Concert for Chicago 180920 d3 · cso.org 7 Thursday, September 20, 2018, at 6:30 Jay Pritzker Pavilion, Millennium Park Riccardo Muti Conductor rossini Overture to William Tell verdi

CONCERT for

CHICAGO

CONCERT for

CHICAGO

global sponsor of the cso

CHICAGO SYMPHONY ORCHESTRARICCARDO MUTI Zell Music DirectorCIVIC ORCHESTRA OF CHICAGO

Thursday, September 20, 2018Jay Pritzker Pavilion, Millennium Park

2 #concertforchicago @chicagosymphony

It is my pleasure as music director of the Chicago Symphony Orchestra to welcome you to the opening concert of the 2018–19 season.

A great orchestra, like the Chicago Symphony Orchestra, represents how best to keep our culture alive. It is comprised of very talented and experienced musicians, each individually skilled in his or her instrument. When musicians come together as an orchestra—a community—they achieve the most impact, bringing us beauty as well as inspiration. An orchestra strives to create the highest form of artistic expres-sion and, in so doing, serves as an example of what we can aspire to when we come together as a society.

Tonight, the CSO is joined by the Civic Orchestra of Chicago—for a total of 146 musicians on this stage—in honor of its centennial season. I work with talented young musicians both in Chicago and in my native Italy, passing on lessons that I was fortunate to receive from my own teachers. I am increasingly conscious of the need to support young artists, for they are the hope for the preservation of our culture.

Your presence tonight and throughout the season is one of the most important actions you can take to support music in Chicago and the city’s ongoing cultural legacy. The Chicago Symphony, Civic Orchestra, and I invite you to share our love of music and extend to you a warm welcome.

Riccardo Muti Zell Music Director, Chicago Symphony Orchestra

Dear Friends,

On behalf of the Chicago Symphony Orchestra Association, we are happy to wel-come you to our annual Concert for Chicago led by Zell Music Director Riccardo Muti. We are delighted you have joined us at Millennium Park in the heart of our great city for this special evening of music.

The tradition of the Chicago Symphony Orchestra performing a free concert at the start of the season began in 2010 as a way to introduce Maestro Muti to the citi-zens of Chicago and to celebrate the beginning of his tenure as the Orchestra’s tenth music director. Now in his ninth season, Maestro Muti continues to achieve ever-greater artistic collaboration with the musicians of the CSO.

With tonight’s concert, we also launch the hundredth season of the Civic Orchestra of Chicago, the CSOA’s prestigious training orchestra for young profes-sional musicians founded in the 1919–20 season by the CSO’s second music direc-tor, Frederick Stock. Thousands of Civic alumni have gone on to notable careers in music and dozens have become members of the CSO. This side-by-side concert pays tribute to the Civic Orchestra’s legacy as we look ahead to the next century.

We hope you will enjoy the performance and invite you to hear the Chicago Symphony Orchestra and Civic Orchestra of Chicago again at Symphony Center, our home at 220 South Michigan Avenue. Thank you for joining us tonight.

Helen Zell Chair, Chicago Symphony Orchestra Association Board of Trustees

Jeff Alexander President, Chicago Symphony Orchestra Association

PHOTOS BY TODD ROSENBERG

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Share your concert experience with #CONCERTFORCHICAGO and @CHICAGOSYMPHONY!

The Chicago Symphony Orchestra is grateful to BANK OF AMERICA for its generous support of CSO concerts at home and around the world.

global sponsor of the cso

For weather-related announcements, program updates, and upcoming events, follow us on Twitter @Millennium_Park and “like” us on Facebook (Millennium Park).

The Chicago Symphony Orchestra is grateful to WBBM NEWSRADIO 780 AND 105.9 FM and CHICAGO TRIBUNE for their generous support as media sponsor for this performance.


The Chicago Symphony Orchestra’s Concert for Chicago is generously sponsored by the

Kenneth C. Griffin Charitable Fund.

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The Civic Orchestra of Chicago’s side-by-side performance with the Chicago Symphony Orchestra in the Concert for Chicago is generously sponsored by

The Elizabeth F. Cheney Foundation,

in celebration of the Civic Orchestra’s 2018–19 centennial season.


