Program

One Hundred Twenty-Third Season Chicago Orchestra Music Director Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

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

Riccardo Muti Conductor Robert Chen Violin Mozart Divertimento in D Major, K. 136 Allegro Andante Presto Hindemith Violin Concerto At a moderate tempo Slow Lively Robert Chen

Intermission

Prokofiev Suite from Romeo and Juliet Montagues and Capulets Juliet the Young Girl Madrigal Minuet Masks Romeo and Juliet Death of Tybalt Friar Laurence Romeo and Juliet before Parting Romeo 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.

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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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CSO3_SepOct13.indd 1 9/25/13 11:24 AM Comments by Phillip huscher

Wolfgang mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. divertimento in d major, k. 136

Mozart’s fi rst composi- these years—Exsultate, jubilate for soprano and tions, an Andante and an orchestra; the Haff ner Serenade, the Turkish Allegro for keyboard, Violin Concerto—all of which have appeared on were written down by Chicago Symphony programs over the years. Leopold, one of history’s proudest stage fathers, ith the exception of Mozart’s First when Wolfgang was just Symphony (K. 16), the D major fi ve years old. Even divertimento on this week’s earlier, the boy had tried programW is the earliest piece by Mozart the to write what he called a Chicago Symphony has performed. It is one of concerto in his own system of notation, which as three works for strings written early in 1772. a family friend recalled, consisted mainly of a Th e sixteen-year-old Mozart may well have “smudge of notes, most of which were written thought of them as string quartets—with one over inkblots that he had rubbed out.” After 1761, player per part—but, over the years, they have music began to fl ow, with increasing frequency, just as often been played by string orchestra, from his little hands. Inevitably, however, despite as they are this week. (Th e divertimento title Wolfgang’s astonishing talent—“Everyone whom apparently isn’t Mozart’s own.) Th e three works I have heard says that his genius is incomprehen- are also sometimes called “Salzburg sympho- sible,” Leopold wrote when his son was only nies,” but that too is misleading. In any case, six—many of the earliest works in his offi cial they are the fi rst important works in which catalog are little more than child’s play. Mozart wrote for the classic combination of Eventually, however, signs of Wolfgang’s true two violin parts with viola over a bass line. Th e promise and unique, once-in-a-generation gift Divertimento in D major, the fi rst in the set, began to emerge. Of the fi rst three hundred has three movements: an energetic Allegro with numbers in Köchel’s famous catalog, most of an unusually fl orid fi rst violin part; a tender, them identifying compositions written before graceful Andante; and an urgently paced fi nale Mozart turned twenty-one, a handful of works with a showy, contrapuntal midsection. stand out. K. 183, a remarkable symphony in It’s possible that this is one of the quartets G minor—his twenty-fi fth, according to the Leopold off ered to the publishing house of standard numbering—is the earliest of his Breitkopf and Härtel in February of 1772, with- to have found a place in the standard out success. Th e prestigious Viennese company’s repertoire. K. 271, a piano concerto known as lack of interest in an untested teenage composer the Jeunnehomme, is the fi rst of Mozart’s land- is hardly surprising. In fact, during Mozart’s life- mark pieces in that form that is still regularly time, only some 130 of the 626 works in Köchel’s played today. Th ere are other notable works from catalog were printed and sold. ComPosed fIrst Cso PerformanCes InstrumentatIon 1772 July 1, 1965, Ravinia Festival. Seiji strings Ozawa fIrst PerformanCe aPProxImate March 22, 23 & 24, 1979, Orchestra date unknown PerformanCe tIme hall. János Ferencsik conducting 15 minutes most reCent Cso PerformanCes February 14, 15, 16 & 19, 2008, Orchestra hall [no conductor] 34

CSO3_SepOct13.indd 34 9/25/13 11:24 AM Born November 16, 1895, Hanau, Germany. Died December 28, 1963, Frankfurt, Germany. violin Concerto

Paul Hindemith boasted, during World War I, he formed a string quartet with complete justifi ca- (he would always remember that the ensemble tion, that he could play was playing Debussy’s quartet at the moment every instrument in the news of the composer’s death came over the orchestra at least passably. radio). Later, he began to favor playing the viola, But the violin was and it ultimately became his instrument of Hindemith’s fi rst instru- choice. But even after he had given up playing ment. As a child, he was the violin in public, he agreed, on short notice, to given the violin to play, take over the violin solo in the German premiere while his younger sister of Stravinsky’s Th e Soldier’s Tale in 1923. Toni took up the piano and his brother Rudolf the cello. (Th e Hindemith children eventually ot surprisingly, many of Hindemith’s played together as the Frankfurt Children’s Trio fi rst compositions feature the violin in villages and at social events.) Paul showed prominently, including a very early unusual promise, and, at the age of eleven, he Nsonata for violin and piano, dating from 1912–13, began serious study, fi rst with the Swiss violinist that has been lost. Hindemith continued to Anna Hegner, and then with her teacher, Adolf write violin sonatas throughout his early career, Rebner, who was one of the best known and including one composed in 1917, while he was most highly regarded musicians in Frankfurt. serving in the German army, and another from Paul was soon admitted to the Hoch 1924 that includes variations on a Mozart song Conservatory, where Rebner taught. At the age for its fi nale. Th e fourth in his landmark series of of nineteen, he joined the Frankfurt Opera Kammermusik, ensemble pieces for various com- Orchestra (where he met the conductor Willem binations of instruments, also composed in 1924, Mengelberg, who would later commission this is scored for violin and a small orchestra—it is violin concerto) and the following year, he something of a study for the big-scale concerto became the second violinist in Rebner’s string performed this week. But Hindemith did not set quartet. Eventually, he was drawn to the idea of out to write a full-fl edged violin concerto—the composing (his fi rst composition teacher at the ultimate vehicle for the solo violin—until 1939. Hoch Conservatory was Arnold Mendelssohn, a great-nephew of Felix), but Hindemith continued he 1930s were a diffi cult—and ulti- to perform as a violinist, playing both the mately decisive—time for Hindemith. Beethoven and Mendelssohn concertos—two of Once the Nazis came to power in the most challenging works in the violin GermanyT in 1933, Hindemith was branded as repertoire—in public. While he was in the army a degenerate composer, largely because Hitler

ComPosed most reCent aPProxImate 1939 Cso PerformanCes PerformanCe tIme november 15, 16 & 17, 1984, Orchestra 24 minutes fIrst PerformanCe hall. Mark Peskanov as soloist, Leonard March 4, 1940, Amsterdam Slatkin conducting

fIrst Cso PerformanCes InstrumentatIon October 28 & 29, 1948, Orchestra solo violin, two fl utes and piccolo, hall. Ruth Posselt as soloist, Pierre two oboes, two clarinets and bass Monteux conducting clarinet, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, percussion, strings 35

