Program

One Hundred Twenty-Second Season Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, June 20, 2013, at 10:00 Open Rehearsal Riccardo Muti Conductor Alisa Kolosova Mezzo-soprano Chicago Symphony Chorus Duain Wolfe Director Mozart Ave verum corpus, K. 618 Chicago Symphony Chorus Vivaldi Magnificat, R. 611 Magnificat Et exultavit Quia respexit Quia fecit Et misericordia Fecit potentiam Deposuit potentes Esurientes implevit Suscepit Israel Sicut locutus Gloria Alisa Kolosova Chicago Symphony Chorus

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 1 6/17/13 9:57 AM Verdi Four Sacred Pieces Ave Maria Stabat Mater Laudi alla Vergine Maria Te Deum Kimberly Gunderson, soprano Chicago Symphony Chorus

There will be a 25-minute break during the rehearsal.

The CSO will perform the works on this rehearsal on June 20, 21, 22 & 23.

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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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 2 6/17/13 9:57 AM Comments by Phillip Huscher

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

Ave verum corpus, K. 618

hese forty-six perfect measures cannot imagine changing a note Tare among music’s miracles. In without diminishing, if not, in fact, two pages of a flawless, uncorrected damaging, its fragile beauty. vertical script, Mozart left us one Ave verum corpus was written in of his most moving testaments to the summer of 1791, Mozart’s last. the power of art and the mystery of In compiling his catalog of Mozart’s simplicity. It is clearly the work of works, Ludwig von Köchel assigned a master, yet, as we listen, it is hard it number 618. It is followed only by to pinpoint exactly what makes it a handful of works, including The so distinctive, so extraordinary. The Magic Flute, from which Mozart color palette is small, restricted to stole a few hours of time in order to voices with strings and organ; the compose it; the Clarinet Concerto; vocal range narrow—the soprano and finally the Requiem, K. 626, part, for example, covers just one which he did not live to finish. It is octave. Mozart writes a single his first piece of sacred music since expression marking at the begin- the C minor mass of nearly a decade ning: sotto voce—literally “under before. Ave verum corpus was written voice”—hushed, in other words. for a friend, Anton Stoll, who was The melodic line is simple and a schoolteacher in Baden, a town unadorned, with only the hint of near Vienna, and it was probably a flourish near the end. The entire intended for the feast of Corpus piece moves forward in steady Christi, which fell on June 23 that quarter notes, like a hymn, and the year. In its surprising simplicity, harmonies are, for the most part, this and a handful of other works schoolbook plain. And yet, one from Mozart’s last months hint at a

Composed Only previous CSO Approximate June 16–17, 1791 performances performance time January 2, 3 & 4, 6 minutes First performance 1969, Orchestra Hall probably June 23, 1791 (without chorus). Rafael Kubelìk conducting

Instrumentation four-part mixed chorus, strings, organ

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 3 6/17/13 9:57 AM new direction his music might have he served as choirmaster, no doubt taken. After Mozart’s death, Stoll recognizing its significance, so at apparently continued to perform odds with its humble origins and it often in the tiny parish church miniature scale.

Ave verum corpus

Ave verum corpus, Hail, true body, natum de Maria Virgine, born of the Virgin Mary, vere passum, immolatum who has truly suffered and was sacrificed in cruce pro homine, on the cross for humankind. cuius latus perforatum Whose side, being pierced, unda fluxit et sanguine: flowed with water and blood: esto nobis praegustatum may you be for us a foretaste in mortis examine. in the trial of death.

Symphony Center Information

The use of still or video cameras Please turn off or silence all and recording devices is prohibited personal electronic devices in Orchestra Hall. (pagers, watches, telephones, digital assistants). Latecomers will be seated during designated program pauses. Please note that symphony Center PLease nOTe: some programs is a smoke-free environment. do not allow for latecomers to be seated in the hall. Your cooperation is greatly appreciated. Please use perfume, cologne, and all other scented products sparingly, as many patrons are sensitive to fragrance.

Note: Fire exits are located on all levels and are for emergency use only. The lighted exit sign nearest your seat is the shortest route outdoors. Please walk—do not run—to your exit and do not use elevators for emergency exit. Volunteer ushers provided by The Saints—Volunteers for the Performing Arts (www.saintschicago.org)

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 4 6/17/13 9:57 AM Antonio Vivaldi Born March 4, 1678, Venice, Italy. Died July 28, 1741, Vienna, Austria.

Magnificat, R. 611

f you book a room at the that the resident girls—as many IMetropole in Venice today, you as 4,000 in the early eighteenth will be staying in the very heart of century—knew as their only home.) Vivaldi country. The Metropole, a Of the four Venetian institutions, five-star luxury hotel, occupies part the Pietà was the one with the of the building that once housed most substantive music program; it the Ospedale della Pietà, the became known as one of Europe’s famous orphanage where Antonio most highly regarded centers of Vivaldi was in charge of music for musical training, a conservatory in most of his career, teaching violin everything but name. and other string instruments, The Ospedale is sited in a prime sometimes directing the choir, and spot on the Riva degli Schiavoni, writing some of his best music for the broad seaside promenade that the schoolgirls to perform. begins to the right of Saint Mark’s The Pietà, founded in 1336, Square—as you face the piazza, was one of four large Venetian arriving by water—and runs east institutions dedicated to the care of past the Bridge of Sighs. Next door orphaned children and specializing to the Ospedale sits the Church in their musical upbringing. Unlike of Santa Maria della Pietà, which the others, the Pietà accepted all regularly employed Vivaldi and illegitimate infants who were left performed his music, although the by their mothers at the entrance— current building wasn’t completed provided the child was still small until 1760, nearly two decades after enough to fit in the scaffetta, the box Vivaldi’s death. This neighborhood placed by the door. (With its fine is particularly overrun by tourists antiques and sumptuous Fortuny today, but even more than a century fabrics, the Metropole scarcely sug- ago. When the American writer gest the monastic accommodations Henry James recorded his famous

Composed These are the first Approximate ca. 1715, rev. ca. 1739 Chicago Symphony performance time Orchestra performances 26 minutes First performance date unknown Instrumentation solo female voice, four-part mixed chorus, strings, organ, harpsichord