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Thursday, September 20, 2018, at 6:30Jay Pritzker Pavilion, Millennium Park

Riccardo Muti Conductor

rossini Overture to William Tell

verdi The Four Seasons from I vespri sicilianiWinterSpringSummerAutumn

tchaikovsky 1812 Overture

There will be no intermission.

one hundred twenty-eighth season

Chicago Symphony OrchestraRiccardo Muti Zell Music DirectorYo-Yo Ma Judson and Joyce Green Creative Consultant

one hundredth season

Civic Orchestra of Chicago

GLOBAL SPONSOR OF THE CSO

The Chicago Symphony Orchestra’s Concert for Chicago is generously sponsored by the Kenneth C. Griffin Charitable Fund.

The Civic Orchestra of Chicago’s side-by-side performance with the Chicago Symphony Orchestra in the Concert for Chicago is generously sponsored by The Elizabeth F. Cheney Foundation in celebration of the Civic Orchestra’s 2018–19 centennial season.

The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM and Chicago Tribune for their generous support as media sponsor for this performance.

United Airlines is the Official Airline of the Chicago Symphony Orchestra.

This program is partially supported by a grant from the Illinois Arts Council Agency.

The Chicago Symphony Orchestra extends special thanks to the City of Chicago, Mayor Rahm Emanuel, Millennium Park, and the Chicago Department of Cultural Affairs and Special Events.

Thank you for attending today’s concert. Enjoy 25% off these concerts with promo code CHICAGO, visit cso.org/chicago.

CHICAGO SYMPHONY ORCHESTRA FALL AT SYMPHONY CENTER

CSO.ORG | 312-294-3000Symphony Center | 220 South Michigan Avenue | Chicago, Il 60604

September 21–25Muti Conducts Shostakovich Babi Yar

September 27–29Muti Conducts Sheherazade

October 4 & 5Muti Conducts Beethoven & Brahms

October 6Symphony Ball

October 11–14Mahler 3

October 18–20Trifonov Plays Prokofiev

October 25–30Haitink Conducts Bruckner & Beethoven

Offer expires Sept. 30, 2018 Artists, prices, and programs subject to change. Cannot be applied to previously purchased tickets. Subject to availability.

comments by phillip huscher

cso.org 9

aboveRossini, 1828 lithograph by Pierre-Louis Henri Grévedon (1776–1860)

gioachino rossiniBorn February 29, 1792; Pesaro, ItalyDied November 13, 1868; Passy, a suburb of Paris, France

Overture to William Tell (Guillaume Tell)

composed1828–29

first performanceAugust 3, 1829; Paris, France

instrumentationflute and piccolo, two oboes and english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, bass drum, cymbals, strings

approximate performance time12 minutes

Time has not been kind to Rossini. Today he is identified with a handful of comic operas (often dismissed as implau-sible and silly, and frequently staged as sophomoric slapstick)

and a dozen or so overtures, the most famous of which brings to mind a televi-sion cowboy who rode high in the ratings from 1949 until 1965 instead of the heroic figure of William Tell. The opening sentence of the late Philip Gossett’s article in The New Grove offers a healthy correc-tive: “No composer in the first half of the nineteenth century enjoyed the measure of prestige, wealth, popular acclaim, or artistic influence that belonged to Rossini.”

Rossini was born less than three months after the death of Mozart (“He was the wonder of my youth,” Rossini later wrote, “the despair of my matu-rity, and he is the consolation of my old age”), was a professional contemporary

of Beethoven and Schubert (as well as the young Mendelssohn and Berlioz), and lived into the era of Wagner and Brahms. But he retired in 1830, at the height of his career, leaving behind the world of opera where he had reigned since 1812, when his La pietra del paragone (The touch-stone) triumphed at La Scala. During the remaining four decades of his life he didn’t write another opera (for a while he contemplated a treatment of Goethe’s Faust), choosing instead to preside over his celebrated salon (one of the most famous in all Europe) and to putter in the kitchen (tournedos Rossini are his most famous concoction). Only occasionally did he put pen to manuscript paper.

William Tell was his last opera. It is a vast, imposing, and richly beautiful work in four acts, and in its day it was extrav-agantly praised (Donizetti said act 2 was composed not by Rossini but by God) and frequently staged, though seldom com-plete. (Once, when the head of the Paris Opera encountered Rossini on the street and boasted that the second act of Tell was being performed that very night, the composer replied, “Indeed! All of it?”) In our time, productions of William Tell are almost unheard of—Rossini’s serious operas, more important historically than the comedies, are relatively unknown to us today. Ironically, the overture to William Tell has become one of the most popular pieces in the orchestral repertory.

