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Program

Thursday, June 20, 2013, at 10:00

Open Rehearsal

riccardo muti Conductoralisa Kolosova Mezzo-sopranoChicago Symphony Chorus

Duain Wolfe Director

mozartAve verum corpus, K. 618

ChiCagO SyMphOny ChORuS

VivaldiMagnificat, R. 611MagnificatEt exultavitQuia respexitQuia fecitEt misericordiaFecit potentiamDeposuit potentesEsurientes implevitSuscepit israelSicut locutusgloria

aliSa KOlOSOvaChiCagO SyMphOny ChORuS

OnE hunDRED TwEnTy-SECOnD SEaSOn

Chicago Symphony orchestrariccardo muti Music DirectorPierre Boulez helen Regenstein Conductor EmeritusYo-Yo ma Judson and Joyce green Creative Consultant Global Sponsor of the CSO

(continued)

CSO_Subscription_31_w9_12–13_Open_Rehearsal_7_Dnr.indd 1 6/17/13 9:57 AM

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VerdiFour Sacred piecesAve MariaStabat MaterLaudi alla Vergine MariaTe 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.


Comments by PhilliP huscher

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Ave verum corpus, K. 618

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

These forty-six perfect measures are among music’s miracles. In

two pages of a flawless, uncorrected vertical script, Mozart left us one of his most moving testaments to the power of art and the mystery of simplicity. It is clearly the work of a master, yet, as we listen, it is hard to pinpoint exactly what makes it so distinctive, so extraordinary. The color palette is small, restricted to voices with strings and organ; the vocal range narrow—the soprano part, for example, covers just one octave. Mozart writes a single expression marking at the begin-ning: sotto voce—literally “under voice”—hushed, in other words. The melodic line is simple and unadorned, with only the hint of a flourish near the end. The entire piece moves forward in steady quarter notes, like a hymn, and the harmonies are, for the most part, schoolbook plain. And yet, one

cannot imagine changing a note without diminishing, if not, in fact, damaging, its fragile beauty.

Ave verum corpus was written in the summer of 1791, Mozart’s last. In compiling his catalog of Mozart’s works, Ludwig von Köchel assigned it number 618. It is followed only by a handful of works, including The Magic Flute, from which Mozart stole a few hours of time in order to compose it; the Clarinet Concerto; and finally the Requiem, K. 626, which he did not live to finish. It is his first piece of sacred music since the C minor mass of nearly a decade before. Ave verum corpus was written for a friend, Anton Stoll, who was a schoolteacher in Baden, a town near Vienna, and it was probably intended for the feast of Corpus Christi, which fell on June 23 that year. In its surprising simplicity, this and a handful of other works from Mozart’s last months hint at a

ComPoSeDJune 16–17, 1791

FirSt PerFormanCeprobably June 23, 1791

onlY PreViouS CSo PerFormanCeSJanuary 2, 3 & 4, 1969, Orchestra hall (without chorus). Rafael Kubelìk conducting

inStrumentationfour-part mixed chorus, strings, organ

aPProximate PerFormanCe time6 minutes


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new direction his music might have taken. After Mozart’s death, Stoll apparently continued to perform it often in the tiny parish church

he served as choirmaster, no doubt recognizing its significance, so at odds with its humble origins and miniature scale.

aVe Verum CorPuS

Ave verum corpus,natum de Maria Virgine,vere passum, immolatumin cruce pro homine,cuius latus perforatumunda fluxit et sanguine:esto nobis praegustatumin mortis examine.

Hail, true body,born of the Virgin Mary,who has truly suffered and was sacrificedon the cross for humankind.Whose side, being pierced,flowed with water and blood:may you be for us a foretastein the trial of death.

The use of still or video cameras and recording devices is prohibited in Orchestra Hall.

Latecomers will be seated during designated program pauses. PLease nOTe: some programs do not allow for latecomers to be seated in the hall.

Please use perfume, cologne, and all other scented products sparingly, as many patrons are sensitive to fragrance.

Please turn off or silence all personal electronic devices (pagers, watches, telephones, digital assistants).

Please note that symphony Center is a smoke-free environment.

Your cooperation is greatly appreciated.

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)

Symphony Center Information


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Magnificat, r. 611

If you book a room at the Metropole in Venice today, you

will be staying in the very heart of Vivaldi country. The Metropole, a five-star luxury hotel, occupies part of the building that once housed the Ospedale della Pietà, the famous orphanage where Antonio Vivaldi was in charge of music for most of his career, teaching violin and other string instruments, sometimes directing the choir, and writing some of his best music for the schoolgirls to perform.

The Pietà, founded in 1336, was one of four large Venetian institutions dedicated to the care of orphaned children and specializing in their musical upbringing. Unlike the others, the Pietà accepted all illegitimate infants who were left by their mothers at the entrance—provided the child was still small enough to fit in the scaffetta, the box placed by the door. (With its fine antiques and sumptuous Fortuny fabrics, the Metropole scarcely sug-gest the monastic accommodations

that the resident girls—as many as 4,000 in the early eighteenth century—knew as their only home.) Of the four Venetian institutions, the Pietà was the one with the most substantive music program; it became known as one of Europe’s most highly regarded centers of musical training, a conservatory in everything but name.

The Ospedale is sited in a prime spot on the Riva degli Schiavoni, the broad seaside promenade that begins to the right of Saint Mark’s Square—as you face the piazza, arriving by water—and runs east past the Bridge of Sighs. Next door to the Ospedale sits the Church of Santa Maria della Pietà, which regularly employed Vivaldi and performed his music, although the current building wasn’t completed until 1760, nearly two decades after Vivaldi’s death. This neighborhood is particularly overrun by tourists today, but even more than a century ago. When the American writer Henry James recorded his famous

antonio VivaldiBorn March 4, 1678, Venice, Italy.Died July 28, 1741, Vienna, Austria.

ComPoSeDca. 1715, rev. ca. 1739

FirSt PerFormanCedate unknown

These are the first Chicago Symphony Orchestra performances

inStrumentationsolo female voice, four-part mixed chorus, strings, organ, harpsichord



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observations about Venice, it was already so popular that the piazza appeared to him “as an enormous saloon and the Riva degli Schiavoni as a promenade deck.”