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 5 6/17/13 9:57 AM observations about Venice, it was Ospedale in 1739, partly because already so popular that the piazza the five solo arias were composed appeared to him “as an enormous expressly for Vivaldi’s finest singers saloon and the Riva degli Schiavoni then at the Pietà, and their names as a promenade deck.” are written into the score, one above each aria: Apollonia, La fter Vivaldi was ordained a Bolognesa, Chiaretta, Ambrosina, Apriest in 1703, he became and Albetta. From a poem written affiliated with the Ospedale della around the time, which describes Pietà. Vivaldi’s relationship with many of the Ospedale’s exceptional the Pietà was tumultuous, resulting girls, we learn that Apollonia in a series of firings and rehirings, had a lovely clear soprano voice but, in the end, he worked there and was skilled at both lively and for more than three decades. It introspective singing (she had been was the place for which he wrote suspended and then reinstated the much of his output, and its young previous year for attacking the residents, carefully trained under porteress). Ambrosina’s voice was his eye, were the musicians who so unusually deep that it could be first played and sang several of his mistaken for that of a tenor, which best-known compositions, includ- is no doubt why Vivaldi wrote her ing the Magnificat performed aria in the less common tenor clef. today. It was the departure of the Maria La Bolognesa sang nicely, music director and chorus master but often inaccurately. Francesco Gasparini in 1713 that In this final version of the offered Vivaldi the chance to begin Magnificat setting, Vivaldi broke writing sacred choral music. In June what originally was a single move- of 1715, Vivaldi was given a promo- ment, “Et exultavit,” into three tion of sorts, a modest increase in separate solo arias, and replaced his meager salary, and the commis- later movements with two more sion to write religious works. The arias, giving one to each of his sing- Magnificat, a work that exists in ers. These five arias, all performed four different versions, is one of the by the same singer at today’s finest results of this new chapter in concert, remind us of Vivaldi’s Vivaldi’s composing life. remarkable, apparently inexhaust- ible, gift for unforced melody. Even ivaldi’s first setting of the the trickiest coloratura passages, VMagnificat was composed filled with challenging rows of around 1715, and, over the years, he rapid notes and trills, flow natu- continued to adjust it for different rally. (The technical difficulty of circumstances and different singers: these arias suggests just how well one version calls for double chorus, trained Vivaldi’s singers must have another adds oboes to the orches- been.) Vivaldi left the choral move- tra. The version performed today ments unchanged in this version; is the last. We know that it was they are the pillars of the piece, prepared for a performance at the each one remarkably distinct. The

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 6 6/17/13 9:57 AM opening “Magnificat” sets the tone octaves, each leap and running with its imposing blocks of sound. scale heightened in its effect by the “Et misericordia” unfolds unpre- unanimity of every performer. The dictably in arches of slowly shifting final “Gloria” begins with solid, chords. “Deposuit potentes” is stately chords and then takes wing the rarest of creations: an entire with a contrapuntal allegro that is a movement sung and played in magnificent double fugue.

Magnificat

CHORUS

Magnificat anima mea Dominum. My soul magnifies the Lord

ARIA

Et exultavit spiritus meus in Deo and my spirit rejoices in God my Savior. salvatore meo.

ARIA

Quia respexit humilitatem For he has regarded the lowliness of ancillae suae. his handmaid, Ecce enim ex hoc beatam me dicent and henceforth all generations shall call omnes generationes. me blessed.

ARIA

Quia fecit mihi magna, qui potens est, For he who is mighty has done great et sanctum nomen eius. things for me, and holy is his name.

CHORUS

Et misericordia eius in progenies et And his mercy is from age to age on progenies timentibus eum. those who fear him.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 7 6/17/13 9:57 AM CHORUS

Fecit potentiam in brachio suo, He has shown strength with his arm: dispersit superbos mente cordis sui. he has scattered the proud in the imagination of their hearts.

CHORUS

Deposuit potentes de sede et He has put down the mighty from their exaltavit humiles. thrones and exalted the lowly.

ARIA

Esurientes implevit bonis et divites He has filled the hungry with good dimisit inanes. things; and the rich he has sent away empty. CHORUS

Suscepit Israel puerum suum, He has helped his servant Israel, in recordatus misericordiae suae. remembrance of his mercy,

ARIA

Sicut locutus est ad patres nostros, as he spoke to our fathers, to Abraham, Abraham et semini eius in saecula. and to his descendants forever.

CHORUS

Gloria Patri et Filio, et Spiritui Sancto: Glory be to the Father, and to the Son, and to the Holy Spirit. Sicut erat in principio, et nunc, As it was in the beginning, is now, et semper, et in saecula saeculorum. and ever shall be, world without end. Amen. Amen.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 8 6/17/13 9:57 AM Giuseppe Verdi Born October 9, 1813, Le Roncole, near Busseto, Italy. Died January 27, 1901, Milan, Italy.

Four Sacred Pieces

wo weeks after his eighty- for me and I no longer see them on Tfourth birthday, Giuseppe Verdi my writing desk!! It is truly sad!” packed up the last two of his Four This was a difficult time for Sacred Pieces and sent them off Verdi. He was the last of the titans to Ricordi, his publisher. “As long of nineteenth-century music, and as they were on my writing desk,” now his career as a composer—as he commented, “I looked at them popular as any in history—was every so often with pleasure and over. During the past few years, they seemed to be mine! Now they he had learned, one by one, of are no longer mine!!” After more the deaths of Wagner, Liszt, than sixty years as a composer— Tchaikovsky, Bruckner, and— most of them spent in the public earlier that summer—Brahms. eye—Verdi could scarcely bring Now his beloved wife, Giuseppina, himself to part with these scores, her very name a twin to his own, for he surely knew they were his was near death. The day after last. “You will say that they are not shipping off his last scores, Verdi yet published,” he continued. “That asked Ricordi to confirm that two is true: but they no longer exist just graves had been set aside in Milan Composed Most recent CSO timpani, bass drum, Ave Maria: 1889 performances harp, strings April 27, 2001, Orchestra Laudi alla Vergine Maria: Laudi alla Vergine Maria: Hall. Chicago Symphony ca. 1890 four-part a cappella Chorus; Daniel women’s chorus Te Deum: 1896 Barenboim conducting Te Deum: soprano solo, Stabat Mater: 1897 April 12, 2008, Orchestra double chorus, three flutes, Hall (Te Deum only). two oboes and english horn, First performance Chicago Symphony Chorus; two clarinets and bass April 7, 1898, Paris: Laudi Marguerite Quinnette clarinet, four bassoons, four alla Vergine Maria, Stabat Harden, soprano; Duain horns, three trumpets, four Mater, Te Deum Wolfe conducting trombones, timpani, bass 1899, Vienna: Ave Maria drum, strings Instrumentation Ave Maria: four-part a First CSO Approximate cappella chorus performance performance time February 15, 1962, Orchestra Stabat Mater: four-part 41 minutes Hall. Chicago Symphony chorus, three flutes, two Chorus; Carlo Maria oboes, two clarinets, four CSO recording Giulini conducting bassoons, four horns, three 1977–78. Chicago Symphony trumpets, four trombones, Chorus; Sir Georg Solti conducting. London

