the chamber music society of lincoln center the emerson at ...an eagerness by composers to stretch...

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HARRIS THEATER PRESENTSCONTENTS

The Chamber Music Society of Lincoln CenterThe Emerson at FortyOCTOBER 19, 2016

Program 2

Program Notes 3

About The Chamber Music Society of Lincoln Center 8

About The Emerson String Quartet 9

About The Calidore String Quartet 11

Harris Theater Leadership and Donors 13

Harris Theater Information 20

The Harris Theater gratefully acknowledges the Irving Harris Foundation for its leadership support of the Presenting Fund

Judith NeisserEvening Sponsor

Season Sponsor Official Airline of the Harris Theater

Season Hotel Sponsor

The Harris Theater is grateful for the ongoing support of its season sponsors.

OCTOBER 19, 2016

Series Presenting Sponsor

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

EMERSON STRING QUARTETEUGENE DRUCKER, violinPHILIP SETZER, violinLAWRENCE DUTTON, violaPAUL WATKINS, cello

CALIDORE STRING QUARTETJEFFREY MYERS, violinRYAN MEEHAN, violinJEREMY BERRY, violaESTELLE CHOI, cello

LUDWIG VAN BEETHOVEN Quartet in F minor for Strings, Op. 95, (1770-1827) “Serioso” (1810-11) Allegro con brio Allegretto ma non troppo— Allegro assai vivace, ma serioso Larghetto espressivo—Allegretto agitato

SETZER, DRUCKER, DUTTON, WATKINS BÉLA BARTÓK Quartet No. 4 for Strings, BB 95 (1928) (1881-1945) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

DRUCKER, SETZER, DUTTON, WATKINS

—INTERMISSION—

FELIX MENDELSSOHN Octet in E-flat major for Strings, (1809-1847) Op. 20 (1825) Allegro moderato ma con fuoco Andante Scherzo: Allegro leggierissimo Presto

DRUCKER, SETZER, MYERS, MEEHAN, DUTTON, BERRY, WATKINS, CHOI

Please turn off cell phones and other electronic devices.Photographing, sound recording, or videotaping this performance

is prohibited.

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM NOTES by Dr. Richard E. Rodda

Quartet in F minor for Strings, Op. 95, “Serioso”Ludwig van Beethoven Born December 16, 1770 in Bonn.Died March 26, 1827 in Vienna.

Composed in 1810-11.Premiered in May 1814 in Vienna by the Schuppanzigh Quartet.

Duration: 21 minutes

Beethoven was unable to take his usual extended country vacation during the summer of 1810, and instead settled for shuttling between Vienna and the distant suburb of Baden. The Op. 95 Quartet was begun during that time and completed by October. “Serioso,” Beethoven called it, the only of his quartets to which he appended a descriptive sobriquet, and it may well reflect the flow of his emotions at that time, when Napoleon’s troops had invaded Vienna and his own health and finances were increasingly troublesome. But it is also a serious work in that it looks forward to the mighty concerns of form, texture, and expression that he was to address in his final series of quartets, written during the last three years of his life. The F minor Quartet’s intensity of emotion and titanic struggle to fuse into an inevitable whole its musical atoms caused the respected musicologist Joseph Kerman to write that here “the quartet becomes for the first time Beethoven’s private workshop.” Appropriately, this confessional score was dedicated to Nikolaus Zmeskall, a secretary at court, who was the composer’s closest friend and confidant at the time. Unlike his works of the preceding decade, for which he sought quick performance and publication, Beethoven kept this piece to himself for an inordinate amount of time—it had to wait until 1814 to be heard and until 1816 to be published, accounting for its high opus number.

The F minor Quartet is the shortest and the most highly compressed example of the genre that Beethoven wrote. It is music that grapples with the philosophic/artistic problem that he had broached in the Fifth Symphony: the “apotheosis,” or struggle to victory. “In this quartet,” wrote Kerman, “Beethoven evokes that almost tangible sense of the artist assaulting a demon of his own fancying; we admire the process of assault, conquest, assertion, or becoming that the illusion permits.” The struggle is joined immediately with the opening movement. The music is shorn of everything unessential—transitions, unrelated figurations, even the repeat of the exposition are abandoned in favor of the most lean, concentrated, forceful presentation of the musical materials and their development. Almost in mid-thought, certainly without any sense of resolution, the movement fades away to an inconclusive ending. The Allegretto, though hymnal in texture and contemplative in mood, is prevented from banishing the accumulated uneasiness of the preceding movement because of its chromatic uncertainty and shifting tonalities. The scherzo, propulsive yet somber, begins without pause. After a brief, expressive introduction, the finale follows a haunted rondo form until its closing page, when, at long last, the music is freed from the tragic tonality of F minor into the sunlight of its major-key coda.

