strings


Paul Hindemith boasted, with complete justifi ca-tion, that he could play every instrument in the orchestra at least passably. But the violin was Hindemith’s fi rst instru-ment. As a child, he was given the violin to play, while his younger sister

Toni took up the piano and his brother Rudolf the cello. (Th e Hindemith children eventually played together as the Frankfurt Children’s Trio in villages and at social events.) Paul showed unusual promise, and, at the age of eleven, he began serious study, fi rst with the Swiss violinist Anna Hegner, and then with her teacher, Adolf Rebner, who was one of the best known and most highly regarded musicians in Frankfurt. Paul was soon admitted to the Hoch Conservatory, where Rebner taught. At the age of nineteen, he joined the Frankfurt Opera Orchestra (where he met the conductor Willem Mengelberg, who would later commission this violin concerto) and the following year, he became the second violinist in Rebner’s string quartet. Eventually, he was drawn to the idea of composing (his fi rst composition teacher at the Hoch Conservatory was Arnold Mendelssohn, a great-nephew of Felix), but Hindemith continued to perform as a violinist, playing both the Beethoven and Mendelssohn concertos—two of the most challenging works in the violin repertoire—in public. While he was in the army

during World War I, he formed a string quartet (he would always remember that the ensemble was playing Debussy’s quartet at the moment news of the composer’s death came over the radio). Later, he began to favor playing the viola, and it ultimately became his instrument of choice. But even after he had given up playing the violin in public, he agreed, on short notice, to take over the violin solo in the German premiere of Stravinsky’s Th e Soldier’s Tale in 1923.

N ot surprisingly, many of Hindemith’s fi rst compositions feature the violin prominently, including a very early

sonata for violin and piano, dating from 1912–13, that has been lost. Hindemith continued to write violin sonatas throughout his early career, including one composed in 1917, while he was serving in the German army, and another from 1924 that includes variations on a Mozart song for its fi nale. Th e fourth in his landmark series of Kammermusik, ensemble pieces for various com-binations of instruments, also composed in 1924, is scored for violin and a small orchestra—it is something of a study for the big-scale concerto performed this week. But Hindemith did not set out to write a full-fl edged violin concerto—the ultimate vehicle for the solo violin—until 1939.

T he 1930s were a diffi cult—and ulti-mately decisive—time for Hindemith.

Once the Nazis came to power in Germany in 1933, Hindemith was branded as a degenerate composer, largely because Hitler


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had walked out of a performance of Hindemith’s opera Neues vom Tage (News of the day), infu-riated by the sight of a soprano singing from her bathtub. “It is obvious that [it] shocked the Führer greatly,” Hindemith wrote to his publisher late in 1934. “I shall write him a letter . . . in which I shall ask him to convince himself to the contrary.” But, in the meantime, Joseph Goebbels spoke out publicly about the horror of modern composers “allowing naked women to appear on the stage in obscene scenes in a bathtub, making a mockery of the female sex.” Hindemith wasn’t mentioned by name, but the message was clear. He made a powerful statement on the value of art—and the role of the artist in society—in his 1935 opera Mathis der Maler, about the sixteenth-century German painter Mathias Grünewald, who was himself torn between his commitment to art and a life of political activism. That work, too, was attacked and eventually banned. After Hindemith figured prominently in the exhibition of Entartete Musik (Degenerate music) in 1938, he had little choice but to leave his native Germany for good.

H indemith composed his Violin Concerto while he was temporarily living in Switzerland in 1939, in self-imposed

exile. He had already tackled the central issues of writing a work for solo violin and orchestra with his chamber concerto, the Kammermusik no. 4. And, in 1930, he had even counseled Igor Stravinsky, who initially balked at the idea of writing a violin concerto—“but I am not a violinist!”—and turned to Hindemith for advice. Hindemith managed to convince Stravinsky that his lack of experience playing the violin would in fact allow him to “avoid a routine technique and would give rise to ideas which would not be sug-gested by the familiar movement of the fingers.” Reassured, Stravinsky proceeded. (His Violin Concerto, successfully premiered in Berlin in 1931, will be performed by Leila Josefewicz and the Chicago Symphony, conducted by Susanna Mälkki, later this month.) Then, nearly a decade later, Hindemith himself tackled the form and managed to create something original and fresh—and utterly devoid of the routine—despite an intimate, first-hand knowledge of the instru-ment matched by virtually no other composer.

Hindemith writes three movements in the traditional sequence, with slower music in the middle. The two outer movements are equally weighted in terms of size, substance, and signifi-cance (a concerto finale is often both slighter and lighter). The solo violin carries both movements, in music that dazzles with the complexity of its technical challenges at one point and then soars in magnificent flights of lyricism at others. The solo writing is expressive and highly personal, as if the essence of Hindemith’s own troubled life at the time was concentrated into a single violin line. The slow middle movement is the heart of the concerto. It is like a great dramatic monologue—aside from a very dramatic out-burst near the end, the orchestral writing here is particularly spare, the texture reminiscent of chamber music—and the violin seems to speak for Hindemith himself, an exile and a seeker at the pivotal time in his life.

A postscript about Hindemith and Chicago. Hindemith came to the United States for the first time in 1937, and he

returned in both 1938 and 1939. The letters he wrote home to his wife Gertrude reveal a man struggling to find his place—and a job—in a new world. On his first U.S. tour, he appeared as viola soloist in his Der Schwanendreher with mem-bers of the Chicago Symphony at the Chicago Arts Club. The next year, Hindemith made his American conducting debut with the CSO, lead-ing his Kammermusik no. 1 and the Symphonic Dances. In 1939, he returned to Chicago to attend a concert of his music given by University of Chicago students, but he didn’t appear with the Orchestra. During his visit, however, he met with CSO music director Frederick Stock, who asked him to write a piece for the Orchestra’s fiftieth anniversary, then two seasons away. “The specifics still need to be discussed,” Hindemith wrote to Gertrude in March. Hindemith began a piece for the Chicago Symphony’s anniversary—a kind of free fantasy, as he called it, on an old Virginian ballad about poor Lazarus and the rich man—but then abandoned it midway when he realized he had been so busy working on other scores that he couldn’t finish it in time. Hindemith’s score for Poor Lazarus was later published in its incomplete state.