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 9 6/17/13 9:57 AM according to his wishes. Giuseppina When Verdi’s doctor refused to let died of pneumonia in less than him make the trip to Paris, he sent three weeks. In a gesture that her Boito to supervise in his place—but famous husband would mirror only after spending two solid days scarcely three years later, she left teaching him exactly how the music instructions for a simple funeral: should go. Verdi was crestfallen “I came into the world poor and when Boito sent word from Paris without pomp; and without pomp I that the chorus wasn’t up to the job. want to go down into the grave.” “Now I don’t hope for much,” Verdi Giuseppina’s death seemed to replied. “But we have gone to the diminish Verdi himself, and he ball and we have to dance.” never composed again. “Great sor- The Paris premiere was a success row does not demand great expres- after all, but Verdi got cold feet sion,” he wrote to a friend. “It asks when La Scala wanted to perform for silence, isolation, I would even the works later that season and said say the torture of reflection.” He that he wanted “these poor pieces later told his friend Arrigo Boito, left in peace.” The attention seemed who had provided the texts for his to make him uncomfortable—“my final operas, Otello and Falstaff, that name is too old and boring,” he his hands trembled so much that he protested—and he sensed, cor- could barely write, and that he was rectly, that these unconventional half-deaf, half-blind, and unable to scores, so intimate and spiritual, focus on anything. (In the spring weren’t right for the La Scala stage. of 1899, a rumor circulated that he When they were performed there in was composing King Lear, an opera April 1899, Verdi stayed home, tak- on the Shakespearean subject that ing little solace in Boito’s carefully had long tempted him, but Verdi worded report of their lukewarm quickly denied it.) reception. Verdi wrote back, “Some charitable applause, some indul- fter a lifetime attending the gent criticism as a comfort to the Apremieres of his works, from Old Man cannot soften me up.” dismaying failures such as La These pieces had been written to traviata to the triumphs of Otello please no one but himself, and he and Falstaff, Verdi didn’t go to still thought of them as his private Paris to hear the first performance papers. He is even said to have of his sacred pieces. In fact, Boito wanted the score of the Te Deum had to talk him into letting them buried with him. be performed at all—“They will sleep without seeing the light of ever intended as a set, the Four day,” Verdi said at first. Reluctantly NSacred Pieces were written he gave in, agreeing to the perfor- at different times. The ones we mance of three of the four pieces, know as the first and third pieces arguing that the Ave Maria was are the earliest, composed in the too private—simply a technical years between Otello and Falstaff. exercise, done to amuse an old man. Both are scored for unaccompanied

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 10 6/17/13 9:57 AM voices—the Ave Maria for four-part short story. There’s not a repeated chorus and the Laudi alla Vergine line of text or wasted musical Maria for women’s chorus (origi- gesture. Verdi’s knack for finding nally sung by four soloists). The the right color for each moment is Ave Maria was written in response unsurpassed—the stabbing pain to a musical game published in a of the very opening, the funeral Milan newspaper in 1888. Adolfo procession that passes by at “Dum Crescentini, a local professor of emisit spiritum” (breathing out music, printed an “enigmatic” scale, his spirit), the final glow of “para- full of odd intervals, challenging dise,” gently lit by the harp at first readers to submit harmonizations. and then spreading to the entire Verdi and Boito puzzled over it orchestra and chorus. The work is a together—“When we are old, we marvel of concentrated emotion—a become boys again,” Verdi said. grand opera condensed to one Eventually, Verdi felt it could astonishing scene. become a piece with words, possibly Verdi took his text (in Italian an Ave Maria. His solution was rather than Latin) for the Laudi alla an austere, daringly harmonized, Vergine Maria from the final canto full-scale chorus for four voices that of Dante’s Paradiso in The Divine surely far exceeded Crescentini’s Comedy. Written for women’s voices expectations. Like Beethoven, who only, Verdi transports the purity turned Diabelli’s insipid little waltz and clarity of Italian Renaissance tune into a magnificent set of varia- music (he considered Palestrina the tions, Verdi made a work of art out father of Italian music) to the lan- of a newspaper puzzle. But Verdi guage of late romanticism. Even in downplayed its worth—a sciarada, a work of such restraint and limited a mere conundrum, an intellectual colors, Verdi makes dramatic use of game, he called it—and only reluc- texture and harmony—listen, for tantly let it be published along with example, to the static, earthbound the other sacred pieces. chords that accompany those who The Stabat Mater, the second try to “fly without wings.” piece, scored for chorus and a large, The Te Deum, a hymn of praise, turn-of-the-century orchestra, was Verdi’s favorite of these late was Verdi’s last work. It’s the most works. He begins with traditional overtly operatic of the pieces in its plainsong melody—ever the born narrative sweep and rich scene- dramatist, setting the scene in painting, from still, reflective a darkened cloister—and then moments to thrilling climaxes— follows it with low, soft chordal like surging crowd scenes in a singing, like the archaic chant- grand finale. There’s a tradition of ing of the medieval church. But Stabat Mater settings, including then, in one of the grandest special those by Pergolesi, Dvořák, and effects of his career, he unleashes a Rossini, which turn it into an epic very modern explosion of sound at novel with many chapters. With “Sanctus.” Verdi is a master of the Verdi, it becomes a fast-paced simple, unforgettable moment—the

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 11 6/17/13 9:57 AM thunderbolt, the sudden revelation, erdi’s Four Sacred Pieces are the single measure of music that Vamong the great and most changes the course of everything surprising landmarks of the nine- that follows. From this point on, teenth century—the final works the piece is airborne, sweeping of a master, filled with a sense of from section to section, its des- valediction, of bidding farewell to a tination always in sight. (Verdi style he helped to mold and perfect, knew as much about timing as any and yet soaring off in unexpected modern filmmaker; here the pace new directions. They have the never slackens because he dictates power—the ability to touch people a constant speed throughout, with deeply and profoundly—of the momentary fluctuations “always greatest of Verdi’s operas. And in returning to the original tempo.”) their exploratory harmonies and Nearly every theme in the Te their refusal to bow to convention, Deum is derived from the initial they also remind us that they were chant—Verdi was particularly written at the same time as the proud of the moment the opening first works by newcomers Claude melody is transformed into urgent Debussy, Richard Strauss, Gustav brass fanfares at “Tu Rex gloriae” Mahler, and Arnold Schoenberg. (You are king of glory). The very They are works that are difficult to end is another masterstroke. In a categorize—at once both ancient momentary silence, a single female and modern, down-to-earth and voice rings out—not the outpouring visionary—except as the work of a of a great diva, but the pure, steady genius, restless and pioneering even tones of a chorus soprano. She in old age. should sound, Verdi wrote, like the voice of “humanity that is fright- Phillip Huscher is the program annota- ened of hell.” tor for the Chicago Symphony Orchestra.