After Vivaldi was ordained a priest in 1703, he became

affiliated with the Ospedale della Pietà. Vivaldi’s relationship with the Pietà was tumultuous, resulting in a series of firings and rehirings, but, in the end, he worked there for more than three decades. It was the place for which he wrote much of his output, and its young residents, carefully trained under his eye, were the musicians who first played and sang several of his best-known compositions, includ-ing the Magnificat performed today. It was the departure of the music director and chorus master Francesco Gasparini in 1713 that offered Vivaldi the chance to begin writing sacred choral music. In June of 1715, Vivaldi was given a promo-tion of sorts, a modest increase in his meager salary, and the commis-sion to write religious works. The Magnificat, a work that exists in four different versions, is one of the finest results of this new chapter in Vivaldi’s composing life.

Vivaldi’s first setting of the Magnificat was composed

around 1715, and, over the years, he continued to adjust it for different circumstances and different singers: one version calls for double chorus, another adds oboes to the orches-tra. The version performed today is the last. We know that it was prepared for a performance at the

Ospedale in 1739, partly because the five solo arias were composed expressly for Vivaldi’s finest singers then at the Pietà, and their names are written into the score, one above each aria: Apollonia, La Bolognesa, Chiaretta, Ambrosina, and Albetta. From a poem written around the time, which describes many of the Ospedale’s exceptional girls, we learn that Apollonia had a lovely clear soprano voice and was skilled at both lively and introspective singing (she had been suspended and then reinstated the previous year for attacking the porteress). Ambrosina’s voice was so unusually deep that it could be mistaken for that of a tenor, which is no doubt why Vivaldi wrote her aria in the less common tenor clef. Maria La Bolognesa sang nicely, but often inaccurately.

In this final version of the Magnificat setting, Vivaldi broke what originally was a single move-ment, “Et exultavit,” into three separate solo arias, and replaced later movements with two more arias, giving one to each of his sing-ers. These five arias, all performed by the same singer at today’s concert, remind us of Vivaldi’s remarkable, apparently inexhaust-ible, gift for unforced melody. Even the trickiest coloratura passages, filled with challenging rows of rapid notes and trills, flow natu-rally. (The technical difficulty of these arias suggests just how well trained Vivaldi’s singers must have been.) Vivaldi left the choral move-ments unchanged in this version; they are the pillars of the piece, each one remarkably distinct. The


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opening “Magnificat” sets the tone with its imposing blocks of sound. “Et misericordia” unfolds unpre-dictably in arches of slowly shifting chords. “Deposuit potentes” is the rarest of creations: an entire movement sung and played in

octaves, each leap and running scale heightened in its effect by the unanimity of every performer. The final “Gloria” begins with solid, stately chords and then takes wing with a contrapuntal allegro that is a magnificent double fugue.

magniFiCat

CHoruS

Magnificat anima mea Dominum.

aria

Et exultavit spiritus meus in Deo salvatore meo.

aria

Quia respexit humilitatem ancillae suae.

Ecce enim ex hoc beatam me dicent omnes generationes.

aria

Quia fecit mihi magna, qui potens est, et sanctum nomen eius.

CHoruS

Et misericordia eius in progenies et progenies timentibus eum.

My soul magnifies the Lord

and my spirit rejoices in God my Savior.

For he has regarded the lowliness of his handmaid,

and henceforth all generations shall call me blessed.

For he who is mighty has done great things for me, and holy is his name.

And his mercy is from age to age on those who fear him.

(Please turn the page quietly.)


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CHoruS

Fecit potentiam in brachio suo,dispersit superbos mente cordis sui.

CHoruS

Deposuit potentes de sede et exaltavit humiles.

aria

Esurientes implevit bonis et divites dimisit inanes.

CHoruS

Suscepit Israel puerum suum, recordatus misericordiae suae.

aria

Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.

CHoruS

Gloria Patri et Filio, et Spiritui Sancto:

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

He has filled the hungry with good things; and the rich he has sent away empty.

He has shown strength with his arm: he has scattered the proud in the

imagination of their hearts.

He has put down the mighty from their thrones and exalted the lowly.

He has helped his servant Israel, in remembrance of his mercy,

as he spoke to our fathers, to Abraham, and to his descendants forever.

Glory be to the Father, and to the Son, and to the Holy Spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen.


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Four Sacred Pieces

Two weeks after his eighty-fourth birthday, Giuseppe Verdi

packed up the last two of his Four Sacred Pieces and sent them off to Ricordi, his publisher. “As long as they were on my writing desk,” he commented, “I looked at them every so often with pleasure and they seemed to be mine! Now they are no longer mine!!” After more than sixty years as a composer—most of them spent in the public eye—Verdi could scarcely bring himself to part with these scores, for he surely knew they were his last. “You will say that they are not yet published,” he continued. “That is true: but they no longer exist just

for me and I no longer see them on my writing desk!! It is truly sad!”

This was a difficult time for Verdi. He was the last of the titans of nineteenth-century music, and now his career as a composer—as popular as any in history—was over. During the past few years, he had learned, one by one, of the deaths of Wagner, Liszt, Tchaikovsky, Bruckner, and—earlier that summer—Brahms. Now his beloved wife, Giuseppina, her very name a twin to his own, was near death. The day after shipping off his last scores, Verdi asked Ricordi to confirm that two graves had been set aside in Milan

giuseppe VerdiBorn October 9, 1813, Le Roncole, near Busseto, Italy.Died January 27, 1901, Milan, Italy.