CSO3_SepOct13.indd 35 9/25/13 11:24 AM had walked out of a performance of Hindemith’s Hindemith writes three movements in the opera Neues vom Tage (News of the day), infu- traditional sequence, with slower music in the riated by the sight of a soprano singing from middle. The two outer movements are equally her bathtub. “It is obvious that [it] shocked weighted in terms of size, substance, and signifi- the Führer greatly,” Hindemith wrote to his cance (a concerto finale is often both slighter and publisher late in 1934. “I shall write him a lighter). The solo violin carries both movements, letter . . . in which I shall ask him to convince in music that dazzles with the complexity of its himself to the contrary.” But, in the meantime, technical challenges at one point and then soars Joseph Goebbels spoke out publicly about the in magnificent flights of lyricism at others. The horror of modern composers “allowing naked solo writing is expressive and highly personal, women to appear on the stage in obscene scenes as if the essence of Hindemith’s own troubled in a bathtub, making a mockery of the female life at the time was concentrated into a single sex.” Hindemith wasn’t mentioned by name, violin line. The slow middle movement is the but the message was clear. He made a powerful heart of the concerto. It is like a great dramatic statement on the value of art—and the role of monologue—aside from a very dramatic out- the artist in society—in his 1935 opera Mathis burst near the end, the orchestral writing here der Maler, about the sixteenth-century German is particularly spare, the texture reminiscent of painter Mathias Grünewald, who was himself chamber music—and the violin seems to speak torn between his commitment to art and a life of for Hindemith himself, an exile and a seeker at political activism. That work, too, was attacked the pivotal time in his life. and eventually banned. After Hindemith figured prominently in the exhibition of Entartete Musik postscript about Hindemith and (Degenerate music) in 1938, he had little choice Chicago. Hindemith came to the United but to leave his native Germany for good. States for the first time in 1937, and he returnedA in both 1938 and 1939. The letters he indemith composed his Violin Concerto wrote home to his wife Gertrude reveal a man while he was temporarily living in struggling to find his place—and a job—in a new Switzerland in 1939, in self-imposed world. On his first U.S. tour, he appeared as viola Hexile. He had already tackled the central issues soloist in his Der Schwanendreher with mem- of writing a work for solo violin and orchestra bers of the Chicago Symphony at the Chicago with his chamber concerto, the Kammermusik Arts Club. The next year, Hindemith made his no. 4. And, in 1930, he had even counseled American conducting debut with the CSO, lead- , who initially balked at the idea ing his Kammermusik no. 1 and the Symphonic of writing a violin concerto—“but I am not a Dances. In 1939, he returned to Chicago to violinist!”—and turned to Hindemith for advice. attend a concert of his music given by University Hindemith managed to convince Stravinsky that of Chicago students, but he didn’t appear with his lack of experience playing the violin would in the Orchestra. During his visit, however, he met fact allow him to “avoid a routine technique and with CSO music director , who would give rise to ideas which would not be sug- asked him to write a piece for the Orchestra’s gested by the familiar movement of the fingers.” fiftieth anniversary, then two seasons away. “The Reassured, Stravinsky proceeded. (His Violin specifics still need to be discussed,” Hindemith Concerto, successfully premiered in Berlin in wrote to Gertrude in March. Hindemith 1931, will be performed by Leila Josefewicz and began a piece for the Chicago Symphony’s the Chicago Symphony, conducted by Susanna anniversary—a kind of free fantasy, as he called Mälkki, later this month.) Then, nearly a decade it, on an old Virginian ballad about poor Lazarus later, Hindemith himself tackled the form and the rich man—but then abandoned it and managed to create something original and midway when he realized he had been so busy fresh—and utterly devoid of the routine—despite working on other scores that he couldn’t finish an intimate, first-hand knowledge of the instru- it in time. Hindemith’s score for Poor Lazarus ment matched by virtually no other composer. was later published in its incomplete state.

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CSO3_SepOct13.indd 36 9/25/13 11:24 AM sergei Prokofi ev Born April 23, 1891, Sontsovka, Ukraine. Died March 5, 1953, Moscow, Russia. suite from Romeo and Juliet

During Sergei Prokofi ev’s for the only time in Prokofi ev’s career, orchestral last trip to Chicago, in excerpts were premiered before the ballet itself January 1937, he led the had been staged. Th e idea for a ballet version Chicago Symphony in of the Shakespeare play came from the director selections from his new, Sergei Radlov, who was a friend of Prokofi ev still-unstaged ballet, and had mounted the fi rst Russian production Romeo and Juliet. Th is was of Th e Love for Th ree Oranges. He and Prokofi ev the composer’s fi fth visit worked together to fl esh out a scenario early in to Chicago, and he clearly 1935, and the composer began to write the music felt at home: shortly after that summer. But the Kirov Ballet, which had he arrived in town, he sat down with a Tribune commissioned the work, unexpectedly backed reporter and talked freely while eating apple pie out, and the Bolshoi Th eater took over the proj- at a downtown luncheonette. He was staying in ect. Th ere were further problems with the score the same hotel room where he had lived for itself, including Prokofi ev’s initial insistence on several months during his Chicago visit in 1921, a happy ending—“Living people can dance,” he when he presided over preparations for the world later wrote in defense of the decision, “but the premiere of his opera Th e Love for Th ree Oranges. dead cannot dance lying down.” Th e end was He told the Tribune that his Romeo and Juliet ultimately changed to match Shakespeare’s, but featured the kind of “new melodic line” that he then the Bolshoi staff pronounced Prokofi ev’s thought would prove to be the salvation of music “unsuitable to dance” and dropped out as modern music—one, he said, that would have well. Th e premiere of Romeo and Juliet eventually immediate appeal, yet sound like nothing written was given in Brno, Czechoslovakia, without before. “Of all the moderns,” the Herald Prokofi ev’s participation (he didn’t attend the Examiner critic wrote after hearing Romeo and opening in December 1938) and the ballet Juliet later in the week, “this tall and boyish wasn’t staged in Russia until January 1940. In Russian has the most defi nite gift of melody, the the meantime, Prokofi ev made two orchestral most authentic contrapuntal technic [sic], and suites of seven excerpts each, and it was the displays the subtlest and most imaginative use fi rst of these that he conducted in Chicago. (At of dissonance.” this week’s concerts, Riccardo Muti conducts Chicago was the fi rst American city to hear selections from both of these suites.) music from Romeo and Juliet (following recent Although no other play by Shakespeare has performances in Moscow and ), and, not inspired as many musical treatments as Romeo

ComPosed most reCent InstrumentatIon 1935, complete ballet Cso PerformanCes two fl utes and piccolo, two oboes May 5, 6 & 7, 2011, Orchestra hall. and english horn, two clarinets and 1936, two suites for orchestra Riccardo Muti conducting (Suite) bass clarinet, tenor saxophone, two bassoons and contrabassoon, four fIrst PerformanCe August 5, 2011, Ravinia Festival. James horns, two trumpets and piccolo December 30, 1938, brno, Conlon conducting (Suite) trumpet, three trombones and tuba, Czechoslovakia (complete ballet) September 6, 2011; Grosser timpani, percussion, two harps, piano, Musikvereinsaal, Vienna, Austria. celesta, strings fIrst Cso PerformanCes Riccardo Muti conducting (Suite) January 21 & 22, 1937, Orchestra aPProxImate hall. The composer conducting (u.S. Cso reCordIngs PerformanCe tIme premiere of Suite no. 1) 1982. Sir . (Suite) 48 minutes

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CSO3_SepOct13.indd 37 9/25/13 11:24 AM 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.

his week’s excerpts begin with Montagues and Capulets—menacing music to depict the warring families, introducedT by the prince’s powerful order to preserve peace. The opening chords, which seem A publicity shot of Prokofiev posing with a pipe in a to grow in intensity to the breaking point, set a Chicago hotel room, 1918 tone of sorrow and inevitable tragedy. The big ominous marching theme, later discovered by the television advertising industry, was originally the girl who will quickly steal his heart. In the more Dance of the Knights from the act 2 ballroom fully sketched portrait of the young girl that scene. The centerpiece of the movement, with its follows, we are reminded that she is an innocent lovely flute solo, is Juliet’s dance with Paris—the thirteen-year-old, capricious and playful, and (in moment Romeo catches his first glimpse of the the midsection flute duet) eager for romance.