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sergei Prokofi evBorn April 23, 1891, Sontsovka, Ukraine.Died March 5, 1953, Moscow, Russia.

suite from Romeo and Juliet

ComPosed1935, complete ballet

1936, two suites for orchestra

fIrst PerformanCeDecember 30, 1938, brno, Czechoslovakia (complete ballet)

fIrst Cso PerformanCesJanuary 21 & 22, 1937, Orchestra hall. The composer conducting (u.S. premiere of Suite no. 1)

most reCent Cso PerformanCesMay 5, 6 & 7, 2011, Orchestra hall. Riccardo Muti conducting (Suite)

August 5, 2011, Ravinia Festival. James Conlon conducting (Suite)

September 6, 2011; Grosser Musikvereinsaal, Vienna, Austria. Riccardo Muti conducting (Suite)

Cso reCordIngs1982. Sir Georg Solti. London (Suite)

InstrumentatIontwo fl utes and piccolo, two oboes and english horn, two clarinets and bass clarinet, tenor saxophone, two bassoons and contrabassoon, four horns, two trumpets and piccolo trumpet, three trombones and tuba, timpani, percussion, two harps, piano, celesta, strings


During Sergei Prokofi ev’s last trip to Chicago, in January 1937, he led the Chicago Symphony in selections from his new, still-unstaged ballet, Romeo and Juliet. Th is was the composer’s fi fth visit to Chicago, and he clearly felt at home: shortly after

he arrived in town, he sat down with a Tribune reporter and talked freely while eating apple pie at a downtown luncheonette. He was staying in the same hotel room where he had lived for several months during his Chicago visit in 1921, when he presided over preparations for the world premiere of his opera Th e Love for Th ree Oranges. He told the Tribune that his Romeo and Juliet featured the kind of “new melodic line” that he thought would prove to be the salvation of modern music—one, he said, that would have immediate appeal, yet sound like nothing written before. “Of all the moderns,” the Herald Examiner critic wrote after hearing Romeo and Juliet later in the week, “this tall and boyish Russian has the most defi nite gift of melody, the most authentic contrapuntal technic [sic], and displays the subtlest and most imaginative use of dissonance.”

Chicago was the fi rst American city to hear music from Romeo and Juliet (following recent performances in Moscow and Paris), and, not

for the only time in Prokofi ev’s career, orchestral excerpts were premiered before the ballet itself had been staged. Th e idea for a ballet version of the Shakespeare play came from the director Sergei Radlov, who was a friend of Prokofi ev and had mounted the fi rst Russian production of Th e Love for Th ree Oranges. He and Prokofi ev worked together to fl esh out a scenario early in 1935, and the composer began to write the music that summer. But the Kirov Ballet, which had commissioned the work, unexpectedly backed out, and the Bolshoi Th eater took over the proj-ect. Th ere were further problems with the score itself, including Prokofi ev’s initial insistence on a happy ending—“Living people can dance,” he later wrote in defense of the decision, “but the dead cannot dance lying down.” Th e end was ultimately changed to match Shakespeare’s, but then the Bolshoi staff pronounced Prokofi ev’s music “unsuitable to dance” and dropped out as well. Th e premiere of Romeo and Juliet eventually was given in Brno, Czechoslovakia, without Prokofi ev’s participation (he didn’t attend the opening in December 1938) and the ballet wasn’t staged in Russia until January 1940. In the meantime, Prokofi ev made two orchestral suites of seven excerpts each, and it was the fi rst of these that he conducted in Chicago. (At this week’s concerts, Riccardo Muti conducts selections from both of these suites.)

Although no other play by Shakespeare has inspired as many musical treatments as Romeo


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and Juliet, including more than twenty operas (Gounod’s, which the teenage Prokofiev saw in Saint Petersburg, is the most enduring), Prokofiev’s is the first large-scale ballet. It’s one of his most important works, merging the primi-tive style of his radical earlier music, a newfound classicism, and the sumptuous lyricism of which he was so proud.

T his week’s excerpts begin with Montagues and Capulets—menacing music to depict the warring families,

introduced by the prince’s powerful order to preserve peace. The opening chords, which seem to grow in intensity to the breaking point, set a tone of sorrow and inevitable tragedy. The big ominous marching theme, later discovered by the television advertising industry, was originally the Dance of the Knights from the act 2 ballroom scene. The centerpiece of the movement, with its lovely flute solo, is Juliet’s dance with Paris—the moment Romeo catches his first glimpse of the

girl who will quickly steal his heart. In the more fully sketched portrait of the young girl that follows, we are reminded that she is an innocent thirteen-year-old, capricious and playful, and (in the midsection flute duet) eager for romance.

ProkofIev and CHICago

in the summer of 1917, Chicago businessman Cyrus McCormick, Jr., the farm machine magnate, met the twenty-six-year-old composer Sergei Prokofiev while on a business trip to Russia. Prokofiev was unknown to McCormick, but the composer recog-nized the distinguished American’s name at once, because the estate his father had managed owned several impressive international harvester machines. McCormick expressed an interest in the composer’s new music, and he eventually agreed to pay for the printing of his unpublished Scythian Suite. he also encouraged Prokofiev to come to the united States, and asked him to send some of his scores to Chicago Symphony music director Frederick Stock. McCormick wrote to Stock at once, saying that Prokofiev “would be glad to come to Chicago and bring some of his symphonies if his expenses were paid. but not knowing myself the value of his music, i did not feel justified in taking the risk of bringing him here.” After Stock received Prokofiev’s scores, he replied to McCormick: “There is no

question in my mind as to the talent of young Serge.” Although Stock at first doubted that it was feasible to bring the Russian composer to the u.S. right away, Prokofiev (or Prokofieff, as the u.S. press spelled his name at the time) made his debut with the Chicago Symphony the following season, playing his First Piano Concerto under eric DeLamarter’s baton, and conducting the Orchestra himself in his Scythian Suite in Orchestra hall in December 1918, both u.S. premieres.

“The appearance here of the young Russian, Serge Prokofieff, at the Chicago Symphony Orchestra concert was the most startling and, in a sense, important musical event that has happened in this town for a long time,” wrote henriette weber in the Herald and Examiner. “Personally he is middle-sized and blond, somewhat gangling about the arms and shoulders, and entirely business-like in demeanor,” reported the Journal. “his business is his music, while he is on the stage, and he would seem to resent even the time that it takes to bow.” The music itself caused quite a stir. “Russian

Genius Displays weird harmonies” was the headline in the American. “The music was of such savagery, so brutally barbaric,” henriette weber wrote, “that it seemed almost grotesque to see civilized men, in modern dress with modern instruments performing it. by the same token it was big, sincere, true.” The public loved it. “every man and woman there reacted to it,” weber continued, “and Prokofieff was given a thundering ovation that at least in a slight degree expressed the tumultu-ous emotions he inspired.”

Prokofiev returned to Chicago four more times. in 1921, he oversaw the world premieres of his Piano Concerto no. 3, which he played in Orchestra hall on December 16, and his opera, The Love for Three Oranges, which was staged by the Chicago Opera at the Auditorium Theatre on the thirtieth. (The Chicago Symphony also played Prokofiev’s Classical Symphony for the first time that month.) his last visit, in 1937, introduced Romeo and Juliet.

—P.H.