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM NOTES cont.

Quartet No. 4 for Strings, BB 95Béla BartókBorn March 25, 1881 in Nagyszentmiklós, Hungary.Died September 26, 1945 in New York City.

Composed in 1928.Premiered on March 30, 1929 in Budapest by the Waldbauer Quartet.


After the fiendish winds of the First World War had finally blown themselves out in 1918, there came into music a new invigoration and an eagerness by composers to stretch the forms and language of the ancient art. Stravinsky, Schoenberg, Webern, Prokofiev, Shostakovich, Copland, and other of the most important 20th-century masters challenged listeners and colleagues throughout the 1920s with their daring visions and brilliant iconoclasms. It was the most exciting decade in the entire history of music. Béla Bartók, whose folksong researches were severely limited geographically by the loss of Hungarian territories through the treaties following the war, was not immune to the spirit of experimentation, and he shifted his professional concentration at that time from ethnomusicology to composition and his career as a pianist. He was particularly interested in the music of Stravinsky, notably the mosaic structures and advanced harmonies of the Diaghilev ballets, and in the recent Viennese developments in atonality and motivic generation posited by Arnold Schoenberg and his friend and disciple Alban Berg. A pronounced modernism entered Bartók’s music with his searing 1919 ballet, The Miraculous Mandarin, and his works of the years immediately following—the two violin sonatas, piano suite Out of Doors, First Piano Concerto, and String Quartets No. 3 and No. 4—are the most daring that he ever wrote. He was reluctant to program them for any but the most sophisticated audiences.

The Quartet No. 4 was composed during the summer of 1928, soon after Bartók returned from his first tour of America as pianist and composer. (It was one of the ironies of Bartók’s life that both his last home and the hospital in which he died in 1945 were, literally, across the street from Carnegie Hall, where he had made his American debut with the New York Philharmonic and Willem Mengelberg on December 22, 1927.) The Fourth Quartet (like many other of his works from the 1920s) drew the inspiration for its thematic material from the folk sources that Bartók had been researching in Hungary and the Balkans for the previous two decades by transforming the simple gestures of indigenous music into high art. In an essay on The Influence of Peasant Music on Modern Music that appeared in the periodical Melos in 1920, Bartók wrote of the methods of absorbing folk influences into concert music:

“What is the best way for a composer to reap the full benefits of his studies in peasant music? It is to assimilate the idiom of peasant music so completely that he is able to forget all about it and use it as his musical mother tongue.... The question is, what are the ways in which peasant music is taken over and becomes transmuted into modern music?

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We may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. This kind of work would show a certain analogy to Bach’s treatment of chorales.... Another method by which peasant music becomes transmuted into modern music is the following: The composer does not make use of a real peasant melody but invents his own imitation of such melodies.... There is yet a third way in which the influence of peasant music can be traced in a composer’s work. Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of peasant music.” It was this last, fruitful avenue, the one that provides for the building of original themes from the constituent atoms of folk music, that Bartók adopted for his Quartet No. 4.

Folk influence pervades the Fourth Quartet. It is evident in the small-interval melodic leadings, gapped scales, and snapping rhythms of the first movement; in the whirling motion and fiery syncopations of the two scherzos; in the florid, chromatic melody of the central movement, which evokes the melancholy pastorales of the tárogató, a Hungarian single-reed woodwind instrument (the composer’s biographer Halsey Stevens wrote that it was “somewhat like a straight wooden saxophone”) that Bartók encountered during his field research. The tendency of themes constructed from these tiny folk gestures when subjected to the developmental and harmonic pressures applied by Bartók is, however, to fragment and fly apart. To counterbalance this problem, Bartók used for this quartet a rigorous overall formal structure that describes an arch shape centered upon the third of its five movements: fast–scherzo–slow–scherzo–fast. The first and fifth movements are paired in their mood, tempo, and thematic material, an association further enhanced by sharing the same music in their closing pages. The second and fourth movements, both scherzos, are related in their themes, their head-long rhythmic propulsion and their use of novel effects from the strings: the second movement is played throughout with mutes, while the fourth movement requires a continuous pizzicato, including the percussive snapping of the strings against the fingerboard that Bartók was among the first composers to use. The slow movement, the mid-point of the structure, is itself organized symmetrically in three parts (A–B–A) around the twittering “night music” of its central section.