Prokofiev and Chicago

In the summer of 1917, Chicago question in my mind as to the talent Genius Displays Weird Harmonies” was businessman Cyrus McCormick, Jr., of young Serge.” Although Stock at the headline in the American. “The the farm machine magnate, met the first doubted that it was feasible to music was of such savagery, so brutally twenty-six-year-old composer Sergei bring the Russian composer to the U.S. barbaric,” Henriette Weber wrote, “that Prokofiev while on a business trip to right away, Prokofiev (or Prokofieff, as it seemed almost grotesque to see Russia. Prokofiev was unknown to the U.S. press spelled his name at the civilized men, in modern dress with McCormick, but the composer recog- time) made his debut with the Chicago modern instruments performing it. nized the distinguished American’s Symphony the following season, By the same token it was big, sincere, name at once, because the estate his playing his First Piano Concerto true.” The public loved it. “Every man father had managed owned several under Eric DeLamarter’s baton, and and woman there reacted to it,” Weber impressive International Harvester conducting the Orchestra himself in continued, “and Prokofieff was given machines. McCormick expressed an his Scythian Suite in Orchestra Hall in a thundering ovation that at least in a interest in the composer’s new music, December 1918, both U.S. premieres. slight degree expressed the tumultu- and he eventually agreed to pay “The appearance here of the ous emotions he inspired.” for the printing of his unpublished young Russian, Serge Prokofieff, at Prokofiev returned to Chicago four Scythian Suite. He also encouraged the Chicago Symphony Orchestra more times. In 1921, he oversaw the Prokofiev to come to the , concert was the most startling and, in world premieres of his Piano Concerto and asked him to send some of his a sense, important musical event that no. 3, which he played in Orchestra scores to Chicago Symphony music has happened in this town for a long Hall on December 16, and his opera, director Frederick Stock. McCormick time,” wrote Henriette Weber in the The Love for Three Oranges, which was wrote to Stock at once, saying that Herald and Examiner. “Personally he is staged by the Chicago Opera at the Prokofiev “would be glad to come middle-sized and blond, somewhat Auditorium Theatre on the thirtieth. to Chicago and bring some of his gangling about the arms and (The Chicago Symphony also played symphonies if his expenses were paid. shoulders, and entirely business-like in Prokofiev’s Classical Symphony for the But not knowing myself the value of demeanor,” reported the Journal. “His first time that month.) His last visit, in his music, I did not feel justified in business is his music, while he is on the 1937, introduced Romeo and Juliet. taking the risk of bringing him here.” stage, and he would seem to resent After Stock received Prokofiev’s scores, even the time that it takes to bow.” The —P.H. he replied to McCormick: “There is no music itself caused quite a stir. “Russian

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CSO3_SepOct13.indd 38 9/25/13 11:24 AM The Madrigal—a mixture of serenade and lilt- Friar Laurence, waiting to marry the lovers ing party music—sets the scene in the Capulets’ in his cell, is depicted by a solo bassoon with ballroom; the Minuet is stately entrance music strings. A haunting flute solo over shimmer- for their guests. With the furtive, shifty Masks, ing strings—“It was the lark, the herald of Romeo appears at the Capulets (with his fellow the morn,” in Shakespeare (act 3, scene 5)— Montagues, Mercutio and Benvolio) in full introduces Romeo and Juliet’s final moments masquerade. The music perfectly captures both together. This scene recapitulates the many facets the nervousness and boldness of their entry into of their romance, and it is filled not only with hostile territory. Next comes the balcony scene— recollected passion but also, in its oddly halting passionate and tender, richly lyrical, and one of final pages, with the inevitability of their parting. the most rapturous moments in all ballet. This is Romeo at Juliet’s Tomb is a lament—a tragic spacious, magically scored night music, under- march of power and intensity, and, when it’s lined by the melancholy cut of Prokofiev’s grand, overpowered by the lovers’ theme, great poi- floating melodies. gnancy. This is the music that was played at The Death of Tybalt, by contrast, is tightly Prokofiev’s funeral (oddly paralleling the fate packed with incident and action, almost cin- of Fauré and Melisande’s death scene) on a tape ematic in the way it compresses events into a recorder because all of Moscow’s musicians short time. In comments written in his score, had been tapped for the funeral of Stalin, who Prokofiev characterized both the high-bravado had died at the same hour on the same day as duel between Tybalt and Mercutio (“they look the composer. 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 Phillip Huscher is the program annotator for the Chicago funeral procession over a pounding ostinato. Symphony Orchestra.

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CSO3_SepOct13.indd 39 9/25/13 11:24 AM The Chicago Symphony Orchestra Association thanks

Cindy Sargent

for her generous support of these performances.

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CSO3_SepOct13.indd 1 9/25/13 11:24 AM ProfIles

riccardo muti Conductor

Riccardo Muti, born in Gesellschaft der Musikfreunde (Society of the , , is one of the Friends of Music), the Vienna Hofmusikkapelle, preeminent conductors of the , and the Vienna our day. In 2010, when he State Opera. became the tenth music Muti succeeded as chief director of the world- conductor and music director of London’s renowned Chicago in 1973, holding that Symphony Orchestra position until 1982. From 1980 to 1992, he was (CSO), he had more than music director of the , forty years of experience and in 1986, he became music director of ’s at the helm of the Maggio Musicale Fiorentino Teatro alla Scala. During his nineteen-year in Florence, the Philharmonia Orchestra in tenure, in addition to directing major projects London, the Philadelphia Orchestra, and the such as the Mozart–Da Ponte trilogy and Teatro alla Scala in Milan. He continues to be in Wagner Ring cycle, Muti conducted operatic and demand as a guest conductor for other great symphonic repertoire ranging from the baroque orchestras and opera houses: the Berlin to the contemporary, also leading hundreds of Philharmonic, the Vienna Philharmonic, the concerts with the Filarmonica della Scala and Bavarian Radio Symphony Orchestra in Munich, touring the world with both the opera company the , House and the orchestra. His tenure as music director, in London, the Metropolitan Opera in New York the longest of any in ’s history, culmi- City, and many others. He also is honorary nated in the triumphant reopening of the restored director for life of the Opera. opera house with Antonio Salieri’s Europa rico- Muti studied piano under Vincenzo Vitale at nosciuta, originally commissioned for La Scala’s the Conservatory of San Pietro a Majella in his inaugural performance in 1778. hometown of Naples, graduating with distinc- Th roughout his career, Muti has dedicated tion. He subsequently received a diploma in much time and eff ort to young musicians. In composition and conducting from the Giuseppe 2004, he founded the Orchestra Giovanile Luigi Verdi Conservatory in Milan, where his principal Cherubini ( Youth Orchestra), teachers were and Antonino and he completed a fi ve-year project with this Votto. After winning the group to present works of the eighteenth-century Conducting Competition—by unanimous vote of Neapolitan School at the Salzburg Whitsun the jury—in Milan in 1967, his career developed Festival in 2011. quickly. In 1968, he became principal conductor Muti has demonstrated his concern for social of Florence’s Maggio Musicale, a position that he and civic issues by bringing music as a gesture held until 1980. of unity and hope to such places as hospitals, invited him to conduct prisons, and war-torn and poverty-stricken at the in Austria in 1971, and areas around the world. As part of Le vie Muti has maintained a close relationship with dell’Amicizia (Th e paths of friendship), a project the summer festival and with its great orchestra, of the Festival in Italy, he has con- the Vienna Philharmonic, for more than forty ducted friendship concerts in Sarajevo, Beirut, years. When he conducted the philharmonic’s Jerusalem, Moscow, Yerevan, Istanbul, New 150th anniversary concert in 1992, he was York, Cairo, Damascus, El Djem, Meknès, presented with the Golden Ring, a special sign of Mazara del Vallo, L’Aquila, Trieste, and Nairobi. esteem and aff ection, and in 2001, his outstand- He has served as a Goodwill Ambassador for ing artistic contributions to the orchestra were UNHCR, the United Nations Refugee Agency. further recognized with the Otto Nicolai Gold Muti has received innumerable international Medal. He is an honorary member of Vienna’s honors. He is a Cavaliere di Gran Croce of