The opera is based on Friedrich Schiller’s retelling of the story of the Swiss patriot William Tell and his famous bow and arrow. A complex tale with a strong political theme (the scene is Switzerland during the Austrian occupation), it first attracted Goethe, who contemplated

writing an epic poem on the tale, and then Schiller, who made it the subject of his last completed play. (Tell’s status has fallen in our day: an exhibition in Lausanne in 1994 downgraded him from national hero to the purely fictional creation of Swiss folklore.)

Rossini’s overture was immediately pop-ular, and it often was played independently from the opera during the composer’s lifetime. When Berlioz wrote a long and detailed review of William Tell in 1834, he could not disguise his admiration for Rossini’s music. He noted that the over-ture was in an entirely new, enlarged form, and had “in fact become a symphony in four distinct movements instead of the piece in two movements usually thought to be sufficient.”

T he overture opens unexpectedly with music for solo cellos, one of Rossini’s greatest masterstrokes. “It

suggests the calm of profound solitude,” Berlioz wrote, “the solemn silence of nature when the elements and human passions are at rest.” A mountain storm blows up, its turbulence and erupting tension suggesting that both bad weather and patriotic war lie just over the hori-zon. “The inevitable decrescendo of the storm is handled with unusual skill,” Berlioz writes of the magical passage that leads the listener directly down to the mountain valley, where an english horn plays an Alpine herdsman’s melody. Then the galloping allegro vivace begins—a dazzling finale, full of brilliant, incisive effects and irresistible energy. Even in 1834 Berlioz commented, with a touch of envy, that its brio and verve “invariably excite the transports of the house.”

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composed1855

first performanceJune 13, 1855; Paris, France

instrumentationflute and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets and two cornets, three trombones and tuba, timpani, percussion, harp, strings


There is wonderful dance music in many of the great Verdi operas—the offstage banda in the first scene of Rigoletto, the party scene in La traviata, the ball at the climax of Un ballo

in maschera. But Verdi wrote very few separate ballets—independent numbers that bring the action to a halt and serve as an unrelated entertainment within the opera. That was not part of the Italian tradition. Verdi’s first ballet was written in 1847 for Jerusalem, which was composed for the Paris Opera, where, following the beloved French custom, a third-act ballet was house policy. Eight years later, Verdi outdid himself with his next Paris commis-sion, Les vêpres siciliennes (The Sicilian vespers), composing a large and elaborate allegorical ballet on the subject of the four seasons. Although there were more ballets to come from his pen—for French produc-tions of Il trovatore and Macbeth, and for the premiere of Don Carlos, for example—nothing quite matched the size, scope, and

sheer festivity of the Four Seasons ballet that is performed this evening.

Verdi’s grand opera—it was translated into Italian in 1861 and has since become better known as I vespri siciliani—is set at the time of the French occupation of the island of Sicily in the thirteenth century and the subsequent uprising by the people of Palermo on Easter Sunday of 1282. (The bells that ring for vespers signal the start of the uprising.) In act 3, Montforte, the French governor of Sicily, and Arrigo, a young Sicilian who is Montforte’s son and sworn enemy, proceed to the great hall, where a ballet is staged for the entertain-ment of the governor’s guests. The ballet of the Four Seasons has no direct connec-tion, either musically or dramatically, to the opera itself—the composer later said it could be omitted without harm—but Verdi, among the most scrupulous and honest of musicians, nonetheless lavished all his customary thought and care on the composition of this music.

The ballet of the Four Seasons is a marvel of orchestral color, imagina-tive writing, melodic abundance, and long-range planning. Verdi was working in a musical style that was still new to him and in a tradition that had not yet hit its stride—of all the classic romantic ballets, only Adam’s Giselle predates Verdi’s Four Seasons; Delibes’s Coppélia and the great Tchaikovsky scores come more than a dozen years later. Yet he composes music that is utterly natural and idiomatic, as if writing for a troupe of dancers, rather than for supple Italian voices, was his daily occupation and great love. (Verdi wrote detailed notes about the choreography in the score, suggesting he had more than a passing knowledge of the vocabulary of dance.)

V erdi begins with Winter. A young woman, wrapped in furs and representing Winter, steps out

of an ice-covered basket. Three friends, all shivering in the cold, arrive and light a fire, but Winter prefers to dance to keep warm. Soon, the ice melts to reveal bunches of flowers, from which rises the spirit of Spring, who begins to dance. Eventually, the flowers are replaced by ears of corn; Summer and her companions gather the ears. Too hot to dance, they choose to swim instead, until a faun chases them away. The basket is now covered with vine leaves and fruit. Autumn and her companions dance in celebration of Bacchus.