AVE MARIA

Ave Maria, gratia plena, Hail Mary, full of grace, the Lord is Dominus tecum: with you; benedicta tu in mulieribus, blessed are you among women, et benedictus and blessed fructus ventris tui Jesus. is the fruit of your womb, Jesus. Sancta Maria, Mater Dei, Holy Mary, Mother of God, ora pro nobis peccatoribus pray for us sinners nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 12 6/17/13 9:57 AM STABAT MATER

Stabat Mater dolorosa The grieving mother Juxta Crucem lacrymosa stood weeping by the cross Dum pendebat Filius. where her son was hanging.

Cujus animam gementem, Her spirit cried out, Contristatam et dolentem mourning and sorrowing, Pertransivit gladius. as if pierced with a sword.

O quam tristis et afflicta Oh, how grieved and struck down Fuit illa benedicta was that blessed woman, Mater Unigeniti! mother of the sole begotten One!

Quae maerebat et dolebat, How she mourned and lamented, Pia Mater, dum videbat this holy mother, seeing Nati poenas inclyti! her son hanging there in pain!

Quis est homo qui non fleret Who would not weep Matrem Christi si videret to see Christ’s mother In tanto supplicio? in such humiliation?

Quis non posset contristari, Who would not suffer with her, Christi Matrem contemplari seeing the mother of Christ Dolentum cum Filio? sorrowing for her son?

Pro peccatis suae gentis For the sins of his people Vidit Jesum in tormentis she saw Jesus in torment, Et flagellis subditum. beaten down with whips.

Vidit suum dulcem natum Saw her gentle son Moriendo desolatum, dying in desolation, Dum emisit spiritum. breathing out his spirit.

Eia, Mater, fons amoris, Let me, mother, font of love, Me sentire vim doloris, feel with you your grief, Fac ut tecum lugeam. make me mourn with you.

Fac ut ardeat cor meum Make my heart so burn In amando Christum Deum, for love of Christ my God Ut sibi complaceam. that it be satisfied.

Sancta Mater, istud agas, Holy mother, let it be, Crucifixi fige plagas that the stripes of the crucified Cordi meo valide. may pierce my heart.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 13 6/17/13 9:57 AM Tui nati vulnerati, With your injured son Tam dignati pro me pati, who suffered so to save me Poenas mecum divide. let me share his pains.

Fac me tecum pie flere, Let me weep beside you, Crucifixo condolere, mourning the crucified Donec ego vixero. as long as I shall live.

Juxta Crucem tecum stare To stand beside the cross Et me tibi sociare and to join with you In planctu desidero. in weeping is my desire.

Virgo virginum praeclara, Virgin famed of all virgins, Mihi jam non sis amara: be not severe with me now; Fac me tecum plangere. let me weep with you.

Fac ut portem Christi mortem, Let me bear Christ’s death, Passionis fac consortem, let me share his suffering Et plagas recolere. and remember his blows.

Fac me plagis vulnerari, Let me be wounded with his blows, Fac me Cruce inebriari inebriate with the cross Et cruore Filii. and your son’s blood.

Flammis ne urar succensus, Lest the flames consume me, Per te, Virgo, sim defensus be my advocate, virgin, In die judicii. on the day of judgment.

Christe, cum sit hinc exire, Christ, when my time is finished, Da per Matrem me venire grant, through your mother, that I win Ad palmam victoriae. the palm of victory.

Quando corpus morietur, When my body dies, Fac ut animae donetur let my soul be granted Paradisi gloria. Amen. the glory of heaven. Amen.

LAUDI ALLA VERGINE MARIA

Vergine madre, figlia del tuo figlio, Virgin mother, daughter of your umile ed alta più che creatura, son, more humble and more high termine fisso d’eterno consiglio, than any creature, fixed goal of the eternal plan, tu se’ colei che l’umana natura you are she who so ennobled human nobilitasti sì, che ’l suo fattore non nature that your creator did not disdegnò di farsi sua fattura. disdain to be born of you.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 14 6/17/13 9:57 AM Nel ventre tuo si raccese l’amore per In your womb was gathered the love lo cui caldo nell’eterna pace così è by whose warmth, in this realm germinato questo fiore. of eternal peace, has sprouted this flower. Qui se’ a noi meridiana face di caritate, Here you are our midday sun of charity; e giuso, in tra i mortali, se’ di below, among mortals, an unending speranza fontana vivace. font of hope. Donna, se’ tanto grande e tanto vali, Lady, you are so great and powerful che qual vuol grazia ed a te non that whoever seeks grace without ricorre, sua disianza vuol volar recourse to you seeks vainly, as if to senz’ali. fly without wings. La tua benignità non pur soccorre a chi Your blessings fall not only on those dimanda, ma molte fiate liberamente who ask for them, you grant many al dimandar precorre. more in anticipation. In te misericordia, in te pietate, In you is mercy, in you is pity, in you is in te magnificenza, in te s’aduna power, in you is gathered all the good quantunque in creatura è di bontate. of all created beings. Ave, ave! Hail, hail!

