NOVEMBER 2019-FEBRUARY 2020 - Chicago Symphony Orchestra
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NOVEMBER 2019–FEBRUARY 2020
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contents
NOVEMBER 2019–FEBRUARY 2020
25 Program 2
A Note from the Board Chair and President
A welcoming message from Board of Trustees Chair
I nformation about the Helen Zell and Chicago Symphony Orchestra Association
program and the performers President Jeff Alexander
for this concert
4 A Perfect Ten—Maestro’s Milestones
A presentation of highlights from Riccardo Muti’s tenure in
honor of his tenth season as music director of the CSO
c hicago symphony orchestra
association 10 Beethoven250 Rosenthal Archives
Program Book Production Highlighting materials from the collections of the CSO’s
Frances Atkins Content Director
Phillip Huscher Scholar-in-Residence & Rosenthal Archives
Program Annotator
14 Negaunee Music Institute at the Chicago
Gerald Virgil Senior Content Editor
Kristin Tobin Designer &
Print Production Manager
Landon Hegedus Editor & Copywriter Symphony Orchestra
A new work by Mason Bates blends music and digital
Bryan Dowling Advertising Sales
708-434-5869 animation in honor of the 100th anniversary of the founding
bryan@media8midwest.com of the CSO’s concert series for children.
P H OTOG R A PHY BY TO DD RO S E N BERG
© 2019 Chicago Symphony Orchestra
20Volunteer and Support Opportunities
All rights reserved. Recognition of our generous donors and volunteers
41 Chicago Symphony Orchestra Association
Board of Trustees
42 Chicago Symphony Orchestra Association
Governing Members
44 Our Donors and Volunteers
on th e cov e r : Illustration by
Tom Herzberg (tomherzberg.com), 1994
rig h t: Chinese New Year Celebration,
February 10, 2019
Symphony Center Presents celebrates
the Chinese New Year with a special
concert on January 26, 2020.
P H OTO BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 1
a note from the chair and the president
DEAR FRIENDS,
We are pleased to welcome you to Symphony Center
during this festive time of year, and delighted that so many
choose to celebrate the season with music. The Chicago
Symphony Orchestra and Chorus, the Civic Orchestra of
Chicago, and artists on the Symphony Center Presents
series give us the gift of music performed at the highest
level year round, and for this we are truly grateful.
In early January, Zell Music Director Riccardo Muti
leads the Orchestra on its sixty-second international
tour, this time to Cologne, Vienna, Luxembourg, Paris,
Naples, Florence, Milan, and Lugano to present works by
Mendelssohn, Dvořák, Prokofiev, and Hindemith. The
tour also includes two performances of Verdi’s Requiem
at the Musikverein in Vienna as part of a series of special
concerts honoring that venerable hall’s 150th anniversary.
It is a great pleasure to see our beloved orchestra greeted
with enthusiasm at home and abroad.
Thanks to the support of over 10,000 donors who contribute to the Chicago
Symphony Orchestra Association each season, the CSO continues to serve as a
cultural ambassador for the city of Chicago. We very much hope that you consider
supporting the CSOA by making a gift to the Annual Fund, enabling you to
become an integral part of our ongoing pursuit of artistic excellence, the devel-
opment of new audiences, innovative education and community programs, and
sharing music with audiences in Chicago and around the world. Your support also
ensures that the important work of the CSOA continues for generations to come.
On behalf of the Chicago Symphony Orchestra, Chicago Symphony Chorus,
Civic Orchestra of Chicago, Negaunee Music Institute, our trustees, volunteers,
administration, and above all, the many people whose lives are enriched each year
through music, we thank you for your support.
We send our warmest wishes for a music-filled, happy, and healthy new year
and look forward to seeing you at Symphony Center soon.
Helen Zell Chair, Chicago Symphony Jeff Alexander President, Chicago Symphony
Orchestra Association Board of Trustees Orchestra Association
To make a gift, visit cso.org/makeagift or call 312-294-3100.
2 CSO.ORG PHOTOS BY TODD ROS EN BERG
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10 a perfect
Bernard Rands’s Danza
Petrificada received its world
premiere on May 5, 2011. Muti
and the Orchestra took the
work on tour to Europe, to cities
a continuation of a series of
highlight s from riccardo mu ti’s
tenure in honor of his tenth
se a s on a s music director of the
chicago symphony orchestr a
No. 2: World Premieres
Introducing new music to CSO audiences has been
an important part of Riccardo Muti’s artistic legacy
as music director. With the Chicago Symphony
Orchestra, he has conducted twelve world premieres
including Lucerne, Salzburg,
Luxembourg, Paris, and Vienna, to date by CSO Mead Composers-in-Residence and
the following summer. distinguished American and international composers.
He will conduct two new CSO commissions during
the spring of 2020. Many of these commissions have
been concertos featuring members of the Orchestra,
reflecting Muti’s great confidence in their abilities
as soloists. Having studied
composition himself for ten
years, Muti has the utmost
respect for composers:
“I approach music of the
classical period—baroque,
modern, romantic,
contemporary—always in
the same way, with the same
seriousness,” he says. “The
moment of truth comes
when what the composer
has sought is coming to life in
the performance.”
The CSO’s music director position is endowed
in perpetuity by a generous gift from the
Zell Family Foundation.
The Chicago Symphony Orchestra is grateful to
Bank of America for its generous support as the
Maestro Residency Presenter.
4 CSO.ORG
On January 30, 2014,
Riccardo Muti conducted
Giovanni Sollima’s
Antidotum Tarantulae XXI,
Concerto for Two Cellos
and Orchestra, with the
then Judson and Joyce
Green Creative Consultant
Yo-Yo Ma and the composer
as soloists. The idea for the
commission came from
both Muti and Ma. Muti
was already familiar with
Sollima’s music, having commissioned and premiered
Pulitzer Prize–winning composer two earlier works by the composer: Tempeste e ritratti at
Jennifer Higdon recalled Muti’s con- the Teatro alla Scala in 2001, and Passiuni at the Ravenna
cise advice to her when she received Festival in 2008.
her commission for the CSO’s low
brass section: “ ‘Write these guys
a good concerto.’ I said, ‘Yes, sir!’ ”
Muti conducted the premiere of
Higdon’s Low Brass Concerto on
February 1, 2018, and then took the
work on tour, performing it in New
York at Carnegie Hall; in Naples
and West Palm Beach, Florida; and
Chapel Hill, North Carolina.
