Beethoven Piano Concerto No. 4

Program

Ludwig van Beethoven Piano Concerto No. 4 (34 mins)

Allegro moderato
Andante con moto
Rondo: Vivace

Howard Hanson Symphony No. 2, Romantic (28 mins)

Adagio; Allegro moderato
Andante con tenerezza
Allegro con brio

Grant Park Orchestra

Grant Park Orchestra

Orchestra

Grant Park Orchestra

Orchestra

The Grant Park Orchestra was formed in 1944 when the Chicago Park District assembled a single resident orchestra under the direction of Principal Conductor Nikolai Malko to perform at the Grant Park Music Festival (which began in 1935 and featured a series of visiting orchestras). Since then, other prestigious conductors have held the position, including Irwin Hoffman, Leonard Slatkin, David Zinman, Zdnek Macal and Hugh Wolff. In 2000, Carlos Kalmar was named the Festival’s Principal Conductor.
Today, the Grant Park Orchestra draws its musicians from different orchestras and musical institutions throughout the United States. Each summer, all of the orchestra members gather in Millennium Park for a ten-week long season consisting of intensive rehearsals and performances. During the year, the musicians can be found across the country performing with major orchestras, teaching at numerous universities and appearing frequently in concert stages across the country. Some organizations represented by Grant Park Orchestra musicians include the Lyric Opera of Chicago, the Metropolitan Opera, the Buffalo, Colorado, Jacksonville, Kansas City, Milwaukee, New Mexico, Phoenix, Pittsburgh, Richmond, San Antonio, Seattle, and Utah Symphonies. The Grant Park Orchestra was nominated for a Grammy award for its recording entitled Robert Kurka: Symphonic Works.

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Joseph Young

Joseph Young

Conductor

Joseph Young

Conductor

American conductor Joseph Young strikes a commanding podium presence, but it is his sensitive, precise, and deeply emotive performances with major orchestras that firmly establish him as one of the foremost conductors of his generation. Now in his sixth season as Music Director of the Berkeley Symphony, Young consistently draws in new and diverse audiences with a compelling approach to musical storytelling that honors the classical canon while celebrating contemporary voices.
In the 2024–2025 season, Young has debuts and return engagements with the National Philharmonic, Orquesta Sinfónica RTVE, the Liverpool Philharmonic, and the Louisville Orchestra, among others. He makes his Lyric Opera of Chicago debut with Jeanine Tesori and Tazewell Thompson’s opera Blue, which he led to great acclaim with the Washington National Opera. In summer 2024, he led the Cincinnati Symphony Orchestra in the Cincinnati Opera’s world-premiere staging of Paul McCartney’s Liverpool Oratorio.
Highlights of recent engagements include the San Francisco Symphony, Seattle Symphony, the National Symphony Orchestra, New Jersey Symphony, Milwaukee Symphony, Detroit Symphony, the Sphinx Orchestra, Orquestra Sinfónica do Porto Casa da Música (Portugal), and the Mzansi National Philharmonic Orchestra on tour throughout South Africa.
A sought-after collaborator, Young has brought joyful enthusiasm and keen attention to detail to projects and performances with pianist Lara Downes, artist William Kentridge, bass-baritone Davóne Tines, and icon Debbie Allen, among others.
Young balances his flourishing conducting career with his role as Artistic Director of Ensembles at the Peabody Conservatory. From 2017 to 2023, he was affiliated with Carnegie Hall’s Weill Music Institute and its National Youth Orchestra program, culminating in his Carnegie Hall debut and subsequent NYO2 tour to the Dominican Republic. Young also serves on the board of New Music USA.
Earlier in his career, Young served as the Assistant Conductor of the Atlanta Symphony under Robert Spano and Music Director of the Atlanta Symphony Youth Orchestra, where he was the driving force behind the ensemble’s artistic growth. He has served as Resident Conductor of the Phoenix Symphony, and was a League of American Orchestras Fellow with the Buffalo Philharmonic and Baltimore Symphony Orchestra.
Young’s conducting career was launched when he attended a workshop with Marin Alsop who, recognizing his raw talent, created the BSO–Peabody Conducting Fellowship to facilitate his artistic and professional growth. He was mentored by luminaries in the orchestra world, including Jorma Panula, Spano, and Alsop, with whom he maintains a close artistic partnership.
Young is a three-time recipient of a coveted Solti Foundation U.S. Career Assistance Award for young conductors (2008, 2014, 2015). In 2013, he was a semi-finalist in the Gustav Mahler International Conducting Competition in Bamberg, Germany. In 2011, he was one of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview.
He holds an Artist’s Diploma in conducting from the Peabody Conservatory, studying with Gustav Meier and Markand Thakar, and a bachelor’s degree in music education from the University of South Carolina.

