2015-2016 SEASON
SEPTEMBER | OCTOBER HILBERT CIRCLE THEATRE Krzysztof Urbański, Music Director | Jack Everly, Principal Pops Conductor
Beethoven’s “Emperor” with Emanuel Ax Broadway Divas Beethoven’s Missa solemnis Jinjoo Cho plays Tchaikovsky Back to the Future: Film + Orchestra Kenny Rogers with the ISO Mahler Symphony No. 4
VOLUME 1
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THE PROGRAM BOOK Programs 17 September 18-19, 2015 24 October 2-3, 2015 31 October 9-10, 2015 39 October 15, 2015 41 October 16, 2015 51 October 21, 2015 55 October 23-24, 2015 60 October 29-31, 2015 Featured Articles 12 New Faces to the ISO 15 ISO Musicians Around Town 68 Arts in Indy Departments 11 ISO Profile 89 Hilbert Circle Theatre Information Support 72 Endowment 78 Lynn Society 81 Annual Fund 84 Why I Give 85 Tribute Gifts 86 Corporate Sponsors
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2015-2016 Hilbert Circle Theatre Artists 9 Indianapolis Symphony Orchestra 18 Krzysztof Urbański 19 Emanuel Ax 26 Jack Everly 27 Christina Bianco 27 Mandy Gonzalez 28 N’Kenge 28 Kristen Plumley 32 Hans Graf 33 Indianapolis Symphonic Choir 42 Michael Francis 43 Jinjoo Cho 53 Alan Silvestri 57 Kenny Rogers 62 Alexander Shelley 63 Malin Christensson The Indianapolis Symphony Orchestra 9 Musicians of the ISO 10 Board of Directors 87 Indianapolis Symphony Orchestra Association 88 Administration
WELCOME Ladies and Gentlemen, It is with great pleasure that I welcome you to a new season of extraordinary performances with the Indianapolis Symphony Orchestra. This next season is very special for me as a conductor. For three weeks this winter, we are presenting a music festival that touches on two subjects that I love most: science and music. The “Out of this World: Cosmos Music Festival” will present great classical masterpieces about space – Holst’s The Planets and the music from the award-winning film, 2001: A Space Odyssey – and within space, as we are performing works by Mozart, Beethoven and Stravinsky which are currently travelling through space in a time capsule on the Voyager spacecraft! I hope you will join us for this out-of-this-world musical celebration. I’m also excited to transform the Hilbert Circle Theatre into an opera house for a semi-staged version of one of the most renowned operas of all time – Georges Bizet’s Carmen. I conducted this masterwork last spring with the Trondheim Symphony Orchestra, and I knew then that I must bring Carmen to life in Indianapolis. We’ve already named our Carmen – mezzo-soprano and Met Opera star Oksana Volkova – and will be announcing more cast members in the coming months. Please get your tickets now for this once-in-a-lifetime event at the close of our season, June 10 and 12. Finally, I would like to welcome these talented musicians to our musical family: Principal Cello Austin Huntington, Assistant Concertmaster Peter Vickery, Assistant Principal Clarinet/Bass Clarinet Samuel Rothstein, bassoonist Michael Muszynski and Associate Conductor Vince Lee. My wife Joanna and I thank you for being with us and for supporting the Indianapolis Symphony Orchestra.
Krzysztof Urbański ISO Music Director Dear friends, I reiterate Krzysztof’s sentiment above, as there is much to celebrate in our 86th season. Our Lilly Classical Series is filled with incredible music and renowned soloists; with Principal Pops Conductor Jack Everly, our Printing Partners Pops Series is sure to delight with headliners such as Christina Bianco, Kenny Rogers and Pink Martini; Stella Artois Happy Hour at the Symphony is back with our artists-in-residence, Time for Three; and the 30th anniversary of IPL Yuletide Celebration will be a special treat with Sandi Patty at the helm (tickets on sale Sept. 21!). What’s even more special this year is the 20th anniversary celebration of our youth and family development program, the Metropolitan Youth Orchestra. Founded by Betty Perry in 1995, the MYO has a rich history of preparing students for higher education, helping them navigate life’s challenges, and engaging the entire family through music. We all know music has the power to transform lives, and we see that result every year as 100 percent of our graduating MYO seniors go on to secondary education. Please join us in celebrating the Metropolitan Youth Orchestra’s achievements with a special concert on April 10 at the Hilbert Circle Theatre! Thank you for your patronage and support of the Indianapolis Symphony Orchestra.
Gary Ginstling Chief Executive Officer
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School of Music
sweet Honey in tHe roCk • oct. 9, 2015@7:30PM Judson Green & eiGHtH eleMent • nov. 5, 2015@7:30PM indiAnAPolis syMPHony orCHestrA • Feb. 21, 2016@3PM dAnÚ, trAditionAl irisH BAnd • Mar. 10, 2016@7:30PM
“[Sweet Honey in the Rock] is the gold standard.... Their voices are all fabulous, and they unite to create a sound so pure and smooth and homogeneous that it does not seem humanly possible.”—Fort Worth Star-Telegram
2015-16 Green Guest Artist ConCerts Green Center for the PerforminG Arts
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Kevin Murphy, Director of Coaching and Music Administration 7 Walter Huff, Choral Director
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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Dean Franke, Assistant Concertmaster The Wilcox Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey Second Violin Konstantin Umansky, Principal David Bartolowits, Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Nancy Agres Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal The Manterfield Chair Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair Sé-Doo Park Jian-Wen Tong
Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith
Trumpet The W. Brooks and Wanda Y. Fortune Chair Marvin C. Perry II, Acting Principal/ Assistant Principal Robert Wood
Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal
Bass Trombone Jared Rodin, Acting Bass Trombone The Dr. and Mrs. Charles E. Test Chair
Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair
Timpani Jack Brennan, Principal The Thomas N. Akins Chair Craig A. Hetrick, Assistant Principal
Oboe Jennifer Christen, Principal The Frank C. Springer Jr. Chair Sharon Possick-Lange Roger Roe, Assistant Principal English Horn Roger Roe The Ann Hampton Hunt Chair
Percussion Braham Dembar, Principal Craig A. Hetrick
Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair Samuel Rothstein, Assistant Principal Cathryn Gross The Huffington Chair Bass Clarinet Samuel Rothstein Bassoon John Wetherill, Principal Michael Muszynski, Second Bassoon Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein
Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal
Tuba Anthony Kniffen, Principal
Harp Diane Evans, Principal The Walter Myers Jr. Chair Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian Stage Quentin L. Quinn, Manager Kenneth Bandy, Technician P. Alan Alford, Technician Steven A. Martin, Technician
Horn Robert Danforth, Principal The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Julie Beckel Yager Jerry Montgomery The Bakken Family Chair Jill Boaz
*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating.
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BOARD OF DIRECTORS Founded by Ferdinand Schaefer in 1930 Maintained and Operated by the Indiana Symphony Society, Inc.
Officers
Vincent Caponi, Chair Yvonne Shaheen, Vice-Chair Gary Ginstling, Chief Executive Officer Charlene Barnette, Secretary Michael Becher, Treasurer Vincent Caponi, Chair
Board of Directors Don Altemeyer Sherry Amlung Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D.* John A. Bratt Bryan Brenner* Vincent Caponi* Trent Cowles Andrea Cranfill* Gary Ginstling* Heather Hall Peter Howard, Ph.D.
Ann Hampton Hunt Phil Kenney David Kleiman Martha D. Lamkin* Sarah Lechleiter Greg Loewen Morrie Maurer Bruce McCaw Karen H. Mersereau Peter A. Morse Jr. Gerald L. Moss Jackie Nytes Michael P. O’Neil Holly M. Pantzer Kay Pashos Zeb Portanova
Alice K. Schloss Natalie Schneider Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. MaryAnn Sullivan Marianne Williams Tobias Pete Ward Nick Weber David Wilcox Ralph V. Wilhelm* James C. Zink Sr. Jennifer Zinn
Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder
Fred E. Schlegel Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood
*Executive Committee
Board of Trustees John M. Mutz, Chair Mayor Gregory A. Ballard Sen. Dan Coats Stephen E. DeVoe Carolyn S. Hardman
The Annual Meeting of the Indiana Symphony Society, Inc. will be held on Monday, December 7, 2015 at 4 p.m. In the Hilbert Circle Theatre.
Mission of the Indianapolis Symphony Orchestra: To inspire, entertain, educate and challenge through innovative programs and symphonic music performed at the highest artistic level.
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ISO PROFILE
Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before – inside and outside the concert hall. A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three). The ISO’s home – the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc. Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue begins his ninth season with the ISO and alongside his trio, Time for Three, leads the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through the beloved Classical Christmas concert in December. The ISO in 2015-2016 In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms, Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax, Dejan Lazic and Garrick Ohlsson. Maestro Urbanski also presents a three-week festival, “Out of this World,” with musical themes inspired by space and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini. Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs presented in the communities of Hendricks County and Greater Greenwood. Upcoming special events include the 30th anniversary of IPL Yuletide Celebration and the 20th anniversary celebration of the ISO’s youth and family development program, the Metropolitan Youth Orchestra.
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NEW FACES TO THE ISO
Austin Huntington Principal Cello
Austin Huntington, Principal Cello Principal Cello Austin Huntington is in his final year as a Bachelor of Music student at The Colburn School Conservatory of Music in Los Angeles, CA, where he studies with Ronald Leonard. He made his solo orchestral debut at the age of 10 and is the recipient of numerous grand and first prize awards, including the 2013 Aspen Music Festival Low Strings Competition, 2012 MUSICAAS International String Competition, 2012 Irving M. Klein International String Competition and the 2011 Stulberg International String Competition. Austin is currently the Principal Cellist of the Colburn Orchestra and has served as the Principal of the Chicago Youth Symphony Orchestra, Encore Chamber Orchestra and the South Bend Symphony. He has made numerous guest appearances with orchestras across the country. Austin won the Indianapolis Symphony Orchestra’s Michael Ben & Illene Komisarow Maurer Young Musicians Contest five years ago and made his solo debut with the ISO on June 10, 2010, under the direction of Music Director Krzysztof Urbański. He plays on a Venetian cello made in 1725 by Carlo Tononi. The instrument is on generous loan from the Colburn Foundation.