ComPoSeDAve Maria: 1889

Laudi alla Vergine Maria: ca. 1890

Te Deum: 1896

Stabat Mater: 1897

FirSt PerFormanCeapril 7, 1898, paris: Laudi alla Vergine Maria, Stabat Mater, Te Deum

1899, vienna: Ave Maria

FirSt CSo PerFormanCeFebruary 15, 1962, Orchestra hall. Chicago Symphony Chorus; Carlo Maria giulini conducting

moSt reCent CSo PerFormanCeSapril 27, 2001, Orchestra hall. Chicago Symphony Chorus; Daniel Barenboim conducting

april 12, 2008, Orchestra hall (Te Deum only).Chicago Symphony Chorus; Marguerite Quinnette harden, soprano; Duain wolfe conducting

inStrumentationAve Maria: four-part a cappella chorus

Stabat Mater: four-part chorus, three flutes, two oboes, two clarinets, four bassoons, four horns, three trumpets, four trombones,

timpani, bass drum, harp, strings

Laudi alla Vergine Maria: four-part a cappella women’s chorus

Te Deum: soprano solo, double chorus, three flutes, two oboes and english horn, two clarinets and bass clarinet, four bassoons, four horns, three trumpets, four trombones, timpani, bass drum, strings


CSo reCorDing1977–78. Chicago Symphony Chorus; Sir georg Solti conducting. london


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according to his wishes. Giuseppina died of pneumonia in less than three weeks. In a gesture that her famous husband would mirror scarcely three years later, she left instructions for a simple funeral: “I came into the world poor and without pomp; and without pomp I want to go down into the grave.”

Giuseppina’s death seemed to diminish Verdi himself, and he never composed again. “Great sor-row does not demand great expres-sion,” he wrote to a friend. “It asks for silence, isolation, I would even say the torture of reflection.” He later told his friend Arrigo Boito, who had provided the texts for his final operas, Otello and Falstaff, that his hands trembled so much that he could barely write, and that he was half-deaf, half-blind, and unable to focus on anything. (In the spring of 1899, a rumor circulated that he was composing King Lear, an opera on the Shakespearean subject that had long tempted him, but Verdi quickly denied it.)

After a lifetime attending the premieres of his works, from

dismaying failures such as La traviata to the triumphs of Otello and Falstaff, Verdi didn’t go to Paris to hear the first performance of his sacred pieces. In fact, Boito had to talk him into letting them be performed at all—“They will sleep without seeing the light of day,” Verdi said at first. Reluctantly he gave in, agreeing to the perfor-mance of three of the four pieces, arguing that the Ave Maria was too private—simply a technical exercise, done to amuse an old man.

When Verdi’s doctor refused to let him make the trip to Paris, he sent Boito to supervise in his place—but only after spending two solid days teaching him exactly how the music should go. Verdi was crestfallen when Boito sent word from Paris that the chorus wasn’t up to the job. “Now I don’t hope for much,” Verdi replied. “But we have gone to the ball and we have to dance.”

The Paris premiere was a success after all, but Verdi got cold feet when La Scala wanted to perform the works later that season and said that he wanted “these poor pieces left in peace.” The attention seemed to make him uncomfortable—“my name is too old and boring,” he protested—and he sensed, cor-rectly, that these unconventional scores, so intimate and spiritual, weren’t right for the La Scala stage. When they were performed there in April 1899, Verdi stayed home, tak-ing little solace in Boito’s carefully worded report of their lukewarm reception. Verdi wrote back, “Some charitable applause, some indul-gent criticism as a comfort to the Old Man cannot soften me up.” These pieces had been written to please no one but himself, and he still thought of them as his private papers. He is even said to have wanted the score of the Te Deum buried with him.

Never intended as a set, the Four Sacred Pieces were written

at different times. The ones we know as the first and third pieces are the earliest, composed in the years between Otello and Falstaff. Both are scored for unaccompanied


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voices—the Ave Maria for four-part chorus and the Laudi alla Vergine Maria for women’s chorus (origi-nally sung by four soloists). The Ave Maria was written in response to a musical game published in a Milan newspaper in 1888. Adolfo Crescentini, a local professor of music, printed an “enigmatic” scale, full of odd intervals, challenging readers to submit harmonizations. Verdi and Boito puzzled over it together—“When we are old, we become boys again,” Verdi said. Eventually, Verdi felt it could become a piece with words, possibly an Ave Maria. His solution was an austere, daringly harmonized, full-scale chorus for four voices that surely far exceeded Crescentini’s expectations. Like Beethoven, who turned Diabelli’s insipid little waltz tune into a magnificent set of varia-tions, Verdi made a work of art out of a newspaper puzzle. But Verdi downplayed its worth—a sciarada, a mere conundrum, an intellectual game, he called it—and only reluc-tantly let it be published along with the other sacred pieces.

The Stabat Mater, the second piece, scored for chorus and a large, turn-of-the-century orchestra, was Verdi’s last work. It’s the most overtly operatic of the pieces in its narrative sweep and rich scene-painting, from still, reflective moments to thrilling climaxes—like surging crowd scenes in a grand finale. There’s a tradition of Stabat Mater settings, including those by Pergolesi, Dvořák, and Rossini, which turn it into an epic novel with many chapters. With Verdi, it becomes a fast-paced

short story. There’s not a repeated line of text or wasted musical gesture. Verdi’s knack for finding the right color for each moment is unsurpassed—the stabbing pain of the very opening, the funeral procession that passes by at “Dum emisit spiritum” (breathing out his spirit), the final glow of “para-dise,” gently lit by the harp at first and then spreading to the entire orchestra and chorus. The work is a marvel of concentrated emotion—a grand opera condensed to one astonishing scene.

Verdi took his text (in Italian rather than Latin) for the Laudi alla Vergine Maria from the final canto of Dante’s Paradiso in The Divine Comedy. Written for women’s voices only, Verdi transports the purity and clarity of Italian Renaissance music (he considered Palestrina the father of Italian music) to the lan-guage of late romanticism. Even in a work of such restraint and limited colors, Verdi makes dramatic use of texture and harmony—listen, for example, to the static, earthbound chords that accompany those who try to “fly without wings.”