Bartók’s Fourth Quartet, according to Halsey Stevens, “comes close to being, if it does not actually represent, Bartók’s greatest and most profound achievement. It is by no means easy to understand; it requires the most active sort of listening. But once its arcana are discovered, there are few works of this century so meaningful or so rewarding.”

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Octet in E-flat major for Strings, Op. 20Felix MendelssohnBorn February 3, 1809 in Hamburg.Died November 4, 1847 in Leipzig.

Composed in 1825.Premiered in October 1825 in Berlin.


It was with the Octet for Strings, composed in 1825 at the tender age of 16, a full year before the Overture to Shakespeare’s A Midsummer Night’s Dream, that the stature of Mendelssohn’s genius was first fully revealed. He wrote the work as a birthday offering for his violin and viola teacher, Eduard Rietz, and premiered it during one of the household musicales in October of that year that the Mendelssohns organized to showcase young Felix’s budding gifts; Rietz participated in the performance and young Felix is thought to have played one of the viola parts. (Rietz and his family remained close to Mendelssohn. Eduard’s brother, Julius, succeeded Mendelssohn as director of the Leipzig Gewandhaus concerts upon the composer’s death in 1847 and edited his complete works for publication in the 1870s.) The scoring of the octet calls for a double string quartet, though, unlike the work written in 1823 for the same instrumentation by Louis Spohr (a friend of the Mendelssohns and a regular visitor to their family programs), which divides the eight players into two antiphonal groups, Mendelssohn treated his forces as a single integrated ensemble, a veritable miniature orchestra of strings. Even allowing that Mendelssohn, by age 16, was already a veteran musician with a decade of experience and a sizeable catalog of music to his credit, the octet’s brilliance and originality are phenomenal.

The octet is splendidly launched by a wide-ranging main theme that takes the first violin quickly through its entire tonal range; the lyrical second theme is given in sweet, close harmonies. The development section, largely concerned with the subsidiary subject, is relatively brief, and culminates in a swirling unison passage that serves as the bridge to the recapitulation of the earlier melodic materials.

The following Andante, like many slow movements in Mozart’s instrumental compositions, was created not so much as the fulfillment of some particular formal model, but as an ever-unfolding realization of its own unique melodic materials and world of sonorities. The movement is tinged with the delicious, bittersweet melancholy that represents the expressive extreme of the musical language of Mendelssohn.

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The composer’s sister Fanny noted that the featherstitched Scherzo was inspired by gossamer verses from Goethe’s Faust, to which Mendelssohn’s fey music is the perfect complement:

Floating cloud and trailing mist,O’er us brightening hover:The rushes shake, winds stir the brake:Soon all their pomp is over.

The closing movement, a dazzling moto perpetuo with fugal episodes, recalls Mozart’s “Jupiter” Symphony (No. 41, C major, K. 551) in its rhythmic vitality and contrapuntal display, simultaneously whipping together as many as three themes from the finale and a motive from the Scherzo during one climatic episode in the closing pages.

©2016 Dr. Richard E. Rodda

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ABOUT THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

The Chamber Music Society of Lincoln Center (CMS) is one of eleven constituents of Lincoln Center for the Performing Arts, the largest performing arts complex in the world. Along with other constituents such as the New York Philharmonic, New York City Ballet, Lincoln Center Theater, and The Metropolitan Opera, CMS has its home at Lincoln Center. CMS’ performance venue, Alice Tully Hall, has received international acclaim as one of the world’s most exciting venues for chamber music.

CMS presents chamber music of every instrumentation, style, and historical period in its extensive concert season in New York, its national and international tours, its many recordings and national radio broadcasts, its broad commissioning program, and its multi-faceted educational programs. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created programs to bring the art of chamber music to audiences from a wide range of backgrounds, ages, and levels of musical knowledge. The artistic core of CMS is a multi-generational, dynamic repertory company of expert chamber musicians who form an evolving musical community. As part of that community, the CMS Two program discovers and weaves into the artistic fabric a select number of highly gifted young artists—individuals and ensembles—who embody the great performance traditions of the past while setting new standards for the future.

CMS produces its own recordings on the CMS Studio Recordings label, which has been highly praised for both the artistry and the recorded sound of the eclectic range of repertoire it has released. These recordings are sold on-site at concerts in New York, on tour, and through the CMS website as well as online retailers such as iTunes. The newest media innovation, CMS Live!, offers recordings available only by download of extraordinary live performances, chosen by CMS artistic directors David Finckel and Wu Han from among each season’s many concerts. CMS also has a broad range of historic recordings on the Arabesque, Delos, SONY Classical, Telarc, Musical Heritage Society, MusicMasters, and Omega Record Classics labels. Selected live CMS concerts are available for download as part of Deutsche Grammophon’s DG Concerts series.