A publicity shot of Prokofiev posing with a pipe in a Chicago hotel room, 1918


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The Madrigal—a mixture of serenade and lilt-ing party music—sets the scene in the Capulets’ ballroom; the Minuet is stately entrance music for their guests. With the furtive, shifty Masks, Romeo appears at the Capulets (with his fellow Montagues, Mercutio and Benvolio) in full masquerade. The music perfectly captures both the nervousness and boldness of their entry into hostile territory. Next comes the balcony scene—passionate and tender, richly lyrical, and one of the most rapturous moments in all ballet. This is spacious, magically scored night music, under-lined by the melancholy cut of Prokofiev’s grand, floating melodies.

The Death of Tybalt, by contrast, is tightly packed with incident and action, almost cin-ematic in the way it compresses events into a short time. In comments written in his score, Prokofiev characterized both the high-bravado duel between Tybalt and Mercutio (“they look at each other like two fighting bulls; blood is boiling”) and the subsequent encounter between Romeo and Tybalt, who “fight wildly, to the death.” Fifteen powerful, hammering chords tell of Tybalt’s fate. Prokofiev concludes with Tybalt’s funeral procession over a pounding ostinato.

Friar Laurence, waiting to marry the lovers in his cell, is depicted by a solo bassoon with strings. A haunting flute solo over shimmer-ing strings—“It was the lark, the herald of the morn,” in Shakespeare (act 3, scene 5)—introduces Romeo and Juliet’s final moments together. This scene recapitulates the many facets of their romance, and it is filled not only with recollected passion but also, in its oddly halting final pages, with the inevitability of their parting.

Romeo at Juliet’s Tomb is a lament—a tragic march of power and intensity, and, when it’s overpowered by the lovers’ theme, great poi-gnancy. This is the music that was played at Prokofiev’s funeral (oddly paralleling the fate of Fauré and Melisande’s death scene) on a tape recorder because all of Moscow’s musicians had been tapped for the funeral of Stalin, who had died at the same hour on the same day as the composer.

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


39A

The Chicago Symphony Orchestra Association thanks

CIndY sargent

for her generous support of these performances.


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riccardo muti Conductor

Riccardo Muti, born in Naples, Italy, is one of the preeminent conductors of our day. In 2010, when he became the tenth music director of the world-renowned Chicago Symphony Orchestra (CSO), he had more than forty years of experience

at the helm of the Maggio Musicale Fiorentino in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, and the Teatro alla Scala in Milan. He continues to be in demand as a guest conductor for other great orchestras and opera houses: the Berlin Philharmonic, the Vienna Philharmonic, the Bavarian Radio Symphony Orchestra in Munich, the Vienna State Opera, the Royal Opera House in London, the Metropolitan Opera in New York City, and many others. He also is honorary director for life of the Rome Opera.

Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella in his hometown of Naples, graduating with distinc-tion. He subsequently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan, where his principal teachers were Bruno Bettinelli and Antonino Votto. After winning the Guido Cantelli Conducting Competition—by unanimous vote of the jury—in Milan in 1967, his career developed quickly. In 1968, he became principal conductor of Florence’s Maggio Musicale, a position that he held until 1980.

Herbert von Karajan invited him to conduct at the Salzburg Festival in Austria in 1971, and Muti has maintained a close relationship with the summer festival and with its great orchestra, the Vienna Philharmonic, for more than forty years. When he conducted the philharmonic’s 150th anniversary concert in 1992, he was presented with the Golden Ring, a special sign of esteem and aff ection, and in 2001, his outstand-ing artistic contributions to the orchestra were further recognized with the Otto Nicolai Gold Medal. He is an honorary member of Vienna’s

Gesellschaft der Musikfreunde (Society of the Friends of Music), the Vienna Hofmusikkapelle, the Vienna Philharmonic, and the Vienna State Opera.

Muti succeeded Otto Klemperer as chief conductor and music director of London’s Philharmonia Orchestra in 1973, holding that position until 1982. From 1980 to 1992, he was music director of the Philadelphia Orchestra, and in 1986, he became music director of Milan’s Teatro alla Scala. During his nineteen-year tenure, in addition to directing major projects such as the Mozart–Da Ponte trilogy and Wagner Ring cycle, Muti conducted operatic and symphonic repertoire ranging from the baroque to the contemporary, also leading hundreds of concerts with the Filarmonica della Scala and touring the world with both the opera company and the orchestra. His tenure as music director, the longest of any in La Scala’s history, culmi-nated in the triumphant reopening of the restored opera house with Antonio Salieri’s Europa rico-nosciuta, originally commissioned for La Scala’s inaugural performance in 1778.

Th roughout his career, Muti has dedicated much time and eff ort to young musicians. In 2004, he founded the Orchestra Giovanile Luigi Cherubini (Luigi Cherubini Youth Orchestra), and he completed a fi ve-year project with this group to present works of the eighteenth-century Neapolitan School at the Salzburg Whitsun Festival in 2011.

Muti has demonstrated his concern for social and civic issues by bringing music as a gesture of unity and hope to such places as hospitals, prisons, and war-torn and poverty-stricken areas around the world. As part of Le vie dell ’Amicizia (Th e paths of friendship), a project of the Ravenna Festival in Italy, he has con-ducted friendship concerts in Sarajevo, Beirut, Jerusalem, Moscow, Yerevan, Istanbul, New York, Cairo, Damascus, El Djem, Meknès, Mazara del Vallo, L’Aquila, Trieste, and Nairobi. He has served as a Goodwill Ambassador for UNHCR, the United Nations Refugee Agency.

Muti has received innumerable international honors. He is a Cavaliere di Gran Croce of

ProfIles


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the Italian Republic, Officer of the French Legion of Honor, and a recipient of the German Verdienstkreuz. Queen Elizabeth II bestowed on him the title of honorary Knight Commander of the British Empire, Russian President Vladimir Putin awarded him the Order of Friendship, and Pope Benedict XVI made him a Knight of the Grand Cross, First Class of the Order of Saint Gregory the Great—the highest papal honor. Muti also has received Israel’s Wolf Prize for the arts, Sweden’s prestigious Birgit Nilsson Prize, Spain’s Prince of Asturias Award for the Arts, and the gold medal from Italy’s Ministry of Foreign Affairs for his promotion of Italian culture abroad. He has received more than twenty honorary degrees from universities around the world.

Riccardo Muti’s vast catalog of recordings, numbering in the hundreds, ranges from the traditional symphonic and operatic repertoires to contemporary works. His debut recording with the Chicago Symphony Orchestra and Chorus of Verdi’s Messa da Requiem, released in 2010 by CSO Resound, won two Grammy awards.

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

During his time with the CSO, Muti has won over audiences in greater Chicago and across the globe through his extraordinary music making as well as his demonstrated commitment to sharing classical music. His first annual free concert as CSO music director attracted more than 25,000 people to Millennium Park. He regularly invites subscribers, students, seniors, and people of low incomes to attend, at no charge, his CSO rehearsals. Maestro Muti’s commitment to artistic excellence and to creating a strong bond between an orchestra and its communities con-tinues to bring the Chicago Symphony Orchestra to ever higher levels of achievement and renown.

www.riccardomuti.comwww.riccardomutimusic.com

RICCARDO MUTI’S FIRST CSO RECORDING!