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Steven Osborne

Steven Osborne

Piano

Steven Osborne

Piano

Steven Osborne OBE is one of Britain’s most treasured musicians with an immense depth of musicality and exceptional refinement of expression across diverse repertoire be it in Beethoven or Messiaen, Schubert or Ravel, Prokofiev or jazz improvisations. His numerous awards include The Royal Philharmonic Society Instrumentalist of the Year, two BBC Music Magazine Awards and two Gramophone Awards.
His residences at London’s Wigmore Hall, Antwerp’s deSingel, the Bath International Music Festival, the Antwerp Symphony Orchestra, the City of Birmingham Symphony Orchestra and the Royal Scottish National Orchestra are a testament to the respect he commands. Described by The Observer as “always a player in absolute service to the composer”, Steven Osborne’s 32 recordings on Hyperion have won multiple awards. His two 2021 releases, Prokofiev’s War Sonatas, and French works for piano duet with Paul Lewis, were both shortlisted for a Gramophone Award.
Steven Osborne’s recitals are publicly and critically acclaimed without exception, and his 22/23 programmes revisit his recent recording repertoire of Beethoven and Rachmaninov interspersed with his own improvisations and another of his much-admired composers, Schubert. Osborne has performed at many of the world’s prestigious venues including the Wiener Konzerthaus, Amsterdam Concertgebouw, Berlin Phillharmonie, Hamburg Elbphilharmonie, Suntory Hall Tokyo, Kennedy Center Washington and is a regular guest at both Lincoln Center and Wigmore Hall.
Concerto performances take Steven Osborne to major orchestras all over the world including recent visits to the Deutsches Symphonie Orchester Berlin, Radio Symphonieorchester Wien, Oslo Philharmonic, Danish National Radio, London Symphony, Royal Stockholm Philharmonic, Yomiuri Nippon Symphony, Australian Chamber Orchestra, Seattle Symphony, Aspen Music Festival and Mostly Mozart Festival at Lincoln Center with repertoire ranging from Mozart, Beethoven, Brahms, Ravel, Rachmaninov, Shostakovich and Messiaen through to Tippett, Britten and Julian Anderson who dedicated his 2017 Piano Concerto to Steven. The 22/23 season sees him return to the London Philharmonic Orchestra to perform the Tippett Piano Concerto with Ed Gardner and performances with the Stuttgart Philharmonic, BBC Philharmonic, Royal Scottish National Orchestra, Ulster Orchestra, Singapore Symphony, West Australian Symphony, Adelaide Symphony and the Orquestra Sinfonica do Estado de Sao Paulo.
Recording plans continue with his 33rd release for Hyperion in autumn 2022, the next instalment in his survey of solo works by Debussy. A label artist since 1998, his recordings have accumulated numerous awards in the UK, France, Germany and the USA including two Gramophone Awards, three Preis der Deutschen Schallplattenkritik Awards and a Choc in Classica Magazine in addition to a clutch of Editor’s Choice in Gramophone and Recordings of the Year from The Daily Telegraph, The Guardian, The Times and The Sunday Times. His recordings span a wide range of repertoire including Beethoven, Schubert, Debussy, Ravel, Liszt, Stravinsky, Prokofiev, Rachmaninov, Medtner, Messiaen, Britten, Tippett, Crumb and Feldman.
Steven Osborne won first prize at the prestigious Clara Haskil Competition (1991) and the Naumburg International Competition (1997). Born in Scotland he studied with Richard Beauchamp at St. Mary's Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester. He is Visiting Professor at the Royal Academy of Music and the Royal Conservatoire of Scotland, Patron of the Lammermuir Festival and in 2014 was elected a Fellow of the Royal Society of Edinburgh. He was appointed an Officer of the Order of the British Empire (OBE) for services to music in the 2022 Queen’s New Year Honours.

