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Home , Anima (chorus), Bruno Bettinelli, Duain Wolfe, Fritz Reiner, Mathieu Dufour, Mitsuko Uchida

Program

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

Friday, September 23, 2011, at 1:30 Tuesday, September 27, 2011, at 7:30 Riccardo Muti conductor Mathieu Dufour flute Rota Music from Il Gattopardo (The Leopard) Title Music Journey to Donnafugata Angelica and Tancredi 1 Angelica and Tancredi 2 The Prince’s Dreams Tancredi’s Departure Love and Ambition The Rigged Vote Finale First Chicago Symphony Orchestra performances Ibert , Op. 37 Allegro Andante Allegro scherzando Mathieu Dufour

Intermission Tchaikovsky Symphony No. 5 in E Minor, Op. 64 Andante—Allegro con anima Andante cantabile con alcuna licenza Waltz: Allegro moderato Finale: Andante maestoso—Allegro vivace

This concert series is generously sponsored by Alexandra and John Nichols. CSO Tuesday series concerts are sponsored by United Airlines.

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

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CSO_Subscription_1_w1_11-12.indd 31 9/13/11 1:17 PM This concert series is generously sponsored by

Alexandra and John Nichols.

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CSO_Subscription_1_w1_11-12.indd 1 9/13/11 1:17 PM Comments by Phillip Huscher

Nino Rota Born December 3, 1911, , Italy. Died April 10, 1979, , Italy.

Music from Il Gattopardo (The leopard)

hen Giuseppe di Lampedusa aristocracy—and in particular Wwas diagnosed with lung of the family of Don Fabrizio cancer in April 1957, he had been Corbera, prince of Salina—during trying to find a publisher for his the Risorgimento as Giuseppe historical novel Il Gattopardo (The Garibaldi, the leader for Italian leopard) for nearly a year. He died unification, and his forces swept in Rome that July—he received a through Sicily. Visconti’s film is rejection letter from Einaudi, one a powerful study in the transfor- of Italy’s leading publishing houses, mation of a people (“If we want only days before—not knowing things to stay the same, everything that The Leopard would eventually will have to change,” the young become the best-selling novel in Tancredi says to his uncle, Don Italian history, achieve iconic status Fabrizio), political upheaval, and in modern Italian literature, and mortality. Rota’s score captures the become an award-winning film volatile mixture of revolution and directed by Luchino Visconti. nostalgia for a dying world that lies The music from the Visconti film at the heart of The Leopard. that opens this concert was written Rota, like all the great film by , no doubt the only composers of his day, was a serious, film composer who could have classically trained musician who done justice to this great Italian wrote substantive music for the epic, set in the 1860s, when the concert hall as well. He already middle classes formed a unified and had composed an and a democratic Italy. Lampedusa’s novel ballet before he turned fifteen. He tells the story of the dying Sicilian studied with at the

Composed Instrumentation Approximate 1963, for Luchino Visconti’s three flutes and , two performance time film Il Gattopardo oboes and english horn, 24 minutes These are the first CSO two clarinets and bass performances clarinet, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, percussion, harp, piano, celesta, strings

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CSO_Subscription_1_w1_11-12.indd 32 9/13/11 1:17 PM Conservatory of Santa Cecilia in was unique. Visconti’s first idea was Rome, and then came to the U.S. to find a big nineteenth-century in 1930 on a scholarship from the symphony that could be taken apart Curtis Institute in Philadelphia, and used throughout the film in bits where he worked with future and pieces in order to have music CSO music director . that would match the grandeur, Rota returned to Italy in 1932 and seriousness, and deeply philosophi- earned a degree in literature in cal nature of the novel. He and Milan before he began teaching Rota exhaustively scoured the great music. From 1950 until his death orchestral repertoire, but nothing nearly three decades later, he was satisfied Visconti until Rota sat at director of the conservatory in the piano one day and began to play , where a young Riccardo Muti a portion of a symphony he had became one of his students. written as a young man and put Although Rota composed away long ago, before he had even concertos, ballets, symphonies, orchestrated it. This abandoned theater music, and , it is the score became the “symphony” that scores he composed for more than runs throughout Visconti’s film. 150 movies that will long keep his Like Visconti’s sumptuous visual music alive. Rota is best known in style, which uses color and texture the U.S. for his music for Francis to suggest magnificent nineteenth- Ford Coppola’s first two landmark century paintings brought to life, Godfather films in the mid-seventies Rota’s score becomes a grand (Rota won the Academy Award in symphony from an earlier time. 1975 for The Godfather: Part II). Although the studio cast Burt He also scored Franco Zefirelli’s Lancaster as the prince without two Shakespeare films, The Taming consulting Visconti, The Leopard of the Shrew and Romeo and Juliet became one of Visconti’s great- in the late sixties. But at the heart est triumphs and won the Palme of Rota’s career are his collabora- d’Or at the Cannes Film Festival tions with two of Italian cinema’s in 1963. Today, The Leopard is greatest directors, Federico Fellini recognized as a landmark—Martin and Luchino Visconti. Rota worked Scorsese recently called it “one of in partnership with Fellini for the greatest visual experiences in three decades, scoring several films cinema”—and it has even achieved that are considered classics today, cult status among designers, who including La strada, La dolce vita, revere its look (“It’s so rich, it’s like 8 ½, and Juliet of the Spirits. a tiramisu,” American decorator Rota first worked with Luchino Charlotte Moss recently told The Visconti in 1954 on Senso, adapting New York Times). Rota’s contribu- music by Anton Bruckner to be tion to the film’s success was widely used on the soundtrack. Although acknowledged at the time, but now, Rota subsequently wrote original played apart from the film and scores for several Visconti films, returned to the concert hall, where their collaboration on Il Gattopardo Rota first envisioned it, the music

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CSO_Subscription_1_w1_11-12.indd 33 9/13/11 1:17 PM reveals unexpected substance and even symphonic depth. Throughout the film, Rota’s score brilliantly supports Visconti’s flair for capturing atmosphere and mood, creating a sense of place and instantly defining character. The dramatic opening music seems inseparable from the parched Sicilian setting itself (“This violence of landscape,” Lampedusa writes, “this cruelty of climate, this con- tinual tension in everything . . . all these things have formed our char- acter.”). The music that accompanies the journey to the family’s summer house at Donnafugata mirrors the prince’s shifting emotions as he anticipates returning to “his palace, with its many-jetted fountains, its memories of saintly forebears, the sense it gave him of everlasting A movie poster for Visconti’s Il Gattopardo childhood.” The melody Rota writes for the romance between Tancredi and Angelica—the kind of big cinematic, even in the novel: “She theme that is easy to mimic and was moving slowly, making her almost impossible to compose—is a wide white skirt rotate around her, perfect counterpart to their blos- and emanating from her whole soming passion, which is central to person was the invincible calm the novel’s narrative. (The entrance of a woman sure of her beauty.”) of the breathtaking Angelica—a Throughout the score, the lyrical stunning Claudia Cardinale in beauty and harmonic richness of Visconti’s film—is a game-changing Rota’s music uncannily mirrors the moment—“Tancredi could even feel complexity of Visconti’s portrait of a the veins pulsing in his temples,” dying world—for as the old order is wrote Lampedusa—and it is overturned, a new Italy is born.