Peter Vickery
Assistant Concertmaster
Samuel Rothstein
Assistant Principal Clarinet/ Bass Clarinet
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Peter Vickery earned a Bachelor of Music in violin performance at the Indiana University Jacobs School of Music in 2010. He recently served with the Milwaukee Symphony Orchestra and previously held leadership positions with the Terre Haute Symphony and the IU Jacob School’s university and chamber orchestras. He has toured with other notable IU alumni for chamber music collaborations, including Joshua Bell and Alexander Kerr (ISO Principal Guest Concertmaster). He also served as an orchestral fellow at the Aspen Music Festival in 2009 alongside Kerr, Gil Shaham, Adele Anthony and Nicholas McGegan. Assistant Principal Clarinet Samuel Rothstein received his Bachelor of Music degree in music performance from Northwestern University in March of 2012, studying clarinet and bass clarinet with J. Lawrie Bloom and clarinet with Steve Cohen. Prior to joining the ISO, Samuel was a member of the Richmond (VA) Symphony and the Civic Orchestra of Chicago. He has performed with the Milwaukee, Virginia, New World and Illinois Symphony Orchestras as well as the Fort Wayne Philharmonic. Additionally, he played clarinet with the national touring company of Les Misérables for 10 months in 2010-2011 and continues to perform in various Broadway Chicago productions. Summer festival appearances include
NEW FACES TO THE ISO the National Repertory Orchestra, Spoleto Festival USA, and the Tanglewood Music Center. After two summers as a fellow at Tanglewood, Samuel was invited to return in 2015 as a member of the New Fromm Players, focusing on the study and performance of contemporary music.
Michael Muszynski Second Bassoon
Vince Lee
Associate Conductor
Second Bassoon Michael Muszynski recently served as Principal Bassoon for the Atlanta Opera Orchestra, Atlanta Ballet Orchestra, Symphony Orchestra Augusta (GA) and the South Carolina Philharmonic. He served as Second Bassoon in the Columbus (GA) Symphony Orchestra and the Greenville (SC) Symphony Orchestra. Michael has performed in the Atlanta Symphony Orchestra, the Charleston Symphony Orchestra and in a variety of chamber music ensembles. He earned both a Master of Music and Bachelor of Music in Bassoon Performance from Northwestern University. Since 2012, Vince Lee has served on the conducting staff of the Philadelphia Orchestra and as the conductor of the AZLO Orchestra (NYC). In 2013, he joined the Union City Orchestra (NJ) as its Music Director. From 2008-2011, Lee served as the assistant conductor of the Cincinnati Symphony Orchestra and the Cincinnati May Festival. In 2007, he made his Carnegie Hall debut with the New York Youth Symphony. As a guest conductor, he has appeared with numerous ensembles including the Toledo Symphony, Opera Theatre of St. Louis, the Aspen Music Festival and the Cincinnati Ballet. As a champion of modern compositions, he has premiered more than 200 works to date. Lee earned his Master of Music in Orchestral Conducting from the Jacobs School of Music at Indiana University. During his time at IU, he premiered more than 50 works by student performers, conducted 17 orchestral concerts, and served as assistant conductor for the IU New Music Ensemble, Opera Theater and Ballet. Lee earned his Diploma in Orchestral Conducting at The Juilliard School, under the direction of James DePriest. At Juilliard, he was appointed Musical Director for the MAP orchestra (a Juilliard faculty position) and served as Principal Pianist for the Juilliard Orchestras for three years. Lee will make his ISO debut on Oct. 25, the first concert within the symFUNy Sundays series.
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INDIANAPOLIS
SYMPHONY ORCHESTRA
A HALLOWEEN MASQUERADE BENEFITING THE INDIANAPOLIS SYMPHONY ORCHESTRA’S EDUCATION PROGRAMS
FRIDAY, OCTOBER 30, 2015 7PM HILBERT CIRCLE THEATRE, 45 MONUMENT CIRCLE, INDIANAPOLIS, IN
ATTIRE: MASQUERADE CHIC
TICKETS - $75 FOR A LIMITED TIME
Your ticket includes free drinks, food samples, entertainment from some of Indy’s best DJs and much more! PRESENTED BY: IN PARTNERSHIP WITH:
MEDIA SPONSOR:
THE ISO’S YOUNG PROFESSIONALS GROUP
ENTERTAINMENT PROVIDED BY:
MUST BE 21+ TO ATTEND. ISO MUSICIANS WILL PLAY THROUGHOUT THE EVENING. THE FULL ORCHESTRA DOES NOT PERFORM AT THIS EVENT.
14 FOR MORE INFO AND TICKETS, VISIT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300
ISO MUSICIANS AROUND TOWN The Starlight Symphony Orchestra, of Wimberley, TX, will perform James Beckel’s (Principal Trombonist) piece “Liberty for All” on October 10 and October 11, 2015 with Dr. David Oertel conducting.
St. Paul’s Music Presents ICARUS “A Jazz Concert” at St. Paul’s Episcopal Church, 6050 N. Meridian Street on Sunday February 7th, 2016 at 4PM. Admission is free and open to the public. The Icarus Ensemble is made up of ISO Musicians Dean Franke, violin, Peter Hansen, bass, and Mark Ortwein, winds, along with regular ISO extras Jon Crabiel, percussion, and Gary Walters, piano. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD is available on I-Tunes, CD Baby, in the Hilbert Circle Theatre lobby, and from band members.
Fall arts highlights at UIndy Faculty Artist Concert Series Gala Opening Concert with Maestro Raymond Leppard, Sept. 21, 7:30 p.m. Theatre Production King Lear, Oct. 23–31 Christel DeHaan Fine Arts Center Gallery The Face of War: Combat Art of T. L. Harby. Nov. 9–Dec. 11; Reception: 4–6 p.m., Nov. 10 Jazz Artist Series: Vocalist Rachel Caswell, October 14, 7:30 p.m.
Raymond Leppard, UIndy Artist-in-Residence and Conductor Laureate, Indianapolis Symphony Orchestra. See Maestro Leppard at our Gala Opening Concert.
UIndy, just 10 minutes from downtown, presents more than 100 arts events a year; most are free to the public and many are family-friendly. Full arts calendar at arts.uindy.edu/iso | 317-788-3251
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It begins with a promise. The Lilly family set a precedent for community service in our company’s earliest days, rushing medicines to victims of natural disasters and founding the local Rotary Club. Today, we continue to find creative ways to share our strength with the world around us. During our Global Day of Service, the people of Lilly join forces with civic organizations and local charities to give back to our communities, making them stronger and more vibrant places to live. This work is central to who we are, a part of our living heritage and our enduring promise to make life better for people around the world. To find out more about our promise, visit www.lilly.com/about. CA30093 05/14 PRINTED IN USA ©2015, Eli Lilly and Company. ALL RIGHTS RESERVED.
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BEETHOVEN’S “EMPEROR” WITH EMANUEL AX
SEPT DATE 18, 19
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program One Friday, September 18, 2015, at 8 p.m. Saturday, September 19, 2015, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor EMANUEL AX, Piano Ludwig van Beethoven Concerto No. 5 in E-Flat Major for Piano and Orchestra, (1770-1827) Op. 73 (“Emperor”) Allegro Adagio un poco moto Rondo: Allegro, ma non troppo Emanuel Ax, Piano
INTERMISSION – Twenty Minutes
Wolfgang Amadeus Mozart Symphony No. 40 in G Minor, K. 550 (1756-1791) Molto allegro Andante Menuetto: Allegretto Finale: Allegro assai
The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening concerts are endowed by the Florence Goodrich Dunn Fund.
Premier Sponsor
Associate Sponsor
Length of performance is approximately one hour and thirty minutes. Recording or photographing any part of this performance is strictly prohibited.
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SEPT 18, 19
KRZYSZTOF URBAŃSKI, Conductor Provence with Thomas Hampson. He also continues as Principal Guest Conductor of the Tokyo Symphony Orchestra.
“That he is no mere flashy wunderkind of the baton was shown by the freshly invigorated playing he drew from the CSO …his keen musical instincts and vigorous way of translating his ideas into orchestral sound that has both shape and meaning” (Chicago Tribune), Krzysztof Urbański enters the fifth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. As Chief Conductor and Artistic Leader of Trondheim Symphony Orchestra, highlights of his five years with the orchestra include two tours (first with concerts in Germany, Austria and Poland and second at the International Chopin Music Festival), and a fully staged production of Carmen as his first foray into opera, which this season he conducts with the Indianapolis Symphony Orchestra. In September 2015, Urbański formally becomes Principal Guest Conductor of NDR Sinfonieorchester Hamburg and this season he takes them to the Beethoven Easter Festival in Warsaw, Wroclaw, Katowice and Aix-en-
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Following a hugely successful debut with the Münchner Philharmoniker in July 2015, when he conducted Carmina Burana before a capacity crowd of 8,000, Urbański returns to the orchestra in 2015/16 for Lutosławski’s Concerto for Orchestra. His 2014-15 season culminated with him receiving the prestigious Leonard Bernstein Award when he returned to conduct the Schleswig-Holstein Akademie at the Schleswig-Holstein Festival. Notably, he is the first conductor to have ever received the award. In 2015-16 Urbański will conduct the Danish National Symphony Orchestra, Orchestre Philharmonique de Radio France and the Tonhalle-Orchester Zürich. Other recent debuts include Berliner Philharmoniker and Oslo Philharmonic Orchestra. Engagements further ahead include Netherlands Radio Orchestra, returning to the London Symphony Orchestra, Philharmonia Orchestra and Wiener Symphoniker for annual Beethoven Symphony No. 9 New Year’s concerts. In North America, Urbański debuts with The San Francisco Symphony and The Cleveland Orchestra as well as returning to the Toronto Symphony Orchestra, Los Angeles Philharmonic and Washington’s National Symphony Orchestra. Other recent U.S. debuts have included the New York Philharmonic, Chicago Symphony and Pittsburgh Symphony orchestras.