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Ludwig Van Beethoven (1770–1827)
Concerto No. 4 in G major for Piano and Orchestra, op. 58 (1805)
Scored for: one flute, two oboes, two clarinets, two bassoons, two French horns, two trumpets, timpani, strings, and solo piano
Performance time: 34 minutes
First Grant Park Orchestra performance: June 27, 1958; Joseph Rosenstock, conductor and Jorge Bolet, piano

December 22, 1808—the date of one of the most legendary performances in classical music history. That night in the frigid Theater an der Wien, Ludwig van Beethoven mounted a four-hour concert of mostly new music. The program included premieres of his Fifth and Sixth Symphonies, his Choral Fantasy, movements from his Mass in C, and his Fourth Piano Concerto, which he conducted from the piano. While reactions to the symphonies were tepid, one reviewer had this to say about the concerto: “A new concerto for pianoforte, terribly difficult, which Beethoven performed astonishingly well in the fastest possible tempi. The [Andante], a masterpiece of beautiful sustained melody, he actually sang on his instrument with a deep melancholy feeling which awakened its response in me.” This concert would be Beethoven’s last public piano performance, as his worsening deafness made collaborative music-making increasingly difficult.

Beethoven’s Piano Concerto No. 4 is remarkable for several reasons, both for its emphasis on finesse and expression over soloistic bravura and for its structural peculiarities. According to convention, the orchestra introduces the main themes of the first movement in a classical concerto. The soloist eventually joins in, and the two parties generally take turns. Instead, Beethoven makes a quietly revolutionary choice by beginning his concerto with the piano alone. The only precedent for this was Mozart’s Piano Concerto No. 9, where the soloist enters in the second bar, interrupting the orchestra’s opening statement. But to begin with just the piano, playing music of arresting delicacy, would have shocked audiences at the time.

The piano soloist’s dolce introduction in G major casts a dreamy mood over the entire concerto. When the orchestra enters five bars later, it responds pianissimo and in the surprising key of B major. Beethoven continues to thwart expectations, as the soloist does not reenter where it sounds like it should. Instead, the orchestra continues to elaborate on the three-note upbeat figure of the opening statement across different keys and introduces a second theme before the soloist eventually reenters. The interplay between the soloist and the orchestra proceeds as expected for a while. However, Beethoven repeatedly pulls back the curtain to reveal the dreamland of the opening five bars with pianissimo passages in unexpected keys.

The Andante con moto is one of the most discussed movements in all of Beethoven’s output. Scholars have long debated whether it depicts the Greek myth of Orpheus and Eurydice. In the story, Orpheus attempts to rescue his wife, Eurydice, from the underworld. He uses the power of music to placate the Furies and the three-headed dog, Cerberus, who guard the entrance to Hades. Adolph Bernhard Marx, an early Beethoven biographer, argues that Beethoven was referencing Gluck’s 1762 opera Orfeo ed Euridice, a work Beethoven knew well. Several other operas on the Orpheus myth were in circulation at the time as well, which Beethoven would have been aware of. In addition, Ovid’s Metamorphoses, one of two main classical sources of the Orpheus legend alongside Virgil’s Georgics, was experiencing a surge in popularity. Although published throughout Europe for centuries, Metamorphoses was only published in Vienna for the first time in 1791, having previously been censored.

Considering this cultural craze for Orpheus, it would not be surprising if Beethoven had been influenced by the Greek myth. Although Beethoven never said the Andante was programmatic, it is easy to hear the influence of opera in the recitative-like dialogue between the austere orchestra and pleading piano. What’s more, the pianist’s cadenza—full of trills, chromatic scales, and rolled arpeggios—might be interpreted as Orpheus lulling Cerberus to sleep with his lyre.