In 2004, CMS appointed cellist David Finckel and pianist Wu Han artistic directors. They succeed founding director Charles Wadsworth (1969-89), Fred Sherry (1989-92), and David Shifrin (1992-2004).

Through its Watch Live series, CMS live streams approximately 30 chamber music concerts and events a season to a worldwide audience online. These streams are free to the public and are available on demand for an additional 24 hours after the broadcast. View the complete schedule of Watch Live events at www.ChamberMusicSociety.org.

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ABOUT EMERSON STRING QUARTET

The Emerson String Quartet has amassed an unparalleled list of achievements over four decades: more than 30 acclaimed recordings, nine Grammys (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year,” and collaborations with many of the greatest artists of our time. The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, award-winning conductor, and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been praised by critics and fans alike around the world. The 2016-17 season marks the Emerson Quartet’s 40th anniversary, and highlights of this milestone year reflect all aspects of the quartet’s venerable artistry with high-profile projects and collaborations, commissions, and recordings. Universal Music Group has reissued the ensemble’s entire Deutsche Grammophon discography in a 52-CD boxed set. After recent engagements together at the Kennedy Center and Tanglewood, illustrious soprano Renée Fleming joins the Emerson at Walt Disney Concert Hall, performing works by Alban Berg and

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ABOUT EMERSON STRING QUARTET cont.

Egon Wellesz from their first collaborative recording, released by Decca in the fall of 2015. In May 2017, legendary pianist Maurizio Pollini will join the quartet for a performance of the Brahms Quintet at Carnegie Hall. Additional highlights include a concert with clarinetist David Shifrin as part of the quartet’s season-long residency at Chamber Music Northwest in Portland, Oregon, as well as a collaboration with cellist Clive Greensmith at the Soka Performing Arts Center in California. The Emerson continues its series at the Smithsonian Institution in Washington, DC for its 38th season, and the quartet members have been selected as artistic advisors for Wolf Trap’s Chamber Music at The Barns in Virginia, curating the series in celebration of its 20th season. Multiple tours of Europe comprise dates in Austria, Italy, Germany, Switzerland, Belgium, The Netherlands, Spain, and the United Kingdom (including Wigmore Hall for a 40th Anniversary Gala); the quartet also visits Mexico for the Festival Internacional Cervantino. Formed in 1976 and based in New York City, the Emerson was one of the first quartets whose violinists alternated in the first chair position. In 2002, the quartet began to stand for most of its concerts, with the cellist seated on a riser. The Emerson Quartet, which took its name from the American poet and philosopher Ralph Waldo Emerson, is quartet-in-residence at Stony Brook University. During the spring of 2016, full-time Stony Brook faculty members Philip Setzer and Lawrence Dutton received the honor of Distinguished Professor, and part-time faculty members Eugene Drucker and Paul Watkins were awarded the title of Honorary Distinguished Professor. In January 2015, the quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.

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ABOUT CALIDORE STRING QUARTET

Described as “the epitome of confidence and finesse,” (Gramophone magazine) and “a miracle of unified thought,” (La Presse, Montreal), the Calidore String Quartet has established an international reputation for its informed, polished, and passionate performances. Currently the quartet is artist-in-residence at Stony Brook University and is a member of Chamber Music Society Two. In recognition of its international acclaim, the quartet won the 2016 Borletti-Buitoni Trust Fellowship, becoming the first North American ensemble to win the prestigious career grant. The Calidore String Quartet regularly performs throughout North America, Europe, and Asia and has debuted in such prestigious venues as Carnegie Hall, Lincoln Center, Wigmore Hall, Seoul’s Kumho Arts Hall, Schneider Concerts (NYC), and at many significant festivals, including Verbier, Ravinia, Mostly Mozart, Rheingau, East Neuk, and Festspiele Mecklenburg-Vorpommern. The Calidore String Quartet has won grand prizes in virtually all the major U.S. chamber music competitions, including the Fischoff, Coleman, Chesapeake, and Yellow Springs competitions. It also captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition. Most recently the Calidore won the Grand Prize at the 2016 M-Prize, an international chamber arts competition that showcases the highest caliber of international chamber arts ensembles, presented by the University of Michigan.

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ABOUT CALIDORE STRING QUARTET cont.