EMANUEL AX, Piano
SEPT 18, 19
Boston will culminate in Carnegie Hall as part of the hall’s 125th anniversary celebrations in May.
Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize. Three prominent duo collaborations will be carried through Mr. Ax’s current season. Beginning with the release of sonatas by Fauré and Strauss on the Deutsche Grammophon label, Mr. Ax will partner with long-time friend and colleague Itzhak Perlman for concerts in Kansas City, Ravinia, Dallas, Washington, Los Angeles, San Francisco, Santa Barbara and La Jolla in the first half of the season. A return visit to Japan will be followed by concerts in Paris, Berlin, Rome, Tel Aviv and Amsterdam. As an annual guest with the New York Philharmonic he will play Brahms with Alan Gilbert in addition to return visits to orchestras in Houston, Chicago, and Pittsburgh as well as duos in Philadelphia and New York with violinist Pamela Frank in a program of Mozart sonatas. Long-standing partner Yo-Yo Ma will join him in Norfolk, VA, Washington, DC and Carnegie Hall where they will program all the Beethoven sonatas for cello and piano. Solo recitals in Tokyo, Arizona, Florida, Texas and
A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo- Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Mr. Ax has received Grammy® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’ Century Rolls with The Cleveland Orchestra for Nonesuch. In the 2004/05 season Mr. Ax also contributed to an International Emmy® Awardwinning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th century music)/Piano. In recent years, Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Mr. Ax is also devoted to chamber music, and has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. For more information about Mr. Ax’s career, please visit www.EmanuelAx.com.
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SEPT 18, 19
NOTES
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Concerto No. 5 in E-Flat Major for piano and orchestra, Op. 73, “Emperor” Ludwig Van Beethoven Born December 16, 1770 in Bon, Germany Died March 26, 1827 in Vienna, Austria On May 12, 1809 Napoleon’s army successfully occupied Vienna, part of a succession of victories which would not end until 1812 in the disastrous invasion of Russia, and the final defeat at Waterloo in 1815. By this time, Beethoven had entirely lost faith in the ideals he once had attributed to Napoleon (seen in the dedication to Napoleon of his Third Symphony, which he later erased in a fit of rage) and re-dedicated “to celebrate the memory a great man… ” In 1809 Beethoven was furiously witnessing the enormous successes of a tyrannical man who had crowned himself emperor in 1804, and even worse, had declared that his family would succeed him in perpetuity. Gone was the hero of the French Revolution, and in its place was a frightening military genius who was busy conquering Europe in a succession of conflicts known as the Napoleonic Wars. Thanks to general conscription, the French army was a powerhouse. Conquering Vienna was part of his grand, ambitious plan. Vienna was no match for his cunning or his determination. Sensing the city’s demise, the Viennese nobility had fled the city by the time Napoleon arrived, off to their country castles perhaps, but Beethoven elected to remain in his brother’s basement (or that of the poet, Castelli) covering his ears to deafen explosions and cannons in his neighborhood. On July 26, he wrote to his publisher, Gottfried Christoph Hartel in Leipzig, “The course of events has attacked me, body and soul… What a destructive, disorderly life I see and hear around me…nothing but drums, cannons, and human misery in every form.” It was within this chaotic, brutal matrix that 20
Beethoven worked on his fifth and final Piano Concerto in E flat. (A sixth piano concerto was partially completed and scored in 1815, but nothing ever came of it.) Amazingly, the composer completed the majority of Opus 73 by December. For Beethoven, the outer world was but a part of his existence: a greater reality was the discipline of his writing. “Nulla dies sine linea” he stated (“No day without a line of music”). He did exactly that, faithful to his art and his commitment. It was a massive creation, “music of sweeping imperious grandeur, unknown to any concerto written up to 1812, and beside which the dignity of emperors or archdukes loses all consequence.” It was the culmination of Beethoven’s “heroic decade,” 1802-1809. “The Fifth Piano Concerto marks both a summit and termination.” (John N. Burk) The concerto premiered in Leipzig on November 28, 1811, and in Vienna, February 12, 1812. The origin of the sobriquet is not verified. Legend has it that at the concert, a French army officer shouted “C’est l’empereur!” (It is the emperor!) or perhaps was attached by Johann Baptist Cramer, the English publisher of the concerto. It is the only piano concerto which Beethoven did not introduce himself. Opus 73 begins with three huge orchestral chords, each separated by pianistic flourishes from the soloist. Immediately afterwards, the orchestra follows with a sweeping theme, followed by several subsidiary subjects. Strings sing the first main theme quietly and are answered immediately by horns. The pianist soon answers, leading us into a rhapsodic world, moving steadily toward the second main idea. A dramatic, complex
NOTES development follows with both forces taking equal part, thus fusing both performing elements. The recapitulation is traditional with major themes being re-stated almost without change. At the point where one would anticipate a cadenza, Beethoven wrote, “Do not play a cadenza, but attack immediately the following.” The pianist does exactly that, initiating an episode, which introduces a stunning coda. The relatively small second movement opens with a slow moving, hymn-like melody presented by muted violins. After a small pause, the soloist responds with a complementary, intimate theme in slow triplets followed by graceful variations. The two forces converse slowly, always relaxed, and at ease. A small crescendo adds momentary dynamic color: and an extraordinary section ensues with an exquisite long trill from the soloist, underscored with syncopated chords which yields seamlessly into a poised, decorated recap of the opening melody. Beethoven urged that the movement not be taken too slowly, “un poco piu mosso” and assigning two large beats per measure rather than four, giving a pulse which has momentum. Cramer’s first published edition noted, “This must not drag.” At the close, listen for a soft bassoon passage, which slides into a single sustained tone. This tone (B) drops a semitone (to B-flat), establishing a new possibility for modulation: the piano whispers (pianissimo) a new tune in two measures, offering a hint of what is to come, but in no way forecasting the astonishing character change of the last movement. From quiet tranquility, Beethoven soars into a movement of high rhythmic propulsion and ebullient linear sweeps. The little melody heard at the outset becomes the basis for an enormous rondo in 6/8 meter. That aforementioned, tiny hint is now fully highly energized, leaping upward in powerful syncopated rhythms, roaring ahead
SEPT 18, 19
in its statements (fantissimo), separated by imaginative, jolly episodes. One of the most interesting moments is the duet for piano and timpani just before the close. Throughout, the music never loses its impetuous, headlong nature, surging to a massive closure, marked by soaring piano scale passages and orchestral flourishes. Symphony No. 40 in G Minor, K. 550 Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Mozart wrote only two symphonies in a minor key, one in 1773 and the other in 1788. Both are dramatic; both are written in G minor, a key the composer used for tragedy and angst; both forecasted things yet to come: the first in the future work of a young composer, the second as harbinger of future musical compositions derived from emerging Romanticism. Richard Wagner called K. 550 “pivotal to the romantic world.” This symphony was written within the remarkable period between June 28 and August 10 wherein he composed his last three symphonies: 39, 40, and 41. K. 550 has always attracted attention and comment. Mozart’s biographer Neal Zaslaw remarked, “No symphony of Mozart’s, not even the ‘Jupiter’, has aroused so much comment as this one.” The eminent musicologist, Charles Rosen, added more clarification to the symphony’s prominence saying, “In all of Mozart’s supreme expressions of suffering and terror, there is something shockingly voluptuous. Nor does this detract from its power or effectiveness: the grief and the sensuality strengthen each other and end by becoming indivisible, indistinguishable one from the other. In his corruption of sentimental values, Mozart is a subversive artist. ” We are not used to Mozart’s confessional side, and when it emerges, we are fascinated by the potency of his personal stress, feelings, and their revelation. In this regard, Otto Jahn, Mozart’s 19th century biographer commented that 21
SEPT 18, 19
NOTES
it was “a work of pain and grieving.” Noted for its intensity, high chromatic nature and turbulence, Symphony No. 40 nonetheless remained corseted in classical decorum and structure. Agitation is immediately expressed in the opening of the first movement. At this time, the composer’s personal life was difficult at best. The family moved to a cheaper residence (per a letter to his patron Michael Puchberg) and Mozart begged Puchberg for more money and support. Maynard Solomon noted that Mozart was depressed not only with his financial woes but also in the failing success of his career. He was not performing publicly, his popularity was waning, and that income stream dried up. Even though Emperor Joseph II appointed him as “chamber composer” to the court in 1787, 800 florins was not enough. In the first movement, Mozart foregoes his customary slow introduction, and opts for something else: plunging directly into the body proper of the symphony. A restless first theme is whispered first by violins and then iterated with power and insistence by the full orchestra. Its incessant rhythmic pattern, filled with gasping spaces, adds urgency to the music. A flowing lyrical second theme in B flat major provides contrasting fluency from divided strings and woodwinds. The development focuses on the unforgettable, breathless first theme, and Mozart shows off unusual daring with harmonic digressions, orchestral power, and fugal counterpoint. An Andante second movement offers a somber, almost fragile melody featuring repeated notes sung by the violas. Second violins, and then the neighboring first violins, join imitatively at successively higher pitches. Winds cool the atmosphere with delicate coloration in their turn. A steady pulsating rhythm is constant.
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Mozart’s heavy minuet continues in dark emotions. In traditional classical style, third movement minuets usually provide courtly or perhaps light escape from other movements. In this case, however, Mozart sustains prevailing tension. A strutting heavily accented theme opens the movement. Unaccustomed brusqueness controls the mood, unraveling this dance from its royal, elegant ancestors. The trio, placed in the sunny G major tonality, offers a lyrical release but tranquility is momentary. G minor returns and asserts its potency and heavy atmosphere in the da capo (repeat of the first section.) The finale has a violent, explosive personality. A bouncing triadic theme, outlining a simple chord opens the fourth movement. Rushing motifs from violins interrupts its orderly nature, and soon the orchestra adds to the ferment. A second theme arises from violins and winds, offering lyric contrast, but is quickly overcome by a turbulent development. Mozart’s polyphonic textures and complex writing twist and turn the theme back on itself in coiling, convulsive patterns. A quick pause gives us a breath before the recapitulation ensues. Symphony No. 40 closes as it began: with stress and agitation, controlled only through the tight grip of classical architecture. It would remain for future composers to shatter that architecture with more explosive, combustible content. Although K. 550 was destined to become one of Mozart’s most dramatic and loved symphonies, some historians question if it was ever performed during his lifetime. Speculation would seem to answer yes, but the records are not clear. There are two versions of this work: one with clarinets (the second) and the first without. The former will be performed this weekend.
