Please note that the location of our Monday, June 30th “Holiday Choral Concert” has been changed to the Buchanan Chapel at Fourth Presbyterian Church – 126 E. Chestnut, Chicago.

Skip to main content

June 11 - August 16, 2025

Welcome

The Grant Park Music Festival is a ten-week classical music concert series held annually in Chicago, Illinois’ Millennium Park.

It features the Grant Park Orchestra and Chorus, along with guest performers and conductors, and is one of the only free outdoor classical-music concert series in the US.

C6_Giancarlo_Guerrero

Shostakovich Symphony No. 10

Program


Augusta Read Thomas Brio (12 mins)


Richard Wagner Prelude & Liebestod from Tristan und Isolde (17 mins)


Intermission (20 mins)


Dmitri Shostakovich Symphony No. 10 (57 mins)

Moderato
Allegro
Allegretto
Andante; Allegro

Featuring

  • Grant Park Orchestra
    Grant Park Orchestra

    Grant Park Orchestra

    Orchestra

  • Giancarlo Guerrero
    Welcome Letter from Giancarlo

    Giancarlo Guerrero

    Conductor

Program Notes

Augusta Read Thomas – Brio

Augusta Read Thomas (b. 1964)
Brio
(2018)
Scored for:
three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, and strings
Performance time: 12 minutes
First Grant Park Orchestra performance

Called “a true virtuoso composer” by The New Yorker, Augusta Read Thomas is an integral figure in the contemporary music scene in Chicago. The longest-serving Mead Composer-in-Residence with the Chicago Symphony Orchestra (1997–2006), Thomas is now a professor of composition at the University of Chicago and founder/director of the Chicago Center for Contemporary Composition. Brio was commissioned by the Des Moines Symphony and Maestro Joseph Giunta as part of the orchestra’s “Music from the Heartland” project in 2018. It is dedicated to philanthropist and arts advocate Carolyn (Kay) Bucksbaum, who Thomas says embodies the energetic verve implied by the work’s title.

The musical material of Brio unfolds organically through constant harmonic, rhythmic, and textural transformation in what Thomas calls “a labyrinth of musical interrelationships and connections.” She continues, “Throughout the kaleidoscopic journey, the work passes through many lively and colorful episodes and, via an extended, gradual crescendo, reaches a full-throttle, sparkling intensity—imagine a coiled spring releasing its energy to continuously propel the musical discourse. Vivid, clangorous, brassy, and blazing, Brio culminates in music of enthusiastic, intrepid (almost Stravinsky-like) spirits while never losing its sense of dance, caprice, and effervescence.”

Richard Wagner – Prelude & Liebestod from Tristan und Isolde

Richard Wagner (1813–1883)
Prelude & Liebestod from
Tristan und Isolde (1857)
Scored for:
three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons, four French horns, three trumpets, three trombones, tuba, timpani, harp, and strings
Performance time: 17 minutes
First Grant Park Orchestra performance:
July 11, 1936; Richard Czerwonky, conductor

Although Richard Wagner completed Tristan und Isolde in the summer of 1859, the opera would not be staged for another six years. Given the work’s length and difficulty and the immense financial resources required to stage it, Wagner could not find a theater to mount the opera. Finally, Wagner found a devoted fan in King Ludwig II of Bavaria, who sponsored the premiere production in Munich on June 10, 1865. To court patrons, Wagner presented the Prelude and Liebestod from Tristan und Isolde in concert in the early 1860s.

The Prelude and Liebestod mark the beginning and end of Wagner’s epic opera. Based on a 12th-century Celtic legend, Tristan und Isolde tells the story of the knight Tristan, who is tasked with bringing Irish princess Isolde to Cornwall to marry his uncle, King Marke. Tristan and Isolde unwittingly drink a love potion, resulting in a passionate love affair. King Marke happens upon them during a secret garden tryst, and Tristan is stabbed in a duel. He dies in Isolde’s arms as she sings the ecstatic Liebestod (“Love-Death”) and wills herself into oblivion as well.