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CSO3_SepOct13.indd 40 9/25/13 11:24 AM the Italian Republic, Officer of the French Considered the greatest interpreter of Verdi Legion of Honor, and a recipient of the German in our time, Muti wrote a book on the com- Verdienstkreuz. Queen Elizabeth II bestowed on poser, Verdi, l’italiano, published in German him the title of honorary Knight Commander of and Italian. His first book, Riccardo Muti: An the British Empire, Russian President Vladimir Autobiography: First the Music, Then the Words, has Putin awarded him the Order of Friendship, and been published in several languages. Pope Benedict XVI made him a Knight of the During his time with the CSO, Muti has won Grand Cross, First Class of the Order of Saint over audiences in greater Chicago and across the Gregory the Great—the highest papal honor. globe through his extraordinary music making as Muti also has received Israel’s Wolf Prize for the well as his demonstrated commitment to sharing arts, Sweden’s prestigious Prize, classical music. His first annual free concert Spain’s Prince of Asturias Award for the Arts, and as CSO music director attracted more than the gold medal from Italy’s Ministry of Foreign 25,000 people to Millennium Park. He regularly Affairs for his promotion of Italian culture abroad. invites subscribers, students, seniors, and people He has received more than twenty honorary of low incomes to attend, at no charge, his CSO degrees from universities around the world. rehearsals. Maestro Muti’s commitment to Riccardo Muti’s vast catalog of recordings, artistic excellence and to creating a strong bond numbering in the hundreds, ranges from the between an orchestra and its communities con- traditional symphonic and operatic repertoires to tinues to bring the Chicago Symphony Orchestra contemporary works. His debut recording with to ever higher levels of achievement and renown. the Chicago Symphony Orchestra and Chorus of Verdi’s Messa da , released in 2010 by www.riccardomuti.com CSO Resound, won two Grammy awards. www.riccardomutimusic.com

RICCARDO MUTI’S ® AWARD WINNING! GRAMMY FIRST CSO Winner of Best Classical Album RECORDING! and Best Choral Performance Available at Symphony Center, in retail stores, at VERDI cso.org/resound, and on iTunes: MESSA DA REQUIEM https://bit.ly/itunesReqCSO. CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI /OLGA BORODINA See page 20 for information on MARIO ZEFFIRI/ the CSO & Riccardo Muti’s newest recording, Verdi’s .

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

Global Sponsor of the CSO

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CSO3_SepOct13.indd 41 9/25/13 11:24 AM The Chicago Symphony Orchestra is grateful to

Bank of America

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

Global Sponsor of the CSO

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CSO3_SepOct13.indd 1 9/25/13 11:24 AM robert Chen Violin

Robert Chen has been including the Aspen Music Festival, Santa concertmaster of the Fe Music Festival, La Jolla Chamber Music Chicago Symphony Festival, and the Schloss Moritzburg Festival, Orchestra since 1999. he also has toured extensively with Musicians During his years as the from Marlboro and is a founding member of the CSO concertmaster, he Johannes Quartet. has been featured as Prior to joining the CSO, Robert Chen won soloist with Daniel fi rst prize in the Hanover International Violin Barenboim, Pierre Competition. As part of that prize, he recorded Boulez, , Tchaikovsky’s complete violin works for the , , Ton Berlin Klassics label. Koopman, and James Conlon. He gave the CSO A native of , Robert Chen began his premiere of György Ligeti’s Violin Concerto, violin studies at the age of seven. He continued Elliott Carter’s Violin Concerto, and Witold his studies with Robert Lipsett when he and his Lutosławski’s Chain Two, as well as the world family moved to Los Angeles in 1979. While in premiere of Augusta Read Th omas’s Astral Los Angeles, he participated in ’s Canticle. He closed the Chicago Symphony master classes. Chen received both bachelor’s Orchestra’s 2011–12 season as soloist in and master’s degrees in music from the Juilliard Paganini’s First Violin Concerto with Riccardo School, where he was a student of Dorothy Muti conducting. DeLay and Masao Kawasaki. In addition to his duties as concertmaster, In his free time, he enjoys relaxing at home Chen enjoys a solo career that includes perfor- with his wife Laura and two children, Beatrice mances with the Los Angeles Philharmonic, and Noah. Swedish Radio Orchestra, Moscow Philharmonic, New Japan Philharmonic, NDR fIrst Cso PerformanCes June 25, 2000. Ravinia Festival. Saint-Saëns’s The Muse and Orchestra of Hanover, and the Bournemouth the Poet (with Yo-Yo Ma). Christoph eschenbach conducting Symphony, collaborating with conductors such november 30, December 1, 2 & 3, 2000. Orchestra hall. as Esa-Pekka Salonen, Manfred Honeck, Pavel Mozart’s Violin Concerto no. 4. conducting Kogan, and Andreas Delfs. An avid chamber musician, Chen has per- most reCent Cso PerformanCes formed with Daniel Barenboim, , December 6, 7, 8 & 9, 2012. Orchestra hall. barber’s Violin Pinchas Zukerman, Yo-Yo Ma, , Concerto. Vasily Petrenko conducting Christoph Eschenbach, Myung-Whun Chung, January 25, 2013; Chiang Kai-Shek national Concert hall, , Lynn Harrell, and János Starker. , Taiwan. Mendelssohn’s Violin Concerto. Osmo A frequent participant at numerous festivals Vänskä conducting

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CSO3_SepOct13.indd 42 9/25/13 11:24 AM Chicago Symphony Orchestra Association