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OCT 2
BROADWAY DIVAS
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor The Stratford Coffee Pops Series/Program One Friday, October 2, 2015, at 11 a.m. Hilbert Circle Theatre JACK EVERLY, Conductor MANDY GONZALEZ, Vocalist N’KENGE, Vocalist CHRISTINA BIANCO, Vocalist KRISTEN PLUMLEY, Vocalist Various Arr. Jack Everly
Broadway Divas Prelude
Lerner & Lowe Arr. Philip Lang
“I Could Have Danced All Night” from My Fair Lady
Schönberg & Boublil/Kretzmer Arr. Bob Krogstad
“I Dreamed a Dream” from Les Miserables
Styne & Sondheim Arr. Robert Ginzler
Overture to Gypsy
Styne & Comden & Green/ Schwartz
”Neverland / Defying Gravity” from Peter Pan and Wicked Arr. Fred Barton Kern & Hammerstein Arr. Krogstad
“Can’t Help Lovin’ That Man” from Showboat
Krieger & Eyen Arr. Wayne Barker
“And I am Telling you I’m not Going” from Dreamgirls
Brown & Brent Arr. Michael K. Runyan
“Love is Where you Find It” from The Kissing Bandit
Bernstein & Sondheim Arr. Irwin Kostal
“A Boy Like That / I Have a Love” from West Side Story
Herman Arr. Wayne Barker
“If He Walked Into My Life” from Mame
Lopez & Lopez Adapted by Ted Ricketts
“Let It Go” from Frozen
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Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Length of performance is approximately one hour and three minutes. There is no intermission.
BROADWAY DIVAS
OCT 2, 3
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Printing Partners Pops Series/Program One Friday, October 2, 2015, at 8 p.m. - Hilbert Circle Theatre Saturday, October 3, 2015, at 8 p.m. - Hilbert Circle Theatre JACK EVERLY, Conductor MANDY GONZALEZ, Vocalist N’KENGE, Vocalist CHRISTINA BIANCO, Vocalist KRISTEN PLUMLEY, Vocalist Various Arr. Jack Everly
Broadway Divas Prelude
Lerner & Lowe Arr. Philip Lang
“I Could Have Danced All Night” from My Fair Lady
Schönberg & Boublil/Kretzmer Arr. Bob Krogstad
“I Dreamed a Dream” from Les Miserables
Gershwin & Gershwin Arr. Robert Russell Bennett
“Summertime” from Porgy and Bess
Kander & Ebb Arr. Michael Gibson
Suite from Chicago
Styne & Comden & Green/ Schwartz
”Neverland / Defying Gravity” from Peter Pan and Wicked Arr. Fred Barton Kern & Hammerstein “Can’t Help Lovin’ That Man” from Showboat Arr. Krogstad INTERMISSION – Twent y M i n ute s Styne & Sondheim Arr. Robert Ginzler
Overture to Gypsy
Krieger & Eyen Arr. Wayne Barker
“And I am Telling you I’m not Going” from Dreamgirls
Brown & Brent Arr. Michael K. Runyan
“Love is Where you Find It” from The Kissing Bandit
Bernstein & Sondheim Arr. Irwin Kostal
“A Boy Like That / I Have a Love” from West Side Story
Kander & Ebb Arr. Krogstad & Barton
Come to the Cabaret
Herman Arr. Barker
“If He Walked Into My Life” from Mame
Lopez & Lopez Adapted by Ted Ricketts
“Let It Go” from Frozen
Premiere Sponsor btlaw.com Length of performance is approximately one hour and thirty-nine minutes. Recording or photographing any part of this performance is strictly prohibited.
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OCT 2, 3
JACK EVERLY, Conductor
Jack Everly is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn. The broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television. Everly is also the Music Director of IPL Yuletide Celebration, now a 30-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other
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recordings include In The Presence, featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs, including the most recent, On Broadway with Kander & Ebb. In the past 13 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 14 years and when not on the podium you can find Maestro Everly at home with his family, which includes Max, the wonder dog.
BROADWAY DIVAS Two-time Drama Desk Award nominated actress, singer and impressionist Christina Bianco has become a YouTube sensation with her diva impression videos. Gaining over 21 million views worldwide, Christina is best known for her renditions of “Total Eclipse of the Heart” and “Let It Go”, leading to performances on major television programs such as The Ellen Degeneres Show, The Queen Latifah Show and The Today Show. Christina made her West End debut starring in The Menier Chocolate Factory’s hailed production of Forbidden Broadway at the Vaudeville Theatre in London. In New York, Christina recently starred Off-Broadway in the one-woman, multi-character comedy, Application Pending (Drama Desk Award Nomination). Other New York credits include Newsical the Musical, Forbidden Broadway, Goes To Rehab (Drama Desk Award Nomination), Raffi On Broadway at the Gershwin Theatre, Tony and Tina’s Wedding (Tina) and It Must Be Him. Christina originated the role of Dora in the long-running National Tour of Dora The Explorer Live, including a sold-out run at Radio City Music Hall. As a cabaret artist, Christina performed weekly in an unprecedented eight-month run of 11 O’Clock Numbers at Feinstein’s at Loew’s Regency. She has performed her critically acclaimed solo shows, Diva Moments and Party Of One, to sold out crowds at NYC’s Birdland and regionally across the U.S. Abroad, Christina has sold out extended runs headlining at London’s famed Hippodrome and Royal Albert Hall’s prestigious Elgar Room. Christina also performs her shows on various international cruise ships. Christina frequently performs as a soloist with various symphony orchestras throughout the US and Canada. Christina recently played the recurring role of Bianca on the POP TV sitcom Impress Me, produced by SoulPancake. This fall, she’ll appear as Mindy in the Hallmark original movie series, ’Signed, Sealed, Delivered.’ www.ChristinaBianco.com
OCT 2, 3
Mandy Gonzalez possesses one of the most powerful and versatile contemporary voices of our time. She is best known for her emotional portrayal of Nina Rosario in the Tony Award-winning Broadway musical In the Heights, a role she originally created Off Broadway at 37 Arts and which received a Drama Desk Award for Best Ensemble. Most recently, she starred as Elphaba in the Broadway production of Wicked, blowing the roof off of New York’s Gershwin Theatre each night as she belted out signature song “Defying Gravity” and for which she was rewarded with a Broadway.com Award for Best Replacement. Other Broadway roles include Princess Amneris in the Elton John and Tim Rice musical Aida and the Broadway show Lennon where she portrayed multiple roles including that of Beatles’ icon John Lennon. Mandy made her Broadway debut in Jim Steinman’s Dance of the Vampires starring opposite Michael Crawford. Mandy received an OBIE Award and overwhelming critical praise for her performance in the Off-Broadway production of Eli’s Comin’, directed by Diane Paulus and based on the music and lyrics of singer-songwriter Laura Nyro. Equally at home on the big and small screen, she has appeared in Across the Universe directed by Julie Taymor, After starring opposite Pablo Schreiber and Man on a Ledge with Sam Worthington. Television viewers had the pleasure of seeing Mandy guest starring in White Collar, The Good Wife, 666 Park Avenue, One Life to Live and Third Watch. Many can be heard as the voice of Mei in Disney’s Mulan 2, on recordings of the original Broadway cast album of In the Heights, Kerrigan-Lowdermilk Live and The Man Who Would Be King. She performs concerts in prestigious venues across the U.S. and around the world and has started working on her first solo album with plans for a 2015 release.
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OCT 2, 3
BROADWAY DIVAS
New York Post calls N’Kenge “Electrifying” in the role of Mary Wells that she originated in Broadway’s Smash Hit Motown: The Musical. N’Kenge made her Broadway debut in Sondheim on Sondheim alongside Barbara Cook, Vanessa Williams, Norm Lewis and Tom Wopat which was directed by Pulitzer Prize-winner James Lapine. In London, N’Kenge made her West End debut starring in The Genius of Ray Charles. She was hailed by NY Times as “a classically trained diva that can stretch from Broadway, Pop Soul to Opera”. N’Kenge starred in the Michael Jackson Tribute Show World Tour and has also been seen as a soloist at Carnegie Hall with The New York Pops Orchestra, Baltimore Symphony, Cincinnati Symphony, Indianapolis Symphony and Cleveland Orchestra to name a few. This 2015-2016 Season N’Kenge will be seen as The Witch in Big Fish and Matron “Mama” Morton in Chicago with Alpine Music Project Theater and has been cast as Queen Ti in Broadway bound Akhenaten: The Musical and Tanya in the Broadway-bound musical 54: The Musical. In addition, N’Kenge will be seen as a soloist with numerous symphonies across the US. Nominated for Outstanding Lead Actress by Helen Hayes Awards in DC for her performance in 3 Mo’Divas , N’Kenge had the honor to perform for President Obama at the Commander-in-Chief’s Inaugural Ball. For more news and concert/tour dates, visit N’Kenge at www.nkengemusic.com. N’Kenge will meet & greet patrons and sign merchandise after today’s concert.