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CSO_Subscription_1_w1_11-12.indd 34 9/13/11 1:17 PM Born August 15, 1890, , . Died February 5, 1962, Paris, France.

Flute Concerto, Op. 37

acques Ibert is buried among sometimes unfairly dismissed as Jthe cypress and chestnut trees slight or superficial. in Paris’s , in the But Ibert is a true original, and shadow of the . His he was a composer of substance grave isn’t far from those of Gabriel from the start. He first attracted Fauré and . Fate attention in 1922 with his three- hasn’t been particularly kind to movement orchestral piece inspired Ibert, especially outside his native by The Ballad of Reading Gaol, France, and since he died in 1962, Oscar Wilde’s poem about the his music has nearly slipped from execution of a convicted murderer the repertoire. He is revered neither from a nearby cell during his own as a polished master such as Fauré incarceration on morals charges—a nor as a modern visionary like work that’s entirely at odds with Debussy. The fact that he never Ibert’s reputation for light music. belonged to any stylistic “school,” His only string quartet, composed such as the flippant, headline- twenty years later, reflects the tur- grabbing Les six of his friends moil and trauma of World War II. Honegger and Milhaud, has made At first, Ibert hoped to be an it harder to categorize him—and actor, and even after he switched easier to lose sight of him on the to the study of music, his passion congested roadmap of twentieth- for drama gave his own works an century music. As a result, he’s unmistakably theatrical quality. At often thought of as a peripheral the Paris Conservatory, he studied figure, and even his best work is with Émile Pessard, who had

Composed First CSO Instrumentation 1932–33 performance solo flute, two flutes, two December 13, 1951, oboes, two clarinets, two First performance Orchestra Hall. Julius bassoons, two horns, one 1934, Paris. Marcel Baker, flute, with Rafael trumpet, timpani, strings Moyse, flute Kubelík Approximate Most recent performance time CSO performance 19 minutes January 15, 2005, Orchestra Hall. Mathieu Dufour, flute, with conducting

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CSO_Subscription_1_w1_11-12.indd 35 9/13/11 1:17 PM taught Ravel, and then in Gédalge’s To his credit, Ibert was never a classes, where he met Honegger slave to the popular “isms” of the and Milhaud. During World time. “All systems are valid,” he War I, Ibert interrupted his studies said simply, “provided that one to serve as a nurse and stretcher- derives music from them.” Far bearer on the front lines. His big from being an angry outsider, career break came in 1919, when he Ibert enjoyed standing apart from won the coveted Prix de Rome (on the crowd, and he cherished his his first try, unlike Berlioz) for his eclecticism. “I want to be free,” he cantata Le poète et la fée (The poet said, “independent of the prejudices and the fairy). (Many years later, which arbitrarily divide the defend- after he had established himself as ers of a certain tradition and the a composer, he served as director of partisans of a certain avant-garde.” the French Academy in Rome for The flute concerto Ibert began more than two decades, which put in 1932 is one of his most effective him back in residence at the Villa works, composed at a time of rich Medici, where he had lived as a creativity in Parisian artistic circles. scholarship prizewinner.) In the early 1930s, this was the If Ibert is difficult to pigeonhole city of Pierre Bonnard’s shim- as a composer, that’s largely his mering, mosaic-like canvases and own doing, for he wrote a wide Picasso’s classic Bather with Beach range of music in many genres and Ball; of Jean Genet’s Intermezzo and for many purposes—from back- Gertrude Stein’s The Autobiography ground music for a Paris festival of Alice B. Toklas. Stéphane of water and light to cadenzas for Grappelli, the jazz violinist, was Mozart’s Clarinet Concerto. Under appearing at Hotel Claridges, the influence of his lifelong love for and the gypsy guitarist Django the theater, he wrote seven operas Reinhardt played his first concerts and five ballets, as well as scores at the Hot Club de France. Henri for radio dramas and incidental Cartier-Bresson’s classic photo- music for many plays, including his graph, Behind the Gare Saint Lazare: own take on A Midsummer Night’s Man Jumping a Puddle, captures Dream. (He turned his uproarious the “decisive moment” in which score for Labiche’s classic farce, An an event is about to take place. Italian Straw Hat, into a divertisse- (Today it’s his most often repro- ment, one of his most often-played duced image.) The legendary flutist works.) He was a natural to write began teaching at music for film, which he did the Paris Conservatory in 1932, the throughout his career. In 1948, he year he asked Ibert to write him scored Orson Welles’s , this flute concerto. and four years later he provided Like Cartier-Bresson’s celebrated the opening circus ballet sequence image, the opening of Ibert’s flute (based on the tale) for concerto is coiled energy frozen in a Gene Kelly’s Invitation to the Dance, “decisive moment” of music. Once Hollywood’s first all-dance film. the action begins, the flute carries

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CSO_Subscription_1_w1_11-12.indd 36 9/13/11 1:17 PM the music forward, headlong, in a around its theme, now in the breathless string of sixteenth notes. strings. The finale is saucy, even The first movement is mostly fleet jazzy—particularly when it alter- and high-spirited—even when the nates measures of four beats and flute has a lyrical second theme, the three beats. Ibert asks everything pace doesn’t slacken. The music is of his soloist, from daredevil leaps brilliant, jumpy, and restless. The and racing scales to tongue-twister slow middle movement comes from melodies and rhapsodic ornamented a different emotional world: the tunes, and then writes a mini– flute now sings a gentle, twisting mad scene of a cadenza for good reverie over muted string harmo- measure. The ending is swift and nies. After a full-out climax, the explosive—the “decisive moment” flute weaves magical arabesques fully realized.

Piotr Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia.