Now in its 123rd season, the Chicago Symphony following. The label’s release of Verdi’s Requiem Orchestra (CSO) is consistently hailed as one by the Orchestra and Chorus—Muti’s first with of the greatest orchestras in the world. Its music the CSO—won two Grammy awards in 2011. director since 2010 is Riccardo Muti, one of the In total, CSO recordings have earned sixty-two preeminent conductors of our day. Grammys. International audiences also enjoy Since its founding by Theodore Thomas in the CSO and Chorus through the CSO Radio 1891, the CSO has been led by illustrious music Broadcast Series, a weekly broadcast to more directors. Thomas was followed by Frederick than three hundred markets nationwide on the Stock, Désiré Defauw, Artur Rodzinski, Rafael WFMT Radio Network and on cso.org. Kubelík, , , Sir Georg In addition to presenting the Orchestra and Solti, and Daniel Barenboim. From 2006 to Chorus, the CSOA—under the banner of a 2010, Bernard Haitink was principal conductor, series called Symphony Center Presents—offers the first in CSO history. The venerable Pierre dozens of concerts each year featuring prestigious Boulez was appointed principal guest conduc- guest artists of classical, jazz, pop, world, and tor in 1995 and was named Helen Regenstein contemporary music Conductor Emeritus in 2006. Annually, the CSOA engages more than The musicians of the CSO annually perform 200,000 children, teens, and adults of diverse more than 150 concerts, most at Symphony incomes and backgrounds in the programs of Center in Chicago and, since 1936, at the its Institute for Learning, Access and Training. suburban Ravinia Festival each summer. Many These include concerts for children, programs for performances include the Chicago Symphony teachers and community groups, and low-cost Chorus, led by chorus director and conductor and free rehearsals and performances, including . a free annual community concert by the CSO led The CSO also performs in other U.S. cities by Maestro Muti. The Institute also includes the and frequently tours internationally. Beginning Civic Orchestra of Chicago, the only training in 1892 with a tour to Canada, the Orchestra ensemble for young adult preprofessionals affili- has performed in twenty-eight countries on five ated with a major American orchestra. continents. Since 1971, the CSO has toured All Institute programs are based on the thirty times, most recently visiting Italy concept of Citizen Musicianship, using and and Russia in 2012. The Orchestra has traveled promoting the power of music to contribute to to Asia seven times—most recently in 2013— our culture, our communities, and the lives of and once each to Australia and South America. others. Celebrated cellist Yo-Yo Ma has been In 2012, the CSO toured in Mexico for the first the CSOA’s Judson and Joyce Green Creative time. Whether at home or on tour, tickets are Consultant since 2010. He provides vision and always in high demand and frequently sold out. leadership to the Citizen Musician Initiative The CSO’s Mead Composers-in-Residence and serves as a partner to Maestro Muti and currently are and Anna Clyne. They Deborah F. Rutter, president of the CSOA curate the CSO’s contemporary music series, since 2003. MusicNOW, whose principal conductor is Cliff A nonprofit charitable organization, the Colnot. Another innovative series, Beyond the CSOA is governed by a board of trustees, now Score, weaves together theater, imagery, and music chaired by Jay L. Henderson. Tens of thou- to draw new audiences into the live concert hall. sands of subscribers and donors support the The Orchestra and Chorus are part of the CSOA, along with thousands of volunteers Chicago Symphony Orchestra Association through the CSOA’s Auxiliary Volunteers (CSOA). In 2007, the CSOA founded a record program, Governing Members Association, label, CSO Resound. The label builds on the Latino Orchestra Alliance, League of the CSO, CSO’s long history of commercial recording, Overture Council, and Women’s Board. which began in 1916, and which has been instru- mental in creating the Orchestra’s worldwide www.cso.org

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CSO3_SepOct13.indd 43 9/25/13 11:24 AM Chicago Symphony Orchestra Riccardo Muti Music Director

Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Duain Wolfe Chorus Director and Conductor Mason Bates, Anna Clyne Mead Composers-in-Residence

Violins Cellos Clarinets Timpani Robert Chen John Sharp Stephen Williamson§ David Herbert Concertmaster Principal Principal Principal The Louis C. Sudler The Eloise W. Martin Chair John Bruce Yeh Vadim Karpinos Chair, endowed by an Kenneth Olsen Assistant Principal Assistant Principal anonymous benefactor Assistant Principal Gregory Smith Stephanie Jeong The Adele Gidwitz Chair J. Lawrie Bloom Percussion Associate Concertmaster Karen Basrak Cynthia Yeh Cathy and Bill Osborn Chair Loren Brown E-Flat Clarinet Principal David Taylor Richard Hirschl John Bruce Yeh Patricia Dash Yuan-Qing Yu Daniel Katz Vadim Karpinos Bass Clarinet Assistant Concertmasters* Katinka Kleijn James Ross J. Lawrie Bloom So Young Bae Jonathan Pegis Piano Cornelius Chiu David Sanders Bassoons Mary Sauer Alison Dalton Gary Stucka David McGill Principal Gina DiBello Brant Taylor Principal Kozue Funakoshi William Buchman Librarians Basses Russell Hershow Assistant Principal Peter Conover Alexander Hanna Qing Hou Dennis Michel Principal Principal Nisanne Howell Miles Maner Carole Keller The David and Mary Winton Blair Milton Mark Swanson Paul Phillips, Jr. Green Principal Bass Chair ContraBassoon Sando Shia Daniel Armstrong Miles Maner Orchestra Personnel Susan Synnestvedt Roger Cline John Deverman Rong-Yan Tang Joseph DiBello Horns Director Michael Hovnanian† Daniel Gingrich Baird Dodge Anne MacQuarrie Robert Kassinger Acting Principal Principal Manager, CSO Auditions and Mark Kraemer James Smelser Sylvia Kim Kilcullen Orchestra Personnel Stephen Lester David Griffin Assistant Principal Bradley Opland Oto Carrillo Stage Technicians Lei Hou Susanna Gaunt Kelly Kerins Ni Mei Harps Stage Manager Fox Fehling Sarah Bullen Trumpets Dave Hartge Hermine Gagné Principal Christopher Martin James Hogan Rachel Goldstein Lynne Turner Principal Christopher Lewis Mihaela Ionescu The Adolph Herseth Principal Patrick Reynolds Melanie Kupchynsky Flutes Trumpet Chair, endowed by Todd Snick Wendy Koons Meir Mathieu Dufour an anonymous benefactor Joe Tucker Aiko Noda Principal Mark Ridenour Joyce Noh The Erika and Dietrich M. Assistant Principal Nancy Park Gross Chair John Hagstrom Ronald Satkiewicz Richard Graef Tage Larsen Florence Schwartz-Lee Assistant Principal Jennie Wagner Louise Dixon Trombones Jennifer Gunn Jay Friedman Violas Principal Charles Pikler Piccolo Michael Mulcahy Principal Jennifer Gunn Charles Vernon Li-Kuo Chang Assistant Principal Oboes Bass Trombone *Assistant concertmasters are The Louise H. Benton Charles Vernon listed by seniority. Wagner Chair Principal †On sabbatical John Bartholomew The Nancy and Larry Tuba Catherine Brubaker Fuller Chair Gene Pokorny §On leave Diane Mues Michael Henoch Principal Assistant Principal The Arnold Jacobs Principal The Chicago Symphony Orchestra Lawrence Neuman string sections utilize revolving Yukiko Ogura Gilchrist Foundation Chair Tuba Chair, endowed by Lora Schaefer Christine Querfeld seating. Players behind the first Daniel Orbach desk (first two desks in the violins) Scott Hostetler Max Raimi change seats systematically every Weijing Wang English Horn two weeks and are listed alphabet- Thomas Wright† Scott Hostetler ically. Section percussionists also are listed alphabetically.

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CSO3_SepOct13.indd 44 9/25/13 11:24 AM The Chicago Symphony Orchestra is grateful to

United Airlines

for its generous support.