Highlights of the quartet’s 2015-16 season included its debut at Carnegie Hall, Ladies’ Morning Music Club (Montreal), New York City Town Hall, performances of the complete Mendelssohn quartet cycle at the East Neuk Festival (UK), and performances of the Mendelssohn Octet with the Emerson Quartet at Princeton and Stony Brook universities. As advocates of contemporary music, the Calidore performed Pulitzer-prize-winning composer Caroline Shaw’s Entr’acte in concerts throughout the 2014-15 season in New York, Washington D.C., and Los Angeles. In summer 2015, the quartet premiered Patrick Harlin’s Birdsongs for the City Dweller, commissioned by the Caramoor Center, as well as Prometheus by Mark Grey, commissioned by the Great Lakes Chamber Music Festival. In February 2015, the Calidore String Quartet released its critically-acclaimed debut recording of quartets by Mendelssohn and Haydn. Additionally, in February 2016 the quartet released an album on the French label Editions Hortus, with music by Hindemith, Milhaud, Stravinsky, de la Presle, and Toch commemorating the World War I Centennial. The Calidore was featured as Young Artists-in-Residence on American Public Media’s Performance Today and its performances have been broadcast on National Public Radio, BBC, Canadian Broadcasting Corporation, Korean Broadcasting Corporation, Bayerischer Rundfunk (Munich), Norddeutscher Rundfunk (Hamburg), and were featured on German national television as part of a documentary produced by ARD public broadcasting. Formed in 2010 at the Colburn School of Music, the Calidore has studied closely with such luminaries as the Emerson Quartet, David Finckel, Andre Roy, Arnold Steinhardt, Günther Pichler, Gerhard Schulz, Heime Müller, Guillaume Sutre, Gábor Tákacs-Nagy, Paul Coletti, Ronald Leonard, and the Quatuor Ebène. Using an amalgamation of “California” and “doré” (French for “golden”), the ensemble’s name represents a reverence for the diversity of culture and the strong support it received from its home, Los Angeles, California, the “golden state.”

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HARRIS THEATER BOARD OF TRUSTEES

(Listing as of September 22, 2016)

OfficersAlexandra C. Nichols, ChairmanElizabeth Hartigan Connelly, Vice Chair Peter M. Ellis, Vice ChairCaryn Harris, Vice ChairRicardo T. Rosenkranz, MD, Vice ChairMary Kay Sullivan, Vice ChairMarilyn Fatt Vitale, SecretaryDavid Snyder, TreasurerMichael Tiknis, Alexandra C. and John D. Nichols President and Managing Director Endowed Chair

TrusteesJohn W. BallantineLee Blackwell BaurPaul S. BoulisElizabeth Hartigan Connelly, Vice ChairPeter M. Ellis, Vice ChairLouise FrankJay FrankeRobert J. Gauch, Jr. Sandra P. Guthman, Past ChairmanCaryn Harris, Vice ChairJoan W. Harris, Past ChairmanChristine N. Evans KellyDeborah A. KorompilasMerrillyn J. KosierMac MacLellanZarin MehtaAlexandra C. Nichols, ChairmanKenneth R. NorganAbby McCormick O’Neil, Past ChairmanJason Palmquist, Ex-OfficioRicardo T. Rosenkranz, M.D., Vice ChairWilliam Ruffin, Ex-OfficioPatrick M. SheahanJohn Q SmithDavid Snyder, TreasurerSusan StarkMary Kay Sullivan, Vice ChairMichael Tiknis, Ex-OfficioMarilyn Fatt Vitale, SecretaryElliot WeissbluthDori WilsonMaria Zec

Life TrusteesPeter M. AscoliCameron S. AveryMarshall Field VJames J. GlasserSarah Solotaroff MirkinJudith NeisserHarrison I. SteansRobin S. Tryloff

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HARRIS THEATER STAFF

OFFICE OF THE PRESIDENTMichael Tiknis,

Alexandra C. and John D. Nichols President and Managing Director Endowed Chair

Jake Anderson, Manager of Artistic Administration

Erin Swanson, Assistant to the President and Managing Director

FINANCE & ADMINISTRATIONLaura Hanssel,

Chief Financial Officer, Senior Vice President of Administration

Mary Jo Rudney, Director of Finance

Gena Lavery, Finance Manager

EXTERNAL AFFAIRSPatricia Barretto,

Executive Vice President of External Affairs

DevelopmentJosh Fox,

Manager of Corporate & Foundation Relations

Elizabeth Halajian, Manager of Annual Giving & Donor Relations

Catherine Miller, Manager of Campaign Gifts & Board Relations

Sammi Shay, Development & Special Events Coordinator

MarketingJamie Sherman,

Manager of Public Relations & Communications

Mary Larkin, Marketing Manager

Samantha Allinson, Digital Production DesignerOliver Camacho, Interim Marketing Manager