Each of the seasons is treated as a series of varied dances and tuneful episodes. Verdi’s prodigious melodic gift is on ample display throughout. Even such a formidable critic as Hector Berlioz had special praise for Verdi’s dance num-bers, “particularly the pieces for Spring and Summer, which give the virtuosi of the opera orchestra a chance to display their talents.” The Adagio for Spring is a delightful mini clarinet concerto. The haunting summertime Siciliano, with its plaintive oboe solo—it has been compared to “Il vecchio castello” in Mussorgsky’s Pictures from an Exhibition—to which the dancers gather the corn in the noonday heat, is a marvel of atmospheric mood music. Throughout this ballet music, one hears echoes of moments in Verdi’s operas—a soaring phrase from a tenor aria, the bustle of an ensemble finale, the glitter of a party scene (La traviata was composed just two years earlier). But we also find Verdi obviously enjoy-ing the luxury of writing, for once, for orchestra alone.

giuseppe verdiBorn October 9, 1813; Roncole, near Busseto, ItalyDied January 27, 1901; Milan, Italy

The Four Seasons from I vespri siciliani (The Sicilian vespers)

aboveVerdi, 1840 lithograph by Roberto Focosi (1806–1862)

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left to rightTchaikovsky, ca. 1880

The French Retreat from Russia, 1812, by Illarion Pryanishnikov (1840–1894), 1874

Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.

pyotr tchaikovskyBorn May 7, 1840; Votkinsk, RussiaDied November 18, 1893; Saint Petersburg, Russia

1812 Overture

composedOctober 12–November 19, 1880

first performanceAugust 20, 1882; Moscow, Russia

instrumentationtwo flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, four horns, two trumpets and two cornets, three trombones and tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, glockenspiel, strings, with cannon fire and church bells


Although the 1812 Overture is arguably his most famous composition, Tchaikovsky wrote it begrudgingly, promised only that it would be “very loud and noisy,” and later

dismissed it as a piece that merely was made to order. In June 1880, he was asked to write a new composition for the 1881 Exhibition of Industry and the Arts, which was headed by his friend, the conductor and pianist Nicolai Rubinstein. Although the exhibition committee gave Tchaikovsky a choice between writing an overture and a cantata, he was unenthusiastic about either option. “It seems you think writing ceremonial pieces for an exhibition is some sort of ultimate bliss of which I shall

hasten to avail myself,” he replied. “I won’t lift a finger until something is ordered from me.” Three months passed. Finally, Rubinstein himself contacted the composer. “You will understand without any compliments that your composi-tion would be dearer and more precious to me than all the others,” he wrote. He then left it up to Tchaikovsky to compose whatever he wanted, as long as it was between fifteen and twenty-five minutes long.

The composer continued to complain to his patroness, Nadezhda von Meck—“What can you write on the occasion of the opening of an exhibition except banalities and generally noisy passages?”—but he set to work on October 12 and finished the piece in a week, completing the orches-tration less than a month later. Clearly, Tchaikovsky knew he had avoided writ-ing purely banal and loud music, because when he learned that the exhibition had been postponed till the following year, he began a campaign to get his new overture performed elsewhere in the meantime. (The committee ultimately insisted that he wait.) The premiere was finally given as part of an all-Tchaikovsky program on August 20, 1882, in a hall specially built for the exhibition. The 1812 Overture, as it was called, was an overwhelming

success—like Rachmaninov’s C-sharp minor prelude and Ravel’s Boléro, it quickly became an audience sensation despite its composer’s misgivings.

T chaikovsky’s subject, the Russian victory over Napoleon in 1812, was probably inspired by the construc-

tion of a new cathedral in Moscow to commemorate that decisive encounter. The overture, a free fantasy based on sonata form, is a musical battle between national hymns, with the French Marseillaise ulti-mately surrendering to a veritable barrage of Russian music—including Orthodox chant and folk song—and a final, indis-putably noisy onslaught of cannon fire (sixteen shots in all) and church bells.

profiles


Riccardo Muti Conductor

Born in Naples, Italy, Riccardo Muti is one of the preeminent conductors of our day. In 2010, when he became the tenth music director of the Chicago Symphony Orchestra (CSO), he

had more than forty years of experience at the helm of Maggio Musicale Fiorentino (1968–80), the Philharmonia Orchestra (1973–82), the Philadelphia Orchestra (1980–92), and Teatro alla Scala (1986–2005).

Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella in his hometown of Naples, graduating with distinction. He subse-quently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan, also graduating with distinction. His principal teachers were Bruno Bettinelli and Antonino Votto, principal assistant to Arturo Toscanini at La Scala. After he won the Guido Cantelli Conducting Competition—by unanimous vote of the jury—in Milan in 1967, Muti’s career developed quickly. In 1968, he became principal conductor of Florence’s Maggio Musicale, a position that he held until 1980.

Herbert von Karajan invited him to conduct at the Salzburg Festival in Austria in 1971, and Muti has maintained a close relationship with the summer festival and with its great orchestra, the Vienna Philharmonic, for more than forty-five years. When he conducted the philhar-monic’s 150th anniversary concert in 1992, he was presented with the Golden Ring, a special sign of esteem and affection, and in 2001, his outstanding artistic contributions to the orchestra were further recognized

with the Otto Nicolai Gold Medal. He is also a recipient of a silver medal from the Salzburg Mozarteum for his contri-bution to the music of W.A. Mozart and the Golden Johann Strauss Award by the Johann Strauss Society of Vienna. He is an honorary member of Vienna’s Gesellschaft der Musikfreunde (Society of the Friends of Music), the Vienna Hofmusikkapelle, the Vienna Philharmonic, and the Vienna State Opera.

Muti succeeded Otto Klemperer as chief conductor and music director of London’s Philharmonia Orchestra in 1973, holding that position until 1982. From 1980 to 1992, he was music director of the Philadelphia Orchestra, and in 1986, he became music director of Milan’s Teatro alla Scala. During his nineteen-year tenure, Muti conducted operatic and symphonic repertoire ranging from the baroque to the contemporary, also leading hundreds of concerts with the Filarmonica della Scala and touring the world with both the opera company and the orchestra. His tenure as music director, the longest of any in La Scala’s history, culminated in the trium-phant reopening of the restored opera house with Antonio Salieri’s Europa rico-nosciuta, originally commissioned for La Scala’s inaugural performance in 1778.

Muti has received innumerable inter-national honors. He is a Cavaliere di Gran Croce of the Italian Republic, Officer of the French Legion of Honor, and a recipient of the German Verdienstkreuz. Queen Elizabeth II bestowed on him the title of honorary Knight Commander of the British Empire, Russian President Vladimir Putin awarded him the Order of Friendship, and Pope Benedict XVI made him a Knight of the Grand Cross First Class of the Order of Saint Gregory the Great—the highest papal honor. Muti also has received Israel’s Wolf Prize in Music, Sweden’s prestigious Birgit Nilsson Prize,

Spain’s Prince of Asturias Award for the Arts, Japan’s Order of the Rising Sun Gold and Silver Star, and the gold medal from Italy’s Ministry of Foreign Affairs for his promotion of Italian culture abroad as well as the prestigious “Presidente della Repubblica” award from the Italian gov-ernment. Muti has received more than twenty honorary degrees from universities around the world.

Passionate about teaching young musi-cians, Muti founded the Luigi Cherubini Youth Orchestra in 2004 and the Riccardo Muti Italian Opera Academy in 2015. Through Le vie dell’Amicizia (The roads of friendship), a project of the Ravenna Festival in Italy, he has conducted in many of the world’s most troubled areas in order to bring attention to and advocate for civic and social issues.

Riccardo Muti’s vast catalog of record-ings, numbering in the hundreds, ranges from the traditional symphonic and oper-atic repertoires to contemporary works. He also has written two books, Verdi, l’italiano and Riccardo Muti: An Autobiography: First the Music, Then the Words, both of which have been published in several languages.

During his time with the CSO, Muti has won over audiences in greater Chicago and across the globe through his music making as well as his demonstrated com-mitment to sharing classical music. His first annual free concert as CSO music director attracted more than 25,000 people to Millennium Park. He regularly invites subscribers, students, seniors, and people of low incomes to attend, at no charge, his CSO rehearsals. Muti’s commitment to artistic excellence and to creating a strong bond between an orchestra and its com-munities continues to bring the Chicago Symphony Orchestra to ever higher levels of achievement and renown.

riccardomutimusic.com

PHOTO BY TODD ROSENBERG

profiles

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Chicago Symphony Orchestra

Now celebrating its 128th season, the Chicago Symphony Orchestra is consis-tently hailed as one of the world’s leading orchestras. In September 2010, renowned Italian conductor Riccardo Muti became its tenth music director. His vision for the Orchestra—to deepen its engagement with the Chicago community, to nurture its legacy while supporting a new genera-tion of musicians, and to collaborate with visionary artists—signals a new era for the institution.