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Connecticut native Kristen Plumley has performed with many opera companies throughout the country, including New York City Opera (Barbarina in Le Nozze di Figaro), Virginia Opera (Norina in Don Pasquale and Zerlina in Don Giovanni), Chautauqua Opera (Sophie in Werther), Lyric Opera of Cleveland (Despina in Così fan Tutte), Amarillo Opera (Musetta in La Bohème), Greensboro Opera (Adina in L’Elisir d’Amore and Gilda in Rigoletto), Opera Festival of New Jersey (Nannetta in Falstaff and Amor in Orfeo ed Euridice, Boheme Opera (NJ) (Adele in Die Fledermaus), L’Opéra Français de New York (the Sultan of Egypt in Glück’s Les Pelerins de la Mecque), Opera Memphis (Yum-Yum in The Mikado) and Nevada Opera (Josephine in H.M.S. Pinafore). On the concert stage Kristen has performed a broad spectrum of works, including Mozart’s Coronation Mass and Haydn’s Mass in Time of War at Carnegie Hall, Mozart’s Mass in C minor, Elgar’s For the Fallen, Bach’s Coffee Cantata, and Respighi’s Laud to the Nativity, Basically Bernstein with Opera Tampa, and An Evening of Gilbert and Sullivan with the symphony orchestras of St. Louis, Richmond, Memphis and Minnesota. Her favorite concert is An Evening of Sci-Fi Favorites (music from science fiction movies and television shows, hosted by George Takei and conducted by Maestro Jack Everly), which she has performed with the Cleveland, Indianapolis, Seattle, Baltimore, Edmonton and Ottawa Symphonies, among others. In 2011 Kristen performed in the North American premiere of Handel’s first opera, Almira, with operamission in New York. She lives in northern New Jersey with her husband and their nineyear-old twins. Please visit Kristen’s website, www.kristenplumley.com.
INDIANAPOLIS
SYMPHONY ORCHESTRA
SO
I E H T H T I W
TUESDAY, NOVEMBER 24, 7:30PM Hilbert Circle Theatre Kick off the holidays early with Emmy and Tony Award-winning singer and actress, Kristin Chenoweth, making her debut with the ISO! From her critically acclaimed performances on Broadway in Wicked and You’re a Good Man, Charlie Brown to numerous television credits including Pushing Daisies, Glee, and The Good Wife, Kristin has won the hearts of millions of fans. Don’t miss this one-night-only special event at the Hilbert Circle Theatre!
TICKETS ON SALE MONDAY, SEPTEMBER 21 AT 10AM. BUY AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300. 29
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20 Largest U.S. Cities
BEETHOVEN’S MISSA SOLEMNIS
OCT 9, 10
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Two Friday, October 9, 2015, at 8 p.m. Saturday, October 10, 2015, at 7 p.m. Hilbert Circle Theatre HANS GRAF, Conductor CYNDIA SIEDEN, Soprano JULIE BOULIANNE, Mezzo-soprano COLIN BALZER, Tenor NATHAN BERG, Bass-Baritone INDIANAPOLIS SYMPHONIC CHOIR ERIC STARK, Artistic Director Ludwig van Beethoven Missa solemnis in D Major, Op. 123 (1770-1827) Kyrie Gloria Credo Sanctus Agnus Dei
The Performance of Classical Music including Major Liturgical and Choral Music is endowed in memory of Elmer Andrew and Marquerite Maas Steffen by E. Andrew Steffen
Premier Sponsor
Associate Sponsor
Length of performance is approximately one hour and thirty minutes. Recording or photographing any part of this performance is strictly prohibited. There is no intermission.
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OCT 9, 10
HANS GRAF, Conductor
Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Appointed Music Director of the Houston Symphony in 2001, Mr. Graf concluded his tenure in May 2013 and is the longest-serving Music Director in the orchestra’s history. Prior to his appointment in Houston, he was the Music Director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984 to 1994. Hans Graf is a frequent guest with all of the major North American orchestras. His recent and upcoming guest engagements include appearances with the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, the Boston, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, Colorado, Utah and National symphonies and the St. Paul Chamber Orchestra among others. Mr. Graf made his Carnegie Hall debut with the Houston Symphony in January 2006 and returned to Carnegie leading the Orchestra of St. Luke’s in March 2007. He and the Houston Symphony were re-invited to appear at Carnegie Hall in January 2010, at which time they presented the New York premiere of The Planets – An HD Odyssey, featuring the orchestra playing Holst’s famous work, The Planets, accompanied by exclusive highdefinition images from NASA’s exploration of the solar system. Mr. Graf and the Houston Symphony returned to Carnegie Hall again in May 2012 to participate in Carnegie’s Spring for Music festival with an all-Shostakovich program. In Europe, Mr. Graf has conducted the Vienna and London Philharmonics, Vienna Symphony, Royal Concertgebouw Orchestra and Leipzig Gewandhaus Orchestra as well as
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the St. Petersburg Philharmonic, Deutsches Symphony Orchestra Berlin, Bavarian Radio Orchestra, Rotterdam Philharmonic, Budapest Festival Orchestra, Dresden Philharmonic, Danish Radio Symphony Orchestra and the Netherlands Radio Philharmonic among others. He is also a regular guest with the Sydney Symphony and the Hong Kong, Malaysia and Seoul Philharmonics. In October 2010, Mr. Graf led the Houston Symphony on a tour of the UK, which included performances in Birmingham, Edinburgh, Leeds, Manchester and two performances at the Barbican in London. And in June 2012, the Houston Symphony, led by Mr. Graf, was the first major American orchestra to appear at the Festival of World Symphony Orchestras in Moscow, presenting two programs, which included Bruckner 9, the Russian premiere of John Adams’ Doctor Atomic Symphony, and the first performance in Russia by an American orchestra of Shostakovich Symphony No. 11. During the summer of 2013, Mr. Graf returned to the Salzburg Festival for three different performances, including conducting a new work by Austrian composer Gerhard Wimberger with the Mozarteum Orchestra and leading an unusual, multi-media TV production of Mozart’s The Abduction From the Seraglio with the Camerata Salzburg. He has also participated in other such prestigious European festivals as the Maggio Musicale Fiorentino, Bregenz and Aix en Provence. His U.S. festival appearances include Tanglewood, Blossom Music Festival, Aspen Music Festival, Bravo! Vail Valley Music Festival and the Grant Park Music Festival in downtown Chicago. An experienced opera conductor, Mr. Graf first conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Paris and Rome among others. His extensive opera repertoire includes several world premieres. Recent opera engagements include Parsifal at the Zurich Opera, Boris Godunov at the Opera National du Rhin in Strasbourg, and two rarely produced operas by Strauss and Korngold at the famed Volksoper Vienna.
INDIANAPOLIS SYMPHONIC CHOIR
OCT 9, 10
Soprano Deborah Anderson Shallen Atkinds Marilyn Baumgardt Alyssa Beck Victoria Bedwell Emily Bertram Laura Brueckmann Emily Christine Carson Michelle Cohen *Cindy Colter
Suzie Dodds Jacqueline Eastman Cassie Garcia Diane Hall Danielle Hartman Anna Hassler Mary Lou Hayden *Ann Hill Karen Jacobs *Kathy Jensen
Jessica Johnson *Patricia K. Johnson Debbie Jones Quay Kester Kendra Kirby Justine Koontz Kennedy Luton Christina Merriott Rebecca Mickelson Kelly Miller
*Mary Jo Moss Laura Nagle Shari Norris Diana Pannell Erin Quandt Julie Query Joanna Luisi Reinhardt *Micci Richardson Lauren Richmond *Ingrid Rockstrom
Faith Alexander *Carole S. Arthur Reba Baker *Janice Bilby Suzanna Blahna Katherine Bolinger Kara Bougher Melissa Brown Ann Carlson Ali Darley
*Kathy Dean Kimberly DiCamilla Jodi L. Drake Holly Erickson *Ann M. Gerritsen Dana Goot Jane E. Gosling *Mary Gosling Molly Harris Katie L. Hilton
Janet Hock Laura Howie-Walters Kristin Ingersoll Jan Kennicutt Susan Kniola Katherine T. Landschulz Claudia J. MacRae Lisa Marchal Jaclyn Martin
*Brad Arthur Christopher Borm Christopher Brush Robert C. Campbell John Champley Chen Chen
Terion Cooper Michael Davis** Jeremy Allen Elkins Michael Ervin Alex Garcia Gary Griffith
*Loran Hill R. Zachary Karanovich Alexander Lalov Donald Mains, Jr. Tom Nichols Cameron Oehler
Joshua Ashbaugh *Gary Asher Jeffrey Bick Jeffrey Bower Wes Colter K. Allen Davis Brett Deery
Daniel Dixon *Franklin R. Drumwright Nate Foley Charles Gardner *Dennis Hardin *R.P. Hogan, III
*Tim Hoover Doug Johnson Philip E. Johnston Ian Justiniano Lee Kingery Nicholas Kohne Timothy S. Kroeker
Olesya Savinkova Carol Love Selby Stephanie Shaw Crystal Sheward Anna Pranger Sleppy *Deborah Smith Kayla Smith Valerie Stevens Kathy Tackitt Coleen Walker
Pamela Walters *Faedra Weiss Suellen Williams Judith Ann Wilson Mary Jo Wright
Katherine Sinclair Margaret Strodtbeck Gwen Swart *Carol Gossett Thorne Dana L. Voigt Valerie Voigt *Renee Wargel Elaine Weiss Lydia Wells Donna K. White
Dixie L. Williams Terran Williams *Anita Willis Sandy Winter Emily Zoss
David Michael Schuster Nate Shadday Lucas Shafer Craig Allen Slaughter Karl E. Snider
Larry Stout Gregg A. Sweeney James R. Toombs Tommy Lee Wells Barrie Zimmerman
David Nolan *Bill Paraskevas Gregory Pennington Angel RobertssonSoper *David Rose David Rosenfield
Charles Schafer Dennis Tackitt *Richard Thorne Tom Woo
Alto Rose Massela Phyllis McCormack *Rose M. Mullen Yvonne Nichols Kathy Martin-O’Neil Julie L. Paavola Becky Peterson *Judy Roudebush *Marie Schaekel Sydney Schafer
Tenor Eric Oehler Ian Oehler Richard Perry Grant Pfifer Daniel Rains Roland Schaffer
Bass Bennett C. Laguzza *Jon E. Lewis Mark Lund *Rodney Martin Bob Massie Greg McGowan David A. Mumper
David Duncan, Keyboard Artist *Denotes a Steffen Singer. The Steffen Singers, named in honor of the Symphonic Choir’s founding conductor Elmer Steffen, are persons who have dedicated 20+ years of their life to the Indianapolis Symphonic Choir as singing members.