The Te Deum, a hymn of praise, was Verdi’s favorite of these late works. He begins with traditional plainsong melody—ever the born dramatist, setting the scene in a darkened cloister—and then follows it with low, soft chordal singing, like the archaic chant-ing of the medieval church. But then, in one of the grandest special effects of his career, he unleashes a very modern explosion of sound at “Sanctus.” Verdi is a master of the simple, unforgettable moment—the


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thunderbolt, the sudden revelation, the single measure of music that changes the course of everything that follows. From this point on, the piece is airborne, sweeping from section to section, its des-tination always in sight. (Verdi knew as much about timing as any modern filmmaker; here the pace never slackens because he dictates a constant speed throughout, with momentary fluctuations “always returning to the original tempo.”) Nearly every theme in the Te Deum is derived from the initial chant—Verdi was particularly proud of the moment the opening melody is transformed into urgent brass fanfares at “Tu Rex gloriae” (You are king of glory). The very end is another masterstroke. In a momentary silence, a single female voice rings out—not the outpouring of a great diva, but the pure, steady tones of a chorus soprano. She should sound, Verdi wrote, like the voice of “humanity that is fright-ened of hell.”

Verdi’s Four Sacred Pieces are among the great and most

surprising landmarks of the nine-teenth century—the final works of a master, filled with a sense of valediction, of bidding farewell to a style he helped to mold and perfect, and yet soaring off in unexpected new directions. They have the power—the ability to touch people deeply and profoundly—of the greatest of Verdi’s operas. And in their exploratory harmonies and their refusal to bow to convention, they also remind us that they were written at the same time as the first works by newcomers Claude Debussy, Richard Strauss, Gustav Mahler, and Arnold Schoenberg. They are works that are difficult to categorize—at once both ancient and modern, down-to-earth and visionary—except as the work of a genius, restless and pioneering even in old age.

Phillip Huscher is the program annota-tor for the Chicago Symphony Orchestra.

aVe maria

Ave Maria, gratia plena, Dominus tecum:

benedicta tu in mulieribus, et benedictus

fructus ventris tui Jesus.Sancta Maria, Mater Dei,ora pro nobis peccatoribusnunc et in hora mortis nostrae.Amen.

Hail Mary, full of grace, the Lord is with you;

blessed are you among women, and blessed

is the fruit of your womb, Jesus.Holy Mary, Mother of God,pray for us sinnersnow and at the hour of our death.Amen.


13 (Please turn the page quietly.)

StaBat mater

Stabat Mater dolorosaJuxta Crucem lacrymosaDum pendebat Filius.

Cujus animam gementem,Contristatam et dolentemPertransivit gladius.

O quam tristis et afflictaFuit illa benedictaMater Unigeniti!

Quae maerebat et dolebat,Pia Mater, dum videbatNati poenas inclyti!

Quis est homo qui non fleretMatrem Christi si videretIn tanto supplicio?

Quis non posset contristari,Christi Matrem contemplariDolentum cum Filio?

Pro peccatis suae gentisVidit Jesum in tormentisEt flagellis subditum.

Vidit suum dulcem natumMoriendo desolatum,Dum emisit spiritum.

Eia, Mater, fons amoris,Me sentire vim doloris,Fac ut tecum lugeam.

Fac ut ardeat cor meumIn amando Christum Deum,Ut sibi complaceam.

Sancta Mater, istud agas,Crucifixi fige plagasCordi meo valide.

The grieving motherstood weeping by the crosswhere her son was hanging.

Her spirit cried out,mourning and sorrowing,as if pierced with a sword.

Oh, how grieved and struck downwas that blessed woman,mother of the sole begotten One!

How she mourned and lamented,this holy mother, seeingher son hanging there in pain!

Who would not weepto see Christ’s motherin such humiliation?

Who would not suffer with her,seeing the mother of Christsorrowing for her son?

For the sins of his peopleshe saw Jesus in torment,beaten down with whips.

Saw her gentle sondying in desolation,breathing out his spirit.

Let me, mother, font of love,feel with you your grief,make me mourn with you.

Make my heart so burnfor love of Christ my Godthat it be satisfied.

Holy mother, let it be,that the stripes of the crucifiedmay pierce my heart.


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Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.

Fac me tecum pie flere,Crucifixo condolere,Donec ego vixero.

Juxta Crucem tecum stareEt me tibi sociareIn planctu desidero.

Virgo virginum praeclara,Mihi jam non sis amara:Fac me tecum plangere.

Fac ut portem Christi mortem,Passionis fac consortem,Et plagas recolere.

Fac me plagis vulnerari,Fac me Cruce inebriariEt cruore Filii.

Flammis ne urar succensus,Per te, Virgo, sim defensusIn die judicii.

Christe, cum sit hinc exire,Da per Matrem me venireAd palmam victoriae.

Quando corpus morietur,Fac ut animae doneturParadisi gloria. Amen.

lauDi alla Vergine maria

Vergine madre, figlia del tuo figlio, umile ed alta più che creatura, termine fisso d’eterno consiglio,

tu se’ colei che l’umana natura nobilitasti sì, che ’l suo fattore non disdegnò di farsi sua fattura.

With your injured sonwho suffered so to save melet me share his pains.

Let me weep beside you,mourning the crucifiedas long as I shall live.

To stand beside the crossand to join with youin weeping is my desire.

Virgin famed of all virgins,be not severe with me now;let me weep with you.

Let me bear Christ’s death,let me share his sufferingand remember his blows.

Let me be wounded with his blows,inebriate with the crossand your son’s blood.

Lest the flames consume me,be my advocate, virgin,on the day of judgment.

Christ, when my time is finished,grant, through your mother, that I winthe palm of victory.

When my body dies,let my soul be grantedthe glory of heaven. Amen.

Virgin mother, daughter of your son, more humble and more high than any creature, fixed goal of the eternal plan,

you are she who so ennobled human nature that your creator did not disdain to be born of you.


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Nel ventre tuo si raccese l’amore per lo cui caldo nell’eterna pace così è germinato questo fiore.

Qui se’ a noi meridiana face di caritate, e giuso, in tra i mortali, se’ di speranza fontana vivace.

Donna, se’ tanto grande e tanto vali, che qual vuol grazia ed a te non ricorre, sua disianza vuol volar senz’ali.

La tua benignità non pur soccorre a chi dimanda, ma molte fiate liberamente al dimandar precorre.

In te misericordia, in te pietate, in te magnificenza, in te s’aduna quantunque in creatura è di bontate.

Ave, ave!