The opera grew out of Wagner’s own love affair with Mathilde Wesendonck, the wife of his patron. Mathilde’s husband, Otto, had generously invited the perpetually penniless Wagner and his wife, Minna, to live in a cottage on their estate in Zurich in 1857. Each day, as Wagner worked on the libretto for Tristan und Isolde, he would bring it to the main house to read aloud to Mathilde. While it is uncertain whether they consummated their relationship, they shared an intimacy that resulted in the dissolution of his marriage and his eviction from the cottage.

This intense yearning for a forbidden love is reflected in the score’s intense chromaticism and unresolved dissonances. There is no more famous example than the so-called “Tristan chord,” which opens the Prelude and recurs at key moments in the opera. The Prelude depicts the couple’s earthly love, full of “anxious sighs, hopes and fears, laments and desires, bliss and torment,” Wagner writes. In the Liebestod comes the long-awaited resolution of the Tristan chord and the couple’s spiritual transfiguration: “As the music rises higher and higher and floods on to its magnificent climax,” Wagner explains, “Isolde is swept away on the crest of the song, past the sorrowing onlookers, to join Tristan in the vast wave of the breath of the world . . . Night and Death and Love are one.”

Dmitri Shostakovich – Symphony No. 10

Dmitri Shostakovich (1906–1975)
Symphony No. 10 in E minor, op. 93
(1953)
Scored for:
three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, and strings
Performance time: 57 minutes
First Grant Park Orchestra performance:
July 9, 1986; Christopher Lyndon-Gee, conductor

Dmitri Shostakovich wrote his Tenth Symphony after a conspicuous eight-year hiatus from the very genre that had made him famous. Shostakovich’s Ninth Symphony, written in 1945, was poorly received and was eventually banned in 1948 when the Central Committee of the Communist Party, led by Stalin watchdog Andrei Zhdanov, published a doctrine banning musical works that did not comply with the nebulous principles of “socialist realism.” The decree accused Shostakovich and many of his colleagues of “formalism” and “cosmopolitanism” (an anti-Semitic euphemism), branding him an enemy of the people.

Stalin’s death in March 1953 led to a gradual thawing of ideologically driven aesthetic constraints and a return to greater artistic freedom. Shostakovich began work on Symphony No. 10 that summer and completed it in the fall. Despite the enthusiastic reception at its premiere in Leningrad on December 17, Shostakovich’s reentry into the symphonic arena still prompted debate among his fellow composers. His symphony was the subject of three days of discussion at the Composer’s Union the following spring. The work’s lack of a program raised critics’ suspicions about its underlying meaning. Additionally, opponents found it overly seriously, insufficiently melodic, and too complex to appeal to a wide audience. Supporters, on the other hand, lauded the symphony for its mastery and innovation. For instance, composer Aram Khachaturian, who had also been implicated in Zhdanov’s 1948 decree, called it “an optimistic tragedy, infused with a firm belief in the victory of bright, life-affirming forces.”

Shostakovich publicly said there was no program associated with the Tenth Symphony, stating he only “wanted to portray human emotions and passions.” However, his potentially specious memoirs, Testimony, collected by musicologist Solomon Volkov and published posthumously in 1979, tell a slightly different story. “Shostakovich summed up Stalin’s era in the Tenth Symphony,” Volkov writes. “The second movement is inexorable, merciless, like an evil whirlwind—a ‘musical portrait’ of Stalin.” Of course, anything in Testimony must be taken with a grain of salt, as Volkov likes to paint all of Shostakovich’s works as veiled criticisms of Stalin.

The brooding first movement begins with low, quiet strings that meander in harmonic ambiguity before a lonely clarinet melody offers clarity in E minor. This clarinet theme demonstrates Mahler’s profound influence on Shostakovich, as it quotes the fourth movement of Mahler’s Second Symphony, where the mezzo-soprano soloist sings, “Der Mensch liegt in grösster Noth! Der Mensch liegt in größter Pein!” (“Man lies in direst need! Man lies in greatest pain!”). A second theme comes in the form of a nervous flute solo over plucked strings. The bassoons and contrabassoons introduce the development section, which builds into an intense triple forte. The movement ends with a single piccolo over ominous timpani rolls.

