2020 /21 CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI ZELL MUSIC DIRECTOR SYMPHONY CENTER PRESENTS welcome to the 130th season “The partnership of Riccardo Muti and the Chicago Symphony Orchestra has no real rival in the U.S. and precious few around the world.” chicago tribune table of contents 04 Muti’s Vision for the Season 06 CSO Musicians in the Spotlight 08 Anything but Ordinary 12 Explore the 2020/21 Season 37 Discover Your Perfect Series 36 38 Chicago Symphony Orchestra 42 46 Symphony Center Presents 48 Subscribe 50 Season Grid 51 Support the CSO cso.org 3 cso.org 3 muti’s vision for the season riccardoMozart said that the deepestmuti music conducts is the one hidden between the the notes. CSO The mystery is there in that space that encloses the universe. With each performance, the Chicago Symphony Orchestra and I seek to communicate the infinite power of what cannot be said but what can be felt deeply by the spirit through music. Being a musician is a choice we have made for passion. We might even say it is a mission: it is the continuous search for an interpretative truth, for an unattainable perfection. It is a privilege to pursue this quest with this exceptional orchestra. Please join us during the 2020/21 season as we explore the depths found in the music of humanity’s great composers. riccardo muti The 2020/21 season celebrates the singular partnership the world of opera to sacred choral works and song between the Chicago Symphony Orchestra and its cycles. This season features remarkable examples of each 10th music director, Maestro Riccardo Muti. “This category, from Cherubini’s Mass for the Coronation orchestra has given me the possibility to experience of Charles X (mar. 4–6) to a rousing season Ƃ nale complex, difƂ cult repertoire in a way that other, of Italian opera highlights (june 10–13). In many of these less virtuosic, orchestras could not,” said Muti of the performances, Muti and the Orchestra are joined ensemble he often fondly refers to as a Ferrari— by the Chicago Symphony Chorus, as well as esteemed an apt comparison as both are synonymous with singers from the world of opera, including the return excellence, power and agility. of mezzo-sopranos Anita Rachvelishvili in Brahms’ Alto Rhapsody (mar. 4–6) and Alice Coote in Elgar’s Sea The selected repertoire for this season displays these Pictures (oct. 22–27). qualities and more, whether evoking the exquisite reƂ nement of Mozart’s Gran Partita (mar. 18–20) or the Introducing new music to CSO audiences has been an searing intensity of Shostakovich’s Tenth Symphony important part of Muti’s artistic legacy as music director. (mar. 9). In addition to showcasing the Orchestra’s Having studied composition himself for 10 years, he talents with his programmatic choices for the ensemble, has the utmost respect for composers: “I approach Muti also continues to feature CSO musicians as music of the Classical period—Baroque, modern, soloists in concerts throughout the season. Romantic, contemporary—always in the same way, with the same seriousness,” he said. “The moment of truth As the new season begins, Muti continues the CSO’s comes when what the composer has sought is coming celebration of the 250th anniversary of Ludwig van to life in the performance.” He has selected Thomas Beethoven’s birth with his Missa solemnis (sept. 24–26). Adès, Gabriela Lena Frank, Magnus Lindberg, Kaija Muti describes this work as one of “vast dimensions” Saariaho and Julia Wolfe, among others, to represent the from a “metaphysical sphere.” To hear the Missa current generation of composers with performances of solemnis performed by the Chicago Symphony Orchestra their works, including the world premieres of two CSO and Chorus, along with an international cast of vocal commissions. soloists, will be a monumental artistic and cultural experience. Throughout their time together, Muti and the Orchestra have created a sound that is simultaneously deƂ ned The human voice in all its colors is a focal point by its excellence and its distinctiveness. “The revered of several special programs led by Muti. He Italian conductor has reinforced the Orchestra’s vaunted brings an unparalleled expertise that extends from international stature with stand-out concerts in Orchestra Hall and tours across Asia, Europe and North America,” afƂ rms the Chicago Sun-Times. Experience this exceptional combination throughout the 2020/21 season with music selected to display all of the talents of the CSO. 4 cso.org 5 cso musicians in the spotlight Riccardo Muti and the Chicago Symphony Orchestra share an exceptional bond. As Muti observed in 2007, “The way they responded to my musical ideas and the sense of family that we immediately created together pushed me to accept this very prestigious commitment.” Over the past 