The Chicago Symphony Orchestra’s distinguished history began in 1889, when Theodore Thomas, then the leading conductor in America and a recognized music pioneer, was invited by Chicago businessman Charles Norman Fay to establish a symphony orchestra here. Thomas’s aim to establish a permanent orchestra with performance capabili- ties of the highest quality was realized at the first concerts in October 1891. Thomas served as music director until his death in 1905—just three weeks after the dedication of Orchestra Hall, the Orchestra’s permanent home designed by Daniel Burnham.

Frederick Stock, recruited by Thomas to the viola section in 1895, became assis-tant conductor in 1899, and succeeded the Orchestra’s founder. His tenure lasted thirty-seven years, from 1905 to 1942—the longest of the Orchestra’s music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. He also established youth auditions, organized the first subscription concerts espe-cially for children, and began a series of popular concerts.

Three distinguished conductors headed the Orchestra during the following decade: Désiré Defauw was music director from 1943 to 1947; Artur Rodzinski assumed the post in 1947–48; and Rafael Kubelík led the ensemble for three seasons from 1950 to 1953. The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony Orchestra are still considered performance hallmarks. It was Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. For the five seasons from 1963 to 1968, Jean Martinon held the position of music director.

Sir Georg Solti, the Orchestra’s eighth music director, served from 1969 until 1991. He then held the title of music direc-tor laureate and returned to conduct the Orchestra for several weeks each season until his death in September 1997. Solti’s arrival launched one of the most successful musical partnerships of our time, and the CSO made its first overseas tour to Europe in 1971 under his direction, along with numerous award-winning recordings.

Daniel Barenboim was named music director designate in January 1989, and he became the Orchestra’s ninth music director in September 1991, a position he held until June 2006. His tenure was dis-tinguished by the opening of Symphony Center in 1997, highly praised operatic productions at Orchestra Hall, numerous appearances with the Orchestra in the dual role of pianist and conductor, twenty-one international tours, and the appoint-ment of Duain Wolfe as the Chorus’s second director.

From 2006 to 2010, Bernard Haitink held the post of principal conductor, the first in CSO history. Pierre Boulez’s long-standing relationship with the CSO led to his appointment as principal guest conductor in 1995. He was named Helen

Regenstein Conductor Emeritus in 2006, a position he held until his death in January 2016. Only two others have served as principal guest conductors: Carlo Maria Giulini, who began to appear in Chicago regularly in the late 1950s, was named to the post in 1969, serving until 1972; Claudio Abbado held the position from 1982 to 1985.

In January 2010, Yo-Yo Ma was appointed the CSO’s Judson and Joyce Green Creative Consultant by Riccardo Muti. In this role, he partners with Muti, staff, and musicians to provide program development for the Negaunee Music Institute at the CSO.

Mead Composer-in-Residence Missy Mazzoli was appointed by Riccardo Muti and begins her two-year term this fall. In addition to composing, she curates the contemporary MusicNOW series.

Since 1916, recording has been a sig-nificant part of the Orchestra’s activities. Current releases on CSO Resound, the Orchestra’s independent recording label, include the Grammy Award–winning release of Verdi’s Requiem led by Riccardo Muti. Recordings by the CSO have earned sixty-two Grammy awards from the National Academy of Recording Arts and Sciences.

Thousands of patrons, volunteers, and donors—corporations, foundations, government agencies and individuals—support the CSOA each year. The CSO’s music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation. The Negaunee Foundation provides generous support in perpetuity for the work of the Negaunee Music Institute. Bank of America is the Global Sponsor of the Chicago Symphony Orchestra.

cso.org

profiles


Chicago Symphony OrchestraRiccardo Muti Zell Music DirectorYo-Yo Ma Judson and Joyce Green Creative ConsultantDuain Wolfe Chorus Director and ConductorMissy Mazzoli Mead Composer-in-Residence

violinsRobert Chen Concertmaster

The Louis C. Sudler Chair, endowed by an anonymous benefactor

Stephanie Jeong Associate ConcertmasterThe Cathy and Bill Osborn Chair

David Taylor Yuan-Qing Yu

Assistant Concertmasters*So Young BaeCornelius ChiuAlison DaltonGina DiBelloKozue FunakoshiRussell HershowQing HouBlair MiltonPaul Phillips, Jr.Sando ShiaSusan SynnestvedtRong-Yan Tang