The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and dynamic musical institutions and 2015/2016 marks its 79th season. Among the most active symphonic choruses in the nation, this organization reaches in excess of 25,000 persons each season with more than 25 performances and a comprehensive educational/outreach program. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each forty-two-week season. The organization is led by a professional staff and governed by a volunteer Board of Directors. The Symphonic Choir is the choral partner of the Indianapolis Symphony Orchestra, having been founded in 1937 at the Michael Pettry Eric Stark Orchestra’s request to perform the great choral/orchestral repertoire. Executive Director Artistic Director Over the years, this partnership has remained at the very core of the Choir’s existence and exhibits the very best of collaborative ideals – two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. In addition to collaborative performances with the ISO, the Symphonic Choir presents its own performances, educational initiatives and events each season. 2015-2016 marks the 14th season under the artistic direction of Dr. Eric Stark. Upcoming Indianapolis Symphonic Choir performances include December’s Festival of Carols, performed at the Scottish Rite Cathedral and The Palladium at the Center for the Performing Arts, as well as Bach’s St. John Passion at the Christel DeHaan Fine Arts Center. For more information about the Indianapolis Symphonic Choir visit indychoir.org or follow us on Facebook and Twitter.
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OCT 9, 10
NOTES
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Missa solemnis in D Major, Op. 123 Ludwig Van Beethoven Born December 17, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria “My chief aim was to awaken and permanently instill spiritual feelings not only in the singers but in the listeners.” Beethoven In 1818, Beethoven learned that his friend and patron, Archduke Nicholas Rudolph was to become a cardinal of the Church and Archbishop of Olmutz. For the occasion, Beethoven decided to write a Mass and the installation was scheduled for March 1820. On June 4, 1819, the composer wrote to him: “The day on which a High Mass composed by me is performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious day of my life, and God will enlighten me so that my poor talents may contribute to the glorification of that solemn day.” The date was fixed for March 20, 1820. The composer missed the deadline by several years. It was not completed until December 1822. In January 1823 the composer began marketing the work for 50 ducats. On April 18, 1824 in St. Petersburg, Russia, Prince Galitzin underwrote the first performance. Beethoven, had in fact, conducted the Kyrie, Credo, and Agnus Dei (identified as “Three Grand Hymns with Solo and Chorus Voice” at the premier of his Ninth Symphony.) In 1818, Beethoven wrote in his private Diary, “In order to write true church music, go through all the ecclesiastical chants of the monks. Also look there for the stanzas in the most correct translations along with the most perfect prosody of all Christian-Catholic psalms and hymns in general. “ Between 1819 and 1823 he worked on the Missa solemnis. Philip Huscher wrote: “It was the composition that demanded more of Beethoven’s time and thought than any other at any time in his career.” Even though he was producing his Ninth Symphony and his late piano sonatas during this time, the Missa solemnis was on
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his mind, albeit in the background. In 1819, he put pen to paper and began to write. In his famous 1820 portrait by Joseph Karl Stieler commissioned by Franz and Antonie Brentano, Beethoven holds his pen over the Missa solemnis manuscript. Nominally a Catholic, Beethoven was well studied in other religions, but Christianity was predominant in his life. In his diary (Tagebuch) he spoke of God, always addressing him as Dear Father, and he saw Christ as a fellow sufferer. Opus 123 would be his second mass, having written one in 1807 on commission from Prince Nicholas Esterhazy. In summary of that work, Beethoven noted, “I believe I have treated the text as it has seldom been treated.” In a snippy reply, the Prince commented:“ My dear Beethoven, what have you done?” Musical settings of the Catholic mass (Latin: missa) The Catholic mass has two basic components: the Ordinary and the Proper. The Ordinary refers to five parts, which are included in every mass: the Kyrie, Gloria, Credo, Sanctus, Agnus Dei (modified in Requiem masses in 1970.) The Proper refers to prayers, communion, and scripture readings and other elements, which are related to specific observance such as to the day or the time of year and therefore can be somewhat variable. Generally speaking the musical mass uses the Ordinary. The creation of Missa solemnis The struggles that Beethoven endured during the writing of his Missa solemnis were extreme and seemingly unending. Included in his preparatory studies were the Dodecachordon, a 1547 treatise on church
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OCT 9, 10
modes and the Instituzioni armoniche of 1558, treating of theory, history, speculation, and criticism. He had the entire mass translated into German in order to capture the nuance of every word. Jameson Marvin concluded “Through Beethoven’s comprehension of modal theory, Renaissance polyphony, Handelian counterpoint, and Haydnesque Cantata-Mass form, he molds a new genre in which, in his hands, becomes by far the most expressive setting of any mass of the 19th century.”
is the second section: the music becomes darker and more serious. The final section, Kyrie eleison repeats the initial beseeching for mercy.
Beginning in August of 1819, Anton Schindler, Beethoven’s personal secretary and first biographer recorded:
The Credo is the longest movement. The text is the longest, and he expands his musical setting accordingly. He uses ancient modes for the text Et incarnates est de spiritu sancto ex Maria virgine to lend a old coloring which sounds quite mystical. A solo flute represents the Holy Spirit above the chorus. In the Crucifixus section, Beethoven marks the suffering of Christ with syncopated rhythms, and jolting sforzandis (sudden loud and soft sounds).
“It was 4 o’clock in the afternoon. In the living room, behind a locked door we heard the master singing parts of the fugue in the Credo—singing, howling, stamping. After we had been listening for a long time to the most awful scene, and were about to go away, the door opened and Beethoven stood before us with distorted features calculated to excite fear. He looked as if he had been in mortal combat with the whole host of contrapuntist, his everlasting enemies…His words were confused, as if he felt embarrassed at being overheard. Soon he began to speak of the day’s events and said with notable selfcontrol “What a mess! Everyone has run away, and I have not had anything to eat since yesterday noon.” At the conclusion of that year he wrote, “When I think of the events of the year 1819, I remember his mental excitement and I must admit that never before and never since that time have I seem him in a similar state of removal from the world.” Later, Schindler observed, “Every movement as he approached it became bigger than he had imagined.” Kyrie assai sostenuto “Mit Andacht” (with devotion) This section is written in ABA form. The first begins with the Kyrie eleison. It is sung three times, and answered responsorially by a soloist, representing the priest. Christe eleison
Gloria: Beethoven expands his enthusiasm for God and praising God in a grand opening flourish. The Gloria becomes dramatic, with many changes of tempi and textures. Beethoven explained, “No bar is inexpressive.” At the end, he repeats the word Gloria twice, which is not in the Catholic text.
The Sanctus becomes more joyful, even moving into a fast section to mark the energetic praise of God. The Benedictus: Beethoven elected to combine this in the Sanctus section. The linkage is marked by a beautiful Preludium, which includes a stunning violin solo. The Agnus Dei (Lamb of God): Herein Beethoven selects a minor key (b minor) and uses a solemn pace to match the words and the pleading: “Oh Lamb of God that taketh away the sins of the world, have mercy upon us.” In the last section, he takes more liberties with the mass, using only the phrase “dona nobis pacem” (Give us peace,) rather than the full text, which was traditional in the mass. Suddenly, the orchestration radically changes and a military style march occurs. Musicologists have often stated that the composer, at this point, is pleading for outward (political) peace as well as inner peace.
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OCT TEXT 9, 10
NOTES MISSA SOLEMNIS, OP. 123 LUDWIG VAN BEETHOVEN (1770–1827)
I. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison. II. Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris, O miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. III. Credo Credo in unum Deum; Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Credo in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia sæcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.
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Lord, have mercy. Christ, have mercy. Lord, have mercy. Glory be to God in the highest. And in earth peace to men of good will. We praise Thee; we bless Thee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory. O Lord God, Heavenly King, God the Father Almighty. O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father. Thou that take away the sins of the world, have mercy upon us. Thou that take away the sins of the world, receive our prayer. Thou that sit at the right hand of the Father, have mercy upon us. For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ. Together with the Holy Ghost in the glory of God the Father. Amen. I believe in one God; the Father almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds; God of God, light of light, true God of true God, begotten not made; being of one substance with the Father, by Whom all things were made. Who for us men and for our salvation descended from heaven;
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OCT TEXT 9, 10
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis. Credo in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Credo in unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma, in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi sæculi. Amen. IV. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
and was incarnate by the Holy Ghost, of the Virgin Mary, and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried. And on the third day He rose again according to the Scriptures: and ascended into heaven. He sits at the right hand of the Father; and He shall come again with glory to judge the living and the dead; and His kingdom shall have no end. I believe in the Holy Ghost, the Lord and giver of life, Who proceeds from the Father and the Son, Who with the Father and the Son together is worshipped and glorified; who spoke by the Prophets. And I believe in one holy catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I await the resurrection of the dead and the life of the world to come. Amen.
Benedictus qui venit in nomine Domini. Osanna in excelsis. V. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei. Dona nobis pacem.
Blessed is He that comes in the name of the Lord. Hosanna in the highest.
Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.
Lamb of God, Who takes away the sins of the world, have mercy upon us. Lamb of God. Grant us peace.
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INDIANAPOLIS
SYMPHONY ORCHESTRA
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IVCI WINNER JINJOO CHO PLAYS TCHAIKOVSKY
OCT 15
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program One Thursday, October 15, 2015, at 11:15 a.m. Hilbert Circle Theatre MICHAEL FRANCIS, Conductor JINJOO CHO, Violin Piotr Ilyich Tchaikovsky Concerto in D Major for Violin and Orchestra, Op. 35 (1840-1893) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Jinjoo Cho, Violin Edward Elgar Variations on an Original Theme, Op. 36 (“Enigma”) (1857-1934) Theme (Enigma: Andante) Variation I (L’istesso tempo) ‘C.A.E.’ Variation II (Allegro) ‘H.D.S-P.’ Variation III (Allegretto) ‘R.B.T.’ Variation IV (Allegro di molto) ‘W.M.B.’ Variation V (Moderato) ‘R.P.A.’ Variation VI (Andantino) ‘Ysobel’ Variation VII (Presto) ‘Troyte’ Variation VIII (Allegretto) ‘W.N.’ Variation IX (Adagio) ‘Nimrod’ Variation X (Intermezzo: Allegretto) ‘Dorabella’ Variation XI (Allegro di molto) ‘G.R.S.’ Variation XII (Andante) ‘B.G.N.’ Variation XIII (Romanza: Moderato) ‘ * * * ‘ Variation XIV (Finale: Allegro) ‘E.D.U.’