CSO Viola Max Raimi’s score, composed at the request of
Riccardo Muti, was specifically written for his colleagues
in the Orchestra. Raimi was acutely aware, as he was
composing the pages of his Three Lisel Mueller Settings,
of creating music for the people who sit around him day
after day in rehearsal and in concerts. Each movement
featured a different colleague, including Principal Clarinet
Stephen Williamson, Principal Bassoon Keith Bunke,
and Principal Bass Alexander Hanna. Muti conducted
the premiere with the CSO and mezzo-soprano soloist
Elizabeth DeShong on March 22, 2018.
P H OTOS BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 5
10 a perfect
Two CSO Resound releases
feature CSO-commissioned
mead composers-in-residence
In October 2009, Riccardo Muti, then music director
designate, outlined several initiatives for his tenure.
One of them was to appoint CSO Mead Composers-
in-Residence who would act as advocates within the
Chicago community to further the understanding
and appreciation of all music. He named Mason Bates
works by Mead Composers-in-
Residence Anna Clyne and and Anna Clyne to two-year terms beginning in 2010,
Mason Bates conducted by which were later extended through the 2014–15
Muti and performed live by the season. In 2015, he appointed Samuel Adams and
CSO. The first includes Bates’s Elizabeth Ogonek to three-year residencies. During
Alternative Energy and Clyne’s
Night Ferry. The second record- their time with the CSO, each of the composers had
ing is of Bates’s Anthology of multiple works conducted by Muti, including CSO
Fantastic Zoology, which was commissions, bringing these emerging composers
dedicated to Muti at the conclu- to international attention. In 2018, Muti appointed
sion of the composer’s residency.
Missy Mazzoli, whose CSO-commissioned work
Orpheus Undone receives its world premiere with Muti
and the Orchestra in April 2020.
Samuel Adams shakes the hand of Riccardo Muti following
the February 10, 2018, performance of his CSO-commissioned
work, many words of love, at Carnegie Hall. Muti and Principal
Bass Alexander Hanna congratulate Elizabeth Ogonek back-
stage following the October 11, 2017, performance of her CSO-
commissioned work, All These Lighted Things, at the Kauffman
Center for the Performing Arts in Kansas City. Muti has often
chosen to feature CSO-commissioned works on tour to rein-
force the Orchestra’s commitment to contemporary music and
living composers.
In addition to writing her CSO commission, Missy Mazzoli curates the CSO’s MusicNOW series. She
is seen here performing her arrangement of music by Meredith Monk, entitled Passage, What Does It
Mean?, with CSO musicians at the May 20, 2019, MusicNOW concert.
6 CSO.ORG PHOTOS BY TODD ROS EN BERG
10 a perfect
No. 3: Concertos with Orchestra Members
Riccardo Muti has an exceptional bond with the
Chicago Symphony Orchestra. In an interview
with Scholar-in-Residence and Program Annotator
Phillip Huscher last season, Muti noted that when he
returned to conduct the CSO in 2007, “the way they
responded to my musical ideas and the sense of family
that we immediately created together pushed me to
accept this very prestigious commitment.” One way
of showing his great respect for their talents has been
to invite members of the Orchestra to perform con-
certos at Orchestra Hall and on tour. Moreover, as was
noted earlier, many of these concertos have been CSO
commissions. Here are some highlights from the nearly
twenty works featuring CSO members as soloists that
Muti has conducted during his tenure.
“We’re the luckiest musicians on the planet to be
in the CSO and to have him as the music director.
There’s nothing like it anywhere; there’s nothing like
him anywhere. With this unit, everything is at the
Concertmaster Robert Chen highest possible level. I’m confident that, with him, this
performed Hindemith’s Violin piece is going to be a hit,” said CSO Bass Trombone
Concerto with Muti and the Charles Vernon in preparation for the world premiere of
CSO on October 11, 2013.
Higdon’s Low Brass Concerto on February 1, 2018.
Muti conducted Principal Cello John Sharp Principal Clarinet Stephen Williamson per-
in Elgar’s Cello Concerto in E minor on formed Mozart’s Clarinet Concerto in A major
March 26, 2014. on the CSO’s West Coast Tour and is pic-
tured here at Zellerbach Hall at University of
California, Berkeley, on October 14, 2017.
8 CSO.ORG PHOTOS BY TODD ROS EN BERGJennifer Gunn performed the CSO premiere of Ken Benshoof ’s Concerto in Three Movements for
Piccolo and Orchestra and Vivaldi’s Piccolo Concerto in C major, RV 444, with Muti and the CSO
on June 13, 2019. On the same program, Charles Vernon gave the world-premiere performance of
James Stephenson’s Bass Trombone Concerto.
Muti conducted Associate Concertmaster Muti congratulated Principal Harp
Stephanie Jeong and Assistant Principal Cello Sarah Bullen after her performance of
Kenneth Olsen in Brahms’s Double Concerto, Debussy’s Sacred and Profane Dances on
pictured here on November 7, 2019. April 19, 2018.
Riccardo Muti joined CSO
soloists backstage following the
premiere of Jennifer Higdon’s
Low Brass Concerto on
February 1, 2018. (From left)
Principal Tuba Gene Pokorny,
Riccardo Muti, Trombone
Michael Mulcahy, Bass
Trombone Charles Vernon,
and Principal Trombone
Jay Friedman
P H OTOS BY TO DD RO S E NB E RG, ANN E RYAN (P H OTO AT C ENTER LEFT) NOVEMBER 2019–FEBRUARY 2020 9Commemorating
the 250th anniversary
of the birth of
Ludwig van Beethoven
HI G HL I G H T IN G M AT ER I A L S FR O M T HE C O L L E CT I O N S O F T HE
RO S E N T H A L A RC H I V E S O F T H E C H I CAG O SY M P H O N Y O RC H E S T R A
PHOTO BY M ATZ EN E C HI CAGO
During the 1926–27 season, second
music director Frederick Stock
led the Chicago Symphony
Orchestra’s first season-long survey
of Beethoven’s nine symphonies,
in addition to the Coriolan, The
Creatures of Prometheus, Egmont,
and Leonore no. 3 overtures. He also
led the Third Piano Concerto with
Mischa Levitzki, the Fourth with
Alfred Cortot, and the Fifth with both
Harold Samuel and Elly Ney; the Violin
Concerto with both Joseph Szigeti
and Albert Spalding; as well as
the Triple Concerto with pianist
Alfred Blumen, Concertmaster
Jacques Gordon, and Principal Cello
Alfred Wallenstein.