Symphony No. 5 in E Minor, Op. 64

en years passed between working in his garden; he wrote to TTchaikovsky’s Fourth and Fifth his patroness, Nadezhda von Meck, symphonies—a decade which that when he was “past compos- saw his international reputation ing” he might devote himself to grow as he finished Eugene Onegin growing flowers. Work on the new and three other (less success- symphony was often rough going. ful) operas, the , “The beginning was difficult,” the 1812 Overture, the Serenade he reported midsummer, “now, for Strings, a second piano con- however, inspiration seems to have certo, the , come.” He later complained, “I the A minor piano trio, and the have to squeeze it from my dulled Capriccio italien. As he began this brain.” But by the end of the sum- symphony, Tchaikovsky feared his mer, when four months of intensive muse was exhausted. “I am dread- work had brought him to the last fully anxious to prove not only to measures of the symphony’s finale, others, but also to myself, that I am he admitted that “it seems to me not yet played out as a composer,” that I have not blundered, that it he said at the time. In the spring has turned out well.” of 1888, Tchaikovsky had recently Tchaikovsky’s Fourth Symphony moved into a new house outside of had been his answer to Beethoven’s Moscow, and as he was beginning Fifth: it’s a symphony of triumph this symphony, he found great joy over fate, and he explained its

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CSO_Subscription_1_w1_11-12.indd 1 9/13/11 1:17 PM meaning in detailed correspon- couldn’t bring himself to speak dence with Mme von Meck. For to the one time they accidentally his next symphony, Tchaikovsky passed on the street.) again turned to the theme of fate, The symphony opens with an although this time he gave away introduction in which the motto little of the work’s hidden meaning. theme is played quietly by the As a motto theme, Tchaikovsky clarinet (it returns later in the most picked a phrase from Glinka’s A dramatic form). The Allegro also Life for the Tsar which accompanies begins with a gently moving theme the words “turn not into sorrow.” in the clarinet, doubled by the Before he began composing, he bassoon. (Tchaikovsky launches sketched a program for the work in this E minor melody from the his notebook, labeling the theme as lower C, rising a third to E, rather “complete resignation before Fate,” than from the lower fourth, B—the and describing the first movement more predictable start, and the way as “doubts . . . reproaches against many listeners incorrectly remem- xxx.” That xxx, like the cryptic Z ber it.) This ultimately leads to the that appears elsewhere in the same remote key of D major, where the pages, refers, almost without doubt, violins introduce a lovely sighing to the homosexuality he dared not theme, delicately scored at first, admit. (It remained a well-kept then blossoming to encompass secret during his life. His friends the full orchestra. The develop- didn’t know what to make of the ment section travels through many disastrous match that publicly harmonic regions, but presents very passed for a marriage—lasting only little actual development, because weeks and driving the composer to Tchaikovsky’s themes are full attempt suicide—or of his one sat- melodies, not easily dissected. isfying relationship with a woman, The Andante presents one Nadezhda von Meck, whom he of Tchaikovsky’s most beloved never met in fourteen years and themes, a horn melody so poignant

Composed Most recent CSO recordings May–August 26, 1888 CSO performance 1928. September 26, 2008, conducting. Victor First performance Orchestra Hall. Charles 1968. Seiji Ozawa conduct- November 17, 1888, Dutoit conducting ing. RCA Saint Petersburg. The 1975. Sir composer conducting Instrumentation conducting. three flutes and piccolo, two First CSO oboes, two clarinets, two 1985. performance bassoons, four horns, two conducting. CBS April 1, 1892, Auditorium trumpets, three trombones 1987–88. Sir Georg Solti Theatre. Theodore and tuba, timpani, strings conducting. London Thomas conducting 1995. Daniel Barenboim Approximate conducting. Teldec performance time 45 minutes

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CSO_Subscription_1_w1_11-12.indd 37 9/13/11 1:17 PM The Chicago Symphony Orchestra is grateful to

United Airlines

for its generous support.

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CSO_Subscription_1_w1_11-12.indd 38 9/13/11 1:17 PM and seductive that it tempts many moment of repose that is marked listeners to overlook the eloquent pianissimo and lightly scored. The strands the clarinet and oboe motto theme sweeps through, once weave around it. The opening bars at a brisk speed, and then, near the of quiet sustained chords begin in end, leading a magnificent march. B minor and then swing around to It’s the main melody of the first D major—that unexpected tonal movement, however, that comes territory from the first movement— rushing in to close the symphony. before the hushed entry of the Tchaikovsky conducted the first horn. The lyrical flow is halted by performance of the symphony in the motto theme, first announced Saint Petersburg in November 1888 by the full orchestra over a fierce and introduced the work in timpani roll midway through, and on a concert tour in early 1889. In once again just before the end. Hamburg he met Brahms, who The third movement is a minor- postponed his departure in order to key waltz; a livelier trio, with play- hear his Russian colleague’s latest ful runs in the strings, also sounds symphony; Brahms liked what he uneasy, suggesting something heard, except for the finale. sinister on the horizon. Perhaps Tchaikovsky was far from written it’s the fateful motto theme, which out. Before he even finished this sounds quietly in the low winds symphony, he began the fantasy just before the dance is over. The overture Hamlet, and a few weeks finale opens with the motto, fully later, he started work on a new bal- harmonized and in the major mode. let about a sleeping beauty who is This furiously driven movement awakened with a prince’s kiss. often has been derided as overly bombastic, formulaic, and repeti- tive, although it has many delicate touches, including a high, singing theme in the winds. The tempo Phillip Huscher is the program annota- never eases, not even in the one tor for the Chicago Symphony Orchestra.

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CSO_Subscription_1_w1_11-12.indd 39 9/13/11 1:17 PM Profiles