—Dante

TE DEUM

Te Deum laudamus: We praise you, God, te Dominum confitemur. we confess you as our Lord. Te aeternum Patrem All the earth worships you omnis terra veneratur. as eternal Father. Tibi omnes Angeli, tibi Caeli All the angels, all heavenly et universae Potestates: and universal powers, Tibi Cherubim et Seraphim the Cherubim and Seraphim incessabili voce proclamant: ceaselessly proclaim you: Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt caeli et terra Heaven and earth are full majestatis gloriae tuae. of the glory of your majesty. Te gloriosus Apostolorum chorus: The mighty chorus of apostles, Te Prophetarum laudabilis numerus: the worthy number of prophets, Te Martyrum candidatus the splendid army of martyrs laudat exercitus. praise you. Te per orbem terrarum Over all the earth sancta confitetur Ecclesia: the holy church confesses you, Patrem immensae majestatis. our majestic Father; Venerandum tuum verum praised be your true et unicum Filium. and only Son

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 15 6/17/13 9:57 AM Sanctum quoque Paraclitum Spiritum. and the comforting Holy Spirit. Tu Rex gloriae, Christe. You are king of glory, Christ. Tu Patris sempiternus es Filius. You the son are everlasting with your father. Tu ad liberandum You, to free us, were born as a man, suscepturus hominem, non horruisti Virginis uterum. and did not shun a virgin’s womb. Tu devicto mortis aculeo, You, having conquered death’s sting, aperuisti credentibus regna caelorum. did open to the faithful the kingdom of heaven. Tu ad dexteram Dei sedes, You sit at God’s right hand, in gloria Patris. to the glory of your father. Judex crederis esse venturus. We know that you will be our judge. Te ergo quaesumus, We pray to you therefore tuis famulis subveni, to come to the aid of your servants quos pretioso sanguine redemisti. whom you have redeemed with your precious blood. Aeterna fac cum sanctus tuis Number us among your saints in gloria numerari. in eternal glory. Salvum fac populum tuum, Domine, Save your own people, Lord, et benedic hereditati tuae. and bless your children. Et rege eos et extolle illos Lead them, and deliver them usque in aeternum. unto eternity. Per singulos dies, benedicimus te. Every day we bless you, Et laudamus nomen tuum and we shall praise your name in saeculum, et in saeculum saeculi. for a hundred years, for a hundred centuries. Dignare Domine, die isto Grant, Lord, this day sine peccato nos custodire. to keep us free of sin. Miserere nostri, Domine, Have mercy, Lord, miserere nostri. have mercy on us. Fiat misericordia tua, Domine Let your mercy shine, Lord, super nos, quemadmodum on us as we place our trust in you. speravimus in te. In te speravi: In you I put my trust; non confundar in aeternum. let me not be confounded for eternity.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 16 6/17/13 9:57 AM Profiles

Riccardo Muti Conductor

Now in his third orchestra, the Vienna Philharmonic, season as music for more than forty consecutive years. director of the When he conducted the philharmonic’s Chicago 150th anniversary concert in 1992, he Symphony was presented with the Golden Ring, Orchestra, a special sign of esteem and affection, Riccardo Muti is and in 2001, his outstanding artistic one of the contributions to the orchestra were preeminent further recognized with the Otto Nicolai conductors of our Gold Medal. He is an honorary lifetime day. In 2010, when he became the CSO’s member of Vienna’s Gesellschaft der tenth music director, Muti already had Musikfreunde (Society of the Friends of over forty years’ experience at the helm of Music), the Vienna Hofmusikkapelle, the Maggio Musicale, Philharmonia, Vienna Philharmonic, and the Vienna Philadelphia Orchestra, and Teatro alla State Opera. Scala, and as guest conductor of the Muti succeeded Otto Klemperer as world’s great orchestras and opera houses, chief conductor and music director of including the Berlin Philharmonic; London’s Philharmonia Orchestra in Vienna Philharmonic; Royal Opera, 1973, and he continued in that position Covent Garden; and the Metropolitan until 1982. From 1980 to 1992, he Opera. In addition to his music director- was music director of the Philadelphia ship of the CSO, Muti is honorary Orchestra, and in 1986, he became director for life of the Rome Opera. music director of Milan’s Teatro Born in Naples, Italy, Riccardo Muti alla Scala. During his nineteen-year studied piano under Vincenzo Vitale at tenure, in addition to directing major the Conservatory of San Pietro a Majella projects such as the Mozart–Da Ponte in his native city, graduating with distinc- trilogy and Wagner Ring cycle, Muti tion; he subsequently received a diploma conducted operatic and symphonic in composition and conducting from the repertoire ranging from the baroque to Giuseppe Verdi Conservatory in Milan, the contemporary, also leading hundreds where his principal teachers were Bruno of concerts with the Filarmonica della Bettinelli and Antonino Votto. After Scala and touring the world with both winning the Guido Cantelli Conducting the opera company and the orchestra. His Competition—by unanimous vote of tenure as music director, the longest of the jury—in Milan in 1967, his career any in La Scala’s history, culminated in developed quickly. In 1968, he became the triumphant reopening of the restored principal conductor of Florence’s Maggio opera house with Antonio Salieri’s Europa Musicale, a position that he held until riconosciuta, originally commissioned for 1980. Herbert von Karajan invited him to La Scala’s inaugural performance in 1778. conduct at the Salzburg Festival in 1971, Over the years, Muti has dedicated and Muti has maintained a close relation- much time and effort to young musi- ship with the festival and with its great cians. In 2004, he founded the Orchestra

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 17 6/17/13 9:57 AM Giovanile Luigi Cherubini (Luigi the Italian Republic, Officer of the French Cherubini Youth Orchestra) in order to Legion of Honor, and a recipient of the foster new talent and raise the standard of German Verdienstkreuz. Queen Elizabeth orchestral playing in his native country. II bestowed on him the title of honor- He recently completed a five-year project ary Knight Commander of the British with this group to present works of the Empire, Russian President Vladimir Putin eighteenth-century Neapolitan School at awarded him the Order of Friendship, and the Salzburg Whitsun Festival. Pope Benedict XVI made him a Knight of Muti has demonstrated his concern for the Grand Cross First Class of the Order other social and civic issues by perform- of Saint Gregory the Great—the high- ing in many of the world’s most troubled est papal honor. Muti also has received areas. As part of the Ravenna Festival’s Israel’s Wolf Prize for the arts, Sweden’s project, Le vie dell’Amicizia (The paths of prestigious Birgit Nilsson Prize, Spain’s friendship), he has conducted concerts Prince of Asturias Prize for the Arts, bringing people together and providing and the gold medal from Italy’s Ministry comfort in Sarajevo, Beirut, Jerusalem, of Foreign Affairs for his promotion of Moscow, Yerevan, Istanbul, New York, Italian culture abroad. He has received Cairo, Damascus, El Djem, Meknès, numerous honorary degrees from universi- Mazaro del Vallo, L’Aquila, Trieste, and ties in Italy and around the world, most Nairobi. He also has been helping to recently from DePaul University’s School revive the wind band tradition in troubled of Music in June 2013. parts of southern Italy by arming young During his first three seasons with people not with weapons of violence, the CSO, Muti has won over audiences but with instruments of peace. The city through the extraordinarily high qual- of Catania, Sicily, has twice awarded ity of his music making in Chicago and him a special prize as a living legend of around the world, and he has demon- orchestral conducting, a proud Italian, strated his commitment to the local com- and a humanitarian. He has served as a munity, even surprising Chicago Cubs Goodwill Ambassador for UNHCR, the fans by throwing the ceremonial first United Nations Refugee Agency. pitch at a game during the 2012 season. Riccardo Muti’s vast catalog of His first annual free concert for Chicago recordings, numbering in the hundreds, audiences attracted more than 25,000 ranges from the traditional symphonic people to hear the CSO at Millennium and operatic repertoires to contempo- Park, and students and community mem- rary works. His debut recording with bers are regularly invited to attend Muti’s the Chicago Symphony Orchestra and CSO rehearsals at Orchestra Hall. He Chorus of Verdi’s Messa da Requiem, has gone to local juvenile prisons, accom- released in 2010 by CSO Resound, won panying singers and other musicians at two Grammy awards. During the last the piano and speaking about the power two years, he has also produced two of great music to transform people’s lives. books: Riccardo Muti: An Autobiography: Riccardo Muti’s leadership continues to First the Music, Then the Words and bring Chicago’s great orchestra to ever Verdi, l’italiano. higher levels of achievement and renown. Muti has received innumerable inter- national honors over the course of his www.riccardomuti.com career. He is a Cavaliere di Gran Croce of www.riccardomutimusic.com