10 CSO.ORGPHOTO BY JIM STEER E
Third music director Désiré
Defauw led all nine of
Beethoven’s symphonies
during the 1944–45 season,
Ninth music director Daniel Barenboim curated a festival
along with the Coriolan, Fidelio,
of the composer’s works during the 1997–98 season that
Leonore no. 3, and Ruins of
included the Orchestra and Chorus in the nine sympho-
Athens overtures; the Third
nies (no. 2 was led by assistant conductor William Eddins).
and Fourth piano concertos
Barenboim also conducted a fully staged Fidelio with
with Alexander Brailowsky and
Waltraud Meier as Leonora, Ah! perfido with Jane Eaglen, and
Rudolf Serkin; and the Violin
the five piano concertos from the keyboard. Guest conductor
Concerto with Yehudi Menuhin.
Michael Gielen also led Leonore overtures nos. 2 and 3, and
Pinchas Zukerman was soloist and conductor in the two violin
romances along with Mahler’s arrangement of the Serioso
String Quartet in F minor.
P H OTO BY TOD D ROSE N BE RG
In June 2010, Bernard
Haitink—in his final season
as principal conductor—led
all nine symphonies, along
with the Fidelio and Leonore
nos. 2 and 3 overtures. With
the Orchestra and Chorus, he
concluded his tenure and the
119th season with Calm Sea
and Prosperous Voyage and
the Ninth Symphony, fea-
turing soloists Jessica Rivera,
Kelley O’Connor, Clifton
Forbis, and Eric Owens.2019-2020 SEASON: FAMILY 30 years
HOLIDAYS: MARCUS ROBERTS TRIO + ORCHESTRA
Scott Speck conducts the Chicago Philharmonic
Featuring Marcus Roberts Trio
Sunday December 8, 3pm • Harris Theater, Chicago
PROMISE: MOZART, PÄRT, BACEWICZ, DVOŘÁK
Scott Speck conducts the Chicago Philharmonic
Featuring Visceral Dance Chicago
Sunday March 1, 3pm • North Shore Center, Skokie
UNITY: AMJAD ALI KHAN, SHOSTAKOVICH
Lidiya Yankovskaya conducts the Chicago Philharmonic
With Amjad Ali Khan and family of sarod musicians
Sunday April 5, 3pm • Harris Theater, Chicago
HOME: BRAHMS 3
Scott Speck conducts the Chicago Philharmonic
With violin soloist Phillippe Quint
Sunday May 10, 3pm • Pick-Staiger Hall, Evanston
ARETHA: A TRIBUTE
Scott Speck conducts the Chicago Philharmonic
Featuring the vocal artistry of Capathia Jenkins
and Ryan Shaw
Saturday May 23, 7:30pm • Harris Theater, Chicago
Enjoy live, classical music throughout Chicago and the North Shore starting at $25.
Discounts available for seniors and students with symphonic subscriptions for as low as $44.
chicagophilharmonic.org | 312.957.0000CELEBRATE BEETHOVEN’S 250TH
BIRTHDAY AT SYMPHONY CENTER!
During the 2019/20 season celebration, Riccardo Muti
conducts Beethoven’s nine symphonies with the
Chicago Symphony Orchestra, and celebrated virtuosos
perform a cycle of Beethoven’s 32 piano sonatas on
the Symphony Center Presents Piano series.
Join us for these remaining performances:
RICCARDO MUTI
CONDUCTS BEETHOVEN
feb 20–23 Symphonies Nos. 2 & 5
apr 30–may 3 Symphonies Nos. 4 & 7
jun 11–13 Symphonies Nos. 6 & 8,
Overture to The Ruins of Athens
jun 18–21 Symphony No. 9
THE PIANO SONATAS
mar 29 & 31 Sir András Schiff
apr 5 Mitsuko Uchida
may 10 Evgeny Kissin
may 20 Igor Levit
may 24 Maurizio Pollini
See all of Beethoven’s works
being performed in 2019/20 at
CSO.ORG/BEETHOVENnegaunee music institute at the cso
World Premiere by Mason Bates Blends Music and
Digital Animation
I
t has been more than twenty years since the animator Jim Capobianco. This program will run
Chicago Symphony Orchestra teamed up as part of the CSO School and Family Concerts
with Mickey, Minnie, Donald, and the gang series, March 26–28, 2020, under the direction
to provide the soundtrack to Walt Disney’s of Edwin Outwater.
Fantasia 2000, for which the CSO earned a The commission is in celebration of the 100th
Grammy Award nomination. The CSO will anniversary of the founding of the CSO’s series
again cross paths with cutting-edge technology for children that began during the 1919–20
in the world premiere and CSO co-commission season, established by the Orchestra’s second
of Mason Bates’s Philharmonia Fantastique: The music director, Frederick Stock. This program-
Making of the Orchestra. Bates, the CSO’s Mead ming continues today along with other exten-
Composer-in-Residence from 2010 to 2015, sive educational and community-engagement
cocreated the piece with award-winning writer programming produced by the Negaunee
and director Gary Rydstrom and story artist and Music Institute.
c loc kw i s e from lef t: Images from a live-action photo shoot for the
forthcoming Philharmonia Fantastique. Left to right: composer Mason Bates,
writer and director Gary Rydstrom, story artist and animator Jim Capobianco
Photos by Marko Bajzer
14 CSO.ORG19/20
Photo by Chris Chistodoulou
Sir John Eliot Gardiner +
Orchestre Révolutionnaire et Romantique
The Complete Beethoven Symphonies
February 27, 2020 / 7:30PM Symphonies 8 + 9
February 28, 2020 / 7:30PM Symphony 1, Prometheus + Leonore Excerpts
February 29, 2020 / 7:30PM Symphonies 2 + 3
March 2, 2020 / 7:30PM Symphonies 4 + 5
March 3, 2020 / 7:30PM Symphonies 6 + 7
312.334.7777 | harristheaterchicago.org | 205 East Randolph Drive
Alexandra C. and
John D. Nichols
Sir John Eliot Gardiner Harris Theater Presents Mainstage Corporate Opening Night Sponsor
Lead Benefactor Music Presenting Sponsor
Corporate Closing Night Sponsor Season SponsorNEGAUNEE MUSIC INSTITUTE AT THE CSO
Philharmonia Fantastique is a concerto for
orchestra and animation with kinetic, cutting-
edge, multimedia work that integrates film and
prerecorded sound with live performance. The
collaboration between the piece’s creators—
innovators in the worlds of music, storytelling,
and animation, respectively—similarly demon-
strates this groundbreaking intersection of artistic
disciplines. Bates’s work “flies inside musical
instruments to explore the age-old connection
of creativity and technology,” said the composer,
“and the centennial of the Chicago Symphony
Orchestra’s education programs is the perfect
launching point for this multimedia work.”