Riccardo Muti Conductor

World- position he maintained until 1980. In renowned con- 1971, Muti was invited by Herbert von ductor Riccardo Karajan to conduct at the Salzburg Muti made Festival, the first of many occasions; his debut with in 2010, he celebrated his fortieth the Chicago year of artistic collaboration with this Symphony festival. From 1972 until 1982, Muti Orchestra at the was chief conductor and music direc- tor of the in in July 1973. London; from 1980 to 1992, he served In September of 2007—for the first as music director of the Philadelphia time in more than thirty years—he Orchestra; and from 1986 to 2005, appeared with the CSO in a month- he was music director of the Teatro long residency that included two weeks alla Scala. During his tenure at La of remarkable subscription concerts; a Scala, he undertook such projects as sold-out opening night gala; and a tri- the Mozart–Da Ponte trilogy and umphant European tour, which marked Wagner’s Ring cycle and reopened the the Orchestra’s first performances in newly restored with Antonio Italy in more than twenty-five years. In Salieri’s Europa riconosciuta, originally May 2008, the CSO announced Muti’s commissioned for La Scala’s inau- appointment as its tenth music director, gural performance in 1778. He also a post he assumed at the beginning of remounted Verdi’s trilogy of , the 2010–11 season. La traviata, and Il trovatore after an Born in , Italy, Riccardo Muti absence of more than twenty years. studied piano at the Conservatory of Over the course of his extraor- San Pietro a Majella under Vincenzo dinary career, Riccardo Muti has Vitale, graduating with distinction. conducted most of the important He subsequently received a diploma in in the world, including the composition and conducting from the , Bavarian Radio Verdi Conservatory in Milan, where Symphony Orchestra, and New York he studied with and Philharmonic, as well as the . Philharmonic, with which he has Riccardo Muti first came to the appeared at the attention of critics and the public since 1971. When Muti was invited in 1967, when he was unanimously to conduct the orchestra for the awarded first place at the Guido sesquicentennial celebration concert Cantelli Competition for conduc- of the , he was tors in Milan. The following year, he presented with the Golden Ring by the was appointed principal conductor of orchestra as a sign of special apprecia- the Maggio Musicale Fiorentino, a tion and affection, a prize bestowed

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CSO_Subscription_1_w1_11-12.indd 40 9/13/11 1:17 PM to only a select few conductors. In Symphony Orchestra and Chorus, addition, he was invited to conduct the Verdi’s Messa da , released by Vienna Philharmonic for the celebra- CSO Resound in 2010. tions of Mozart’s 250th birthday in Innumerable honors have been January 2006. In December 2003, bestowed on Riccardo Muti over the he conducted the opening concert of course of his career. He has been the newly renovated La Fenice Opera made a Cavaliere di Gran Croce of House in Venice, and from 2006 to the Italian Republic and has received 2011, he served as artistic director of the Verdienstkreuz from Germany; Salzburg’s Whitsun Festival. in 2010, he received the decoration of Riccardo Muti’s social and civic Officer of the Legion of Honor from conscience as an artist is demonstrated French President Nicolas Sarkozy in a by concerts in a number of locations private ceremony held at Élysée Palace. symbolizing the world’s troubled past He also was made an honorary Knight and contemporary history, which he Commander of the British Empire by has conducted as part of the Queen Elizabeth II in Britain. The Festival’s Le vie dell’Amicizia (The Salzburg Mozarteum awarded him Paths of Friendship) project. These its silver medal for his contribution to have included performances in Mozart’s music, and in Vienna he has Sarajevo, Beirut, Jerusalem, Moscow, been elected an honorary member of Yerevan, Istanbul, New York, Cairo, the Gesellschaft der Musikfreunde, Damascus, L’Aquila, Trieste, and El the Wiener Hofmusikkapelle, and the Djem. Most recently, in July 2011, he Wiener Staatsoper. Russian President led the Cherubini Orchestra in a con- Putin awarded him the Order of cert in Nairobi, Kenya, for over 5,000 Friendship, and the State of Israel people to raise awareness and to fund has honored him with the Wolf Prize education projects in Kibera. for the arts. He has received honor- In 2004, Muti founded the Luigi ary degrees from many universities Cherubini Youth Orchestra, which in Italy and abroad. In 2010, he was consists of young musicians selected named Musician of the Year by Musical by an international committee from America. In March 2011, Riccardo some six hundred instrumentalists Muti was selected as the second-ever from all over Italy. In May 2007, he winner of the Prize, began a five-year project dedicated to awarded every two to three years to the Neapolitan School of the eigh- a singer or conductor who has had a teenth century with the Cherubini significant impact in the classical field. Orchestra as part of the Salzburg This past April, he was honored at the Whitsun Festival. sixth annual Awards, Muti’s recording activities span the and in May 2011, he was awarded classical symphonic and operatic reper- ’s prestigious Prince of Asturias tories to contemporary works and have Prize for the Arts. In July 2011, he received recognition in the form of was named an honorary member of the many prizes. He recently was awarded Vienna Philharmonic. his first two Grammy awards for his debut recording with the Chicago www.riccardomuti.com

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CSO_Subscription_1_w1_11-12.indd 41 9/13/11 1:17 PM Mathieu Dufour Flute

Mathieu on the faculty at DePaul University Dufour is in Chicago. principal flute Dufour’s discography includes a solo of the Chicago recital of sonatas, Poulenc’s complete Symphony, a chamber music, the complete works for position he has flute by Roussel, Molique’s concerto held since 1999. with the Czech National Orchestra, Since then, he and fantasies for flute and piano with has appeared as pianist Kuang-Hao Huang. soloist numer- Mathieu Dufour began his flute ous times with the Orchestra—in studies at the age of eight with Chicago, at New York’s Carnegie Madeleine Chassang at the National Hall, and at the Berlin Philharmonie, Regional Conservatory in his home- as well as at the Lucerne Festival town of Paris, France. At the age of in Switzerland. He also has fourteen, he was awarded the school’s appeared as soloist with the Tokyo gold medal by unanimous vote. He Metropolitan Orchestra and the subsequently studied with Maxence Hiroshima Symphony. Larrieu at the National Conservatory As chamber musician, Dufour has of Music in Lyon, where he was unani- collaborated with , mously awarded first prize in 1993. Pinchas Zukerman, the Kalichstein- Additional awards include second prize Laredo-Robinson Trio, Julia Fischer, at the Jean-Pierre Rampal International Eric LeSage, and members of the Flute Competition (1990), third prize Berlin Philharmonic. He also is a at the International Flute Competition member of the Chicago Chamber in (1991), and second prize Musicians. He has performed cham- at the International Flute Competition ber music concerts in Carnegie’s in Kobe, (1997). From 1996 to Zankel Hall in New York and at the 1999, he was principal flute solo of the Lucerne Festival, the Davos Festival in Paris National Opera Orchestra; prior Switzerland, and the Domaine Forget to his appointment there, he served as Festival in Canada. principal flute solo of the Orchestre As a recitalist, Dufour has performed National du Capitole de Toulouse for in Japan, the United States, Canada, three years. Europe, Israel, and South America. His recitals have been broadcast on the Mathieu Dufour made his subscription French channel Mezzo as well as on concert debut as soloist with the Chicago Japanese television. Symphony at Orchestra Hall in November and December 2000, in Mozart’s Concerto Also in demand as a coach and for Flute and Harp with Sarah Bullen, and a teacher, Dufour frequently holds Daniel Barenboim conducting. He most master classes wherever he performs. recently appeared as soloist on subscription He has taught at the Domaine concerts in January 2010, in Dalbavie’s Flute Forget Festival, and he currently is Concerto with Pierre Boulez conducting.