Baird Dodge PrincipalSylvia Kim Kilcullen Assistant PrincipalLei HouNi MeiFox FehlingHermine GagnéRachel GoldsteinMihaela IonescuMelanie KupchynskyWendy Koons MeirMatous MichalSimon MichalAiko NodaJoyce NohNancy ParkRonald SatkiewiczFlorence Schwartz

violasLi-Kuo Chang Acting Principal

The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor

John BartholomewCatherine BrubakerYouming ChenSunghee ChoiWei-Ting KuoDanny LaiDiane MuesLawrence NeumanMax RaimiWeijing Wang

cellosJohn Sharp Principal

The Eloise W. Martin ChairKenneth Olsen Assistant Principal

The Adele Gidwitz ChairKaren BasrakLoren BrownRichard HirschlDaniel KatzKatinka KleijnJonathan PegisDavid SandersGary StuckaBrant Taylor

bassesAlexander Hanna Principal

The David and Mary Winton Green Principal Bass Chair

Daniel ArmstrongJoseph DiBelloMichael HovnanianRobert KassingerMark KraemerStephen LesterBradley Opland

harpsSarah Bullen PrincipalLynne Turner

flutesStefán Ragnar Höskuldsson Principal

The Erika and Dietrich M. Gross Principal Flute Chair

Richard Graef Assistant PrincipalEmma GersteinJennifer Gunn

piccoloJennifer Gunn

oboesWilliam Welter Principal

The Nancy and Larry Fuller Principal Oboe Chair

Michael Henoch Assistant PrincipalThe Gilchrist Foundation Chair

Lora SchaeferScott Hostetler

english hornScott Hostetler

clarine tsStephen Williamson PrincipalJohn Bruce Yeh Assistant PrincipalGregory SmithJ. Lawrie Bloom

e -flat clarine tJohn Bruce Yeh

bass clarine tJ. Lawrie Bloom

bassoonsKeith Buncke PrincipalWilliam Buchman Assistant PrincipalDennis MichelMiles Maner

contrabassoonMiles Maner

hornsDaniel Gingrich Acting PrincipalJames SmelserDavid GriffinOto CarrilloSusanna Gaunt

trumpe tsMark Ridenour Assistant PrincipalJohn HagstromTage Larsen

trombonesJay Friedman Principal

The Lisa and Paul Wiggin Principal Trombone Chair

Michael MulcahyCharles Vernon

bass tromboneCharles Vernon

tubaGene Pokorny Principal

The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

timpaniDavid Herbert Principal

The Clinton Family Fund ChairVadim Karpinos Assistant Principal

percussionCynthia Yeh PrincipalPatricia DashVadim KarpinosJames Ross

librariansPeter Conover PrincipalCarole KellerMark Swanson

orchestra personnelJohn Deverman DirectorAnne MacQuarrie Manager, CSO

Auditions and Orchestra Personnel

stage techniciansKelly Kerins Stage ManagerBlair CarlsonDave HartgePeter LandryChristopher LewisTodd SnickJoe Tucker

* Assistant concertmasters are listed by seniority. ‡ On sabbatical § On leave

The Louise H. Benton Wagner Chair currently is unoccupied. The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor, currently is unoccupied.

The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are listed alphabetically.

profiles

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Since 1919, young artists have sought membership in the Civic Orchestra of Chicago to develop their musicianship and to further prepare for professional careers. Founded by Frederick Stock, second music director of the Chicago Symphony Orchestra (CSO), the Civic Orchestra is the only training orchestra of its kind affiliated with a major American orchestra. The Civic Orchestra offers promising young professional

musicians unique access to the CSO through training with its members, music director Riccardo Muti, and distinguished guest conductors, as well as CSO Judson and Joyce Green Creative Consultant, Yo-Yo Ma. Under the guid- ance of the CSO’s artistic leadership, Civic Orchestra musicians develop as exceptional orchestral players and civi- cally engaged artists.