In the new piece, an energetic, colorful sprite
leads the audience on a tour through the music,
taking listeners inside the instruments of the
orchestra, exploring how individual instruments
produce a sound, and how they work together in
an ensemble. The story unfolds through music
and visuals alone, creating a piece free of language
barriers, accessible, and entertaining for audi- top to bot to m : A trio of students gets ready to enter
Orchestra Hall for a CSO School Concert. Maestro
ences of all ages. Prestissimo B. Sharpenflat, aka Dan Kerr-Hobert from The
“The CSOA is very pleased to continue our Second City, attempts to steal the spotlight from the CSO
relationship with Mason Bates through this musicians and (actual) conductor Edwin Outwater during a
Family Matinee performance. Photos by Todd Rosenberg
new commission,” said CSOA President Jeff
Alexander. “Mason is one of the most singular Mason Bates currently serves as the first
and creative voices in orchestral music today, and composer-in-residence of the Kennedy Center for
he is gifted with a collaborative spirit and a pas- the Performing Arts. His opera The (R)evolution of
sion for education and innovation. Philharmonia Steve Jobs premiered at the Santa Fe Opera in 2017;
Fantastique presents a wonderful opportunity to the live recording of that production was recognized
with Best Opera Recording at the 2019 Grammy
welcome a new generation of listeners into the Awards telecast.
inspiring world of orchestral music, and we look
Writer and director Gary Rydstrom has been nomi-
forward to sharing this music with our audiences.” nated for eighteen Academy awards, winning seven
“Discovering the music of Mason Bates during for his work in sound and sound editing in films,
his time with the CSO was so joyful,” said Helen including Jurassic Park, Titanic, and Saving Private
Zell, CSOA Board Chair and sponsor of the CSO Ryan. Story artist and animator Jim Capobianco has
commission. “His music takes audiences on jour- worked on many major animated films, including The
Lion King, Fantasia 2000, Finding Nemo, and Inside
neys of the imagination, and I look forward to the Out. He received an Academy Award nomination for
ways that his new work will engage listeners.” Best Original Screenplay for Ratatouille.
CSO School and Family Concerts, presented by the
Philharmonia Fantastique: The Making of the Negaunee Music Institute, engage approximately
Orchestra is co-commissioned by the Chicago 40,000 audience members each season. These
Symphony Orchestra, San Francisco Symphony, affordable and age-appropriate concerts feature the
Dallas Symphony Orchestra, Pittsburgh Symphony extraordinary musicians of the Chicago Symphony
Orchestra, and National Symphony Orchestra. Orchestra to inspire the next generation of audience
The CSO commission is made possible through the members and music lovers.
generous support of Helen Zell.
16 CSO.ORGevent spotlight
CSOA’s Annual Symphony Ball Presented by the
September 21, 2019 Women’s Board of the
O
Chicago Symphony
n the evening of September 21, Zell Music Director Orchestra Association
Riccardo Muti conducted the Chicago Symphony
Orchestra’s annual Symphony Ball concert. The program, SYMPHONY BAL L CO - CHAIR S
WOME N’S BOARD
supported by presenting sponsor Northern Trust, included a BOARD OF TRU STE E S
rousing program featuring music by Verdi and Suppé, as well Mimi Murley
as Tchaikovsky’s Romeo and Juliet, Fantasy-Overture after Leslie Henner Burns
Shakespeare. “A pianist of magisterial elegance, power and
SYMPHONY BAL L CO - CHAIR
insight” (The New York Times), Leif Ove Andsnes performed
BOARD OF TRU STE E S
Grieg’s magnificent Piano Concerto in A minor. Terrence J. Truax
Gala patrons enjoyed a bustling preconcert reception, with full
bar and hors d’oeuvres in Buntrock Hall. Red-carpet experience, WOME N’S BOARD PRE SIDE NT
photo wall, and performances by members of the Civic Orchestra Elizabeth A. Parker
of Chicago were presented on Michigan Avenue to welcome all PRE SE NTING SPONSOR
concert attendees to Orchestra Hall. Northern Trust
The Women’s Board of the Chicago Symphony Orchestra
OFFICIAL AIRL INE
Association proudly presented this year’s ball, “An Evening of
United Airlines
Romance, Revelry, and Artistry,” utilizing the style of the Italian
Renaissance. The event, co-chaired by Mimi Murley and Leslie ME DIA SPONSOR S
Henner Burns and Trustee co-chair Terrence Truax, raised nearly WBBM Newsradio 780
$1.5 million for the organization. and 105.9 FM
Chicago Magazine
below, l e f t to r ig h t : Co-chairs Mimi Murley and Leslie Henner Burns
celebrate at the Four Seasons with Zell Music Director Riccardo Muti. Photo by
Todd Rosenberg
Herald trumpets welcome guests to the Four Seasons Hotel Chicago. Photo by Anne Ryan
op p os i te pag e , c lo c kw is e from top : Pianist Leif Ove Andsnes performed Grieg’s Piano Concerto in A minor, Op. 16. Photo by
Todd Rosenberg
A brass quintet of musicians from the Civic Orchestra of Chicago welcomed arriving guests on Michigan Avenue. Photo by
Todd Rosenberg
l e f t t o r i g h t: CSOA Trustee Keith Crow, Women’s Board President Elizabeth Parker, Women’s Board member Mia Martich, and
Zoren Lazarevic. Photo by Bob Carl
l e f t t o r i g h t: Women’s Board members Kim Shepherd and Shelley Ochab, CSOA Life Trustee Cindy Sargent, Women’s Board
member Cheryl Sturm, and CSOA Life Trustee Mary Lou Gorno. Photo by Bob Carl
18 CSO.ORGEVENT SPOTLIGHT NOVEMBER 2019–FEBRUARY 2020 19
volunteer and support opportunities
The programs of the Chicago Symphony Orchestra Association are made possible
each season thanks in part to our dedicated volunteers and donors. Support the music
you love by getting involved in the following ways.