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CSO_Subscription_1_w1_11-12.indd 42 9/13/11 1:17 PM Chicago Symphony Orchestra Association

The Chicago Symphony Orchestra is In 2007, the CSO returned to the consistently hailed as one of the world’s national airwaves with its self-produced finest orchestras. In the 2011–12 weekly broadcast series, which is season—the Orchestra’s 121st— syndicated to more than three hundred Riccardo Muti continues his tenure as markets nationwide on the WFMT the CSO’s tenth music director. Radio Network as well as on cso.org. Throughout its history, the Chicago Also that year, the CSO expanded Symphony Orchestra has enjoyed lead- its online presence with free video ership from an illustrious list of music downloads of its innovative Beyond the directors, beginning with Theodore Score presentations. Thomas, who founded the Orchestra The Chicago Symphony Orchestra in 1891, followed by Frederick Stock, Association also is the parent orga- Désiré Defauw, Artur Rodzinski, nization for the Chicago Symphony Rafael Kubelík, Fritz Reiner, Jean Chorus; Civic Orchestra of Chicago; Martinon, Sir Georg Solti, and Daniel the Presents concert Barenboim. From 2006 to 2010, series; the Institute for Learning, led the Orchestra Access and Training; and the as principal conductor, the first in Symphony Center facility. Symphony CSO history. Pierre Boulez, who was Center Presents, the organization’s appointed principal guest conductor in presentation arm, offers more than fifty 1995, has served as Helen Regenstein diverse performances each year, includ- Conductor Emeritus since 2006. ing piano and chamber recitals, visiting The CSO performs well over orchestras, jazz, world music, and the 150 concerts each year at Symphony MusicNOW contemporary series. Center and at the Ravinia Festival, and Anna Clyne are the where it is in residence each sum- CSO’s Mead Composers-in-Residence, mer. The ensemble has embarked on taking up their posts with the 2010–11 thirty-seven overseas tours since Sir season. They curate the MusicNOW Georg Solti led the first European tour series along with principal conductor in 1971, including twenty-eight trips to Cliff Colnot and work with Maestro that continent, seven to the Far East, Muti to reach across traditional barriers and one each to Russia, , and and into the Chicago community. South America. The Institute for Learning, Access Recording has been a significant and Training at the CSO, launched part of the CSO’s history since 1916, in October 2008, engages more than and in 2007 the Orchestra launched 150,000 Chicago-area residents its own record label, CSO Resound. annually. Under the auspices of the CSO recordings have earned sixty-two Institute, Yo-Yo Ma, who became the Grammy awards from the National first Judson and Joyce Green Creative Academy of Recording Arts and Consultant in January 2010, serves as Sciences, most recently in 2011 for an invaluable partner to Maestro Muti, Best Classical Album and Best Choral CSO staff, and musicians by par- Performance for Verdi’s Requiem ticipating in the development of new conducted by Riccardo Muti. initiatives and music series.

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CSO_Subscription_1_w1_11-12.indd 43 9/13/11 1:17 PM Chicago Symphony Orchestra

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

The David and Mary Winton Green Principal Bass Chair currently is unoccupied.

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CSO_Subscription_1_w1_11-12.indd 44 9/13/11 1:17 PM Chicago Symphony Orchestra Association Board of Trustees

Officers (2010–11) Joseph Konen* Thomas C. Heagy William A. Osborn Josef Lakonishok Ben W. Heineman Chairman Susan C. Levy Debora de Hoyos Jay L. Henderson John Livingston Mrs. Roger B. Hull Vice Chairman and Treasurer C.H. Randolph Lyon Judith W. Istock Chester Gougis John F. Manley William R. Jentes Joyce T. Green Ling Z. Markovitz Paul R. Judy Robert A. Kohl Alan R. May Morris A. Kaplan Jane DiRenzo Pigott Peter D. McDonald Richard B. Kapnick David B. Speer Alfred L. McDougal Donald G. Kempf, Jr. Vice Chairs David E. McNeel George D. Kennedy Deborah F. Rutter John M. Pratt Mrs. John C. Kern President Dr. Irwin Press David A. Kipper‡ Karen Rahn W. Robert Reum John A. Koten Secretary of the Board James Reynolds, Jr. Fred A. Krehbiel Isabelle Goossen Nobert G. Riedel Charles Ashby Lewis Assistant Treasurer Alexander I. Rorke Eva F. Lichtenberg Peggy Titterington Jerry Rose John S. Lillard Vice President for Development Earl J. Rusnak, Jr. Donald G. Lubin The Honorable Patrick J. Quinn Deborah F. Rutter* James W. Mabie Honorary Chairman Alejandro Silva R. Eden Martin Raymond Skilling Arthur C. Martinez Honorary Trustees David B. Speer Judith W. McCue Lord John Browne of Madingley Russ M. Strobel Lester H. McKeever Maggie C. Daley Peggy Y. Thomson William W. McKittrick‡ Lady Valerie Solti Charles A. Tribbett Newton N. Minow Trustees Penny Van Horn John D. Nichols William Adams IV Frederick H. Waddell James J. O’Connor James L. Alexander Sona Wang William A. Osborn Anthony K. Anderson Eric E. Whitaker, M.D., M.P.H. Mrs. Albert Pawlick Douglas J. Bade Paul Wiggin Jane DiRenzo Pigott Melvyn Bergstein Helen Zell Richard Pigott Wayne D. Boberg Life Trustees Robert A. Pritzker Laurence O. Booth Mrs. Robert A. Beatty Mrs. Neil K. Quinn Matthew Bucksbaum Marshall Bennett John M. Richman Gregory C. Case Arnold M. Berlin John W. Rogers, Jr. Frank M. Clark Mrs. William A. Boone Mrs. Ward C. Rogers Bruce E. Clinton William G. Brown Frank A. Rossi Richard Colburn Dean L. Buntrock Cynthia M. Sargent Michelle L. Collins Robert N. Burt John R. Schmidt Ellen M. Costello Richard H. Cooper Irving Seaman, Jr. Charles Douglas James S. Crown Thomas C. Sheffield, Jr. David W. Fox, Jr. Mrs. Robert Crown Rita Simó Mark D. Gerstein Anthony T. Dean Scott C. Smith Joseph B. Glossberg John A. Edwardson Robert C. Spoerri Richard C. Godfrey Sidney Epstein William C. Steinmetz Thomas M. Goldstein Thomas J. Eyerman Carl W. Stern William A. Goldstein James B. Fadim Richard J. Stern Mary Louise Gorno David W. Fox, Sr. Roger W. Stone Karen Goodyear* Richard J. Franke William H. Strong Joyce T. Green Cyrus F. Freidheim, Jr. Louis C. Sudler, Jr. Mary Winton Green H. Laurance Fuller Richard L. Thomas Joseph A. Gregoire Mrs. Robert W. Galvin Richard P. Toft Anne Dias Griffin Paul C. Gignilliat James Weiss Dietrich Gross Howard L. Gottlieb David P. Hackett Mrs. Richard H. Gottlieb John H. Hart Chester A. Gougis Jay L. Henderson Richard Gray Cheryl Istvan* J. Parker Hall III *Ex Offcio Robert Kohl Joan W. Harris ‡Deceased