VERDI MESSA DA REQUIEMCHICAGO SYMPHONY ORCHESTRARICCARDO MUTIBARBARA FRITTOLI/OLGA BORODINAMARIO ZEFFIRI/ILDAR ABDRAZAKOVCHICAGO SYMPHONY CHORUS

GRAMMY® AWARD WINNING!

Winner of

Best Classical Album

and

Best Choral Performance

CSO Resound is underwritten by a generous gift from Mr. & Mrs. Ralph Smykal.


See page 20 for information on the CSO & Riccardo Muti’s newest recording, Verdi’s Otello.

Available at Symphony Center, in retail stores, at cso.org/resound, and on iTunes: https://bit.ly/itunesReqCSO.


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The Chicago Symphony Orchestra is grateful to

Bank of amerICa

for its generous support as the

Global Sponsor of the CSO.


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robert Chen Violin

Robert Chen has been concertmaster of the Chicago Symphony Orchestra since 1999. During his years as the CSO concertmaster, he has been featured as soloist with Daniel Barenboim, Pierre Boulez, Bernard Haitink,

Christoph Eschenbach, Charles Dutoit, Ton Koopman, and James Conlon. He gave the CSO premiere of György Ligeti’s Violin Concerto, Elliott Carter’s Violin Concerto, and Witold Lutosławski’s Chain Two, as well as the world premiere of Augusta Read Th omas’s Astral Canticle. He closed the Chicago Symphony Orchestra’s 2011–12 season as soloist in Paganini’s First Violin Concerto with Riccardo Muti conducting.

In addition to his duties as concertmaster, Chen enjoys a solo career that includes perfor-mances with the Los Angeles Philharmonic, Swedish Radio Orchestra, Moscow Philharmonic, New Japan Philharmonic, NDR Orchestra of Hanover, and the Bournemouth Symphony, collaborating with conductors such as Esa-Pekka Salonen, Manfred Honeck, Pavel Kogan, and Andreas Delfs.

An avid chamber musician, Chen has per-formed with Daniel Barenboim, Itzhak Perlman, Pinchas Zukerman, Yo-Yo Ma, Lang Lang, Christoph Eschenbach, Myung-Whun Chung, Emanuel Ax, Lynn Harrell, and János Starker. A frequent participant at numerous festivals

including the Aspen Music Festival, Santa Fe Music Festival, La Jolla Chamber Music Festival, and the Schloss Moritzburg Festival, he also has toured extensively with Musicians from Marlboro and is a founding member of the Johannes Quartet.

Prior to joining the CSO, Robert Chen won fi rst prize in the Hanover International Violin Competition. As part of that prize, he recorded Tchaikovsky’s complete violin works for the Berlin Klassics label.

A native of Taiwan, Robert Chen began his violin studies at the age of seven. He continued his studies with Robert Lipsett when he and his family moved to Los Angeles in 1979. While in Los Angeles, he participated in Jascha Heifetz’s master classes. Chen received both bachelor’s and master’s degrees in music from the Juilliard School, where he was a student of Dorothy DeLay and Masao Kawasaki.

In his free time, he enjoys relaxing at home with his wife Laura and two children, Beatrice and Noah.

fIrst Cso PerformanCesJune 25, 2000. Ravinia Festival. Saint-Saëns’s The Muse and the Poet (with Yo-Yo Ma). Christoph eschenbach conducting

november 30, December 1, 2 & 3, 2000. Orchestra hall. Mozart’s Violin Concerto no. 4. Daniel barenboim conducting

most reCent Cso PerformanCesDecember 6, 7, 8 & 9, 2012. Orchestra hall. barber’s Violin Concerto. Vasily Petrenko conducting

January 25, 2013; Chiang Kai-Shek national Concert hall, Taipei, Taiwan. Mendelssohn’s Violin Concerto. Osmo Vänskä conducting


43

CHICago sYmPHonY orCHestra assoCIatIon

Now in its 123rd season, the Chicago Symphony Orchestra (CSO) is consistently hailed as one of the greatest orchestras in the world. Its music director since 2010 is Riccardo Muti, one of the preeminent conductors of our day.

Since its founding by Theodore Thomas in 1891, the CSO has been led by illustrious music directors. Thomas was followed by Frederick Stock, Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim. From 2006 to 2010, Bernard Haitink was principal conductor, the first in CSO history. The venerable Pierre Boulez was appointed principal guest conduc-tor in 1995 and was named Helen Regenstein Conductor Emeritus in 2006.

The musicians of the CSO annually perform more than 150 concerts, most at Symphony Center in Chicago and, since 1936, at the suburban Ravinia Festival each summer. Many performances include the Chicago Symphony Chorus, led by chorus director and conductor Duain Wolfe.

The CSO also performs in other U.S. cities and frequently tours internationally. Beginning in 1892 with a tour to Canada, the Orchestra has performed in twenty-eight countries on five continents. Since 1971, the CSO has toured Europe thirty times, most recently visiting Italy and Russia in 2012. The Orchestra has traveled to Asia seven times—most recently in 2013—and once each to Australia and South America. In 2012, the CSO toured in Mexico for the first time. Whether at home or on tour, tickets are always in high demand and frequently sold out.

The CSO’s Mead Composers-in-Residence currently are Mason Bates and Anna Clyne. They curate the CSO’s contemporary music series, MusicNOW, whose principal conductor is Cliff Colnot. Another innovative series, Beyond the Score, weaves together theater, imagery, and music to draw new audiences into the live concert hall.

The Orchestra and Chorus are part of the Chicago Symphony Orchestra Association (CSOA). In 2007, the CSOA founded a record label, CSO Resound. The label builds on the CSO’s long history of commercial recording, which began in 1916, and which has been instru-mental in creating the Orchestra’s worldwide

following. The label’s release of Verdi’s Requiem by the Orchestra and Chorus—Muti’s first with the CSO—won two Grammy awards in 2011. In total, CSO recordings have earned sixty-two Grammys. International audiences also enjoy the CSO and Chorus through the CSO Radio Broadcast Series, a weekly broadcast to more than three hundred markets nationwide on the WFMT Radio Network and on cso.org.

In addition to presenting the Orchestra and Chorus, the CSOA—under the banner of a series called Symphony Center Presents—offers dozens of concerts each year featuring prestigious guest artists of classical, jazz, pop, world, and contemporary music

Annually, the CSOA engages more than 200,000 children, teens, and adults of diverse incomes and backgrounds in the programs of its Institute for Learning, Access and Training. These include concerts for children, programs for teachers and community groups, and low-cost and free rehearsals and performances, including a free annual community concert by the CSO led by Maestro Muti. The Institute also includes the Civic Orchestra of Chicago, the only training ensemble for young adult preprofessionals affili-ated with a major American orchestra.