Beethoven ends the concerto on a playful note with the rondo-form finale. The orchestra and piano engage in witty repartee, back on friendly terms after the drama of the inner movement. Although trumpets and drums finally emerge in the finale, the overall tone is light rather than heroic, featuring dream-like passages reminiscent of the first movement.

Howard Hanson (1896–1981)
Symphony No. 2, Romantic, op. 30 (1930)
Scored for: three flutes including piccolo, three oboes including English Horn, two clarinets, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, and strings
Performance time: 28 minutes
First Grant Park Orchestra performance: July 8, 1972; Skitch Henderson, conductor

While he might not have the same level of name recognition as other 20th-century American composers like Aaron Copland and Leonard Bernstein, Howard Hanson had such a profound influence on American classical music that he was dubbed the “Dean of American Composers” and “spokesman for music in America.” A graduate of Northwestern University in 1916, Hanson went on to become the first American composer to win the prestigious Prix de Rome in 1921. After studying in Italy for three years with Ottorino Respighi, Hanson returned to the United States, where he was soon offered the directorship of the newly established Eastman School of Music in Rochester, New York. He accepted the position shortly before his 28th birthday and would serve as the school’s director until 1964. He dedicated much of his career, both as an educator and conductor, to promoting and disseminating American contemporary music through performance, recording, and publishing.

Hanson had a successful career as a composer as well, and his music was performed widely during his lifetime. He won the Pulitzer Prize in 1944, and his only opera, Merry Mount (1934), was commissioned by the Metropolitan Opera at a time when the performance of new American operas was even rarer than it is today. However, Hanson’s musical conservatism caused his works to wane in popularity in the late 20th century. In an effort to create an “American” sound apart from trends in Europe, he favored traditional harmonies and melodies over dissonance and experimentation. His neo-Romantic approach is nowhere more apparent than in his lushly scored and melodically appealing Symphony No. 2, “Romantic.”

Hanson’s “Romantic” Symphony is cyclic, meaning musical motifs recur throughout each of the three movements, creating a sense of unity and cohesion. The first movement begins with an atmospheric woodwind introduction featuring an ascending three-note figure that builds with each repetition and instrumental addition. Next, a horn fanfare heralds the second theme, a syncopated descending melody that will become the overarching motto of the whole symphony. The English horn contrasts this theme with a more tender melody. Lyrical and declamatory episodes alternate throughout the rest of the movement in a cinematic journey full of longing, nostalgia, and occasional heroics.

The second movement, marked Andante con tenerezza (“with tenderness”), again opens with the woodwinds, this time playing a gentle hymn-like melody over lush string accompaniment and plangent horns. Themes from the first movement recur, alternated with elaborations on the Andante’s opening hymn. The Allegro con brio opens with a flurry of activity in the woodwinds and strings, answered by a majestic horn call. If this reminds you of a Hollywood score, it might be because John Williams modeled his music for the bike chase scene in E.T. (1982) on this movement. Director Ridley Scott also recognized the cinematic potential in Hanson’s symphony, using the end of the first movement to accompany the end credits of his 1979 sci-fi thriller, Alien.