The second movement is a vicious scherzo. At just under five minutes, it proceeds with a relentless ferocity that could only be sustained over such a short movement. In contrast, the subsequent allegretto shares a scherzo-like quality but adopts a very different tone—one that is more wary than terrified. It also introduces Shostakovich’s musical monogram: “DSCH.” It comes from the German transliteration of his name (“D. Schostakowitsch”) and the German system of spelling musical notes, whereby E-flat is “S” and B-natural is “H,” forming the sequence D–E-flat–C–B. Pensive horn calls punctuate the various iterations and transformations of this musical fragment. After a melancholy Andante section, the finale’s lively Allegro brings the tragic optimism Khachaturian alluded to, ending with a final triumphant stamp of Shostakovich’s musical signature in the horns amid a flurry of string and wind activity.

—Katherine Buzard

Artistic Leadership

  • Giancarlo Guerrero
    Welcome Letter from Giancarlo

    Giancarlo Guerrero

    Conductor

  • Christopher Bell
    Christopher_Bell

    Christopher Bell

    Chorus Director

Support The Festival

Grant Park Orchestra

* denotes leave-of-absence † one-year position

Violin I

Jeremy Black, concertmaster

Trista Wong, acting assistant concertmaster

Zulfiya Bashirova

Jennifer Cappelli

Laura Park Chen†

Injoo Choi

Dima Dimitrova

Erica Hudson

Hyewon Kim*

Matthew Lehmann

Jayna Park

Rika Seko

Karen Sinclair

Bonnie Terry

Krzysztof Zimowski

Violin II

Liba Shacht, principal

Laura Miller, assistant principal*

Ying Chai

Ran Cheng

Karl Davies

Likai He

Ann Lehmann

Cristina Muresan*

Kjersti Nostbakken

Irene Radetzky

Jeanine Wynton

Thomas Yang

Bing Jing Yu†

Viola

Terri Van Valkinburgh, principal

Yoshihiko Nakano, assistant principal

Elizabeth Breslin*

Beatrice Chen

Amy Hess

Christopher McKay†

Edwardo Rios†

Rebecca Swan

Chloé Thominet

Cello

Walter Haman, principal

Peter Szczepanek, assistant principal

Calum Cook

Larry Glazier

Steven Houser

Eric Kutz

Eran Meir

Double Bass

Colin Corner, principal

Peter Hatch, assistant principal

Andrew Anderson

Christian Luevano

Samuel Rocklin

Chunyang Wang

Chris White

Flute

Jennifer Lawson, acting principal

Jennifer Clippert†

Alyce Johnson, acting assistant principal

Piccolo

Alyce Johnson

Oboe

Mitchell Kuhn, principal

Alex Liedtke

Anne Bach, assistant principal

English Horn

Anne Bach

Clarinet

Dario Brignoli, principal

Trevor O’Riordan

Bassoon

Eric Hall, principal

Nicole Haywood Vera Tenorio, assistant principal

Contrabassoon

Juan De Gomar†

French Horn

Patrick Walle, acting principal†

Stephanie Blaha, assistant principal*

Neil Kimel

Brett Hodge

Paul Clifton

Trumpet

David Gordon, principal

Mike Brozick, acting assistant principal

William Denton*

Rebecca Oliverio†

Trombone

Daniel Cloutier, principal*

Jeremy Moeller, acting principal

Lee Rogers, acting assistant principal†

Bass Trombone

Alexander Mullins

Tuba

Andrew Smith, principal

Timpani

Daniel Karas, principal

Percussion

Josh Jones, principal

Joel Cohen, assistant principal