—Dante

te Deum

Te Deum laudamus:te Dominum confitemur.Te aeternum Patremomnis terra veneratur.Tibi omnes Angeli, tibi Caeliet universae Potestates:Tibi Cherubim et Seraphimincessabili voce proclamant:Sanctus, sanctus, sanctus,Dominus Deus Sabaoth.Pleni sunt caeli et terramajestatis gloriae tuae.Te gloriosus Apostolorum chorus:Te Prophetarum laudabilis numerus:Te Martyrum candidatus

laudat exercitus.Te per orbem terrarumsancta confitetur Ecclesia:Patrem immensae majestatis.Venerandum tuum verumet unicum Filium.

In your womb was gathered the love by whose warmth, in this realm of eternal peace, has sprouted this flower.

Here you are our midday sun of charity; below, among mortals, an unending font of hope.

Lady, you are so great and powerful that whoever seeks grace without recourse to you seeks vainly, as if to fly without wings.

Your blessings fall not only on those who ask for them, you grant many more in anticipation.

In you is mercy, in you is pity, in you is power, in you is gathered all the good of all created beings.

Hail, hail!

We praise you, God,we confess you as our Lord.All the earth worships youas eternal Father.All the angels, all heavenlyand universal powers,the Cherubim and Seraphimceaselessly proclaim you:Holy, holy, holy,Lord God of Hosts.Heaven and earth are fullof the glory of your majesty.The mighty chorus of apostles,the worthy number of prophets,the splendid army of martyrs

praise you.Over all the earththe holy church confesses you,our majestic Father;praised be your trueand only Son

(Please turn the page quietly.)


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Sanctum quoque Paraclitum Spiritum.Tu Rex gloriae, Christe.Tu Patris sempiternus es Filius.

Tu ad liberandum suscepturus hominem,

non horruisti Virginis uterum.Tu devicto mortis aculeo,aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes,in gloria Patris.Judex crederis esse venturus.Te ergo quaesumus,tuis famulis subveni,quos pretioso sanguine redemisti.

Aeterna fac cum sanctus tuisin gloria numerari.Salvum fac populum tuum, Domine,et benedic hereditati tuae.Et rege eos et extolle illosusque in aeternum.Per singulos dies, benedicimus te.Et laudamus nomen tuumin saeculum, et in saeculum saeculi.

Dignare Domine, die istosine peccato nos custodire.Miserere nostri, Domine,miserere nostri.Fiat misericordia tua, Dominesuper nos, quemadmodum

speravimus in te.In te speravi:non confundar in aeternum.

and the comforting Holy Spirit.You are king of glory, Christ.You the son are everlasting with

your father.You, to free us, were born as a man,

and did not shun a virgin’s womb.You, having conquered death’s sting,did open to the faithful the kingdom

of heaven.You sit at God’s right hand,to the glory of your father.We know that you will be our judge.We pray to you thereforeto come to the aid of your servantswhom you have redeemed with your

precious blood.Number us among your saintsin eternal glory.Save your own people, Lord,and bless your children.Lead them, and deliver themunto eternity.Every day we bless you,and we shall praise your namefor a hundred years, for a

hundred centuries.Grant, Lord, this dayto keep us free of sin.Have mercy, Lord,have mercy on us.Let your mercy shine, Lord,on us as we place our trust in you.

In you I put my trust;let me not be confounded for eternity.


Profiles

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riccardo mutiConductor

Now in his third season as music director of the Chicago Symphony Orchestra, Riccardo Muti is one of the preeminent conductors of our

day. In 2010, when he became the CSO’s tenth music director, Muti already had over forty years’ experience at the helm of Maggio Musicale, Philharmonia, Philadelphia Orchestra, and Teatro alla Scala, and as guest conductor of the world’s great orchestras and opera houses, including the Berlin Philharmonic; Vienna Philharmonic; Royal Opera, Covent Garden; and the Metropolitan Opera. In addition to his music director-ship of the CSO, Muti is honorary director for life of the Rome Opera.

Born in Naples, Italy, Riccardo Muti studied piano under Vincenzo Vitale at the Conservatory of San Pietro a Majella in his native city, graduating with distinc-tion; he subsequently received a diploma in composition and conducting from the Giuseppe Verdi Conservatory in Milan, where his principal teachers were Bruno Bettinelli and Antonino Votto. After winning the Guido Cantelli Conducting Competition—by unanimous vote of the jury—in Milan in 1967, his 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 1971, and Muti has maintained a close relation-ship with the festival and with its great

orchestra, the Vienna Philharmonic, for more than forty consecutive years. When he conducted the philharmonic’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 an honorary lifetime 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, and he continued in 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, in addition to directing major projects such as the Mozart–Da Ponte trilogy and Wagner Ring cycle, 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 triumphant reopening of the restored opera house with Antonio Salieri’s Europa riconosciuta, originally commissioned for La Scala’s inaugural performance in 1778.

Over the years, Muti has dedicated much time and effort to young musi-cians. In 2004, he founded the Orchestra


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Giovanile Luigi Cherubini (Luigi Cherubini Youth Orchestra) in order to foster new talent and raise the standard of orchestral playing in his native country. He recently completed a five-year project with this group to present works of the eighteenth-century Neapolitan School at the Salzburg Whitsun Festival.

Muti has demonstrated his concern for other social and civic issues by perform-ing in many of the world’s most troubled areas. As part of the Ravenna Festival’s project, Le vie dell ’Amicizia (The paths of friendship), he has conducted concerts bringing people together and providing comfort in Sarajevo, Beirut, Jerusalem, Moscow, Yerevan, Istanbul, New York, Cairo, Damascus, El Djem, Meknès, Mazaro del Vallo, L’Aquila, Trieste, and Nairobi. He also has been helping to revive the wind band tradition in troubled parts of southern Italy by arming young people not with weapons of violence, but with instruments of peace. The city of Catania, Sicily, has twice awarded him a special prize as a living legend of orchestral conducting, a proud Italian, and a humanitarian. He has served as a Goodwill Ambassador for UNHCR, the United Nations Refugee Agency.

Riccardo Muti’s vast catalog of recordings, numbering in the hundreds, ranges from the traditional symphonic and operatic repertoires to contempo-rary works. His debut recording with the Chicago Symphony Orchestra and Chorus of Verdi’s Messa da Requiem, released in 2010 by CSO Resound, won two Grammy awards. During the last two years, he has also produced two books: Riccardo Muti: An Autobiography: First the Music, Then the Words and Verdi, l ’ italiano.