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CSO_Subscription_1_w1_11-12.indd 45 9/13/11 1:17 PM Governing Members Executive Marcia S. Cohn Mrs. Ernest A. Grunsfeld III Committee (2010–11) Robin Tennant Colburn James P. Grusecki Joseph A. Konen Mrs. Jane B. Colman Mrs. Paul W. Guenzel Chairman Mrs. Earle M. Combs III Joel R. Guillory, Jr., M.D. R. John Aalbregtse Patricia Cox Dr. John W. Gustaitis, Jr. Vice Chairman of the Annual Fund Mrs. William A. Crane Mrs. William N. Guthrie James H. Bowhay Mari Hatzenbuehler Craven Lynne R. Haarlow Vice Chairman of Nominations Dewey B. Crawford Mrs. Ernst A. Häberli and Membership Mr. Richard Cremieux Madeline Halpern Virginia Johnson Pillman Carole Crosby Joel L. Handelman Vice Chairman of Special Events Rebecca E. Crown Mrs. William A. Hark Karen Zupko Dr. John Csernansky Mrs. Caryn Harris Vice Chairman of Member Engagement Christopher L. Culp Mr. King Harris Mrs. Robert J. Darnall James W. Haugh Governing Members (2011–12) Dr. Tapas K. Das Gupta Bonnie S. Hawkins Anonymous Mr. Duane M. DesParte Thomas Haynes Dora J. Aalbregtse Judith DeStefano Mr. Joseph Andrew Hays R. John Aalbregtse Annette G. Dezelan Mrs. Joseph Andrew Hays Duffie A. Adelson David A. Dezelan Patricia Herrmann Heestand Megan P. Anderson Janet Wood Diederichs Mrs. Mary Mako Helbert Mrs. Ruth T. Anderson Paul Dix Bob Helman Sharon Angell Mrs. William F. Dooley Dr. Arthur Herbst Dr. Edward L. Applebaum Sara L. Downey Marlene Kovar Hersh Bob Arthur Timothy A. Duffy Seymour I. “Sonny” Hersh Mrs. Donald L. Asher Dr. George Dunea Jeffrey W. Hesse Ms. Kaye B. Aurigemma Mr. Frank A. Dusek, CPA Mrs. Thea Flaum Hill Mrs. Nicholas Babson Mrs. Charles M. Dykema Mrs. Mary P. Hines Robert H. Bacon, Jr. Louis M. Ebling, III Rev. Melinda Hinners-Waldie Mara Mills Barker Mrs. Arthur Edelstein Joan Hoatson Mr. James J. Barnes Mr. Richard Elden Mrs. Myron Hokin Sherry S. Barrat Mrs. Richard Elden Wayne J. Holman III Mrs. Harold Barron Mrs. Samuel H. Ellis Fred H. Holubow Roger S. Baskes Mr. Charles Emmons, Jr. Mr. James D. Holzhauer Robert H. Baum Mrs. Janice Engle Janice L. Honigberg Robert A. Beatty, M.D. Cynthia G. Esler Joel D. Honigberg Mrs. Tamara Beeler Dr. Marilyn D. Ezri Mrs. Nancy A. Horner George Bell Melissa Sage Fadim Mrs. Arnold Horween, Jr. S. Celine Bendy William Farley Frances G. Horwich Edward H. Bennett III Joe Feldman Mrs. Ruth P. Horwich Mrs. Marshall Bennett James F. Feldstein Mrs. Lawrence Howe Mrs. James F. Beré Mr. Rajiv Fernando Mrs. Peter H. Huizenga Mrs. Meta Berger Harve A. Ferrill Gregory W. Hummel D. Theodore Berghorst Mrs. Wayne J. Fickinger Mr. Christopher Hunt Ann R. Berlin Ms. Constance Filling Craig T. Ingram Phyllis Berlin Mrs. Stephen I. Finney Verne G. Istock Robert L. Berner, Jr. Daniel Fischel Nancy Witte Jacobs Helaine A. Billings Ms. Hope Flack Michael A. Janiszewski Tomás Bissonnette Mrs. Adrian Radmore Foster Brooke D. Jensen Patricia Buehler Blankenship Rhoda Lea Frank Justine D. Jentes Mrs. Judith Blau Mrs. Zollie S. Frank Mrs. William R. Jentes Mr. Merrill Blau Richard M. Franklin Mrs. Clarence E. Johnson Dr. Phyllis C. Bleck Mr. Paul E. Freehling George E. Johnson Mrs. Ted C. Bloch Mrs. Cyrus F. Freidheim, Jr. Stephanie D. Jones Mrs. George Bodeen Dr. Jorge Galante Mr. Edward T. Joyce Mrs. Suzanne Borland Robert W. Galvin Loretta Julian James G. Borovsky Malcolm Gaynor Dr. Christopher E. Kalmus James H. Bowhay Lynn Gendleman Mrs. Carol K. Kaplan John D. Bramsen Dr. Mark Gendleman Ms. Dolores Kohl Kaplan Paul A. Branstad Rabbi Gary S. Gerson Jared Kaplan Mrs. S. Powell Bridges Isak V. Gerson Claudia Norris Kapnick Mrs. Kenneth A. Bro Dr. Bernardino Ghetti Mrs. Byron C. Karzas Mrs. Roger O. Brown Mrs. Willard Gidwitz John A. Karoly Mrs. William G. Brown Mrs. Paul C. Gignilliat Marie Kaufman Samuel Buchsbaum Jerome Gilson Don Kaul Robert J. Buford John Giura Mrs. Susie Forstmann Kealy Mrs. Dean L. Buntrock Mr. James J. Glasser Marilyn M. Keil Dr. Sharon Burke Jonathan W. Glossberg Molly Keller Leslie Henner Burns Mrs. Madeleine Glossberg Gaynor Kelley Lynn C. Burt Norman M. Gold William K. Kellogg III Elizabeth Nolan Buzard Mrs. Judy Goldberg Nancy Kempf Lutgart Calcote Mrs. MaryAnne Goldberg Rebecca H. Kempton Thomas Campbell Alfred G. Goldstein Charlotte H. Kenevan Dr. Michael J. Carbon Anne Goldstein John C. Kern Molly Carroll Jerry A. Goldstone Mr. William K. Ketchum Mrs. Laurence A. Carton Marcia Goltermann Elizabeth I. Keyser Bess Celio Mrs. William M. Goodyear, Jr. Laura King Mrs. Hammond Chaffetz Carol Renshaw Grant Richard Kiphart Mrs. Henry T. Chandler Mrs. Hanna H. Gray Carol Evans Klenk Bill Cheeseman Mary L. Gray Mrs. Harriet Koehler Mrs. William C. Childs Dr. Jerri Greer Evangel Kokkino Frank Cicero, Jr. John P. Grube Mrs. Robert D. Kolar