Community EngagementMeghan McNamara,

Manager of Community Engagement & Partnerships

Ticketing ServicesAllan Waite,

Box Office Treasurer

OPERATIONS & PRODUCTIONLori Dimun,

General Manager

Front of HouseKay Harlow, House ManagerJamelle Robinson,

Concessions and Events ManagerMelaney Reed, Saints CoordinatorThe Saints, Volunteer Usher Corps

OperationsEmily Macaluso,

Director of OperationsHillary Pearson,

Manager of OperationsDawn Wilson,

Manager of Production / Technical Manager

Leticia Cisneros, Lead Day Porter

Ed Mlakar, Facilities Engineer

ProductionJeff Rollinson,

Head Carpenter & IATSE StewardAnthony Montuori, Head FlymanJeffrey Kolack, Head of PropsDon Dome Jr., Head of AudioKevin Sullivan, Head Electrician

(Listing as of September 22, 2016)

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HARRIS THEATER CAMPAIGN

Imagine: The Campaign for Harris Theater is a $38.8M comprehensive fundraising effort to transform our physical space and expand our partnerships with resident companies, world-renowned artists, and members of the greater community.

We are pleased to acknowledge our donors who have contributed one-time campaign gifts or multi-year pledges of $2,500 or more between the inception of the campaign on July 1, 2013 and October 1, 2016. The continued growth and success of the Harris Theater would not be possible without this generosity and support.

PREMIER BENEFACTOR, $5,000,000+Irving Harris Foundation,

Joan W. HarrisChauncey and Marion D. McCormick

Family Foundation, Abby McCormick O’Neil and D. Carroll Joynes

Alexandra C. and John D. Nichols

MAJOR BENEFACTOR, $3,000,000+The Harris Family Foundation,

Caryn and King Harris

LEAD BENEFACTOR, $1,500,000+Jay Franke and David Herro

BENEFACTOR, $1,000,000+The Crown FamilyThe Elizabeth Morse Charitable

Trust and Elizabeth Morse Genius Charitable Trust

PREMIER PATRON, $750,000+Jack and Sandra Guthman

MAJOR PATRON, $500,000+The Andrew W. Mellon FoundationThe Neisser Family FoundationThe Northern Trust CompanyZell Family Foundation

LEAD PATRON, $300,000+Anonymous

PATRON, $250,000+Christine and Glenn KellyJim and Kay MabieJohn D. and Catherine T. MacArthur

FoundationMarilyn and David J. Vitale

MAJOR SPONSOR, $100,000+Lucy and Peter AscoliJohn and Caroline BallantinePaul S. BoulisKay BucksbaumPamela CrutchfieldITWKenneth R. Norgan

SPONSOR, $50,000+AnonymousJames L. Alexander and

Curtis D. DrayerBMO Harris BankHarry F. and Elaine Chaddick FoundationElizabeth F. Cheney FoundationSunny and Gery J. ChicoElizabeth and Matthew ConnellyCrain’s Chicago BusinessPeter and Shana EllisMr. and Mrs. Marshall Field VReed Smith LLPDr. Patrick M. SheahanThe Siragusa FoundationMichael and Sharon Tiknis

PREMIER CONTRIBUTOR, $25,000+Ariel InvestmentsBlumKovler FoundationComEdLouise FrankMerrillyn J. Kosier and

James F. KinoshitaPhil LumpkinMac MacLellan and Miriam WaltzJ.B. & M.K. Pritzker Family FoundationThe Rhoades FoundationDavid Snyder and Peggy SalamonSteans Family Foundation

MAJOR CONTRIBUTOR, $10,000+Cameron Avery and Lynn DonaldsonJoan M. HallSarah Solotaroff MirkinConor O’NeilJeff and Betsy SteeleMary Kay Sullivan

CONTRIBUTOR, $5,000+Steve AbramsPatricia and Sheldon BarrettoMatt and Laura HansselDeborah and Michael KorompilasCarmen and Zarin MehtaCheryl MendelsonDori WilsonMaria Zec

FRIEND, $2,500+Cynthia and Douglas McKeenRobin S. Tryloff and John M. McNamaraJodi and Eliot Wickersheimer

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HARRIS THEATER ANNUAL FUND

The Harris Theater for Music and Dance is pleased to recognize our donors who have contributed $250 or more to the Theater’s Annual Fund from October 1, 2015 to October 1, 2016. Through their support of our resident companies, general operations, and community engagement and Access Tickets programs, these generous individuals play a direct role in sustaining the future of extraordinary music and dance in Chicago.