GOVERNING MEMBERS are business, cultural, and civic leaders GOVERNING MEMBERS
EXECUTIVE COMMITTEE
who serve as essential advocates for the CSO, both in Chicago Michael Perlstein Chair & Vice Chair of
and around the world, and participate in many significant activi- Nominations & Membership
Jared Kaplan Immediate Past Chair
ties at Symphony Center. Email governingmembers@cso.org for Charles Emmons, Jr. Vice Chair of the
more information. Annual Fund
Sally Feder Vice Chair of
Member Engagement
The LE AGUE works on fundraising events, educational pro-
grams, and social activities to support the CSO while building
LEAGUE EXECUTIVE COMMIT TEE
camaraderie with fellow members. Email wardw@cso.org for Sue Bridge President
William Ward Vice President
further information. of Administration
Kathy Solaro Vice President of Areas
The WOMEN’S BOARD promotes the CSO’s artistic excellence Nancy Friedman Vice President
of Education
and exemplary educational programming by engaging women Marcia Lewis Vice President of Events
Earle Cromer III Vice President of Finance
leaders in advocacy and fundraising efforts, including the CSO’s Eileen Conaghan Vice President
annual Symphony Ball. Email Kim Duffy at duffyk@cso.org for of Fundraising
Jessica Erickson Vice President
further information. of Membership
Bonnie McGrath Secretary
Denise Stauder Strategic Planning Chair
The OVERTURE COUNCIL is a dynamic group of Chicago Fred Garzon, Lee Ori Members-at-Large
young professionals aged 21–45 who have a love of music and
a desire to learn more about how to support the CSO. Email WOMEN’S BOARD
overturecouncil@cso.org for more information. Elizabeth A. Parker President
Elisabeth Adams Immediate Past President
Jennifer Luby, Claudine Tambuatco
AUXILIARY VOLUNTEERS provide invaluable administrative Communications/Governance Chairs
Juli Crabtree Community
support in a variety of ways and work in the administrative offices. Engagement Chair
Email Ariana Strahl at strahla@cso.org for further information. Katie Barber Membership Chair
The CSO L ATINO ALLIANCE encourages individuals and their OVERTURE COUNCIL
families to discover and experience timeless music with other EXECUTIVE COMMITTEE
John Dunson President
enthusiasts in concerts, receptions, and educational events. To Hank Bell Cultural Outreach Chair
learn more, please visit cso.org/latinoalliance or connect with us Kathryn Davies Activities Chair
Amy Fallon Communications Chair
on Facebook and LinkedIn. David Greene Social Media Chair
Michelle Kittleson Audience
Development Chair
The CSO AFRICAN AMERICAN NET WORK’ s mission is to Ben Levy, Taylor Poulin Soundpost
engage Chicago’s culturally rich African American community Co-chairs
Nick McWilliams Secretary
through the sharing and exchanging of unforgettable classical
music experiences while building relationships for generations to
L AT I N O A L L I A N C E L E A D E R S H I P
come. To learn more and join the Network, please call Sheila Jones Ramiro J. Atristaín-Carrión, Rina Magarici
at 312-294-3045, email africanamericannetwork@cso.org, or Co-chairs
visit cso.org/AAN.
THEODORE THOMAS SOCIETY
Mary Lou Gorno Chair
The THEODORE THOMAS SOCIET Y recognizes those who
make financial plans, usually through a will, trust or gift annu-
ity, to benefit the CSO in the future. Email Al Andreychuk at The Volunteer Programs office is located at
andreychuka@cso.org for more information. 67 East Adams, 6th floor. 312-294-3160
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NOVEMBER 2019–FEBRUARY 2020 21executive spotlight
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22 CSO.ORGEXECUTIVE SPOTLIGHT
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NOVEMBER 2019–FEBRUARY 2020 23ONE HUNDRED T WENT Y-NINTH SE ASON
CHICAGO SYMPHONY ORCHESTRA
RICCARDO MUTI Zell Music Director
Friday, November 22, 2019, at 7:30
Edman Memorial Chapel, Wheaton College
Juanjo Mena Conductor
Sally Matthews Soprano
Women of the Chicago Symphony Chorus
Cheryl Frazes Hill Director
lee iii Sukkot Through Orion’s Nebula
First Chicago Symphony Orchestra performances
barber Two Scenes from Antony and Cleopatra
Give me some music
Give me my robe
First Chicago Symphony Orchestra performances
sally mat the ws
intermission
holst The Planets, Op. 32
Mars, the Bringer of War
Venus, the Bringer of Peace
Mercury, the Winged Messenger
Jupiter, the Bringer of Jollity
Saturn, the Bringer of Old Age
Uranus, the Magician
Neptune, the Mystic
women of the chicago symphony chorus
This performance is generously sponsored by the JCS Arts, Health and Education Fund of the
DuPage Foundation.
Support for this performance is also provided by Megan and Steve Shebik.
The appearance of the Chicago Symphony Chorus is made possible by a generous gift from
Jim and Kay Mabie.
These performances are presented in collaboration with Wheaton College and the Wheaton College
Artist Series.
This program is partially supported by a grant from the Illinois Arts Council Agency.
NOVEMBER 2019–FEBRUARY 2020 25This performance is generously sponsored by the
JCS Arts, Health and Education Fund of the
DuPage Foundation.
26 ONE HUNDRED T WENT Y-NINTH SE ASONcomments by james lee iii | paul thomason | phillip huscher
james lee iii
Born 1975, St. Joseph, Michigan
Sukkot Through Orion’s Nebula
James Lee III studied at the University of composed
Michigan, where his teachers included 2011
Michael Daugherty, William Bolcom, and
first performance
Bright Sheng. The Tanglewood Music Center October 15, 2011; New World
named Lee a Seiji Ozawa Composition Symphony, Michael Tilson
Fellow in 2002 and the American Academy Thomas conducting
of Arts and Letters granted him the Charles
i n s t r u m e n tat i o n
Ives Scholarship in 2003 and the Wladimir two flutes and piccolo, two oboes
and Rhoda Lakond Award in 2010. After and english horn, two clarinets and
completing his doctoral studies in 2005, Lee joined the faculty of bass clarinet, two bassoons and
Morgan State University in Baltimore. Some of his recent orches- contrabassoon, four horns, three
tral works include A Different Soldier’s Tale in 2008 for the Detroit trumpets, three trombones and
tuba, timpani, percussion, harp,
Symphony Orchestra conducted by Leonard Slatkin; Chuphshah! piano/celesta, strings
Harriet’s Drive to Canaan in 2011 and Thurgood’s Rhapsody in
2016, both for the Baltimore Symphony Orchestra led by Marin a p p r ox i m at e
Alsop; and Ichabod! The Protest is Over! for the Pasadena performance time
11 minutes
Symphony Orchestra conducted by David Lockington. His new
work, Amer’ican, written for the Detroit Symphony Orchestra, These are the first
Chicago Symphony
receives its premiere on April 2, 2020, conducted by Eric Jacobsen.