45A

CSO_Subscription_1_w1_11-12.indd 1 9/13/11 1:17 PM Timothy S. Kolly Stanley M. Pillman Patricia Study Sanfred Koltun Virginia Johnson Pillman Cheryl Sturm Mr. Joseph A. Konen Mrs. Theodore Pincus Sean Susanin Mrs. Judith Konen Robert Pinkert Robin Taylor F. Maximilian Kort Curt G. Pinnell, Jr. Mrs. Gloria B. Telander Dr. Michael Krco Mrs. Edward M. Pinsof Dr. David Terman MaryBeth Kretz Dr. Rhoda Pomerantz Dianne R. Tesler Mrs. Alan Kubicka Mr. Michael Pope Liisa M. Thomas Mr. James R. Lancaster Dr. Rollin R. Potter Mrs. Richard L. Thomas Mr. Richard S. Lauter Carol Prins David A. Thomson Mrs. Samuel T. Lawton, Jr. Col. James N. Pritzker, Ret. Dr. Robert Thomson Dr. John G. Lease Gordon S. Prussian Scott Thomson Ian Keun-Young Lee John W. Puth Joan Thron Phillip Lehrman Lisa A. Radandt Mrs. Ray S. Tittle, Jr. Eleanor Leichenko Mrs. Barbara Rahal William Robert Tobey, Jr. Jeffrey Lennard Ms. Diana M. Rauner James M. Trapp Dr. Gregory M. Lewis Susan Regenstein Mr. Richard Tribble Dr. Philip R. Liebson Mary Thomson Renner Robert W. Turner Mrs. Robert R. Lipsky Merle Reskin Marie Haddad Tyler Mrs. Patricia M. Livingston Burton R. Rissman Zalman Usiskin Mr. John S. Lizzadro, Sr. J. Timothy Ritchie Mrs. James D. Vail III James R. Loewenberg Mr. John H. Roberts Mrs. Virginia C. Vale Renee Logan Kevin J. Rochford Mark vanGorder, M.D. Richard A. Loundy Bob Rogers Mr. John E. Van Horn Amy Lubin Mr. Harry J. Roper Mrs. Peter E. Van Nice William J. Lutz Burton X. Rosenberg Mrs. Herbert A. Vance Mrs. Barry L. MacLean Dr. Ricardo Rosenkranz William C. Vance James MacLennan Mrs. Ben Jay Rosenthal Mr. Peter Vardy Arthur G. Maling Mr. Russ W. Rosenzweig Vincent E. Villinski Paula Mandell H. Jay Rothenberg, M.D. Mr. Christian Vinyard Mr. E. Barry Mansur Norman J. Rubash Darcy Lynn Walker Mrs. Irl H. Marshall, Jr. Roberta H. Rubin Dr. Kathleen Ward Robert L. Marth, Jr. Mrs. Myron Rubnitz Mrs. Roy I. Warshawsky Patrick A. Martin Robert Rudolph Gwenyth B. Warton James Matson Sandra K. Rusnak Mr. Paul S. Watford Marianne Mayer Mary Ryan Dr. Catherine L. Webb John McCartney Mrs. Patrick G. Ryan Mrs. Morris S. Weeden Howard M. McCue III Richard O. Ryan Mrs. Jacob Weglarz Dr. James L. McGee William Ryan Joan M. Wegner Dr. John P. McGee II Mrs. Norman K. Sackar Mrs. Joseph M. Weil, Jr. William A. McIntosh Ms. Inez Saunders Samuel Weisbard Mr. George C. McKann David Savner Mr. Robert G. Weiss Mrs. Lester H. McKeever Karla Scherer Mrs. Bert L. Weller John A. McKenna John I. Schlossman H. Blair White Mrs. Peter McKinney Mrs. F. Eugene Schmitt Mrs. Tamara Wilkow Mrs. William W. McKittrick Mrs. Charles E. Schroeder Dr. Doris Wineman, Ph.D. Mrs. C. Bruce McLagan Dr. Penny Bender Sebring Mr. Robert Wislow Mrs. James M. McMullan Mrs. Richard J.L. Senior Mrs. Arnold R. Wolff Mr. Egon J. Menker Mrs. Jack Shaffer Mr. Michael G. Woll Mr. Thomas Menn Mrs. Thomas C. Sheffield, Jr. Dr. Hak Yui Wong Mrs. Newton N. Minow Richard W. Shepro Courtenay R. Wood Dr. Toni-Marie Montgomery Morrell McK. Shoemaker, Jr. Michael H. Woolever Dr. Emilie Morphew Mrs. Linda B. Simon Ms. Debbie K. Wright Mrs. William L. Morrison Mrs. Jackson W. Smart, Jr. Mrs. George B. Young Clare Muñana Charles F. Smith Dr. Robert G. Zadylak Dr. Virginia Mullin Mr. J. Clarke Smith Martin Zimmerman Mr. Herbert F. Munsterman Stephen B. Smith Karen Zupko Daniel R. Murray Dr. Patricia Smith-Pierce Mrs. Ray E. Newton, Jr. Mrs. Ralph Smykal Edward A. Nieminen Mrs. Joseph Sondheimer Dr. Zehava L. Noah O.J. Sopranos Kenneth R. Norgan Mrs. James Cavanaugh Spain Mrs. Richard M. Norton Audrey Spiegel Mrs. Jean Nussbaum Edward J. Spiegel Martha C. Nussbaum Mrs. William D. Staley Mrs. James J. O’Connor William D. Staley Shelley Ochab Mr. John R. Stanek Joy O’Malley Mrs. Susan Stein Thomas B. Orlando Mrs. Manfred Steinfeld Mr. Gerald A. Ostermann Mrs. William C. Steinmetz James J. O’Sullivan, Jr. Mrs. Richard J. Stern Mrs. Richard C. Oughton Bruce Stevens *Deceased. Raymond Parmer Liz Stiffel Italics indicate Governing Members who Susan Patten Frederick H. Stitt have served at least fve terms (ffteen years Mrs. Richard S. Pepper Alan Stone or more). Ms. Jean Perkins Sherwin J. Stone The Governing Members are responsible Mr. Michael A. Perlstein Ellen Stone-Belic for the general oversight and support of the Mr. Seymour H. Persky Josie Strauss Association and receive exclusive benefts Dr. William Peruzzi Mrs. David H. Stremmel and recognition. For more information about Ellard Pfaelzer, Jr. Harvey J. Struthers, Jr. the nominations process for Governing Mrs. Thomas F. Pick Robert D. Stuart, Jr. Membership, please call (312) 294-3355.