All Institute programs are based on the concept of Citizen Musicianship, using and promoting the power of music to contribute to our culture, our communities, and the lives of others. Celebrated cellist Yo-Yo Ma has been the CSOA’s Judson and Joyce Green Creative Consultant since 2010. He provides vision and leadership to the Citizen Musician Initiative and serves as a partner to Maestro Muti and Deborah F. Rutter, president of the CSOA since 2003.

A nonprofit charitable organization, the CSOA is governed by a board of trustees, now chaired by Jay L. Henderson. Tens of thou-sands of subscribers and donors support the CSOA, along with thousands of volunteers through the CSOA’s Auxiliary Volunteers program, Governing Members Association, Latino Orchestra Alliance, League of the CSO, Overture Council, and Women’s Board.

www.cso.org


44

CHICago sYmPHonY orCHestra rICCardo mutI Music Director

Pierre Boulez helen Regenstein Conductor emeritusYo-Yo ma Judson and Joyce Green Creative Consultantduain Wolfe Chorus Director and Conductormason Bates, anna Clyne Mead Composers-in-Residence

vIolInsRobert Chen

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

Stephanie JeongAssociate ConcertmasterCathy and Bill Osborn Chair

David TaylorYuan-Qing Yu

Assistant Concertmasters*So Young baeCornelius ChiuAlison DaltonGina DibelloKozue FunakoshiRussell hershowQing hounisanne howellblair MiltonPaul Phillips, Jr.Sando ShiaSusan SynnestvedtRong-Yan Tangbaird Dodge

PrincipalSylvia Kim Kilcullen

Assistant PrincipalLei houni MeiFox Fehlinghermine GagnéRachel GoldsteinMihaela ionescuMelanie Kupchynskywendy Koons MeirAiko nodaJoyce nohnancy ParkRonald SatkiewiczFlorence Schwartz-LeeJennie wagner

vIolasCharles Pikler

PrincipalLi-Kuo Chang

Assistant PrincipalThe Louise H. Benton Wagner Chair

John bartholomewCatherine brubakerDiane MuesLawrence neumanYukiko OguraDaniel OrbachMax Raimiweijing wangThomas wright†

CellosJohn Sharp

PrincipalThe Eloise W. Martin Chair

Kenneth OlsenAssistant PrincipalThe Adele Gidwitz Chair

Karen basrakLoren brownRichard hirschlDaniel KatzKatinka KleijnJonathan PegisDavid SandersGary Stuckabrant Taylor

BassesAlexander hanna

PrincipalThe David and Mary Winton Green Principal Bass Chair

Daniel ArmstrongRoger ClineJoseph DibelloMichael hovnanian†Robert KassingerMark KraemerStephen Lesterbradley Opland

HarPsSarah bullen

PrincipalLynne Turner

flutesMathieu Dufour

PrincipalThe Erika and Dietrich M. Gross Chair

Richard GraefAssistant Principal

Louise DixonJennifer Gunn

PICColoJennifer Gunn

oBoeseugene izotov

PrincipalThe Nancy and Larry Fuller Chair

Michael henochAssistant PrincipalGilchrist Foundation Chair

Lora SchaeferScott hostetler

englIsH HornScott hostetler

ClarInetsStephen williamson§

PrincipalJohn bruce Yeh

Assistant PrincipalGregory SmithJ. Lawrie bloom

e-flat ClarInetJohn bruce Yeh

Bass ClarInetJ. Lawrie bloom

BassoonsDavid McGill

Principalwilliam buchman

Assistant PrincipalDennis MichelMiles Maner

ContraBassoonMiles Maner

HornsDaniel Gingrich

Acting PrincipalJames SmelserDavid GriffinOto CarrilloSusanna Gaunt

trumPetsChristopher Martin

PrincipalThe Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor

Mark RidenourAssistant Principal

John hagstromTage Larsen

tromBonesJay Friedman

PrincipalMichael MulcahyCharles Vernon

Bass tromBoneCharles Vernon

tuBaGene Pokorny

PrincipalThe Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

tImPanIDavid herbert

PrincipalVadim Karpinos

Assistant Principal

PerCussIonCynthia Yeh

PrincipalPatricia DashVadim KarpinosJames Ross

PIanoMary Sauer

Principal

lIBrarIansPeter Conover

PrincipalCarole KellerMark Swanson

orCHestra PersonnelJohn Deverman

DirectorAnne MacQuarrie

Manager, CSO Auditions and Orchestra Personnel

stage teCHnICIansKelly Kerins

Stage ManagerDave hartgeJames hoganChristopher LewisPatrick ReynoldsTodd SnickJoe Tucker

*assistant concertmasters are listed by seniority.

†On sabbatical

§On leave

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


44A

The Chicago Symphony Orchestra is grateful to

unIted aIrlInes

for its generous support.


45

Chicago Symphony Orchestra Association Board of trustees

offICers (2012–13)Jay L. henderson

ChairmanFrank M. Clark

Vice ChairmanJoyce T. Green

Vice ChairmanRobert A. Kohl

Vice ChairmanJane DiRenzo Pigott

Vice ChairmanFrederick h. waddell

Vice ChairmanDeborah F. Rutter*

PresidentScott C. Smith

TreasurerKaren Rahn

Secretary of the boardisabelle Goossen

Assistant TreasurerKaren Lewis Alexander

Vice President for DevelopmentThe honorable Patrick J. Quinn

honorary ChairmanThe honorable Rahm emanuel

honorary Chairman

HonorarY trusteesThe honorable Richard M. DaleyLady Valerie Solti

trusteeswilliam Adams iVDouglas J. badewayne D. bobergLaurence O. boothKay bucksbaumLeslie henner burns*Gregory C. CaseFrank M. Clarkbruce e. ClintonRichard ColburnDaniel J. DohertyCharles DouglasTimothy A. Duffy*Rick FezellMark D. GersteinJoseph b. GlossbergRichard C. GodfreyThomas M. GoldsteinMary Louise GornoJoyce T. GreenMary winton GreenJoseph A. GregoireAnne Dias GriffinDietrich GrossDavid P. hackettJohn h. hartJay L. hendersonSusan R. Kiphart