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 18 6/17/13 9:57 AM Alisa Kolosova Mezzo-soprano

Russian Vivaldi’s Farnace at the Opéra de mezzo-soprano Lausanne, Rosette in Massenet’s Alisa Kolosova Manon and Nicoletta in Prokofiev’s is quickly Love for Three Oranges at the Opéra becoming one national de Paris, Mozart’s Requiem of the most and Vivaldi’s Magnificat at the Teatro exciting opera dell’Opera di Roma, Olga in Eugene singers of her Onegin for the Bavarian State Opera, generation. She Glinka’s A Life for the Tsar at the Opéra has already had Berlioz de Montpellier, and Fatima tremendous success singing at interna- in Weber’s Oberon at Tchaikovsky tionally renowned venues such as the Concert Hall in Moscow. Opéra national de Paris; Bavarian State Alisa Kolosova began her musical Opera in Munich; the Kennedy Center studies at the age of five, and, at a in Washington, D.C.; and the very young age, she won first prize at Concertgebouw in Amsterdam, as well several vocal competitions in Russia. In as at the Glyndebourne Festival, 2004–2005, she studied at the Russian Salzburg Festival, Ravenna Festival, Academy of Theatre Arts in Moscow, and Rossini Opera Festival in Pesaro, where she worked with Evgeniy working with such conductors as Ivor Zhuravkin. From 2005 to 2007, she Bolton, Rinaldo Alessandrini, Diego studied at the vocal department of Fasolis, and Riccardo Muti. the Moscow State Conservatory. In 2009, Kolosova was a member She participated in master classes of the Young Singers Project at the held by Makvala Kasrashvili, Sergei Salzburg Festival, and in 2010, she was Leiferkus, Thomas Quasthoff, and a member of the Accademia Rossiniana Christa Ludwig. In 2008, she was a in Pesaro. A member of the Atelier finalist at the Competizione dell’Opera Lyrique at the Opéra national de Paris, in Dresden, and in January 2009, she she currently is a resident member of was awarded the special jury prize the Vienna State Opera. at the Francisco Viñas Competition Recent engagements include in Barcelona.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 19 6/17/13 9:57 AM Duain Wolfe Chorus Director

Duain Wolfe conducted for twenty-five years. Also has directed active as an opera conductor, he served the Chicago as conductor of the Central City Opera Symphony Festival for twenty years. Chorus for the Among the many performances for past nineteen which Wolfe has prepared the Chorus years, preparing are Cherubini’s Requiem, Brahms’s nearly a hun- A German Requiem, Orff ’s Carmina dred programs Burana, and Verdi’s Requiem and in Orchestra Otello—all of which were conducted Hall and at the Ravinia Festival, as by CSO music director Riccardo well as a dozen works for commercial Muti. World premieres include John recordings. Wolfe also directs choral Harbison’s Four Psalms and Bernard works at the Aspen Music Festival Rands’s apókryphos, both commissioned and the National Arts Centre in by the CSO. Ottawa, and he is founder-director Wolfe also prepared the Chicago of the Colorado Symphony Chorus, a Symphony Chorus for its Carnegie position he maintains along with his Hall performances of Orff’s Carmina Chicago Symphony Chorus post. Burana under the direction of Riccardo Winner of two Grammy awards in Muti this past October; Verdi’s Otello 2010 (Best Choral Performance, Best and Berlioz’s Lélio in 2011 under Classical Album) for the Chicago the direction of Riccardo Muti; Symphony Orchestra’s recording of Beethoven’s Ninth Symphony with Verdi’s Requiem with Riccardo Muti, the Staatskapelle Berlin in 2000, in 2012, Wolfe received the Michael with Daniel Barenboim; and for Korn Founders Award in recognition performances of Schoenberg’s Moses of his contributions to the profes- und Aron (led by Pierre Boulez) sional choral arts. He also prepared and Brahms’s A German Requiem the Chicago Symphony Chorus for the (led by Daniel Barenboim) at the 1998 Grammy Award–winning record- Berlin Festtage. ing of Wagner’s Die Meistersinger von Wolfe’s activities have earned him Nürnberg with Sir Georg Solti. an honorary doctorate and numerous Well known for his work with awards, including the Bonfils Stanton children, in 1999, Duain Wolfe retired Award in the Arts and Humanities, from the Colorado Children’s Chorale, and the Colorado Governor’s Award an organization that he founded and for Excellence in the Arts.