45B

CSO_Subscription_1_w1_11-12.indd 2 9/13/11 1:17 PM Administration

Deborah F. Rutter Orchestra Personnel Marketing and Sales Program Book President John Deverman Kevin Giglinto Denise Wagner Karen Rahn Director Vice President Manager/Senior Editor Assistant to the President/ Anne MacQuarrie Melanie Kalnins Gerald Virgil Secretary of the Board Manager, CSO Auditions and Director of Sales & Editor Human Resources Orchestra Personnel Marketing Analysis Kristin Tobin Sean Hopp Junior Designer Lynne Sorkin Facilities Web and Interactive Director John Maas Rosenthal Archives Media Director Cheryl Rothwell Director Frank Villella Steven Burkholder Coordinator Michael Lavin Archivist Web and Interactive Rental Events Manager Artistic Administration Media Specialist DEVELOPMENT Joseph Sherman Martha Gilmer Robby Zar Joan Claffey Coordinator Vice President Web and Interactive Director, Development James M. Fahey Engineers Media Coordinator Jennifer Moran Director Brendan Berry Director of Planned Giving & Marketing Gerard McBurney Chief Engineer Governing Members Elisabeth Madeja Artistic Programming Timothy McElligott Allison Szafranski Director Advisor Lead Engineer Director of Leadership Gifts Kate Hagen Nicholas Winter Kevin Fitzgerald Neomia Harris Manager, Patron Retention Artistic Administrator Kevin Walsh Associate Elizabeth Hadley Emily Master Kirk McMahon Electricians Coordinator, Advertising Manager, Artistic Coordinator of Robert Stokas and Promotions Administration and Executive Office Operations Assistant to Music Director Chief Electrician Jennifer Colgan Crystal MacDonald John Forster Coordinator Corporate Development Kevin Castillo Christopher Redgate Artist Coordinator, CSO Stage Technicians Coordinator, Digital Director Lena Breitkreuz Kelly Kerins Marketing Katherine Tuttle Artist Coordinator, SCP Stage Manager Eleanor Barbee Officer Cameron Arens Dave Hartge Associate Ingrid Burrichter Programming Coordinator James Hogan Coordinator Phillip Huscher Christopher Lewis Creative Program Annotator Patrick Reynolds Todd Land Foundation & Pietro Fiumara Todd Snick Director Government Relations Artists Assistant Joe Tucker Emma Larsson Paula Pergament Designer Director Chorus Finance and Ken Woodhouse Carolyn Stoner Administration Ticket Sales and Grant Writer Manager Isabelle C. Goossen Patron Services Marjorie Johnston Vice President and Chief Stephanie Scott Gifts & Records Associate Manager/Librarian Financial Officer Director Ryan Sedgwick Institute for Learning, Renay Johansen Slifka Golder Cotman Manager Access and Training Executive Assistant Coordinator Peter Rosenbloom Supervisor Charles Grode Accounting Ticketing Morgan Greene Vice President Kathryn Preston Stephen Funk Coordinator, Prospect Cayenne Harris Controller Associate Director Research Director of Learning & Paulette Jean Volf Patrice Fumbanks Madelaine Mooney Access Initiatives Janet Kosiba Pavan Singh Assistant Jon Weber Assistant Controllers Supervisors Manager, Learning Aaron Andersen Individual Giving VIP Services Programs Senior Budget Analyst Alfred Andreychuk Robert Coad Yoo-Jin Hong Janet Hanson Individual Gifts Officer Manager Manager, Civic Orchestra & Payroll Manager Andrea McNaughton Megan Kasten Training Programs Marianne Hahn Major Gifts Officer Assistant Manager Madeleine Walsh Accounting Manager Jenna Kaferly Coordinator, Learning & Joan Walter Group Sales Annual Fund Coordinator Access Programs Senior Staff Accountant Brian Koenig Amy Carmell Jones Michael Mason Hyon Yu Manager Manager, Governing Coordinator, Access General Ledger Manager Shifra Werch Member Gifts Programs Cynthia Maday Group Sales Specialist Volunteer Programs and Jonathan McCormick Accounts Payable Manager Box Office Donor Events Executive Assistant Chanda Flennoy Joseph Garnett Lisa McDaniel Payroll Assistant Orchestra and Manager Director of Volunteer Building Operations Computer Services Steve Paulin Programs and Donor Events Vanessa Moss Daniel Spees Assistant Manager Kimberly S. Duffy Vice President Director James Krier Penelope Johnson Christina Skelley Douglas Bolino Christie Nawrocki Senior Project Managers Executive Assistant/ Client Systems Brett Lyons Jessica Erickson Production Coordinator Administrator Fernando Vega Donor Events and Marc Geelhoed Jacqueline Guy John McGinnis Stewardship Manager Coordinator, CSO Resound Senior Database Systems Celene Mielcarek The Symphony Store Heidi Lukas Administrator Project Associate Director Roberto Bravo Rebecca McFadden Manager Jeffrey Stang Communications Production Managers Public Relations Becky Cera Raechel Alexander House Manager Vice President Rachelle Roe Director Maggie Berndt Publicist Erin Dennis Assistant

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