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Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Length of performance is approximately one hour. There is no intermission.
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APRIL 29 TO MAY 14, 2016 THEGILMORE.ORG
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IVCI WINNER JINJOO CHO PLAYS TCHAIKOVSKY
OCT 16
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Three Friday, October 16, 2015, at 8 p.m. Hilbert Circle Theatre MICHAEL FRANCIS, Conductor JINJOO CHO, Violin Felix Mendelssohn Calm Sea and Prosperous Voyage, Op. 27 (1809-1847) Piotr Ilyich Tchaikovsky Concerto in D Major for Violin and Orchestra, Op. 35 (1840-1893) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Jinjoo Cho, Violin
INTERMISSION – Twenty Minutes
Edward Elgar Variations on an Original Theme, Op. 36 (“Enigma”) (1857-1934) Theme (Enigma: Andante) Variation I (L’istesso tempo) ‘C.A.E.’ Variation II (Allegro) ‘H.D.S-P.’ Variation III (Allegretto) ‘R.B.T.’ Variation IV (Allegro di molto) ‘W.M.B.’ Variation V (Moderato) ‘R.P.A.’ Variation VI (Andantino) ‘Ysobel’ Variation VII (Presto) ‘Troyte’ Variation VIII (Allegretto) ‘W.N.’ Variation IX (Adagio) ‘Nimrod’ Variation X (Intermezzo: Allegretto) ‘Dorabella’ Variation XI (Allegro di molto) ‘G.R.S.’ Variation XII (Andante) ‘B.G.N.’ Variation XIII (Romanza: Moderato) ‘ * * * ‘ Variation XIV (Finale: Allegro) ‘E.D.U.’ Premier Sponsor
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Length of performance is approximately one hour and forty-five minutes. Recording or photographing any part of this performance is strictly prohibited.
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OCT 16
MICHAEL FRANCIS, Conductor
Michael Francis has quickly established himself as an international conductor creating ongoing relationships with the world’s leading orchestras. He came to prominence as a conductor in January 2007 when he replaced an indisposed Valery Gergiev for concerts with the London Symphony Orchestra during the BBC Gubaidulina festival at the Barbican Centre. Only one month later, Francis was asked, this time with only two hours’ notice, to replace the composer/conductor John Adams in a performance of his own works with the LSO at the Philharmonie Luxembourg and soon after in January 2009, he replaced André Previn leading a German tour of the Stuttgart Radio Symphony. Now six seasons later, Michael Francis assumed his role as Music Director of the Mainly Mozart Festival on October 1, 2014, and as Music Director for The Florida Orchestra beginning in September 2015 while entering his third season as Chief Conductor and Artistic Advisor to Sweden’s Norrköping Symphony Orchestra.
He has also debuted with the New York and Royal Philharmonic, the symphonies of Houston, Seattle, Milwaukee, Quebec, Vancouver and in 2014/2015 conducted
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return engagements with the BBC National Orchestra of Wales, RTÉ National Symphony of Ireland, the Dresden Philharmonic, and the symphonies of Oregon, Cincinnati, Ottawa, New World, and Pittsburgh. His European engagements have included the London Symphony Orchestra, English Chamber Orchestra, Orchestre de Chambre de Lausanne, Orquesta Sinfónica de RTVE Madrid, Helsinki Philharmonic, the Mariinsky Orchestra, Orchestre Philharmonique de Monte-Carlo, and Stuttgart Radio Symphony. In Asia, Maestro Francis has worked with Japan Philharmonic, Tokyo Symphony, Hong Kong Philharmonic, and National Taiwan Symphony with upcoming returns to the Malaysian and Seoul philharmonics and a debut with the NHK Symphony Orchestra in Japan.
Michael Francis’ 2010 debut with the San Francisco Symphony quickly established a formidable relationship with the orchestra. He has now led twenty-one different classical programs and three New Year’s Eve programs with the orchestra.
Soloists that he works with include Lang Lang, Arcadi Volodos, Christian Tetzlaff, Anne-Sophie Mutter, Vadim Gluzman, Nicola Benedetti, Baiba Skride, Alisa Weilerstein, Daniel Müller-Schott, Miloš and Rufus Wainwright.
Michael Francis has recorded several albums, the most recent of which is the complete Rachmaninoff piano concertos with Valentina Lisitsa and the London Symphony Orchestra for Decca Records in 2013.
JINJOO CHO, Violin Critically acclaimed violinist Jinjoo Cho has established herself as one of the most vibrant, engaging and charismatic violinists of her generation. Gold Medalist of the 2014 Ninth Quadrennial International Violin Competition of Indianapolis, Jinjoo made her first appearance on the international music scene when she garnered the First Grand Prize and Radio Canada’s People’s Choice Award at the 2006 Montreal International Musical Competition at age 17. Times Argus of Montreal proclaimed her performance of Shostakovich Violin Concerto as possessing “an undeniable charisma and depth…with an intense lyricism and heartfelt tenderness that sent shivers up the spine.” Since then, she has won numerous international awards including the First Prize and Orchestra Award at the Buenos Aires International Violin Competition in 2010, 2nd Laureate at the 2011 Isang Yun International Music Competition, First Grand Prize at the Alice Schoenfeld International String Competition, and the Dorothy DeLay Award at Aspen Music Festival. Jinjoo has concertized throughout North and South America, Asia, and Europe, performing as a soloist with such prestigious orchestras as The Cleveland Orchestra, Orchestre symphonique de Montréal, Orchestre symphonique de Québec, Seoul Philharmonic Orchestra, Orquesta Sinfónica Nacional (Argentina), and the Louisville Orchestra among many others. She has been privileged to perform with renowned artists Kent Nagano, Peter Oundjian, Michael Stern, James Gaffigan, Robert McDuffie, Jaime Laredo, Sharon Robinson, Paul Neubauer, Roger Tapping and Anton Nel. Jinjoo has appeared in international venues and festivals including Carnegie Hall, Severance Hall, the Herkulessaal of Munich, Teatro Colón of Buenos Aires, Seoul Arts Center, Aspen Music Festival, Schwetzingen SWR Festipiele, Festival de Lanaudiére, Cleveland
OCT 16
Chamberfest, Kentucky Center for the Performing Arts, Seoul Spring Chamber Music Festival, and Tongyeong International Music Festival. Jinjoo launched her current season with a New Year’s performance as the Artist in Residence at Kumho Art Hall in Seoul, Korea. In 2015, Jinjoo will give recitals at Bard College, Chamber Music International in Dallas, and the Mainly Mozart Festival in Miami among others. Her upcoming engagements include Carnegie Hall concerto and recital debuts and concerts with the Greensboro, North Carolina, Indianapolis, Vermont, Santa Fe and Phoenix symphonies, Grand Junction Orchestra, and Minas Gerais Symphony in Brazil. Jinjoo’s biggest passion is arts education and audience engagement. As a result, she is the founder of a new chamber music program for high school and college students in Hudson, Ohio named the Encore Chamber Music Institute. The institute will have its inaugural season in the summer of 2016. Another project of hers on the opposite side of the globe is Classical Revolution Korea, where musicians travel all across Korea to give free concerts and meet audiences in cafés. The programs in 2015 include performances in Seoul and Jeju Island. Additionally, she started writing a monthly column in the performing arts magazine, Auditorium, titled “The Art of Practice” in April 2015. Born in Seoul, Korea, Jinjoo moved to Cleveland, Ohio at the age of 14 to study at the Cleveland Institute of Music as a Young Artist Program student. Within a few years of arriving in the United States, she had won most of the local competitions for both high school and collegiate level students, including the Cleveland Orchestra Youth Orchestra’s concerto competition and the Cleveland Institute of Music’s collegiate level concerto competition. One of the jurors at the Cleveland Orchestra Youth Orchestra competition was the legendary oboist John Mac, who later became very closely tied to Jinjoo’s musical development. At age 16, she was awarded the Gold Medal at the Stulberg International String Competition. Furthermore, Jinjoo served as concertmaster of the Cleveland Orchestra Youth Orchestra and later, the New York String Orchestra Seminar. The New York Times described her concertmaster solos as “rich and open…finely polished, (and) focused.”
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OCT 16
NOTES
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Calm Sea And Prosperous Voyage, Opus 27 Felix Mendelssohn Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig, Germany Two poems by Goethe, the first titled Calm at Sea and the second titled Prosperous Voyage, were the source for three 19th century settings: Beethoven’s Opus 112, (1814-1815) Schubert’s song “Calm Sea” (1815) and Mendelssohn’s Overture Opus 27, (1828, revised in 1834.) Originally, Mendelssohn had intended that A Midsummer Night’s Dream, Calm Sea and Prosperous Voyage, and Hebrides be published as a single set with a single opus number, but that later changed. The first poem reads: Silence, deep rules over the waters Calmly slumbering lies the main While sailor views with trouble Nought but one vast level plain Not a zephyr is in motion! Silence fearful as the grave! In the mighty waste of ocean Sunk to rest is every wave. (1795) The second poem reads: The mist is fast clearing And radiant is heaven While Aeolus loosens Our anguish-fraught bond. The zephyrs are sighing Alert is the sailor. Quick! Nimbly be plying! The distance approaches I see land beyond! (1795) Mendelssohn wrote the following notes: “The introduction I planned in this way: That a pitch gently sustained by the strings for a long while hovers here and there and trembles, barely audible, so that in the slowest Adagio, now the basses, now the violins, rest on the same pitch for several
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bars. The whole stirs sluggishly from the passage with heavy tedium. Finally it comes to a halt with thick chords and the Prosperous Voyage sets out. Now all the wind instruments, the timpani, oboes and flutes begin and play merrily to the end.” In place of vocal settings, chosen by Schubert and Beethoven, Mendelssohn sets the poems into an orchestral seascape. Although he had only seen the sea one time at this point in his life, he wrote a stunning and convincing representation of the danger and terror of being becalmed and the celebration of finally seeing land and the renewal of wind. The music begins piano and adagio: a sustained chord sounds from strings and winds, with a tiny downward movement in the basses for two measures before violins and violas pick up the theme: hymn-like, the instruments move together with small colorations from the flute. The atmosphere is lonely, frightening, and deadly calm. Sailors faced a certain death if things did not change. There is no panic, only resignation. Hope does emerge when a birdcall emerges from the flute; a climbing gesture leads into a general swell of a sustained fortissimo chord. At this point, we launch into the “prosperous” section marked molto allegro e vivace. Excitement grows, trumpet fanfares announce the salvation and the orchestra races headlong into an unending celebration. Embedded into this section is a small hymn of thanksgiving, momentarily stopping the euphoria. Joy and relief re-enter into a lyrical conclusion, with the bird singing small interjections in a zestful renewal of life and a second chance for the living of it. The Overture concludes with a peaceful chord: and all is well.