Orchestra performances.
Sukkot Through Orion’s Nebula received its world premiere by
the New World Symphony—a founding member of the Sphinx
Commissioning Consortium, which commissioned the work—
under Michael Tilson Thomas in Miami Beach in 2011.
James Lee III on Sukkot Through Orion’s Nebula
S
ukkot Through Orion’s Nebula is a festive work for orches-
tra. Sukkot is a Hebrew word for the Feast of Tabernacles.
In the biblical days, this holiday was celebrated on the
fifteenth day of the month of Tishrei (late September to late
October). It was the most joyous of the fall festivals that God
mandated the Hebrews to observe. It was also a thanksgiving
celebration for the blessings of the fall harvest. Orion’s Nebula
refers to the Orion constellation in space. The structure of this
nebula forms a roughly spherical cloud that peaks in density near
the core. The cloud displays a range of velocities and turbulence,
particularly around the core region.
This work is constructed in seven sections:
1. Reminiscences of the Feast of Trumpets (Rosh Hashanah)
and the Day of Atonement (Yom Kippur) open the work with
percussive, forceful sounds of the snare and bass drums. This is a bove: James Lee III
NOVEMBER 2019–FEBRUARY 2020 27COMMENTS
further enhanced by the horns, which imitate the images of the Messiah coming down out of
calls of the shofar (a ram’s horn, sounded on those heaven through the Orion constellation, then the
holy days). redeemed saints traveling through the constella-
2. The full orchestra continues to a cadence tion, and finally the New Jerusalem coming down
foreshadowing the grand advent of God. out of heaven. Violins soar in the higher registers,
3. The woodwinds follow with joyful flourishes which tend to have a quality of weightlessness.
and dancelike celebrations, which imitate the Trills cease among the strings as they continue to
people’s reception of the Messiah. As this music climb to heights of bliss in paradise.
continues, the motives pass on to the percussion 6. The bass and snare drums provide a reprise of
section, piano, harp, and eventually the strings. the shofar theme. This continues with orchestral
4. Previous melodies and motives are developed exclamations of joy.
and transformed among the orchestra. This sec- 7. There are passages of call-and-response
tion celebrates the Second Coming of God. among the ensemble in the final celebration,
5. Orion is the one constellation mentioned which continues until the work ends with an
specifically in the Old Testament. The muted explosion of sound.
brass, singing violins, percussion instruments,
and woodwinds are intended to evoke celestial —James Lee III
samuel barber composed
Born March 9, 1910; West Chester, Pennsylvania 1966 (complete opera)
Died January 23, 1981; New York City 1968 (scenes)
Two Scenes from Antony and Cleopatra first performance
September 16, 1966
(complete opera)
February 6, 1975 (scenes)
“Sam Barber is our Monet,” declared
soprano Leontyne Price in a May 14, 1981, i n s t r u m e n tat i o n
interview with Peter Dickinson. “Think of solo voice, two flutes and alto flute,
the blues and red in Monet, particularly the two oboes and english horn, two
clarinets and bass clarinet, two
blues. There must be a thousand kinds of bassoons and contrabassoon,
blues in Monet, without the sharp steeliness four horns, three trumpets, three
of a van Gogh but with the lusciousness and trombones and tuba, timpani,
fluidity! That’s what I think of Sam’s percussion, two harps, piano/
music. . . . He wrote out of emotion . . . and celesta, strings
for a singer that’s a challenge, but the end product is so rewarding a p p r ox i m at e
and so terribly vocal. . . . It falls intellectually to the mind and performance time
beautifully on the ear, which is a rare combination.” 16 minutes
Leontyne Price’s voice and Samuel Barber’s music were a mar- These are the first
riage made in heaven. She had first encountered Barber while Chicago Symphony
she was still a student at the Juilliard School. In 1953, she gave the Orchestra performances.
world premiere of his Hermit Songs at the Library of Congress
with the composer at the piano, and she often included his music
in her recitals after that. When the Metropolitan Opera agreed to
move Lincoln Center, it was decided that the new theater should lef t: Samuel Barber, courtesy of
open in September 1966 with the world premiere of an opera G. Schirmer, Inc.
28 ONE HUNDRED T WENT Y-NINTH SE ASONCOMMENTS
by an American composer. for the play was echoed
Barber was the obvious by poet W.H. Auden,
choice for many reasons, who said, “If we had to
not least of which was the burn all of Shakespeare’s
success of his Pulitzer Prize– plays but one—luckily we
winning opera Vanessa don’t—I’d chose Antony and
at the Met in 1958. Given Cleopatra. . . . [It] gener-
Price’s stunning Met debut ally contains perhaps more
in January 1961, and her first-rate poetry than any
relationship with Barber, it other play in the canon, but
was logical that she would not a line of it is detach-
head the cast, giving Barber able from the context either
another opportunity to write of the scene in which it
for a voice he knew so well. occurs or of the play as a
It took Barber some time whole.” Barber decided the
to agree to write the new libretto would consist of only
opera. In December 1959 the Shakespeare’s words. The
general manager of the Met, Rudolf Bing, wrote lines might be moved around for dramatic effect,
him, “If you are still thinking—as I do—of a new and much of the play would have to be cut, but it
opera of yours for the first season of the new would be pure Shakespeare.