10 seasons, their music-making together has evolved into a partnership without equal. To showcase their artistry, Muti has invited CSO members to perform concertos at Orchestra Hall and on tour. This tradition continues during the 2020/21 season with broad- ranging repertoire that illustrates their individual virtuosic talents. Stefán Ragnar Höskuldsson principal flute Stephen Williamson principal clarinet Sarah Bullen principal harp “I fi rst heard the Copland concerto performed by Benny “I’ve devoted my life to this, and I’m happy to share Goodman on the radio when I was in sixth grade. It it with you. That’s all it is. A performance just had such a profound impact on me. I wanted to has to be a pure exchange of your voice, of who you play this piece that very moment I heard its opening are.” sarah bullen phrase.” stephen williamson Written for an aristocratic French father-and-daughter Commissioned by Chicago native Benny Goodman, duo, Mozart’s Concerto for Flute and Harp is a Aaron Copland’s Clarinet Concerto seamlessly blends charming dialogue between instruments that blend classical and jazz infl uences. Copland composed the perfectly. “As a performer, you must draw these qualities score while traveling through South America in from within yourself to bring the piece to life,” 1947, and its second movement evokes a Brazilian says Sarah Bullen. “That exercise of self-exploration popular tune while also capturing Goodman’s elegant, is both a thrill and a joy.” Stefán Ragnar Höskuldsson swinging style. The concerto was praised by fellow adds, “There is an intensity with which I like to composers including Stravinsky, Bernstein and play. I meditate on my material and try to get inside the Ginastera, who said it represents “the condensed voices music.” sept. 18 & 20 of a whole country.” As Stephen Williamson notes, “The concerto truly runs the gamut combining fi nesse and tenderness with raucous joy and true ‘jam session’ with everyone on stage.” nov. 5–8 William Welter principal oboe “From the moment I set foot on the stage of Orchestra Hall, I was so impressed with the incredible sound I heard—it was a perfect blend of power and elegance.” william welter Mozart completed only one concerto for oboe, and it is remarkable in every way. This music is not only deeply expressive, but also perfectly idiomatic, revealing the kind of gift for natural, memorable melody that few composers ever possess. This performance of Mozart’s Oboe Concerto in C Major, K. 314 will mark William Welter’s fi rst solo appearance with the Orchestra. dec. 3–8 6 David Herbert principal timpani Robert Chen concertmaster “When the musicians communicate to you directly “As a young man studying music and aspiring to a and sincerely, you will know it. That’s the pride solo career, I dreamt about playing with the and electricity of a CSO performance.” david herbert greatest orchestras in the world. I am living that dream.” robert chen Principal Timpani David Herbert solos in a work by William Kraft, one of America’s greatest living composers Mozart’s Violin Concerto No. 4 is one of fi ve he and a champion of percussion repertoire. Although composed in the mid-1770s while still living Herbert has performed Kraft’s Timpani Concerto in his hometown of Salzburg, and undoubtedly designed No. 1 the world over, this will be the fi rst time to perform himself. It is also one Robert Chen holds with the CSO. He describes it as “beautiful, intimate, close to his heart. “It’s the fi rst Mozart concerto confrontational, colorful and most importantly, that I studied and the one I played for my CSO solo engaging.” Herbert is excited to showcase this work in debut,” Chen recalls. “What strikes me about Mozart’s the composer’s home city of Chicago. “The audiences music is the simplicity in which he communicates who attend the CSO are my favorite people in the human existence. In this concerto, he combines world, and I am honored to play music for you, in this youthful exuberance with subtle complexity. The great city!” jan. 14–16 second movement has a simple, yet profoundly moving melody.” He adds, “Each time I return to Mozart, there is something new to discover. I am really excited Gene Pokorny principal tuba to perform it with Maestro Muti.” mar. 9 “I realize more and more the special affi nity the subscribers have for the efforts and results achieved by members of the Orchestra on stage. What a great connection to have!” gene pokorny For his latest concerto, famed Hollywood composer Lalo Schifrin refuses to put the tuba in a box: “In my inner ear, I heard a different quality after asking some virtuosi of the instrument to experiment with me in a melodic and linear way.” One of those virtuosi is CSO Principal Tuba Gene Pokorny, who premiered the work in 2018 and will perform it with the CSO.