—Katherine Buzard

Giancarlo Guerrero

Giancarlo Guerrero

Conductor

Giancarlo Guerrero

Conductor

Six-time GRAMMY® Award-winning conductor Giancarlo Guerrero named artistic leader of Chicago’s Grant Park Music Festival.
The internationally renowned conductor and longtime music director of the Nashville Symphony Orchestra and music director designate of the Sarasota Orchestra becomes the Festival’s eighth artistic director and principal conductor. Guerrero led the Grant Park Orchestra and Chorus in three acclaimed concerts during the 2024 season and has taken the reins of the Festival’s artistic team for the 2025 season. He will conduct four weeks next summer. The Festival has presented free classical concerts since 1935 and attracts hundreds of thousands each year.
“We are thrilled to welcome Giancarlo Guerrero to Chicago to lead what is regarded as the United States’ most important free classical music institution,” said Paul Winberg, Grant Park Orchestral Association President and CEO. “Giancarlo is not only a brilliant conductor with a stellar reputation; he has a history of curating programs that are exciting, surprising, and inventive. Also, our musicians are tremendously excited about working with him. His concerts last summer sparked a palpable energy from our audiences. It is a joy to listen to the music he conducts. The Grant Park Music Festival is highly anticipated by Chicagoans each year; we are confident that our future is in excellent hands with Giancarlo at the podium.”
Praised for his “viscerally powerful performances” (Boston Globe) and described as “at once vigorous, passionate, and nuanced” (BachTrack), Guerrero is one of the most respected orchestra conductors in the world. He succeeds Carlos Kalmar, who served in the position for 25 seasons, and will now hold the title of conductor laureate. Guerrero is familiar to Chicago audiences through his frequent appearances with the Chicago Symphony Orchestra. In addition, he has led multiple programs with the Grant Park Music Festival since his 2008 debut.
“From the moment I first walked onto the stage of the glorious Pritzker Pavilion, and looked out at the sea of people – a snapshot of the entire city of Chicago – it was immediately apparent what a gift the Grant Park Music Festival is to the community. In the heart of this vibrant downtown, in one of the most exciting cities in the world, here is a festival dedicated to orchestral music and designed to be enjoyed by everyone. The mission of the Festival aligns closely with my philosophy that music is meant to be enjoyed by people from all walks of life, without boundaries,” said Guerrero. “I felt such a natural, easy connection with these incredible musicians – including both the stellar orchestra and the spectacular chorus. I recognized sparks flying, musically speaking, from my first interactions with them from the podium. These musicians, hailing from orchestras and opera companies from the region and throughout the world, are really the best of the best.”
During the 2024 Festival, Guerrero led two programs: the first featuring Shostakovich’s Symphony No. 5 on July 10, and the second featuring Beethoven’s Emperor Concerto with Maurice Duruflé's Requiem on July 12 and 13. Reviewing the Shostakovich program for the Chicago Tribune, Hannah Edgar praised Guerrero’s “curatorial and interpretive creativity” and added that his pre-performance remarks to the audience “provided context for both pieces… that mirrored his interpretation of the symphony: emphatic, practiced and assertive.” Recognizing that he might be a candidate to replace Kalmar, Edgar concluded that “Guerrero will have no problem leaving his mark.”
Festival concertmaster Jeremy Black also lauded Guerrero’s leadership of the orchestra, saying, “Giancarlo established a genuine rapport with the orchestra. I remember hearing one of my orchestra colleagues say, ‘he lit a fire under us!’ He's a superb musician who can inspire us to perform at the highest level.”
“The Grant Park Music Festival drew hundreds of thousands of people during our recently concluded summer season,” added Grant Park Orchestral Association Board Chair Adam Grais. “Not only do our concerts attract dedicated music lovers and introduce thousands of young people to classical music, we also present some of the world’s most esteemed musicians to our stage. Concertgoers tell me that the Festival is one of the things they most love about Chicago. And Giancarlo possesses the talent, relationships, vision and drive to lead our organization to even greater accomplishments in the future.”
The board of directors of the Grant Park Orchestral Association enthusiastically voted unanimously at an August 15 meeting to name Guerrero as the successor to Kalmar, who had announced in 2021 that he was stepping down at the end of the Festival 2024. The search for Kalmar’s replacement was a three-year process undertaken by a search committee composed of musicians, members of the board of directors and community leaders. The Festival team will announce Guerrero’s plans for the 2025 season in January.
About Giancarlo Guerrero
In the 2024-2025 season, Guerrero will serve in his 16th and final year as music director of the Nashville Symphony. Guerrero collaborated with the Nashville Symphony to premiere over two dozen new works and release 22 commercial albums. These definitive recordings garnered 13 GRAMMY® Award nominations and six GRAMMY® wins, cementing Guerrero and the Symphony’s international reputation as standard-bearers for recordings of contemporary American music. As part of his commitment to fostering the work of contemporary composers, Guerrero, together with composer Aaron Jay Kernis, also guided the creation of Nashville Symphony’s biannual Composer Lab & Workshop for young and emerging composers.
Guerrero has collaborated throughout his career with leading ensembles in North America, including the Chicago Symphony Orchestra, Boston Symphony, New York Philharmonic, and Philadelphia Orchestra, among others. Internationally, he has maintained longstanding relationships with esteemed orchestras in Europe, Latin America and Australia/New Zealand. Guerrero also recently completed a six-season tenure as music director of the NFM Wrocław Philharmonic in Poland. Guerrero previously held posts as the principal guest conductor of both the Cleveland Orchestra Miami Residency and the Gulbenkian Orchestra in Lisbon, music director of the Eugene Symphony, and associate conductor of the Minnesota Orchestra.
Born in Nicaragua, Guerrero immigrated during his childhood to Costa Rica, where he joined the local youth symphony. He studied percussion and conducting at Baylor University in Texas and earned his master’s degree in conducting at Northwestern University in Evanston, Illinois. Given his beginnings in civic youth orchestras, Guerrero is particularly engaged with conducting training orchestras and has worked with the Curtis School of Music, Colburn School in Los Angeles, National Youth Orchestra (NYO2) and Yale Philharmonia, as well as with the Nashville Symphony’s Accelerando program, which provides an intensive music education to promising young students from diverse ethnic backgrounds.