house, we—that is to say, you—must seriously get According to Barber’s biographer Barbara
on with it. . . . I think we have to know whether B. Heyman, the composer was writing his own
or not there is any serious prospect of an import- libretto in 1964 when he found out—second-hand
ant new opera by you.” The problem, as it so often (apparently from reading the newspaper)—that
is for operatic composers, was finding the right Bing had asked Zeffirelli to design and stage
libretto. Barber was an extremely well-read man. the new opera as well as write its libretto. That
He discussed the project with numerous poets and summer, Barber followed Zeffirelli to Italy and
playwrights. For a while, he toyed with the idea of they hammered out its outlines. They whittled
Moby Dick, or perhaps something set during the Shakespeare’s forty-two scenes down to sixteen,
American Civil War. eliminated fourteen of the characters, and reduced
The libretto to Vanessa had been written by the opera’s locations to only two: Rome and Egypt.
his longtime companion and fellow composer, The fundamental flaw in the project was that
Gian Carlo Menotti. When Vanessa was given in the two men had very different ideas of what the
Salzburg, the European critics had been scathing finished product should be. As Zeffirelli recounts
in their dismissal of the libretto, and Barber was in his autobiography, “Given the subject and
repeatedly warned by friends not to use Menotti the scale of the occasion, I assumed that what
for the new opera. The fact that, eventually, [Barber] was planning to compose was something
Franco Zeffirelli wrote the libretto caused “the akin to Aida, and I was all set to rise to the occa-
only moment of bitterness that actually existed sion with mammoth sets, a vast cast, and sump-
between Sam and me,” Menotti later recalled. tuous costumes—the sort of spectacle that would
Barber finally settled on his favorite play by honor such an important event in America’s
Shakespeare, Antony and Cleopatra. His affection cultural life. This turned out to be a dangerous
abov e : Seven people involved in the opening opera of the new Metropolitan Opera House, standing on scaffolding of the new stage
before performing Samuel Barber’s Antony and Cleopatra. Left to right: the composer; librettist, director, and designer (sets and
costume) Franco Zeffirelli; mezzo-soprano Rosalind Elias, Cleopatra’s attendant Charmian; tenor Jess Thomas, Octavius Caesar;
conductor Thomas Schippers; soprano Leontyne Prince, Cleopatra; and bass-baritone Justino Díaz, Antony. May 1, 1966 (Photo by
Duane Michals/Condé Nast via Getty Images)
NOVEMBER 2019–FEBRUARY 2020 29COMMENTS
assumption. . . . As rehearsals got going, it became The words for the first aria, “Give me some
increasingly obvious that the grandiose setting music,” come primarily from Shakespeare’s act 2,
we had devised would be totally at odds with the scene 5 and act 1, scene 5. The second aria, “Give
music.” Barber, on the other hand, had assured a me my robe” (Cleopatra’s death scene), comes
friend there was “no danger of a neo-Aida” for the almost entirely from Shakespeare’s act 5, scene 2.
new opera. Barber used several themes in the score, varying
Heyman summed up the results bril- them slightly, depending on the drama at an indi-
liantly: “The commission that was one of the vidual moment. One of the main themes expresses
greatest tributes to Barber’s whole career turned Antony and Cleopatra’s love: it is six notes, con-
out, ironically, to be his nemesis. Antony and taining three ascending fourths. Since the second
Cleopatra . . . was the monumental misfortune of and third of these begin down a third from the
Barber’s career.” The reviews were savage. After previous note, it gives the melody a sinuous, slith-
Barber’s death, his publisher Hans Heinsheimer ering quality that can be almost playful or over-
said the opera “was a terrible catastrophe from whelmingly erotic, depending on the occasion.
which he never recovered.” But in hindsight, In “Give me some music,” it is first heard after the
critics were responding more to the disaster of opening fanfares, when the music becomes very
Zeffirelli’s massive over-staging than to Barber’s soft and a single viola plays this theme against
music itself. Years later, critic Peter G. Davis, who sustained chords in the woodwinds, harp, and
was at both the dress rehearsal and opening night a single cello. At the beginning of the Death of
on September 16, 1966, remembered, “The recep- Cleopatra (“Give me my robe”), it is played by a
tion at the end was, if not exactly ecstatic, warm solo english horn, after which it figures promi-
and welcoming from an audience that seemed nently in the orchestra, before Cleopatra sings it
more than pleased with the opera, as one can to the words “Dost thou not see my baby at my
plainly hear from a broadcast transmission that breast” after taking up the poisonous asps.
preserves the entire occasion.” And he remem- In both the arias, Cleopatra sings the
bers, “The final pages show Barber at his most words, “Now I feed myself with most delicious
lyrically eloquent, as Cleopatra expires in what is poison”: in the first, they are sung softly after she
one of opera’s most moving death scenes . . . that has been imaging what Antony might be doing in
had some of the audience in tears at the first Rome; in the second they begin the great climax
performance.” A CD of that opening night also of the whole scene. After Cleopatra asks, “Why
clearly shows strong and prolonged applause after should I stay in this vile world?” there are seven
Cleopatra’s act 1 aria, “Give me some music.” measures of orchestral music as the poison begins
W
to seep through her, and then she sings, “Now I
ith Menotti’s help, Barber revised the feed myself with most delicious poison.” Her vocal
opera in 1975; that version has been line begins quietly, but ecstatically, on a harmon-
given several times since, including ically unexpected G-flat at the top of the staff,
by the Lyric Opera of Chicago in 1991. The two and it swells to her last two lines. It’s the musi-
arias being performed for the first time at these cal equivalent of biting into the ripest, juiciest
concerts were taken from the score and arranged peach imaginable, just at the moment it starts to
for concert performances by Barber in 1968. For turn, a musical reminder that an orgasm is also
Leontyne Price, they are “the kernel of Cleopatra’s known as “the little death.” It is a perfect example
music.” They clearly show Barber’s deft handling of the “lusciousness and fluidity” Leontyne Price
of an enormous orchestra, utilizing the instru- spoke of when she compared Barber to Monet.
mental colors to convey drama and emotion, and She was absolutely right.
his skill in writing for the soprano voice, framed
exquisitely by the orchestra. —Paul Thomason
30 ONE HUNDRED T WENT Y-NINTH SE ASONCOMMENTS
TWO SCENES FROM ANTONY AND CLEOPATRA
We are in Egypt, in Cleopatra’s palace. Antony has left for Rome,
and there are rumors that he has married. The orchestral introduction
portrays Cleopatra’s fury when she demands the truth from a messenger
and strikes him in her jealousy.
The music becomes calmer, recalling the tenderness of the lovers’
separation. Bored, Cleopatra calls for music: “moody food of us that
trade in love.” She remembers how they first went fishing together when
he called her “his serpent of old Nile.” Her longing for him increases.