Muti has received innumerable international honors over the course of his career. 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 honor-ary 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 high-est papal honor. Muti also has received Israel’s Wolf Prize for the arts, Sweden’s prestigious Birgit Nilsson Prize, Spain’s Prince of Asturias Prize for the Arts, and the gold medal from Italy’s Ministry of Foreign Affairs for his promotion of Italian culture abroad. He has received numerous honorary degrees from universi-ties in Italy and around the world, most recently from DePaul University’s School of Music in June 2013.

During his first three seasons with the CSO, Muti has won over audiences through the extraordinarily high qual-ity of his music making in Chicago and around the world, and he has demon-strated his commitment to the local com-munity, even surprising Chicago Cubs fans by throwing the ceremonial first pitch at a game during the 2012 season. His first annual free concert for Chicago audiences attracted more than 25,000 people to hear the CSO at Millennium Park, and students and community mem-bers are regularly invited to attend Muti’s CSO rehearsals at Orchestra Hall. He has gone to local juvenile prisons, accom-panying singers and other musicians at the piano and speaking about the power of great music to transform people’s lives. Riccardo Muti’s leadership continues to bring Chicago’s great orchestra to ever higher levels of achievement and renown.

www.riccardomuti.comwww.riccardomutimusic.com


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alisa KolosovaMezzo-soprano

Russian mezzo-soprano Alisa Kolosova is quickly becoming one of the most exciting opera singers of her generation. She has already had

tremendous success singing at interna-tionally renowned venues such as the Opéra national de Paris; Bavarian State Opera in Munich; the Kennedy Center in Washington, D.C.; and the Concertgebouw in Amsterdam, as well as at the Glyndebourne Festival, Salzburg Festival, Ravenna Festival, and Rossini Opera Festival in Pesaro, working with such conductors as Ivor Bolton, Rinaldo Alessandrini, Diego Fasolis, and Riccardo Muti.

In 2009, Kolosova was a member of the Young Singers Project at the Salzburg Festival, and in 2010, she was a member of the Accademia Rossiniana in Pesaro. A member of the Atelier Lyrique at the Opéra national de Paris, she currently is a resident member of the Vienna State Opera.

Recent engagements include

Vivaldi’s Farnace at the Opéra de Lausanne, Rosette in Massenet’s Manon and Nicoletta in Prokofiev’s Love for Three Oranges at the Opéra national de Paris, Mozart’s Requiem and Vivaldi’s Magnificat at the Teatro dell’Opera di Roma, Olga in Eugene Onegin for the Bavarian State Opera, Glinka’s A Life for the Tsar at the Opéra Berlioz de Montpellier, and Fatima in Weber’s Oberon at Tchaikovsky Concert Hall in Moscow.

Alisa Kolosova began her musical studies at the age of five, and, at a very young age, she won first prize at several vocal competitions in Russia. In 2004–2005, she studied at the Russian Academy of Theatre Arts in Moscow, where she worked with Evgeniy Zhuravkin. From 2005 to 2007, she studied at the vocal department of the Moscow State Conservatory. She participated in master classes held by Makvala Kasrashvili, Sergei Leiferkus, Thomas Quasthoff, and Christa Ludwig. In 2008, she was a finalist at the Competizione dell’Opera in Dresden, and in January 2009, she was awarded the special jury prize at the Francisco Viñas Competition in Barcelona.


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Duain Wolfe has directed the Chicago Symphony Chorus for the past nineteen years, preparing nearly a hun-dred programs in Orchestra

Hall and at the Ravinia Festival, as well as a dozen works for commercial recordings. Wolfe also directs choral works at the Aspen Music Festival and the National Arts Centre in Ottawa, and he is founder-director of the Colorado Symphony Chorus, a position he maintains along with his Chicago Symphony Chorus post.

Winner of two Grammy awards in 2010 (Best Choral Performance, Best Classical Album) for the Chicago Symphony Orchestra’s recording of Verdi’s Requiem with Riccardo Muti, in 2012, Wolfe received the Michael Korn Founders Award in recognition of his contributions to the profes-sional choral arts. He also prepared the Chicago Symphony Chorus for the 1998 Grammy Award–winning record-ing of Wagner’s Die Meistersinger von Nürnberg with Sir Georg Solti.

Well known for his work with children, in 1999, Duain Wolfe retired from the Colorado Children’s Chorale, an organization that he founded and

conducted for twenty-five years. Also active as an opera conductor, he served as conductor of the Central City Opera Festival for twenty years.

Among the many performances for which Wolfe has prepared the Chorus are Cherubini’s Requiem, Brahms’s A German Requiem, Orff’s Carmina Burana, and Verdi’s Requiem and Otello—all of which were conducted by CSO music director Riccardo Muti. World premieres include John Harbison’s Four Psalms and Bernard Rands’s apókryphos, both commissioned by the CSO.

Wolfe also prepared the Chicago Symphony Chorus for its Carnegie Hall performances of Orff’s Carmina Burana under the direction of Riccardo Muti this past October; Verdi’s Otello and Berlioz’s Lélio in 2011 under the direction of Riccardo Muti; Beethoven’s Ninth Symphony with the Staatskapelle Berlin in 2000, with Daniel Barenboim; and for performances of Schoenberg’s Moses und Aron (led by Pierre Boulez) and Brahms’s A German Requiem (led by Daniel Barenboim) at the Berlin Festtage.

Wolfe’s activities have earned him an honorary doctorate and numerous awards, including the Bonfils Stanton Award in the Arts and Humanities, and the Colorado Governor’s Award for Excellence in the Arts.

Duain WolfeChorus Director


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Now in its fifty-fifth season, the criti-cally acclaimed Chicago Symphony Chorus has been led by chorus director and conductor Duain Wolfe since 1994.

Following successful collaborations with Riccardo Muti in his inaugural season as music director, last season the Chorus sang Carmina Burana with Muti at both Millennium Park and to open the 2012–13 season at New York’s Carnegie Hall.