44A

CSO3_SepOct13.indd 1 9/25/13 11:24 AM Chicago Symphony Orchestra Association Board of Trustees

Officers (2012–13) Robert Kohl William A. Goldstein Jay L. Henderson Joseph A. Konen Howard L. Gottlieb Chairman Josef Lakonishok Mrs. Richard H. Gottlieb Frank M. Clark Patty Lane Chester A. Gougis Vice Chairman Susan C. Levy Richard Gray Joyce T. Green John Livingston Joan W. Harris Vice Chairman John F. Manley Thomas C. Heagy Robert A. Kohl Ling Z. Markovitz Debora de Hoyos Vice Chairman Alan R. May Mrs. Roger B. Hull Jane DiRenzo Pigott Peter D. McDonald Judith W. Istock Vice Chairman Alfred L. McDougal William R. Jentes Frederick H. Waddell Mark G. McGrath Paul R. Judy Vice Chairman David E. McNeel Richard B. Kapnick Deborah F. Rutter* Christopher Melvin Donald G. Kempf, Jr. President Sylvia Neil George D. Kennedy Scott C. Smith Jose Luis Prado Mrs. John C. Kern Treasurer John M. Pratt John A. Koten Karen Rahn Dr. Irwin Press Fred A. Krehbiel Secretary of the Board W. Robert Reum Charles Ashby Lewis Isabelle Goossen Alexander I. Rorke Eva F. Lichtenberg Assistant Treasurer Jerry Rose John S. Lillard Karen Lewis Alexander Burton X. Rosenberg Donald G. Lubin Vice President for Development Earl J. Rusnak, Jr. James W. Mabie The Honorable Patrick J. Quinn Deborah F. Rutter* R. Eden Martin Honorary Chairman Alejandro Silva Arthur C. Martinez The Honorable Rahm Emanuel Walter Snodell Judith W. McCue Honorary Chairman Elizabeth Stein* Lester H. McKeever Russ M. Strobel Newton N. Minow Honorary Trustees Hugh D. Sullivan John D. Nichols The Honorable Richard M. Daley Nasrin Thierer James J. O’Connor Lady Valerie Solti Penny Van Horn William A. Osborn William A. Von Hoene, Jr. Mrs. Albert Pawlick Trustees Frederick H. Waddell Jane DiRenzo Pigott William Adams IV Eric E. Whitaker, M.D., M.P.H. Richard Pigott Douglas J. Bade Paul Wiggin Mrs. Neil K. Quinn Wayne D. Boberg Helen Zell John M. Richman Laurence O. Booth John W. Rogers, Jr. Kay Bucksbaum Life Trustees Frank A. Rossi Leslie Henner Burns* James L. Alexander Cynthia M. Sargent Gregory C. Case Mrs. Robert A. Beatty John R. Schmidt Frank M. Clark Marshall Bennett Irving Seaman, Jr. Bruce E. Clinton Melvyn Bergstein Thomas C. Sheffield, Jr. Richard Colburn Arnold M. Berlin Rita Simó Daniel J. Doherty William G. Brown Scott C. Smith Charles Douglas Matthew Bucksbaum Robert C. Spoerri Timothy A. Duffy* Dean L. Buntrock William C. Steinmetz Rick Fezell Robert N. Burt Carl W. Stern Mark D. Gerstein Richard H. Cooper Richard J. Stern Joseph B. Glossberg James S. Crown Roger W. Stone Richard C. Godfrey Mrs. Robert Crown William H. Strong Thomas M. Goldstein Anthony T. Dean Louis C. Sudler, Jr. Mary Louise Gorno John A. Edwardson Richard L. Thomas Joyce T. Green Sidney Epstein Peggy Y. Thomson Mary Winton Green Thomas J. Eyerman Richard P. Toft Joseph A. Gregoire James B. Fadim Charles A. Tribbett Anne Dias Griffin David W. Fox, Sr. James Weiss Dietrich Gross Richard J. Franke David P. Hackett Cyrus F. Freidheim, Jr. John H. Hart H. Laurance Fuller Jay L. Henderson Mrs. Robert W. Galvin Susan R. Kiphart Paul C. Gignilliat *Ex Officio Trustee

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CSO3_SepOct13.indd 45 9/25/13 11:24 AM Chicago Symphony Orchestra Association Governing Members