Robert KohlJoseph A. KonenJosef LakonishokPatty LaneSusan C. LevyJohn LivingstonJohn F. ManleyLing Z. MarkovitzAlan R. MayPeter D. McDonaldAlfred L. McDougalMark G. McGrathDavid e. McneelChristopher MelvinSylvia neilJose Luis PradoJohn M. PrattDr. irwin Pressw. Robert ReumAlexander i. RorkeJerry Roseburton X. Rosenbergearl J. Rusnak, Jr.Deborah F. Rutter*Alejandro Silvawalter Snodellelizabeth Stein*Russ M. Strobelhugh D. Sullivannasrin ThiererPenny Van hornwilliam A. Von hoene, Jr.Frederick h. waddelleric e. whitaker, M.D., M.P.h.Paul wigginhelen Zell

lIfe trusteesJames L. AlexanderMrs. Robert A. beattyMarshall bennettMelvyn bergsteinArnold M. berlinwilliam G. brownMatthew bucksbaumDean L. buntrockRobert n. burtRichard h. CooperJames S. CrownMrs. Robert CrownAnthony T. DeanJohn A. edwardsonSidney epsteinThomas J. eyermanJames b. FadimDavid w. Fox, Sr.Richard J. FrankeCyrus F. Freidheim, Jr.h. Laurance FullerMrs. Robert w. GalvinPaul C. Gignilliat

william A. Goldsteinhoward L. GottliebMrs. Richard h. GottliebChester A. GougisRichard GrayJoan w. harrisThomas C. heagyDebora de hoyosMrs. Roger b. hullJudith w. istockwilliam R. JentesPaul R. JudyRichard b. KapnickDonald G. Kempf, Jr.George D. KennedyMrs. John C. KernJohn A. KotenFred A. KrehbielCharles Ashby Lewiseva F. LichtenbergJohn S. LillardDonald G. LubinJames w. MabieR. eden MartinArthur C. MartinezJudith w. McCueLester h. McKeevernewton n. MinowJohn D. nicholsJames J. O’Connorwilliam A. OsbornMrs. Albert PawlickJane DiRenzo PigottRichard PigottMrs. neil K. QuinnJohn M. RichmanJohn w. Rogers, Jr.Frank A. RossiCynthia M. SargentJohn R. Schmidtirving Seaman, Jr.Thomas C. Sheffield, Jr.Rita SimóScott C. SmithRobert C. Spoerriwilliam C. SteinmetzCarl w. SternRichard J. SternRoger w. Stonewilliam h. StrongLouis C. Sudler, Jr.Richard L. ThomasPeggy Y. ThomsonRichard P. ToftCharles A. TribbettJames weiss

*ex officio trustee


46

Chicago Symphony Orchestra Association governIng memBers

governIng memBers exeCutIve CommIttee (2012–13)R. John Aalbregtse

ChairmanTimothy A. Duffy

Vice Chairman of the Annual Fund & Chairman elect

Jared KaplanVice Chairman of nominations & Membership

Jean e. PerkinsVice Chairman of Member engagement

governIng memBers (2012–13)Anonymous (2)Dora J. AalbregtseR. John AalbregtseDuffie A. AdelsonKaren Lewis AlexanderDan AndersonMegan P. AndersonMichael AndersonMrs. Ruth T. AndersonMychal P. AngelosDr. edward L. ApplebaumVernon Armourbob ArthurMrs. Donald L. AsherDr. Carey AugustMs. Kaye b. AurigemmaMarta holsman babsonMara Mills BarkerM. Z. barnesSolomon barnettMrs. harold barronRoger S. BaskesJeff bauerRobert h. baumRobert A. Beatty, M.D.Mrs. Tamara beelerS. Celine BendyEdward H. Bennett IIIMrs. Marshall BennettMrs. James F. BeréMeta S. bergerD. Theodore berghorstAnn R. berlinPhyllis berlinRobert L. Berner, Jr.John A. biekhelaine A. billingsTomás BissonnetteMrs. Judith blauMr. Merrill blauDr. Phyllis C. BleckMrs. Ted C. BlochMrs. George BodeenMrs. Suzanne borlandJames G. borovskyJames h. bowhayJohn D. BramsenRoderick branchPaul A. branstadMrs. S. Powell bridgesCharles M. brockMrs. Roger O. BrownMrs. William G. BrownJohn D. brubaker Mr. Robert brumbaughPatricia M. bryanSamuel buchsbaumRobert J. bufordMrs. Dean L. BuntrockDr. Sharon burkeLeslie henner burnsLynn C. Burtelizabeth nolan buzard

Lutgart CalcoteMarion A. CameronThomas CampbellDr. Michael J. Carbonwendy Alders CartlandMrs. Laurence A. Cartonbess CelioMrs. hammond ChaffetzMrs. Henry T. ChandlerMrs. William C. ChildsFrank Cicero, Jr.Mitchell CobeyMarcia S. CohnRobin Tennant ColburnMrs. Jane b. ColmanMrs. Earle M. Combs IIIPatricia Coxbeatrice G. CrainMrs. William A. CraneMari hatzenbuehler CravenDewey B. CrawfordMr. Richard CremieuxRebecca E. CrownDr. John CsernanskyChristopher L. CulpMrs. Robert J. DarnallDr. Tapas K. Das GuptaDr. Kay DebsMr. Duane M. DesParteJanet wood DiederichsPaul DixMrs. William F. DooleySara L. DowneyDr. David DranoveTimothy A. DuffyDr. George DuneaMr. Frank A. Dusek, CPAMrs. Charles M. DykemaLouis M. ebling iiiMrs. Arthur EdelsteinMr. Richard EldenMrs. Richard eldenKathleen h. elliottMrs. Samuel H. EllisMr. Charles emmons, Jr.Joseph R. enderCynthia G. eslerDr. Marilyn D. EzriMelissa Sage Fadimwilliam F. FarleyJoe FeldmanMrs. Signe L. FergusonMr. Rajiv Fernandoharve A. FerrillMrs. Wayne J. FickingerMs. Constance FillingDaniel FischelMrs. Adrian Radmore FosterRhoda Lea FrankMrs. Zollie S. FrankMr. Paul e. FreehlingMrs. Cyrus F. Freidheim, Jr.Mr. Philip M. FriedmannDr. Jorge GalanteLois C. GallagherMalcolm GaynorLynn GendlemanDr. Mark GendlemanRabbi Gary S. GersonIsak V. GersonDr. bernardino GhettiMrs. Willard GidwitzMrs. Paul C. GignilliatJerome GilsonJohn GiuraMr. James J. GlasserJonathan W. GlossbergMrs. Madeleine GlossbergMrs. Judy GoldbergMrs. MaryAnne Goldberg