In 2007–2008, the Chorus cel-ebrated its fiftieth-anniversary season with a special concert showcasing the extraordinary talent and musical breadth of the ensemble.

The Chorus’s discography includes many hallmarks of the choral rep-ertoire, including Beethoven’s Missa solemnis, Bach’s B minor mass, Brahms’s A German Requiem, and Orff’s Carmina Burana. The Chorus is featured on several recordings on

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 Symphony Chorus goes back to 1957, when music director Fritz Reiner invited Margaret Hillis to establish a chorus on a par with the quality of the Orchestra. The new ensemble soon achieved an international reputa-tion, with concerts in Chicago, tours in the United States and abroad, and many award-winning recordings. Memorable achievements include critically acclaimed performances of Schoenberg’s Moses and Aron and Brahms’s A German Requiem with the Orchestra at the Berlin Festtage in April 1999.

Locally, Chicago Symphony Chorus members have performed at numerous events around the city, including the Tree Lighting Ceremony at Macy’s; the National Anthem at Chicago Bulls basketball games; and appearances on local news features for ABC 7, NBC 5, and WTTW 11.

Chicago Symphony Chorus


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Chicago Symphony ChorusDuain Wolfe Conductor and Chorus DirectorCheryl Frazes Hill associate DirectorDon H. Horisberger associate DirectorWilliam Chin assistant Director

paul aanonsenBrandy nicole adamsgeoffrey agpalo†,‡Michele Braché agpalo§alicia Monastero akers†,‡,§Melissa arning‡,§Rebekah Kirsten askeland‡,§lauren auge§Deborah B. BardMichael BarretteMary ann Beatty‡,§Megan E. Bell§Rebecca Berger†,‡,§Sammi Block§laura Boguslavsky†,‡,§Madison Bolt†,‡Michael Boschert†,‡Carolyn Boudreau§lorraine Branham§Michael Brauer‡hoss BrockMichael Brown†,‡Terry l. BucherJennifer Kerr Budziak*,‡,§Diane Busko Bryks†,‡,§anastasia Cameron Black§Michael Cavalieri‡william Chin‡Joseph Cloonan*,†,‡amanda lauren Comptonnatalie Conseur‡,§Tamaron Conseur†,‡Ryan J. Cox†‡Sandra Cross§Robert CunninghamBeena David†‡,§Julie DeBoerhannah Dixon McConnell‡,§Dawnmarie DomingoMeredith Taylor Du Bon§Thomas E. Dymit†,‡Stacy Eckert*,‡,§Stephen C. EdwardsDaniel Eifert*,‡Mark Eldred†,‡Jared velasco Esguerra‡nicholas Falco‡april lancaster FeinbergCarelle Flores§Dominique FrigoKirsten Fyr§ace T. gangosoElizabeth a. gentryKlaus georg†,‡Jennifer gingrich‡,§Carl glickRachel a. goldsteinDavid govertsen‡Elizabeth graynida grigalaviciute†,‡,§

Elizabeth a. grizzell†,‡,§Kimberly gunderson†,‡,§Deborah guscott§amy gwinn-Becker†,‡,§Kevin M. hallTodd S. harrisMary Catherine helgrenadam lance hendricksonDaniel Julius henry, Jr.†,‡Betsy hoats*,†,‡,§Don h. horisberger†,‡patricia hurdingrid israelCarla Janzen‡,§garrett JohannsenMarjorie Johnston†,‡,§Brad Johnstone‡alison Kelly‡,§Robin a. Kessler†,‡,§lisa KotaraSusan Krout†,‡,§Mathew lake†,‡nancy a. lassDiana lawrenceEmily Joy leeKristin lelm†,‡,§Kirsten Therese leslielee lichamer‡allan K. lindsay‡Sara litchfieldKathleen Madden‡,§Kevin McKelvie‡Mark James Meier‡Kaileen Erin Miller‡,§Zachary MillerEric Miranda†,‡Rebecca S. Moan†,‡,§Randall E. Moorelillian Murphy‡,§nathan S. OakesMáire O’Brien†,‡,§Rachel Olson§anne Marie Ouverson§Sheri Owens†,‡,§wha Shin park‡Elda peralta§Daniel perettoDouglas petersamy pickering†,‡,§nancy pifer‡,§Cari plachy‡,§Sarah ponder‡,§Martin lowen poockRobert J. potsicangela presutti†‡,§Margaret Quinnette†,‡,§Timothy J. Quistorff‡Katherine Reardon§patrick Reardonpeder Reiff

alexia Rivera*,†,‡,§Benjamin D. Rivera*,†,‡nicoleta Roman‡,§Jonathan SchaeferMatthew w. Schlesinger†,‡Cole Seaton‡Cindy Senneke†,‡,§Silfredo Serranoandrew SeymourCaitlin ShirleyDaniel Shirleyadam J. SmithJoseph Smith‡Elena SnowKari SorensonMeaghan Stainback§Susan palmatier Steele†,‡,§Margaret Stoltzalexandra Tanicoandrea amdahl Taylor†,‡,§Dane Thomas†,‡paul w. Thompson*,‡Matthew ThurmanScott uddenberg‡alexandria vernascopatrick volkeralison wahl§Corinne wallace§aaron wardellnikolas wenzelEric west†,‡Debra wilder†,‡,§Charles l. wolterlucas woodangela young Smucker†,‡,§Julieann Zavala

managerCarolyn D. Stoner

aSSoCiate manager anD liBrarianMarjorie Johnston

language CoaCHgertrude grisham

reHearSal PianiStSJohn goodwinSharon petersonTerree Shofner Emrichpatrick Sinozich

The chorus was prepared for these performances by Duain Wolfe.