$50,000+Helen Brach FoundationIrving Harris Foundation,

Joan W. Harris

$25,000+The Harris Family Foundation,

Caryn and King HarrisSteans Family Foundation

$10,000+Anonymous (3)Feitler Family Fund Richard and Mary L. GrayCarl R. Hendrickson Family

FoundationIllinois Arts Council AgencyInvest for KidsITW FoundationNIB FoundationPolk Bros. FoundationPrince Charitable TrustsThe Rhoades Foundation Brenda Shapiro

$5,000+ AnonymousBlack & Fuller Fund, Bank of AmericaDavid and Luann Blowers Charitable

Trust Fund Rosemarie and Dean L. Buntrock Ann and Gordon Getty FoundationMr. and Mrs. James J. GlasserWalter and Karla Goldschmidt

Foundation Jeannette and Jerry GoldstoneDeborah and Michael KorompilasLeo and Cathy MiserendinoPatrick G. and Shirley W. Ryan

FoundationCynthia M. SargentSargent Family FoundationDr. Scholl Foundation John Q and Karen E. SmithTom & Sue StarkA. Montgomery Ward Foundation,

John A. Hutchings, Richard W. Oloffson & Bank of America, N.A., Trustee

$2,500+AnonymousArts Midwest Touring FundMr. and Mrs. Bruce KovnerPamela MeyerPark GrillSahara Enterprises, Inc.

$1,000+Jeffrey AlexanderSandra BassJoyce ChelbergLynn Donaldson and Cameron AveryThe Donnelley Foundation Henry and Frances Fogel Madeleine Grynsztejn and Tom

ShapiroCH Carolina HerreraLeland Hutchinson and Jean PerkinsThe Jannotta Family FundHoward M. McCue IIITom O’KeefeBarbara ParsonJeffery M. RollinsonBettylu and Paul SaltzmanLiz StiffelVirginia and William TallmanCate and Rick Waddell

$500+Anonymous (2)Patricia BarrettoAndrea BillhardtSusan D. BoweyThe Chicago Community TrustLawrence O. CorryShawn M. Donnelley and

Christopher M. Kelly Mr. and Mrs. William F. FarleyArthur L. Frank, MDDale and David GinsburgRhona HoffmanJim and SuAnne LopataRobert and Marsha MrtekAndrew PrincipeJames J. PeltsReynolds Family FoundationSam and Kim RisoliJoe Rubinelli

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HARRIS THEATER ANNUAL FUND cont.

Richard RyanAdele and John SimmonsShow Services Mr. and Mrs. Robert G. WeissLinda and Michael Welsh

$250+Lainey Canevaro and Kevin WeinsteinBonnie and Don ChaunceyDr. Margaret DolanElizabeth FosterLinda Fuller

Gerald and Dr. Colette GordonTrish and Harp HarperPatricia A. HermannAric Lasher and Bert GreenMeghan McNamara and Paul ReetzMr. and Mrs. Lester S. Morse, Jr.Pierce Family Charitable FoundationJanet and Philip RotnerSandra and John SchmollRobert Seeman and Karin JacobsonAnnette ThompsonRobin S. Tryloff

HARRIS THEATER PERFORMANCE SPONSORS

The Harris Theater gratefully acknowledges our performance sponsors, without whom our 2016-17 season would not be possible. These generous individuals and organizations have contributed gifts of $5,000 or more to support the renowned artists and companies taking the stage this season and establish the Theater as a cultural anchor in Chicago.

$150,000+Irving Harris Foundation,

Joan. W. Harris

$50,000+Jay Franke and David Herro The Harris Family Foundation,

Caryn and King Harris Dance Residency Fund

The John D. and Catherine T. MacArthur Foundation

Kenneth R. NorganNorthern Trust

$25,000+John and Caroline BallantineElizabeth F. Cheney FoundationExelonSandra and Jack GuthmanJPMorgan ChasePatricia A. Kenney and

Gregory J. O’Leary Chauncey and Marion D. McCormick


Alexandra C. and John D. NicholsPrince Charitable TrustsRavinia Festival

$10,000+AnonymousAriel InvestmentsJulie and Roger BaskesPaul BoulisCrain’s Chicago BusinessThe Pamela Crutchfield Dance Fund

of the Imagine CampaignShana and Peter M. EllisJudith NeisserLaura and Ricardo Rosenkranz Artistic

Innovation Fund of the Imagine Campaign

Reed Smith LLPJohn Q and Karen E. Smith

$5,000+Christine and Glenn KellyDeborah and Michael KorompilasHelen Hall MelchiorSarah Solotaroff MirkinNew England Foundation for the Arts

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HARRIS THEATER PRESENTS CONSORTIUM

The Harris Theater proudly recognizes the members of our Harris Theater Presents Consortium. Their annual membership gifts made between October 1, 2015 and October 1, 2016 make it possible for the Theater to present some of the world’s most prestigious artists and ensembles who are influencing the landscape of their respective art forms.