Alfred G. GoldsteinAnne GoldsteinJerry A. GoldstoneMarcia GoltermannMrs. william M. Goodyear, Jr.Carol Renshaw GrantMary L. GrayJoyce GreeningDr. Jerri GreerJacalyn GronekJohn P. GrubeJames P. GruseckiJoel R. Guillory, Jr., M.D.Dr. John W. Gustaitis, Jr.Mrs. William N. GuthrieGary GuttingLynne R. HaarlowMrs. ernst A. häberliJerry A. hallJoan M. hallDr. howard halpernMadeline HalpernAnne Marcus hamadaJoel L. handelmanJohn M. hardMrs. William A. HarkMrs. Caryn HarrisMr. King HarrisJames W. Haughbonnie S. hawkinsThomas HaynesMrs. Joseph Andrew HaysLynne heckmanPatricia Herrmann HeestandMrs. Mary Mako helbertBob HelmanDr. Arthur herbstMarlene Kovar hershSeymour i. “Sonny” hershJeffrey w. hesseMrs. Thea Flaum hillMrs. Mary P. HinesJoan hoatsonwilliam J. hokinWayne J. Holman IIIMr. Richard S. holson iiiFred H. HolubowMr. James D. holzhauerJanice L. HonigbergJoel D. HonigbergMrs. Nancy A. HornerMrs. Arnold horween, Jr.Frances G. HorwichMrs. Peter H. HuizengaGregory w. hummelMr. Christopher huntCraig T. ingramVerne G. istocknancy witte JacobsMichael A. JaniszewskiDr. Todd Janusbrooke D. Jensenbenetta P. JensonJustine D. JentesMrs. William R. Jentesbrian JohnsonMrs. Clarence E. JohnsonGeorge E. JohnsonKathryn JohnsonStephanie D. JonesMr. edward T. JoyceLoretta JulianDr. Christopher E. Kalmuseric KalninsMrs. Carol K. KaplanMs. Dolores Kohl KaplanJared KaplanClaudia Norris KapnickDr. Marc S. KarlanJohn A. Karoly

Mrs. Byron C. Karzasbarry D. KaufmanJudy KaufmanKenneth KaufmanMarie KaufmanDon KaulMrs. Susie Forstmann KealyMarilyn M. KeilMolly KellerGaynor KelleyNancy KempfGerould Kern John C. KernMr. william K. Ketchumelizabeth i. KeyserMary ellen KeyserRichard L. KeyserRichard KiphartCarol evans KlenkMrs. harriet KoehlerMr. henry L. Kohn, Jr.evangel KokkinoSanfred KoltunMrs. Judith KonenF. Maximilian KortDr. Mark KozloffDr. Michael KrcoMarybeth KretzSusan KruppDr. Vinay KumarRubin KuznitskyMr. James R. LancasterMrs. Samuel T. Lawton, Jr.*Mrs. Gerald R. LanzDr. John G. Leaseian Keun-Young LeePatricia LeePhillip Lehrmaneleanor LeichenkoJeffrey LennardMarc LevinLaurence h. LevineDr. edmund J. LewisDr. Gregory M. LewisDr. Philip R. LiebsonMrs. Robert R. LipskyMrs. Patricia M. LivingstonMr. John S. Lizzadro, Sr.James R. LoewenbergRenee LoganAmy LubinMrs. Barry L. MacLeanJames MacLennanDr. Michael S. MalingRobert L. Marth, Jr.Patrick A. MartinJames MatsonMarianne MayerHoward M. McCue IIIDr. James L. McGeeDr. John P. McGee IIMrs. Lester H. McKeeverJohn A. McKennaMrs. Donna McKinneyMrs. C. Bruce McLaganMrs. James M. McMullanJames edward McPhersonPaul A. MeisterMr. Egon J. Menkeredwin S. MillsMrs. Newton N. MinowDr. Toni-Marie MontgomeryDr. emilie MorphewMrs. William L. MorrisonChristopher MorrowDr. Virginia MullinClare MuñanaMr. herbert F. MunstermanDaniel R. Murrayeileen M. Murray


47

Mrs. Ray E. Newton, Jr.edward A. nieminenDr. Zehava L. noahKenneth R. NorganMrs. Richard M. nortonMartha C. NussbaumShelley OchabMrs. James J. O’Connornancy O’Donnelleric OesterleMrs. norman L. OlsonJoy O’MalleyThomas b. OrlandoMr. Gerald A. OstermannJames J. O’Sullivan, Jr.bruce L. OttleyMrs. Richard C. OughtonRaymond ParmerTimothy J. PatenodeSusan PattenMrs. Richard S. PepperMs. Jean PerkinsMr. Michael A. PerlsteinMr. Seymour h. PerskyDr. william Peruzziellard Pfaelzer, Jr.Mrs. Thomas F. PickStanley M. PillmanVirginia Johnson PillmanMrs. Theodore Pincusbetsey n. PinkertRobert PinkertCurt G. Pinnell, Jr.harvey R. PlonskerMr. Michael PopeCarol PrinsCOL IL J.N. Pritzker IL ARNG (Ret.)Gordon S. PrussianLisa A. RadandtMs. Diana M. RaunerSusan RegensteinMary Thomson RennerMerle ReskinBurton R. RissmanJ. Timothy RitchieCharles T. RivkinMr. John h. Robertsbob Rogers

Mr. harry J. RoperMrs. Sheli Z. RosenbergDr. Ricardo RosenkranzMrs. Ben Jay RosenthalMr. Russ w. RosenzweigH. Jay Rothenberg, M.D.norman J. RubashRoberta h. RubinMrs. Myron RubnitzSandra K. RusnakMary RyanMrs. Patrick G. RyanRichard O. Ryanwilliam RyanMrs. Norman K. SackarMs. inez SaundersDavid SavnerKarla SchererJohn I. SchlossmanMrs. F. Eugene SchmittJana R. SchreuderDr. Alan SchriesheimMrs. Charles e. SchroederMs. Julie L. SchwertfegerDr. Penny Bender SebringDr. Ronald A. SemerdjianMrs. Richard J.L. SeniorMrs. Jack ShafferMrs. Thomas C. Sheffield, Jr.James C. Sheinin, M.D.Richard w. SheproMorrell McK. Shoemaker, Jr.Stuart ShulruffMrs. Linda b. SimonValerie SlotnickMrs. Jackson W. Smart, Jr.Charles F. SmithLouise K. SmithMary Ann SmithStephen b. SmithDr. Patricia Smith-PierceMrs. Ralph SmykalKimberly SnyderMrs. Joseph SondheimerO.J. SopranosMrs. James Cavanaugh SpainAudrey SpiegelEdward J. Spiegel*

Ronald J. SpiottaMrs. William D. StaleyWilliam D. Staleybradlee F. StamperGrace StanekDr. eugene StarkDale J. StarkesLeonidas StefanosMrs. Susan SteinDr. Donald F. SteinerMrs. William C. SteinmetzMrs. Richard J. SternBruce StevensLiz StiffelAlan StoneSherwin J. Stoneellen Stone-belicJosie StraussMrs. David h. Stremmelharvey J. Struthers, Jr.Robert D. Stuart, Jr.Patricia StudyCheryl SturmSean SusaninDr. David TermanDianne R. TeslerLiisa M. ThomasMrs. Richard L. ThomasDavid A. ThomsonDr. Robert ThomsonScott ThomsonJoan ThronMrs. Ray S. Tittle, Jr.William Robert Tobey, Jr.Mr. Richard TribbleC. Phillip TurnerRobert W. TurnerMarie Haddad Tylerhenry J. underwoodZalman usiskinMrs. James D. Vail IIIMrs. Virginia C. ValeDr. Cynthia ValukasMark vanGorder, M.D.Mr. John e. Van hornMrs. Peter E. Van NiceMrs. Herbert A. Vancewilliam C. Vance