Doug Waddell

Harp

Kayo Ishimaru-Fleisher, principal*

Keyboards

Christopher Guzman

Orchestra Librarian

Eliza Bangert, principal

String Fellows

Javier F. Torres-Delgado, violin

Maria Gabriela Mendez Martinez, violin

Joshua Thaver, viola

Manuel Papale, cello

Grant Park Chorus

* denotes leave-of-absence † 2025 Vocal Fellow

Soprano

Laura Lynch Anderson

Kristina Bachrach

Madalynn Baez

Megan E. Bell

Alyssa Bennett

Tamara Bodnar

Kylie Buckham

Anna Joy Buegel

Laura Bumgardner

Katherine Buzard

Bethany Clearfield

Nathalie Colas

Carolyne DalMonte

Megan Fletcher

Kaitlin Foley

Saira Frank

Julia Frodyma

Katherine Gray-Noon

Kimberly Gunderson

Alexandra Ioan

Alexandra Kassouf

Darlene Kelsey

Olivia Knutsen

Marybeth Kurnat

Katelyn Lee

Kyuyim Lee+

Rosalind Lee

Veronica Mak

Hannah Dixon McConnell

Marie McManama

Kathleen Monson

Susan Nelson

Evangeline Ng

Máire O'Brien

Alexandra Olsavsky

Laura Perkett

Angela Presutti Korbitz

Alexia Rivera

Veronica Samiec

Emily Sinclair

Molly Snodgrass

Tiana Sorenson

Christine Steyer

Sarah van der Ploeg*

Lydia Walsh-Rock

Sherry Watkins

Vocal Fellows

Kyuyim Lee

Isabel Yang

Opal Clyburn-Miller

Matthew Dexter

Alto

Emily Amesquita

Melissa Arning

Christina Bernardoni

Angela Born

Bethany Brewer

Julie DeBoer

Leah Dexter

Katrina Dubbs

Stacy Eckert

Margaret Fox

Catarine Hancock

Ruth Ginelle Heald

Sophia Heinz

Miya Higashiyama

Carla Janzen

Amy Allyssa Johnson

Kathryn Kinjo Duncan

Amanda Koopman

Anna Laurenzo

Jeannette Lee

Thereza Lituma

Chelsea Lyons

Victoria Marshall

Jessica McCarthy

Quinn Middleman

Ella Peters

Sarah Ponder

Emily Price

Stephanie Schoenhofer

Suzanne A. Shields

Marissa Simmons

Cassidy Smith

Aidan Spencer

Alannah Spencer

Margaret Stoltz

Carolyn Sundlof Boudreau

Gabrielle Timofeeva López

Elizabeth Vaughan

Corinne Wallace-Crane

A.J. Wester

Debra Wilder

Isabel Yang+

Tenor

Charles Anderson

Enrico Giuseppe Bellomo

Justin Berkowitz

Madison Bolt

Hoss Brock

Steven Caldicott Wilson

Opal Clyburn-Miller+

John J. Concepción

Micah Dingler

Jared V. Esguerra

Alec Fore

Ace Gangoso

Klaus Georg

Tejas Gururaja

Paul Hunter

Garrett Johannsen

William Johnson

James Judd

Tim Lambert

Tyler Lee

Stephen D. Noon

Marcos Ochoa

Brett Potts

Nicholas Pulikowski

Peder Reiff

Samuel Rosner

Matthew W. Schlesinger

Joe Shadday

Aaron Short

Brian Skoog

Michael St. Peter

Ryan Townsend Strand

Alan Taylor*

Sean J. Watland

Nate Widelitz

Bass

Walter Aldrich

Evan Bravos

Matthew Brennan

Michael Cavalieri

Ryan J. Cox

Ed Frazier Davis

Lifan Deng

Matthew Dexter+

Chris DiMarco

Christopher Filipowicz

Dimitri German

Dominic German

David Govertsen

Spencer Greene

Brian Hupp

Jan Jarvis

Jess Koehn

Eric Miranda

Ian Morris

Ian Murrell

John E. Orduña

Wilbur Pauley

Douglas Peters

Jackson Pierzina

Martin Lowen Poock

Ian Prichard

Dan Richardson

Stephen Richardson

Benjamin D. Rivera

Scott Uddenberg

Schyler Vargas

Vince Wallace

Aaron Wardell

Ronald Watkins

Jonathon Weller

Peter Wesoloski

Jonathan Wilson

Staff and Board