CLEOPATRA
Give me some music: music, moody food
Of us that trade in love . . . .
The music, ho!
I’ll none now!
Give me my angle, we’ll to the river: there,
My music playing far off, I will betray
Tawny-finned fishes.
And as I draw them up,
I’ll think them every one an Antony,
And say, “Ah, ha! Y’are caught!”
That time—O times!
I laughed him out of patience; and that night
I laughed him into patience.
And the next morn ere the ninth hour
I drunk him to his bed:
Then put my crown and mantles on him,
While I wore his sword Philippan.
My man of men!
Charmian!
Give me to drink mandragora
That I might sleep out this great gap of time
My Antony is away.
My man of men!
O Charmian, where think’st that he is now?
Stands he, or sits he?
Or does he walk?
Or is he on his horse?
O happy horse, to bear the weight of Antony!
Do bravely, horse! for know’st thou whom thou movest?
The demi-Atlas of this earth.
He’s speaking now, or murmuring:
“Where’s my serpent of old Nile?”
(For so he calls me.)
(Please turn the page quietly.)
NOVEMBER 2019–FEBRUARY 2020 31COMMENTS
Now I feed myself with most delicious poison.
Think on me,
That am with Phoebus’ am’rous pinches black,
And wrinkled deep in time . . .
Give me some music: music, moody food
Of us that trade in love.
Cleopatra has taken refuge in the pyramid after the defeat of her
armies. Antony, who has stabbed himself, dies at her feet. The orchestra
plays a funeral march as she decides to die with him. “Give me my robe,
put on my crown,” she commands, and poisons herself by applying an
asp, which she has smuggled into the monument.
CLEOPATRA
Give me my robe, put on my crown, I have
Immortal longings in me. Now no more
The juice of Egypt’s grape shall moist this lip.
Yare, yare, good Iras; quick. Methinks I hear
Antony call: I see him rouse himself
To praise my noble act.
Husband, I come:
Now to that name my courage prove my title!
I am fire, and air; my other elements
I give to baser life. So, have you done?
Come then, and take the last warmth of my lips.
Farewell, kind Charmian, Iras, long farewell.
Have I the aspic on my lips? Dost fall?
If thou and nature can so gently part,
The stroke of death is as a lover’s pinch,
Which hurts, and is desired.
Come, thou mortal wretch.
(to an asp, which she applies to her breast)
With thy sharp teeth this knot intrinsicate
Our life at once untie.
Peace, peace!
Dost thou not see my baby at my breast,
That sucks the nurse asleep?
As sweet as balm, as soft as air, as gentle . . .
O Antony! Nay, I will take thee, too:
(applying another asp to her arm)
Why should I stay . . .
In this vile world?
Now I feed myself with most delicious poison
That I might sleep out this great gap of time.
My man of men!
By permission of the publisher G. Schirmer, Inc.
32 ONE HUNDRED T WENT Y-NINTH SE ASONCOMMENTS
gustav holst composed
Born September 21, 1874; Cheltenham, England 1914–16
Died May 25, 1934; London, England first performance
November 15, 1920; London,
The Planets, Suite for Large Orchestra, England
Op. 32 i n s t r u m e n tat i o n
four flutes, two piccolos and bass
flute, three oboes, bass oboe and
After World War I, Frederick Stock, the english horn, three clarinets and
music director of the Chicago Symphony bass clarinet, three bassoons and
Orchestra, resumed his old habit of taking contrabassoon, six horns, four
his summer vacations in Europe, where he trumpets, two tenor trombones
and bass trombone, tenor tuba and
could seek out important new music— bass tuba, timpani, triangle, snare
attend performances of pieces he didn’t drum, tambourine, cymbals, bass
know, gather up scores that weren’t available drum, gong, bells, glockenspiel,
in the U.S. “One of the novelties I brought xylophone, celesta, two harps,
from London,” he wrote to Frances Glessner organ, strings, and, in the final
movement only, an offstage choir
in September 1920, “is called The Planets, composed by Gustav of women’s voices
(von) Holst, who by the way is a cousin of our mutual friend
Hermann von Holst in Chicago.” John and Frances Glessner, a p p r ox i m at e
whose pioneering H.H. Richardson house on Prairie Avenue is performance time
51 minutes
now considered one of the landmarks of residential architecture,
had enjoyed unusually close ties to Chicago’s orchestra since it first cso performances
was founded in 1891. They were given Box M, the center box, December 31, 1920, and January 1,
when Orchestra Hall was built in 1904, and after the death of 1921, Orchestra Hall. Frederick
Theodore Thomas, the Orchestra’s founder and first music Stock conducting (U.S. premiere)
director, the following year, they established a bond with Stock, August 11, 1977, Ravinia Festival.
his successor, that transcended a conventional conductor-patron Women of the Chicago Symphony
Chorus (Margaret Hillis, director),
relationship. Frances was one of the few Chicagoans Stock felt he Lawrence Foster conducting
could talk with candidly about music.
The Holst that the Glessners and Stock knew was one of most recent
Chicago’s leading prairie school architects. In 1905 he had cso performances
May 26, 27, 28, 29, and 31,
designed agricultural buildings for the Glessners’ summer place
2016, Orchestra Hall. Women
in New Hampshire; two years later he (along with Stock, John of the Chicago Symphony
Glessner, and the Chicago composer John Alden Carpenter) was Chorus (Duain Wolfe, director),
one of the founding members of the Cliff Dweller’s Club that Cristian Măcelaru conducting
soon settled atop Orchestra Hall; and in 1909 he agreed to over- July 13, 2016, Ravinia Festival.
see Frank Lloyd Wright’s architectural practice when Wright and Women of the Chicago Symphony
his mistress, Mamah Cheney, skipped town for Europe. Chorus (Duain Wolfe, director),
Cristian Măcelaru conducting
When he wrote to Frances Glessner, Stock had not yet heard
The Planets—in fact, the premiere was still two months away (it cso recording
had been privately performed in September 1918 in London), 1989. Women of the Chicago
but he brought the score back to Chicago with him intent on Symphony Chorus (Margaret Hillis,
introducing the work to America, which he did on New Year’s director), James Levine conducting.
Deutsche Grammophon
abov e : Gustav Holst, photograph by Herbert Lambert (1881–1936), 1921. National
Portrait Gallery, London, England
NOVEMBER 2019–FEBRUARY 2020 33You can also read