Governing Members Lutgart Calcote Alfred G. Goldstein Mrs. Byron C. Karzas Executive Committee Marion A. Cameron Anne Goldstein Barry D. Kaufman (2012–13) Thomas Campbell Jerry A. Goldstone Judy Kaufman R. John Aalbregtse Dr. Michael J. Carbon Marcia Goltermann Kenneth Kaufman Chairman Wendy Alders Cartland Mrs. William M. Goodyear, Jr. Marie Kaufman Timothy A. Duffy Mrs. Laurence A. Carton Carol Renshaw Grant Don Kaul Vice Chairman of the Annual Bess Celio Mary L. Gray Mrs. Susie Forstmann Kealy Fund & Chairman Elect Mrs. Hammond Chaffetz Joyce Greening Marilyn M. Keil Jared Kaplan Mrs. Henry T. Chandler Dr. Jerri Greer Molly Keller Vice Chairman of Nominations & Mrs. William C. Childs Jacalyn Gronek Gaynor Kelley Membership Frank Cicero, Jr. John P. Grube Nancy Kempf Jean E. Perkins Mitchell Cobey James P. Grusecki Gerould Kern Vice Chairman of Marcia S. Cohn Joel R. Guillory, Jr., M.D. John C. Kern Member Engagement Robin Tennant Colburn Dr. John W. Gustaitis, Jr. Mr. William K. Ketchum Mrs. Jane B. Colman Mrs. William N. Guthrie Elizabeth I. Keyser Governing Members Mrs. Earle M. Combs III Gary Gutting Mary Ellen Keyser (2012–13) Patricia Cox Lynne R. Haarlow Richard L. Keyser Anonymous (2) Beatrice G. Crain Mrs. Ernst A. Häberli Richard Kiphart Dora J. Aalbregtse Mrs. William A. Crane Jerry A. Hall Carol Evans Klenk R. John Aalbregtse Mari Hatzenbuehler Craven Joan M. Hall Mrs. Harriet Koehler Duffie A. Adelson Dewey B. Crawford Dr. Howard Halpern Mr. Henry L. Kohn, Jr. Karen Lewis Alexander Mr. Richard Cremieux Madeline Halpern Evangel Kokkino Dan Anderson Rebecca E. Crown Anne Marcus Hamada Sanfred Koltun Megan P. Anderson Dr. John Csernansky Joel L. Handelman Mrs. Judith Konen Michael Anderson Christopher L. Culp John M. Hard F. Maximilian Kort Mrs. Ruth T. Anderson Mrs. Robert J. Darnall Mrs. William A. Hark Dr. Mark Kozloff Mychal P. Angelos Dr. Tapas K. Das Gupta Mrs. Caryn Harris Dr. Michael Krco Dr. Edward L. Applebaum Dr. Kay Debs Mr. King Harris MaryBeth Kretz Vernon Armour Mr. Duane M. DesParte James W. Haugh Susan Krupp Bob Arthur Janet Wood Diederichs Bonnie S. Hawkins Dr. Vinay Kumar Mrs. Donald L. Asher Paul Dix Thomas Haynes Rubin Kuznitsky Dr. Carey August Mrs. William F. Dooley Mrs. Joseph Andrew Hays Mr. James R. Lancaster Ms. Kaye B. Aurigemma Sara L. Downey Lynne Heckman Mrs. Samuel T. Lawton, Jr.* Marta Holsman Babson Dr. David Dranove Patricia Herrmann Heestand Mrs. Gerald R. Lanz Mara Mills Barker Timothy A. Duffy Mrs. Mary Mako Helbert Dr. John G. Lease M. Z. Barnes Dr. George Dunea Bob Helman Ian Keun-Young Lee Solomon Barnett Mr. Frank A. Dusek, CPA Dr. Arthur Herbst Patricia Lee Mrs. Harold Barron Mrs. Charles M. Dykema Marlene Kovar Hersh Phillip Lehrman Roger S. Baskes Louis M. Ebling III Seymour I. “Sonny” Hersh Eleanor Leichenko Jeff Bauer Mrs. Arthur Edelstein Jeffrey W. Hesse Jeffrey Lennard Robert H. Baum Mr. Richard Elden Mrs. Thea Flaum Hill Marc Levin Robert A. Beatty, M.D. Mrs. Richard Elden Mrs. Mary P. Hines Laurence H. Levine Mrs. Tamara Beeler Kathleen H. Elliott Joan Hoatson Dr. Edmund J. Lewis S. Celine Bendy Mrs. Samuel H. Ellis William J. Hokin Dr. Gregory M. Lewis Edward H. Bennett III Mr. Charles Emmons, Jr. Wayne J. Holman III Dr. Philip R. Liebson Mrs. Marshall Bennett Joseph R. Ender Mr. Richard S. Holson III Mrs. Robert R. Lipsky Mrs. James F. Beré Cynthia G. Esler Fred H. Holubow Mrs. Patricia M. Livingston Meta S. Berger Dr. Marilyn D. Ezri Mr. James D. Holzhauer Mr. John S. Lizzadro, Sr. D. Theodore Berghorst Melissa Sage Fadim Janice L. Honigberg James R. Loewenberg Ann R. Berlin William F. Farley Joel D. Honigberg Renee Logan Phyllis Berlin Joe Feldman Mrs. Nancy A. Horner Amy Lubin Robert L. Berner, Jr. Mrs. Signe L. Ferguson Mrs. Arnold Horween, Jr. Mrs. Barry L. MacLean John A. Biek Mr. Rajiv Fernando Frances G. Horwich James MacLennan Helaine A. Billings Harve A. Ferrill Mrs. Peter H. Huizenga Dr. Michael S. Maling Tomás Bissonnette Mrs. Wayne J. Fickinger Gregory W. Hummel Robert L. Marth, Jr. Mrs. Judith Blau Ms. Constance Filling Mr. Christopher Hunt Patrick A. Martin Mr. Merrill Blau Daniel Fischel Craig T. Ingram James Matson Dr. Phyllis C. Bleck Mrs. Adrian Radmore Foster Verne G. Istock Marianne Mayer Mrs. Ted C. Bloch Rhoda Lea Frank Nancy Witte Jacobs Howard M. McCue III Mrs. George Bodeen Mrs. Zollie S. Frank Michael A. Janiszewski Dr. James L. McGee Mrs. Suzanne Borland Mr. Paul E. Freehling Dr. Todd Janus Dr. John P. McGee II James G. Borovsky Mrs. Cyrus F. Freidheim, Jr. Brooke D. Jensen Mrs. Lester H. McKeever James H. Bowhay Mr. Philip M. Friedmann Benetta P. Jenson John A. McKenna John D. Bramsen Dr. Jorge Galante Justine D. Jentes Mrs. Donna McKinney Roderick Branch Lois C. Gallagher Mrs. William R. Jentes Mrs. C. Bruce McLagan Paul A. Branstad Malcolm Gaynor Brian Johnson Mrs. James M. McMullan Mrs. S. Powell Bridges Lynn Gendleman Mrs. Clarence E. Johnson James Edward McPherson Charles M. Brock Dr. Mark Gendleman George E. Johnson Paul A. Meister Mrs. Roger O. Brown Rabbi Gary S. Gerson Kathryn Johnson Mr. Egon J. Menker Mrs. William G. Brown Isak V. Gerson Stephanie D. Jones Edwin S. Mills John D. Brubaker Dr. Bernardino Ghetti Mr. Edward T. Joyce Mrs. Newton N. Minow Mr. Robert Brumbaugh Mrs. Willard Gidwitz Loretta Julian Dr. Toni-Marie Montgomery Patricia M. Bryan Mrs. Paul C. Gignilliat Dr. Christopher E. Kalmus Dr. Emilie Morphew Samuel Buchsbaum Jerome Gilson Eric Kalnins Mrs. William L. Morrison Robert J. Buford John Giura Mrs. Carol K. Kaplan Christopher Morrow Mrs. Dean L. Buntrock Mr. James J. Glasser Ms. Dolores Kohl Kaplan Dr. Virginia Mullin Dr. Sharon Burke Jonathan W. Glossberg Jared Kaplan Clare Muñana Leslie Henner Burns Mrs. Madeleine Glossberg Claudia Norris Kapnick Mr. Herbert F. Munsterman Lynn C. Burt Mrs. Judy Goldberg Dr. Marc S. Karlan Daniel R. Murray Elizabeth Nolan Buzard Mrs. MaryAnne Goldberg John A. Karoly Eileen M. Murray 46

CSO3_SepOct13.indd 46 9/25/13 11:24 AM Mrs. Ray E. Newton, Jr. Mr. Harry J. Roper Ronald J. Spiotta Mr. Peter Vardy Edward A. Nieminen Mrs. Sheli Z. Rosenberg Mrs. William D. Staley Catherine Vartanian-Duke Dr. Zehava L. Noah Dr. Ricardo Rosenkranz William D. Staley Dr. Michael Viglione Kenneth R. Norgan Mrs. Ben Jay Rosenthal Bradlee F. Stamper Vincent E. Villinski Mrs. Richard M. Norton Mr. Russ W. Rosenzweig Grace Stanek Mr. Christian Vinyard Martha C. Nussbaum H. Jay Rothenberg, M.D. Dr. Eugene Stark Dr. Kathleen Ward Shelley Ochab Norman J. Rubash Dale J. Starkes Mrs. Roy I. Warshawsky Mrs. James J. O’Connor Roberta H. Rubin Leonidas Stefanos Gwenyth B. Warton Nancy O’Donnell Mrs. Myron Rubnitz Mrs. Susan Stein Mr. Paul S. Watford Eric Oesterle Sandra K. Rusnak Dr. Donald F. Steiner Dr. Catherine L. Webb Mrs. Norman L. Olson Mary Ryan Mrs. William C. Steinmetz Mrs. Jacob Weglarz Joy O’Malley Mrs. Patrick G. Ryan Mrs. Richard J. Stern Mrs. Joseph M. Weil, Jr. Thomas B. Orlando Richard O. Ryan Bruce Stevens Samuel Weisbard Mr. Gerald A. Ostermann William Ryan Liz Stiffel Mr. Robert G. Weiss James J. O’Sullivan, Jr. Mrs. Norman K. Sackar Alan Stone Mrs. Bert L. Weller Bruce L. Ottley Ms. Inez Saunders Sherwin J. Stone Penelope G. West Mrs. Richard C. Oughton David Savner Ellen Stone-Belic H. Blair White Raymond Parmer Karla Scherer Josie Strauss Mr. Robert Wislow Timothy J. Patenode John I. Schlossman Mrs. David H. Stremmel Mrs. Arnold R. Wolff Susan Patten Mrs. F. Eugene Schmitt Harvey J. Struthers, Jr. Mr. Michael G. Woll Mrs. Richard S. Pepper Jana R. Schreuder Robert D. Stuart, Jr. Dr. Hak Yui Wong Ms. Jean Perkins Dr. Alan Schriesheim Patricia Study Courtenay R. Wood Mr. Michael A. Perlstein Mrs. Charles E. Schroeder Cheryl Sturm Michael H. Woolever Mr. Seymour H. Persky Ms. Julie L. Schwertfeger Sean Susanin Ms. Debbie K. Wright Dr. William Peruzzi Dr. Penny Bender Sebring Dr. David Terman Mrs. George B. Young Ellard Pfaelzer, Jr. Dr. Ronald A. Semerdjian Dianne R. Tesler Owen Youngman Mrs. Thomas F. Pick Mrs. Richard J.L. Senior Liisa M. Thomas Dr. John P. Zaremba Stanley M. Pillman Mrs. Jack Shaffer Mrs. Richard L. Thomas Richard E. Ziegler Virginia Johnson Pillman Mrs. Thomas C. Sheffield, Jr. David A. Thomson Karen Zupko Mrs. Theodore Pincus James C. Sheinin, M.D. Dr. Robert Thomson Betsey N. Pinkert Richard W. Shepro Scott Thomson Robert Pinkert Morrell McK. Shoemaker, Jr. Joan Thron Curt G. Pinnell, Jr. Stuart Shulruff Mrs. Ray S. Tittle, Jr. Harvey R. Plonsker Mrs. Linda B. Simon William Robert Tobey, Jr. Mr. Michael Pope Valerie Slotnick Mr. Richard Tribble Carol Prins Mrs. Jackson W. Smart, Jr. C. Phillip Turner COL IL J.N. Pritzker IL ARNG (Ret.) Charles F. Smith Robert W. Turner *Deceased Gordon S. Prussian Louise K. Smith Marie Haddad Tyler Italics indicate governing members Lisa A. Radandt Mary Ann Smith Henry J. Underwood who have served at least five terms Ms. Diana M. Rauner Stephen B. Smith Zalman Usiskin (fifteen years or more). The govern- Susan Regenstein Dr. Patricia Smith-Pierce Mrs. James D. Vail III Mary Thomson Renner Mrs. Ralph Smykal Mrs. Virginia C. Vale ing members are responsible for Merle Reskin Kimberly Snyder Dr. Cynthia Valukas the general oversight and support Burton R. Rissman Mrs. Joseph Sondheimer Mark vanGorder, M.D. of the Association and receive J. Timothy Ritchie O.J. Sopranos Mr. John E. Van Horn exclusive benefits and recognition. Charles T. Rivkin Mrs. James Cavanaugh Spain Mrs. Peter E. Van Nice For more information about Mr. John H. Roberts Audrey Spiegel Mrs. Herbert A. Vance governing membership, please call Bob Rogers Edward J. Spiegel* William C. Vance 312-294-3355.