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Christopher Bell

Christopher Bell

Chorus Director

Christopher Bell

Chorus Director

Christopher Bell has served as Chorus Director of the Grant Park Chorus since 2002. Bell oversees a chorus of more than 100 singers, along with the Project Inclusion Vocal Fellows, a unique program designed to encourage singers under-represented in the field. Bell prepares all of the Festival’s choral programs, and conducts the orchestra and chorus for several concerts.
During his tenure, he and the chorus have been recipients of the coveted Margaret Hillis Award for Choral Excellence given by Chorus America, as well as glowing reviews from both critics and audiences alike. In 2013, Bell won the Michael Korn Founders Award for Development of the Professional Choral Art.
In a career spanning thirty years thus far, Christopher has been chorusmaster of the Edinburgh Royal Choral Union (1987–1990), Chorus Master of the Royal Scottish National Orchestra Chorus (1989–2002) the Belfast Philharmonic Choir (2005–2011) the Edinburgh Festival Chorus (2007–2018) and the Washington Chorus (2017–2020).
Largely responsible for the formation of the National Youth Choir of Scotland (NYCOS) in 1996, he has been its Artistic Director ever since. The National Youth Choir of Scotland has toured to Sweden, Ireland, Chicago, Hungary, Germany and Central Europe, has won a prestigious Royal Philharmonic Society Award, and performed at the BBC Proms and the Edinburgh International Festival to great acclaim. NYCOS organisation has expanded to has expanded over 25 years to include fifteen regional choirs, three national choirs and an extensive education and publishing arm.
Bell was awarded an Honorary Doctorate in Music from the Royal Conservatoire in Scotland in 2012, in recognition of his contribution to performing arts in Scotland. In 2015, he was awarded an Honorary Doctor of Music from the University of Aberdeen.
Born in Belfast, Bell was educated at Edinburgh University and held his first post as Associate Conductor of the BBC Scottish Symphony. Since then, he has worked with many of the major orchestras in the UK and Ireland, including the Royal Philharmonic, London Philharmonic, Royal Scottish National, BBC Scottish Symphony, Ulster Orchestra, Scottish Chamber, City of London Sinfonia, London Concert, RTE National Symphony, RTE Concert and the Bournemouth Symphony. Between 2009 and 2017 he was Associate Conductor of the Ulster Orchestra. Recent orchestral performances have included San Francisco Symphony and the Orchestra of Opera North.
He is well-known for his work with young musicians. Before his current post with the National Youth Choir of Scotland, he was the founding conductor of the Ulster Youth Choir, director of the Total Aberdeen Youth Choir for six years, and director of the prestigious RSNO Junior Chorus for twenty four years.

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Jeremy Black, concertmaster

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Brett Hodge

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Mike Brozick, acting assistant principal

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Daniel Karas, principal

Josh Jones, principal

Joel Cohen, assistant principal

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