$25,000+Sandra and Jack GuthmanChauncey and Marion D. McCormick


$10,000+Elizabeth Amy LiebmanPhil Lumpkin Elliot Weissbluth, HighTower

$5,000+Louise FrankJudd and Katherine MalkinConor O’NeilD. Elizabeth PriceMary Jakocko, Schwartz Brothers

InsuranceShawn M. Donnelley and

Christopher M. Kelly

$2,500+Maria C. Bechily and Scott Hodes Ted A. Grady Joan M. HallKaren and Marvin HermanHelen Hall Melchior Susan and Bob Wislow

$1,000+Greg Cameron and Greg ThompsonLewis CollensJennifer and Scott EdgcombPatti Eylar and Charlie GardnerTerri and Stephen GeifmanBarbra Goering and James C. MurrayEthel and Bill GofenTibor Gross and

Dr. Elisabeth Klor-GrossGary Johnson and Brenda AshleyMelissa Matarrese and

Dan McEnerneyKevin McGirrSandra McNaughtonLeo and Cathy MiserendinoCathy PeponisSheli Z. and Burton X. RosenbergCarol Rosofsky and Robert LiftonDana Shepard Treister and

Michael Roy Treister

$500+Michael C. CleavengerWinifred EggersLaura LundinDiane M. McKeever and Eric Jensen

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In Honor of:Caryn and King HarrisMadeleine Grynsztejn and Tom Shapiro

Joan Harris’s BirthdayNancy Hughes

Abby McCormick O’Neil Kathleen Beaulieu and Jim PetersonDiane M. McKeever and Eric Jensen

Alexandra NicholsSusan D. Bowey

Roger PomeranceLynne P. Attaway

Michael TiknisRhona HoffmanLeland Hutchinson and Jean Perkins

Bettina Slusar and Dan Goldman’s Wedding AnniversaryMarilyn and Arnold M. Goldman

In Memory of:Margaret Ann Montero MartinMary Martin Lowe

Roger H. OlsonSherwood Snyder

HARRIS THEATER TRIBUTE GIFTS

For information about making a contribution to the Harris Theater for Music and Dance, please contact us at 312.334.2482 or visit www.HarrisTheaterChicago.org.

The Harris Theater for Music and Dance would like to thank the following individuals who chose to honor a special person in their lives, celebrate a milestone event, or memorialize an inspirational friend of family member with a tribute gift to the Theater between October 1, 2015 and October 1, 2016.

HARRIS THEATER IN-KIND GIFTS

The Harris Theater would like to thank the following individuals and organizations for their valuable donations of goods and/or services between October 1, 2015 and October 1, 2016.

Blue Plate EventsCrain’s Chicago BusinessThe Golden TriangleJ & L CateringJewell Events CateringMetropolis Coffee Company

Park GrillRevolution BrewingSwissôtel ChicagoRobert and Jamie TaylorUnited Airlines

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HARRIS THEATER INFORMATION

Rental information: If you have any questions about the Harris Theater, including rental of the facility, group tours, or volunteer opportunities, please call the administrative office Monday through Friday, 9AM–5PM, at 312.334.2407.

Ticket purchases: To purchase tickets, visit HarrisTheaterChicago.org. Call or visit our Box Office at 312.334.7777 Monday through Friday, 12–6PM or until curtain on performance days. For group tickets for 10 or more people, call our Sales Office at 312.334.2419.

In consideration of other patrons and the performers: Please turn off all cell phones. Photography is not permitted in the Theater at any time. Film or digital images will be confiscated or deleted by the Harris Theater house staff; violators will be subject to a fine. Latecomers will be seated at the discretion of the house management. Smoking is prohibited within the Harris Theater. Allowance of personal items and baggage into the auditorium space is at the sole discretion of House Management.

For your safety: Please take a moment and note the nearest exit. In the event of an emergency, follow the directions of the Harris Theater house staff. In the event of an illness or injury, inform the Harris Theater house manager.

Accessibility: Infrared assisted listening devices are available from the Harris Theater house staff. The Theater is equipped for easy access to all seating levels for patrons needing special access. Please advise the Box Office prior to the performance for any special seating needs.

Parking: Discounted parking validation is available for all ticket holders using the Millennium Park Garage. A validation machine is located next to the Box Office on the Orchestra Level, as you enter the Theater lobby.

Lost and found: Retrieved items will be held for 30 days with the Harris Theater house staff at 312.334.2403.

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