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CSO3_SepOct13.indd 47 9/25/13 11:24 AM Administration

Deborah F. Rutter Rebecca McFadden Program Book Sales and Marketing President Jeffrey Stang Denise Wagner J. Philip Koester Karen Rahn Production Managers Manager/Senior Editor Vice President Assistant to the President/ Charles Braico Gerald Virgil Melanie Kalnins Secretary of the Board House Manager Editor Director of Sales & Emily L. Master Kristin Tobin Orchestra Personnel Marketing Analysis Executive Assistant to the Designer John Deverman Laura Emerick Music Director Director Digital Content Editor Rosenthal Archives Human Resources Anne MacQuarrie Frank Villella Web and Interactive Media Lynne Sorkin Manager, CSO Auditions and Archivist Sean Hopp Director Orchestra Personnel Director Cheryl Rothwell DEVELOPMENT Facilities Steven Burkholder Coordinator Karen Lewis Alexander John Maas Specialist Vice President Strategy and Special Initiatives Director Robby Zar Ken Woodhouse Kevin Giglinto Michael Lavin Coordinator Executive Assistant Vice President Rental Events Manager Marketing Andrea McNaughton Joseph Sherman Director of Major Gifts Artistic Administration Elisabeth Madeja Coordinator Allison Szafranski Martha Gilmer Director Director of Leadership Gifts Vice President Engineers Kate Hagen Oliver Ionita The Richard and Mary L. Gray Chair Brendan Berry Manager, Patron Retention Major Gifts Officer Linda Nguyen Irvin Chief Engineer Jennifer Colgan Alfred Andreychuk Executive Assistant Timothy McElligott Marketing Manager Major Gifts Officer & Director of James M. Fahey Lead Engineer Mara Winston Grigg Planned Giving Director Kevin Walsh Coordinator, Advertising Amy Carmell Jones Gerard McBurney Dan Platt and Promotions Governing Member Gifts Officer Artistic Programming Advisor Eleanor Barbee Electricians Jenna Kaferly Nicholas Winter Associate Robert Stokas Annual Fund Coordinator Director, Artistic Administration Chief Electrician Creative Neomia Harris Cameron Arens John Forster Todd Land Project Assistant Director, Audience Development Director Stage Technicians Crystal MacDonald Emma Bilyk Institutional Advancement Kelly Kerins Artist Coordinator, CSO Senior Designer Christopher Redgate Lena Breitkreuz Stage Manager Director, Institutional Artist Coordinator, SCP Dave Hartge Ticket Sales and Patron Services Advancement & Monica Wentz James Hogan Stephanie Scott Development Strategy Coordinator, Artistic Planning Christopher Lewis Director Kevin Beck Phillip Huscher Patrick Reynolds Golder Cotman Director, Foundation & Program Annotator Todd Snick Coordinator Government Relations Joe Tucker Pietro Fiumara Ticketing Katherine Tuttle Artists Assistant Director of Finance and Stephen Funk Corporate Development Chorus Administration Associate Director Nick Magnone Carolyn Stoner Isabelle C. Goossen Patrice Fumbanks Corporate Development Manager Manager Vice President & Chief Pavan Singh Sarah Sapperstein Marjorie Johnston Financial Officer Supervisors Communications Specialist Associate Manager/Librarian Renay Johansen Slifka VIP Services Executive Assistant Robert Coad Donor Engagement & Institute for Learning, Development Operations Accounting Manager Access and Training Lisa McDaniel Kathryn Preston Megan Kasten Charles Grode Director of Donor Engagement Controller Assistant Manager Vice President Ryan Sedgwick Paulette Jean Volf Ashley Young Group Sales Director of Janet Kosiba Executive Assistant Brian Koenig Development Operations Assistant Controllers Jon Weber Manager Kimberly S. Duffy Kelly Cater Director of Learning Programs Shifra Werch Jessica Erickson Director, Budget, Planning & Yoo-Jin Hong Group Sales Specialist Penelope Johnson Analysis Director of Civic Orchestra & Senior Donor Monique Henderson Box Office Training Programs Engagement Managers Senior Accountant Joseph Garnett Jonathan McCormick Ingrid Burrichter Janet Hansen Manager Manager, Civic Stewardship Manager Payroll Manager Steve Paulin Orchestra Advancement Rebecca Silber Marianne Hahn Assistant Manager Madeleine Walsh Donor Engagement Associate Accounting Manager James Krier Assistant Director, Kirk McMahon Hyon Yu Christie Nawrocki Institute Programs Development General Ledger Manager Fernando Vega Michael Mason Services Coordinator Cynthia Maday John McGinnis Coordinator, Access Programs Madelaine Mooney Accounts Payable Manager Katy Clusen The Symphony Store Keli Smith Stephanie Ribaudo Coordinator, Learning Programs Roberto Bravo Prospect Research Coordinators Payroll Assistant Manager Peter Rosenbloom Orchestra and Information Services & Support Donor Services Coordinator Building Operations Communications Daniel Spees Karen Bullen Vanessa Moss Celeste Wroblewski Director Donor & Development Vice President Vice President Douglas Bolino Services Assistant Marc Geelhoed Rachelle Roe Client Systems Administrator Coordinator, CSO Resound Director of Public Relations Jacqueline Guy Heidi Lukas Maggie Berndt Senior Database Director Publicist Systems Administrator

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CSO3_SepOct13.indd 48 9/25/13 11:24 AM