The Civic Orchestra provides its members with opportunities to develop important skills to make professional

lives in music. Civic Orchestra members rehearse and perform at Symphony Center, and develop deep connections with CSO musicians through sectional rehearsals, private lessons, side-by-side rehearsals, mock auditions, and career development conversations. The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra Association. The Institute offers education and community programs that annually engage more than 200,000 people of diverse backgrounds.


violinsCarmen Abelson*Miguel AguirreHenry AllisonMaria ArruaFahad AwanSarah BowenHannah CartwrightKai-wei ChenEunjeong ChoiHannah ChristiansenQueenie Edwards*David GoistJohn Heffernan*Izumi HoshinoPauline KempfJeongwon KimJamie LeeAmanda MarshallJoanna NeriusAlex NorrisRachel PetersAnna PiotrowskiKristen SetoYaeEun ShinLiaht SlobodkinBrent TaghapJoy VucekovichSofie Yang

violasElizabeth BellisarioRebecca Boelzner*Roslyn Green*Aleksa MasyukKevin LinRachel MostekSofia NikasEnrique OlveraHanna PedersonBethany PereboomChihiro TanakaBenjamin Wagner

cellosNajette AbouelhadiAdam AyersEva María Barbado GutiérrezPhilip Bergman*Jingjing HuKelly KnoxMartin MeyerKelly QuesadaDenielle WilsonNari Yoon

bassesNick AdamsAdam AttardJoe Bauer*Mathew BurriVince GalvanGregory HeintzLindsey OrcuttVincent Trautwein

flutesEvan FojtikGabriel FridkisAlexandria Hoffman*

oboesErik AndrusyakAndrew CooperSiyoon Park*

clarine tsNicolas ChonaJohn MilakovichJuan Gabriel Olivares*

bassoonsSandra Bailey*Ben Roidl-WardJacob Thonis

hornsStephanie DiebelDevin GossettLaura Pitkin*Renée VogenKelsey Williams

trumpe tsMinwoo KangBryant MilletDaniel Price*

trombonesJames PerezLucas Steidinger

bass tromboneRobinson Schulze*

tubaJarrett McCourt

percussionWaichi ChampionJason Yoder

timpaniMatthew Kibort

harpEleanor Kirk

keyboardPei-yeh Tsai*

librarianClaudia Restrepo

* Civic Orchestra fellow

October 1symphony center | 220 s. michigan ave.

Civic Orchestra BrassJay Friedman conductorProgram features a brass arrangement of music from Wagner’s Ring Cycle for Brass, Percussion and Organ

October 16symphony center | 220 s. michigan ave.

CSO All-Access Chamber Music Series: music803 ensembleWorks by Chausson & Labor

October 21* & 23***south shore cultural center | 7059 s. south shore dr. **symphony center | 220 s. michigan ave.

Civic Orchestra of Chicago Erina Yashima conductorOGONEK All These Lighted ThingsMAHLER Symphony No. 6

November 14fourth presbyterian church | 126 e. chestnut st.

Civic Orchestra Bach Marathon Finale ConcertNicholas Kraemer conductor and harpsichordJ.S. BACH Brandenburg Concertos 1–6

December 2 columbus park refectory | 5701 w. jackson blvd.

CSO All-Access Chamber Music Series: Lincoln String Quartet Works by Mozart & Beethoven

December 12symphony center | 220 s. michigan ave.

Civic Orchestra of Chicago: 20th-Century InnovatorsEdward Gardner conductorJANÁČEK SinfoniettaLUTOSŁAWSKI Symphony No. 4RAVEL Suite No. 2 from Daphnis and Chloé

The 2018/19 Civic Orchestra of Chicago season is generously sponsored by The Elizabeth F. Cheney Foundation.

The Centennial Campaign for the Civic Orchestra of Chicago and Chicago Symphony Orchestra Concerts for Young People is supported with a generous lead gift from the Julian Family Foundation. Major support for the Civic Orchestra of Chicago is also provided by the National Endowment for the Arts, The Elizabeth F. Cheney Foundation, Alphawood Foundation, Pauls Foundation, Robert and Joanne Crown Income Charitable Fund, Barbara and Barre Seid Foundation and an Anonymous Donor.

The CSO All-Access series is generously underwritten by an anonymous donor.

Learn more and reserve tickets at cso.org/community

FREE UPCOMING CHAMBER MUSIC AND CIVIC ORCHESTRA CONCERTS All-Access Chamber Music concerts feature chamber music repertoire curated and performed by Chicago Symphony Orchestra musicians. The Civic Orchestra of Chicago, celebrating its centennial season in 2018/19, showcases the nation’s most outstanding young professional musicians.

Chicago Symphony Orchestra Riccardo Muti Zell Music Director


PB_AA_Civic_gs.indd 1 9/13/18 2:12 PM

Documents

Concert for Chicago 180920 d3 · cso.org 7 Thursday, September 20, 2018, at 6:30 Jay Pritzker Pavilion, Millennium Park Riccardo Muti Conductor rossini Overture to William Tell verdi