*Indicates section leader

†Mozart Ave verum corpus and Verdi Ave Maria

‡Vivaldi Magnificat

§Verdi Laudi alle Virgine


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CHiCago SYmPHonY orCHeStra riCCarDo muti MuSiC DiRECTOR

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Pierre Boulez helen Regenstein Conductor EmeritusYo-Yo ma Judson and Joyce green Creative ConsultantDuain Wolfe Chorus Directormason Bates, anna Clyne Mead Composers-in-ResidenceViolinSRobert Chen

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

Stephanie Jeongassociate Concertmaster

David Tayloryuan-Qing yu

assistant Concertmasters*

So young BaeCornelius Chiualison Daltongina DiBelloKozue FunakoshiRussell hershowQing hounisanne howellBlair Miltonpaul phillips, Jr.Sando ShiaSusan SynnestvedtRong-yan TangBaird Dodge

principalSylvia Kim Kilcullen

assistant principallei hou†ni MeiFox Fehlinghermine gagnéRachel goldsteinMihaela ionescuMelanie Kupchynskywendy Koons Meiraiko nodaJoyce nohnancy parkRonald SatkiewiczFlorence Schwartz-leeJennie wagnerViolaSCharles pikler

principalli-Kuo Chang

assistant principalThe Louise H. Benton Wagner Chair

John BartholomewCatherine BrubakerKaren DirksDiane Mueslawrence neuman†yukiko OguraDaniel OrbachMax Raimiweijing wangThomas wright

CelloSJohn Sharp

principalThe Eloise W. Martin Chair

Kenneth Olsenassistant principalThe Adele Gidwitz Chair

Karen Basrakloren BrownRichard hirschlDaniel KatzKatinka KleijnJonathan pegisDavid Sandersgary StuckaBrant Taylor

BaSSeSalexander hanna

principalThe David and Mary Winton Green Principal Bass Chair

Daniel armstrongRoger ClineJoseph DiBelloMichael hovnanianRobert KassingerMark KraemerStephen lesterBradley Opland

HarPSSarah Bullen

principallynne Turner

FluteSMathieu Dufour

principalThe Erika and Dietrich M. Gross Chair

Richard graefassistant principal

louise Dixon†Jennifer gunn

PiCColoJennifer gunn

oBoeSEugene izotov

principalThe Nancy and Larry Fuller Chair

Michael henochassistant principalGilchrist Foundation Chair

lora SchaeferScott hostetler

engliSH HornScott hostetler

ClarinetSStephen williamson

principalJohn Bruce yeh

assistant principalgregory SmithJ. lawrie Bloom

e-Flat ClarinetJohn Bruce yeh

BaSS ClarinetJ. lawrie Bloom

BaSSoonSDavid Mcgill

principalwilliam Buchman

assistant principalDennis Michel

HornSDale Clevenger§

principalDaniel gingrich

acting principalJames SmelserDavid griffinOto CarrilloSusanna gaunt

trumPetSChristopher Martin

principalThe Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor

Mark Ridenourassistant principal

John hagstromTage larsen

tromBoneSJay Friedman

principalMichael MulcahyCharles vernon

BaSS tromBoneCharles vernon

tuBagene pokorny

principalThe Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

timPanivadim Karpinos

assistant principal

PerCuSSionCynthia yeh

principalpatricia Dashvadim KarpinosJames Ross

PianoMary Sauer

principal

liBrarianSpeter Conover

principalCarole KellerMark Swanson

orCHeStra PerSonnelJohn Deverman

Directoranne MacQuarrie

Manager, CSO auditions and Orchestra personnel

Stage teCHniCianSKelly Kerins

Stage ManagerDave hartgeJames hoganChristopher lewispatrick ReynoldsTodd SnickJoe Tucker

*Assistant concertmasters are listed by seniority.

†On sabbatical

§On leave

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.


ChiCago Symphony orCheStra aSSoCiation

24

The Chicago Symphony Orchestra is consistently hailed as one of the world’s finest orchestras. In the 2012–13 season—the Orchestra’s 122nd—Riccardo Muti continues his tenure as the CSO’s tenth music director.

Throughout its history, the Chicago Symphony Orchestra has enjoyed lead-ership from an illustrious list of music directors, beginning with Theodore Thomas, who founded the Orchestra in 1891, followed by Frederick Stock, Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim. From 2006 to 2010, Bernard Haitink led the Orchestra as principal conductor, the first in CSO history. Pierre Boulez, who was appointed principal guest conductor in 1995, has served as Helen Regenstein Conductor Emeritus since 2006.

The CSO performs well over 150 concerts each year at Symphony Center and at the Ravinia Festival, where it is in residence each summer. The ensemble has embarked on thirty-nine overseas tours since Georg Solti led the first overseas tour to Europe in 1971. The CSO has traveled to Asia seven times, as well as twice to Russia and once each to Australia and South America. The Orchestra has traveled to Canada sixteen times and made its first trip to Mexico in October 2012.

Recording has been a significant part of the CSO’s history since 1916, and in 2007, the Orchestra launched its own record label, CSO Resound. CSO recordings have earned sixty-two Grammy awards from the National Academy of Recording Arts and Sciences, most recently in 2011 for Best Classical Album and Best Choral

Performance for Verdi’s Requiem conducted by Riccardo Muti.

In 2007, the CSO returned to the national airwaves with its self-produced weekly broadcast series, which is syndicated to more than three hundred markets nationwide on the WFMT Radio Network as well as on cso.org. The CSO also expanded its online presence with free video downloads of Beyond the Score.

The Chicago Symphony Orchestra Association is the parent organization for the Chicago Symphony Chorus; Civic Orchestra of Chicago; the Symphony Center Presents concert series; the Institute for Learning, Access and Training; and the Symphony Center facility. Symphony Center Presents, the organization’s presentation arm, offers more than fifty diverse performances each year, including piano and cham-ber recitals, visiting orchestras, jazz, world music, and the MusicNOW contemporary series.

Mason Bates and Anna Clyne are the CSO’s Mead Composers-in-Residence, taking up their posts with the 2010–11 season. They curate the MusicNOW series along with principal conductor Cliff Colnot and work with Maestro Muti to reach the Chicago community.

The Institute for Learning, Access and Training at the CSO, launched in October 2008, engages more than 150,000 Chicago-area residents annually. Under the auspices of the Institute, Yo-Yo Ma, who became the first Judson and Joyce Green Creative Consultant in January 2010, serves as an invaluable partner to Maestro Muti, by participating in the development of new initiatives and music series.


chicago symphony orchestra riccardo muti music director ... · institute, yo-yo ma, who became the...

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