Mr. Peter VardyCatherine Vartanian-DukeDr. Michael ViglioneVincent E. VillinskiMr. Christian VinyardDr. Kathleen wardMrs. Roy I. WarshawskyGwenyth B. WartonMr. Paul S. watfordDr. Catherine L. webbMrs. Jacob WeglarzMrs. Joseph M. Weil, Jr.Samuel WeisbardMr. Robert G. WeissMrs. bert L. wellerPenelope G. westH. Blair WhiteMr. Robert wislowMrs. Arnold R. WolffMr. Michael G. WollDr. hak Yui wongCourtenay R. woodMichael H. WooleverMs. Debbie K. wrightMrs. George B. YoungOwen YoungmanDr. John P. ZarembaRichard e. ZieglerKaren Zupko

*deceased

Italics indicate governing members who have served at least five terms (fifteen years or more). The govern-ing members are responsible for the general oversight and support of the Association and receive exclusive benefits and recognition. For more information about governing membership, please call 312-294-3355.


48

admInIstratIon

Deborah F. RutterPresident

Karen RahnAssistant to the President/ Secretary of the board

emily L. Masterexecutive Assistant to the Music Director

Human resourcesLynne Sorkin

DirectorCheryl Rothwell

Coordinator

strategy and special InitiativesKevin Giglinto

Vice President

artIstIC admInIstratIonMartha Gilmer

Vice PresidentThe Richard and Mary L. Gray Chair

Linda nguyen irvinexecutive Assistant

James M. FaheyDirector

Gerard McburneyArtistic Programming Advisor

nicholas winterDirector, Artistic Administration

Cameron ArensDirector, Audience Development

Crystal MacDonaldArtist Coordinator, CSO

Lena breitkreuzArtist Coordinator, SCP

Monica wentzCoordinator, Artistic Planning

Phillip huscherProgram Annotator

Pietro FiumaraArtists Assistant

ChorusCarolyn Stoner

ManagerMarjorie Johnston

Associate Manager/Librarian

InstItute for learnIng, aCCess and traInIngCharles Grode

Vice PresidentAshley Young

executive AssistantJon weber

Director of Learning ProgramsYoo-Jin hong

Director of Civic Orchestra & Training Programs

Jonathan McCormickManager, Civic Orchestra Advancement

Madeleine walshAssistant Director, institute Programs

Michael MasonCoordinator, Access Programs

Katy ClusenCoordinator, Learning Programs

orCHestra and BuIldIng oPeratIonsVanessa Moss

Vice PresidentMarc Geelhoed

Coordinator, CSO Resoundheidi Lukas

Director

Rebecca McFaddenJeffrey Stang

Production ManagersCharles braico

house Manager

orchestra PersonnelJohn Deverman

DirectorAnne MacQuarrie

Manager, CSO Auditions and Orchestra Personnel

facilitiesJohn Maas

DirectorMichael Lavin

Rental events ManagerJoseph Sherman

Coordinator

engineersbrendan berry

Chief engineerTimothy Mcelligott

Lead engineerKevin walshDan Platt

electriciansRobert Stokas

Chief electricianJohn Forster

stage techniciansKelly Kerins

Stage ManagerDave hartgeJames hoganChristopher LewisPatrick ReynoldsTodd SnickJoe Tucker

fInanCe and admInIstratIonisabelle C. Goossen

Vice President & Chief Financial Officer

Renay Johansen Slifkaexecutive Assistant

accountingKathryn Preston

ControllerPaulette Jean VolfJanet Kosiba

Assistant ControllersKelly Cater

Director, budget, Planning & Analysis

Monique hendersonSenior Accountant

Janet hansenPayroll Manager

Marianne hahnAccounting Manager

hyon YuGeneral Ledger Manager

Cynthia MadayAccounts Payable Manager

Stephanie RibaudoPayroll Assistant

Information services & supportDaniel Spees

DirectorDouglas bolino

Client Systems AdministratorJacqueline Guy

Senior Database Systems Administrator

sales and marketIngJ. Philip Koester

Vice PresidentMelanie Kalnins

Director of Sales & Marketing Analysis

Laura emerickDigital Content editor

Web and Interactive mediaSean hopp

DirectorSteven burkholder

SpecialistRobby Zar

Coordinator

marketingelisabeth Madeja

DirectorKate hagen

Manager, Patron RetentionJennifer Colgan

Marketing ManagerMara winston Grigg

Coordinator, Advertising and Promotions

eleanor barbeeAssociate

CreativeTodd Land

Directoremma bilyk

Senior Designer

ticket sales and Patron servicesStephanie Scott

DirectorGolder Cotman

Coordinator

ticketingStephen Funk

Associate DirectorPatrice FumbanksPavan Singh

Supervisors

vIP servicesRobert Coad

ManagerMegan Kasten

Assistant Manager

group salesbrian Koenig

ManagerShifra werch

Group Sales Specialist

Box officeJoseph Garnett

ManagerSteve Paulin

Assistant ManagerJames KrierChristie nawrockiFernando VegaJohn McGinnis

the symphony storeRoberto bravo

Manager

CommunICatIonsCeleste wroblewski

Vice PresidentRachelle Roe

Director of Public RelationsMaggie berndt

Publicist

Program BookDenise wagner

Manager/Senior editorGerald Virgil

editorKristin Tobin

Designer

rosenthal archivesFrank Villella

Archivist

develoPmentKaren Lewis Alexander

Vice PresidentKen woodhouse

executive AssistantAndrea Mcnaughton

Director of Major GiftsAllison Szafranski

Director of Leadership GiftsOliver ionita

Major Gifts OfficerAlfred Andreychuk

Major Gifts Officer & Director of Planned Giving

Amy Carmell JonesGoverning Member Gifts Officer

Jenna KaferlyAnnual Fund Coordinator

neomia harrisProject Assistant

Institutional advancementChristopher Redgate

Director, institutional Advancement & Development Strategy

Kevin beckDirector, Foundation & Government Relations

Katherine TuttleDirector of Corporate Development

nick MagnoneCorporate Development Manager

Sarah SappersteinCommunications Specialist

donor engagement & development operationsLisa McDaniel

Director of Donor engagementRyan Sedgwick

Director of Development Operations

Kimberly S. DuffyJessica ericksonPenelope Johnson

Senior Donor engagement Managers

ingrid burrichterStewardship Manager

Rebecca SilberDonor engagement Associate

Kirk McMahonDevelopment Services Coordinator

Madelaine MooneyKeli Smith

Prospect Research CoordinatorsPeter Rosenbloom

Donor Services CoordinatorKaren bullen

Donor & Development Services Assistant


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