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the CSO Resound label, including Mahler’s Second and Third sympho- nies, Poulenc’s Gloria, and Ravel’s Daphnis and Chloe. The recent record- ing of Verdi’s Requiem under the direction of Riccardo Muti received the Grammy Award for Best Choral Performance, the Chorus’s tenth win in that category. The history of the Chicago Now in its fifty-fifth season, the criti- Symphony Chorus goes back to 1957, cally acclaimed Chicago Symphony when music director Fritz Reiner Chorus has been led by chorus director invited Margaret Hillis to establish and conductor Duain Wolfe since 1994. a chorus on a par with the quality Following successful collaborations of the Orchestra. The new ensemble with Riccardo Muti in his inaugural soon achieved an international reputa- season as music director, last season tion, with concerts in Chicago, tours the Chorus sang Carmina Burana with in the United States and abroad, and Muti at both Millennium Park and many award-winning recordings. to open the 2012–13 season at New Memorable achievements include York’s Carnegie Hall. critically acclaimed performances In 2007–2008, the Chorus cel- of Schoenberg’s Moses and Aron and ebrated its fiftieth-anniversary season Brahms’s A German Requiem with the with a special concert showcasing Orchestra at the Berlin Festtage in the extraordinary talent and musical April 1999. breadth of the ensemble. Locally, Chicago Symphony Chorus The Chorus’s discography includes members have performed at numerous many hallmarks of the choral rep- events around the city, including the ertoire, including Beethoven’s Missa Tree Lighting Ceremony at Macy’s; solemnis, Bach’s B minor mass, the National Anthem at Chicago Bulls Brahms’s A German Requiem, and basketball games; and appearances on Orff ’s Carmina Burana. The Chorus local news features for ABC 7, NBC 5, is featured on several recordings on and WTTW 11.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 21 6/17/13 9:57 AM Chicago Symphony Chorus Duain Wolfe Conductor and Chorus Director Cheryl Frazes Hill Associate Director Don H. Horisberger Associate Director William Chin Assistant Director

Paul Aanonsen Elizabeth A. Grizzell†,‡,§ Alexia Rivera*,†,‡,§ Brandy Nicole Adams Kimberly Gunderson†,‡,§ Benjamin D. Rivera*,†,‡ Geoffrey Agpalo†,‡ Deborah Guscott§ Nicoleta Roman‡,§ Michele Braché Agpalo§ Amy Gwinn-Becker†,‡,§ Jonathan Schaefer Alicia Monastero Akers†,‡,§ Kevin M. Hall Matthew W. Schlesinger†,‡ Melissa Arning‡,§ Todd S. Harris Cole Seaton‡ Rebekah Kirsten Askeland‡,§ Mary Catherine Helgren Cindy Senneke†,‡,§ Lauren Auge§ Adam Lance Hendrickson Silfredo Serrano Deborah B. Bard Daniel Julius Henry, Jr.†,‡ Andrew Seymour Michael Barrette Betsy Hoats*,†,‡,§ Caitlin Shirley Mary Ann Beatty‡,§ Don H. Horisberger†,‡ Daniel Shirley Megan E. Bell§ Patricia Hurd Adam J. Smith Rebecca Berger†,‡,§ Ingrid Israel Joseph Smith‡ Sammi Block§ Carla Janzen‡,§ Elena Snow Laura Boguslavsky†,‡,§ Garrett Johannsen Kari Sorenson Madison Bolt†,‡ Marjorie Johnston†,‡,§ Meaghan Stainback§ Michael Boschert†,‡ Brad Johnstone‡ Susan Palmatier Steele†,‡,§ Carolyn Boudreau§ Alison Kelly‡,§ Margaret Stoltz Lorraine Branham§ Robin A. Kessler†,‡,§ Alexandra Tanico Michael Brauer‡ Lisa Kotara Andrea Amdahl Taylor†,‡,§ Hoss Brock Susan Krout†,‡,§ Dane Thomas†,‡ Michael Brown†,‡ Mathew Lake†,‡ Paul W. Thompson*,‡ Terry L. Bucher Nancy A. Lass Matthew Thurman Jennifer Kerr Budziak*,‡,§ Diana Lawrence Scott Uddenberg‡ Diane Busko Bryks†,‡,§ Emily Joy Lee Alexandria Vernasco Anastasia Cameron Black§ Kristin Lelm†,‡,§ Patrick Volker Michael Cavalieri‡ Kirsten Therese Leslie Alison Wahl§ William Chin‡ Lee Lichamer‡ Corinne Wallace§ Joseph Cloonan*,†,‡ Allan K. Lindsay‡ Aaron Wardell Amanda Lauren Compton Sara Litchfield Nikolas Wenzel Natalie Conseur‡,§ Kathleen Madden‡,§ Eric West†,‡ Tamaron Conseur†,‡ Kevin McKelvie‡ Debra Wilder†,‡,§ Ryan J. Cox†‡ Mark James Meier‡ Charles L. Wolter Sandra Cross§ Kaileen Erin Miller‡,§ Lucas Wood Robert Cunningham Zachary Miller Angela Young Smucker†,‡,§ Beena David†‡,§ Eric Miranda†,‡ JulieAnn Zavala Julie DeBoer Rebecca S. Moan†,‡,§ Manager Hannah Dixon McConnell‡,§ Randall E. Moore Carolyn D. Stoner Dawnmarie Domingo Lillian Murphy‡,§ Meredith Taylor Du Bon§ Nathan S. Oakes Associate Manager and Thomas E. Dymit†,‡ Máire O’Brien†,‡,§ Librarian Stacy Eckert*,‡,§ Rachel Olson§ Marjorie Johnston Stephen C. Edwards Anne Marie Ouverson§ Language Coach Daniel Eifert*,‡ Sheri Owens†,‡,§ Gertrude Grisham Mark Eldred†,‡ Wha Shin Park‡ Jared Velasco Esguerra‡ Elda Peralta§ Rehearsal Pianists Nicholas Falco‡ Daniel Peretto John Goodwin April Lancaster Feinberg Douglas Peters Sharon Peterson Carelle Flores§ Amy Pickering†,‡,§ Terree Shofner Emrich Dominique Frigo Nancy Pifer‡,§ Patrick Sinozich Kirsten Fyr§ Cari Plachy‡,§ Ace T. Gangoso Sarah Ponder‡,§ Elizabeth A. Gentry Martin Lowen Poock Klaus Georg†,‡ Robert J. Potsic The chorus was prepared for these Jennifer Gingrich‡,§ Angela Presutti†‡,§ performances by Duain Wolfe. Carl Glick Margaret Quinnette†,‡,§ *Indicates section leader Rachel A. Goldstein Timothy J. Quistorff‡ †Mozart Ave verum corpus and Verdi Ave Maria David Govertsen‡ Katherine Reardon§ Elizabeth Gray Patrick Reardon ‡Vivaldi Magnificat Nida Grigalaviciute†,‡,§ Peder Reiff §Verdi Laudi alle Virgine

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 22 6/17/13 9:57 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 Mason Bates, Anna Clyne Mead Composers-in-Residence Violins Cellos English Horn Timpani Robert Chen John Sharp Scott Hostetler Vadim Karpinos Concertmaster Principal Assistant Principal Clarinets The Louis C. Sudler The Eloise W. Stephen Williamson Percussion Chair, endowed by an Martin Chair Principal Cynthia Yeh anonymous benefactor Kenneth Olsen John Bruce Yeh Principal Stephanie Jeong Assistant Principal Assistant Principal Patricia Dash Associate The Adele Gidwitz Chair Gregory Smith Vadim Karpinos Concertmaster Karen Basrak J. Lawrie Bloom James Ross David Taylor Loren Brown Yuan-Qing Yu Richard Hirschl E-Flat Clarinet Piano Assistant Daniel Katz John Bruce Yeh Mary Sauer Concertmasters* Katinka Kleijn Principal Bass Clarinet So Young Bae Jonathan Pegis J. Lawrie Bloom Librarians Cornelius Chiu David Sanders Peter Conover Alison Dalton Gary Stucka Bassoons Principal Gina DiBello Brant Taylor David McGill Carole Keller Kozue Funakoshi Principal Basses Mark Swanson Russell Hershow William Buchman Alexander Hanna Qing Hou Assistant Principal Orchestra Principal Nisanne Howell Dennis Michel Personnel The David and Blair Milton John Deverman Mary Winton Green Horns Paul Phillips, Jr. Director Principal Bass Chair Dale Clevenger§ Sando Shia Anne MacQuarrie Daniel Armstrong Principal Susan Synnestvedt Manager, CSO Roger Cline Daniel Gingrich Rong-Yan Tang Auditions and Joseph DiBello Acting Principal Orchestra Personnel Baird Dodge Michael Hovnanian James Smelser Principal Robert Kassinger David Griffin Stage Technicians Sylvia Kim Kilcullen Mark Kraemer Oto Carrillo Kelly Kerins Assistant Principal Stephen Lester Susanna Gaunt Stage Manager Lei Hou† Bradley Opland Dave Hartge Trumpets Ni Mei James Hogan Harps Christopher Martin Fox Fehling Christopher Lewis Sarah Bullen Principal Hermine Gagné Patrick Reynolds Principal The Adolph Herseth Rachel Goldstein Todd Snick Lynne Turner Principal Trumpet Mihaela Ionescu Joe Tucker Chair, endowed by an Melanie Kupchynsky Flutes anonymous benefactor Wendy Koons Meir Mathieu Dufour Mark Ridenour Aiko Noda Principal Assistant Principal Joyce Noh The Erika and John Hagstrom Nancy Park Dietrich M. Gross Chair Tage Larsen Ronald Satkiewicz Richard Graef Florence Schwartz-Lee Assistant Principal Trombones Jennie Wagner Louise Dixon† Jay Friedman Violas Jennifer Gunn Principal Charles Pikler Michael Mulcahy Piccolo Principal Charles Vernon Jennifer Gunn Li-Kuo Chang Bass Trombone Assistant Principal Oboes Charles Vernon The Louise H. Benton Eugene Izotov *Assistant concertmasters are Wagner Chair Principal Tuba listed by seniority. John Bartholomew The Nancy and Larry Gene Pokorny †On sabbatical Catherine Brubaker Fuller Chair Principal §On leave Karen Dirks Michael Henoch The Arnold Jacobs The Chicago Symphony Orchestra Diane Mues Assistant Principal Principal Tuba Chair, string sections utilize revolving Lawrence Neuman† Gilchrist endowed by seating. Players behind the Yukiko Ogura Foundation Chair Christine Querfeld first desk (first two desks in the violins) change seats Daniel Orbach Lora Schaefer systematically every two weeks Max Raimi Scott Hostetler and are listed alphabetically. Weijing Wang Section percussionists also are Thomas Wright listed alphabetically.

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CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 23 6/17/13 9:57 AM Chicago Symphony Orchestra Association

The Chicago Symphony Orchestra is Performance for Verdi’s Requiem consistently hailed as one of the world’s conducted by Riccardo Muti. finest orchestras. In the 2012–13 In 2007, the CSO returned to the season—the Orchestra’s 122nd— national airwaves with its self-produced Riccardo Muti continues his tenure as weekly broadcast series, which is the CSO’s tenth music director. syndicated to more than three hundred Throughout its history, the Chicago markets nationwide on the WFMT Symphony Orchestra has enjoyed lead- Radio Network as well as on cso.org. ership from an illustrious list of music The CSO also expanded its online directors, beginning with Theodore presence with free video downloads of Thomas, who founded the Orchestra Beyond the Score. in 1891, followed by Frederick Stock, The Chicago Symphony Orchestra Désiré Defauw, Artur Rodzinski, Association is the parent organization Rafael Kubelík, Fritz Reiner, Jean for the Chicago Symphony Chorus; Martinon, Sir Georg Solti, and Daniel Civic Orchestra of Chicago; the Barenboim. From 2006 to 2010, Symphony Center Presents concert series; Bernard Haitink led the Orchestra the Institute for Learning, Access and as principal conductor, the first in Training; and the Symphony Center CSO history. Pierre Boulez, who was facility. Symphony Center Presents, the appointed principal guest conductor in organization’s presentation arm, offers 1995, has served as Helen Regenstein more than fifty diverse performances Conductor Emeritus since 2006. each year, including piano and cham- The CSO performs well over ber recitals, visiting orchestras, jazz, 150 concerts each year at Symphony world music, and the MusicNOW Center and at the Ravinia Festival, contemporary series. where it is in residence each summer. Mason Bates and Anna Clyne The ensemble has embarked on thirty- are the CSO’s Mead Composers- nine overseas tours since Georg Solti in-Residence, taking up their posts led the first overseas tour to Europe in with the 2010–11 season. They curate 1971. The CSO has traveled to Asia the MusicNOW series along with seven times, as well as twice to Russia principal conductor Cliff Colnot and and once each to Australia and South work with Maestro Muti to reach the America. The Orchestra has traveled to Chicago community. Canada sixteen times and made its first The Institute for Learning, Access trip to Mexico in October 2012. and Training at the CSO, launched Recording has been a significant in October 2008, engages more than part of the CSO’s history since 1916, 150,000 Chicago-area residents and in 2007, the Orchestra launched annually. Under the auspices of the its own record label, CSO Resound. Institute, Yo-Yo Ma, who became the CSO recordings have earned sixty-two first Judson and Joyce Green Creative Grammy awards from the National Consultant in January 2010, serves as Academy of Recording Arts and an invaluable partner to Maestro Muti, Sciences, most recently in 2011 for by participating in the development of Best Classical Album and Best Choral new initiatives and music series.

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