NOTES Concerto in D Major for violin and orchestra, Op. 35 Piotr Iiyich Tchaikovsky Born May 7, 1840 in Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia In early 1878, Tchaikovsky’s patron, Nadezhda von Meck, gave the composer money to use for an extended holiday. She felt that his failed marriage in 1877 and suicide attempt by drowning in the Moscow River warranted a trip outside of Russia to recover his spirits. Taking violinist Joseph Kotek as a companion, Tchaikovsky set off for Clarens, Switzerland. The two read through reams of violin music, including Edouard Lalo’s Symphonie espagnole. Lalo’s Symphonie was a seminal force in Tchaikovsky’s decision to write his own violin concerto, which he began on March 17 and completed in only two weeks. Little did he realize he had created a lightning rod for criticism. To start it off, Mme. von Meck wrote of her personal displeasure with the concerto. “I shall not give up the hope that in time the piece will give you greater pleasure,” Tchaikovsky responded. Its first dedicatee, Leopold Auer, head of the violin department of the St. Petersburg Conservatory and concertmaster of the Imperial Orchestra, refused to play the concerto deeming it “unsuitable to the character of the instrument.” Critic Edouard Hanslick wrote that it was “a rare mixture of originality, crudity, of inspiration and wretched refinement, with an audible, odorously Russian stench.” Continuing on in the Neue freie Presse, Hanslick’s disgust gained momentum: “(In the first movement) vulgarity gains the upper hand. The Adagio is well on the way to reconciling us and winning us over when, all too soon, it breaks off to make way for a finale that transports us to the brutal and wretched jollity of a Russian church festival. We see a host of gross and savage faces, hear crude curses and smell the booze.” Hanslick lobbed grenades at Tchaikovsky as well. “The Russian
OCT 16
composer is surely no ordinary talent, but rather an inflated one, obsessed with posturing as a man of genius and lacking of all discrimination and taste.” Tchaikovsky cut out the review and literally carried the critic’s words in his pocket for several months, becoming very depressed. The concerto’s future seemed catastrophic. Things began to look up when, on December 4, 1881, Adolf Brodsky, the second dedicatee, premiered the work in Vienna and wrote, “ One can play the concerto again and again and never be bored. And, this (repetition) is a most important circumstance for conquering its difficulties.” The concerto was revived. It is true that the concerto demanded new violin techniques, but not impossible ones. In this regard the concerto was forward looking, ranking among those musical works whose demands initiated new technical abilities and expertise from the performer. Ultimately, as violinists improved, Tchaikovsky’s work has become one of the great showpieces in violin repertoire. Its fanciful gypsy-like tunes, colorful Russian orchestration and pyrotechnics make it a timeless thriller. “I never compose in the abstract,” Tchaikovsky explained. “I invent the musical idea and its instrumentation simultaneously.” Concept and instrumentation were one. Years later, Auer regretted his early refusal to play the concerto. In the Musical Courier, January 1912, he stated, “I have often deeply regretted (my refusal) and before Tchaikovsky’s death received absolution from him. “ A brief introduction from the first violins opens the concerto. After a small crescendo, the soloist is launched unobtrusively with a tiny solo and presentation of the main theme, sung above minimal string accompaniment. The subject becomes increasingly elaborate, gains strength, and the orchestra adds weight and coloration. A second theme, marked
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OCT 16
NOTES
con molto espressione, is similar and equally beguiling. Such lack of contrast between the two main themes is unusual, but the composer’s intent was to write idiomatically for the violin, not to genuflect to traditional formal controls. The development section savors the main theme before growing into a fiery cadenza. A recapitulation follows the soloist’s high-wire performance, but then the orchestra takes a bow with its own extravaganza in a coda, which asks for no less than four accelerations of tempi. The second movement (canzonetta) is exactly that: a small, quiet, song. Both its structure (ABA) and texture are simple. Woodwind chords prepare the soloist’s setting. Two elegant themes are quietly presented with accompaniment from violins, violas, and French horns. In the third section, the woodwinds return with a recall of the opening, and lead directly into the finale. In contrast, the third movement immediately ignites renewed vigor and acrobatics. The soloist whips out a dance-like tune, which is capsulated in rondo format (alternating theme and episodes.) Tchaikovsky releases all orchestral stops and the soloist, now launched on a frenetic ride, is front and center. Keeping up, he must navigate perilous scales, double stops, dangerous leaps with blazing speed and accuracy. Herein lie many of the technical difficulties alluded to earlier. The effect is undeniably stunning. Michael Steinberg concluded that “Although Tchaikovsky could not please Dr. Hanslick, he has no trouble at all winning us over!”
Variations on an Original Theme, Op. 36 (“Enigma”) Edward Elgar Born June 2, 1857 in Broadheath Died February 23, 1934 in Worchester, United Kingdom On February 2, 1899 Edward Elgar completed his Variations on an Original Theme saying
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“In this music I have sketched for their amusement and mine, the idiosyncrasies of 14 of my friends, not necessarily musicians.” Although the composer began with the idea of simply having fun, Opus 36, catapulted England back onto the international music scene after Elgar took his theme and elaborated on it in a magnificent set of variations for orchestra. England had not had any musical prominence for so long that the music critic of the Manchester Guardian, Arthur Johnstone, wrote “The audience seemed rather astonished that a work by a British composer should have other than a petrifying effect on them!” The additional title “Enigma” refers to a concealed theme which is suggested within the variations. Elgar baited speculation about the work saying “The enigma I will not explain. Its dark saying must be left unguessed and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme goes, but is not played.” The composer carried this special secret to his grave. The theme emerged from casual circumstances. In his own words, Elgar explained “One evening, after a long and tiresome days teaching, aided by a cigar, I musingly played on the piano the theme as it now stands. The voice of C.A.E. (Lady Elgar) asked with a sound of approval, ‘What was that?’ I answered, ‘Nothing – but something might be made of it.” It was as if Elgar merely stumbled upon the keystone of his momentous work. The composer’s own words (in quotations) enhance the nature of his friends’ tonal portraits. C.A.E. – Caroline Alice Elgar, his wife “a prolongation of the theme with what I wished to be romantic and delicate additions.” H.D.S.P.- H. David Stuart-Powell, a pianist
NOTES with whom Elgar played chamber music. “His characteristic diatonic run over the keys before beginning to play is here travestied in the semiquaver (sixteenth note) passages.” R.B.T. – Richard Baxter Townshend, an actor famous for playing the roles of old men with their “low voices flying off occasionally into ‘soprano timber’ as heard in the dialogue between the bassoon and the higher woodwinds.” He was also a bass singer. W.M.B. – William M. Baker, a fiery and vigorous country squire who one time “forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.” R.P.A. – Richard Penrose Arnold, a self-taught amateur pianist and delightful raconteur, about whom Elgar noted “His serious conversation was continually broken up by whimsical and witty remarks.” Ysobel – Isobel Fitton was an amateur violist/ violinist and a student of Elgar’s “who was very tall, explaining the huge upward leaps in the melody.” The composer felt that her music should be “pensive, and for a moment, romantic.” Troyte – Arthur Troyte Griffith, a “truculent architect” who had a habit of saying the unexpected. Hence, the music is often surprising. “The strong rhythm suggests the attempts of the instructor to make something like order out of chaos. “
OCT 16
Dorabella – Dora Penny, a friend of the composer. “The music suggests a dancelike lightness.” G.R.S. – Dr. George Robinson Sinclair, organist at Hereford Cathedral. “The music has nothing to do with organs or cathedrals. The first few bars were suggested by his great bulldog, Dan, falling down the steep bank into the River Wye and his rejoicing bark on landing.” G.R.S. said ‘Set that to music!’ I did, and here it is.” B.G. N. – Basil G. Nevinson, an amateur cellist “A tribute to a very dear friend.” Note the special role given to the celli in this section. ***** - Lady Mary Lygon “The asterisks take the place of the name of a lady who was, at the time of composition on a sea voyage (and hence could not be asked for permission to use her initials). The drums suggest the distant throb of the engine over which the clarinet quotes a phrase from Mendelssohn’s Calm Sea and Prosperous Voyage. E.D.U. – “Edu” was the pet name given to Elgar by his wife. “The music is bold and vigorous in general style.” After the friends are presented, Elgar concludes with a fast coda. The Variations premiered at the Worcester England Festival on September 13, 1899 under the baton of the composer.
W.N. – Winifred Norbury (and her sister) Elgar wrote “The gracious personalities of the ladies are shown, and a little suggestion of a characteristic laugh is given.” Winifred was secretary to the Worcester Philharmonic Society. Nimrod – August Jaeger (the Hunter) an esteemed musicologist. “The music is the record of a long summer evening talk when my friend discoursed eloquently on the slow movements of Beethoven.”
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MUSICIAN. TECHIE.
CITIZEN. EMPLOYEE.
We’re all citizens. Just like you. Whether she’s playing guitar or making sure computer programs are in sync, Julie knows the audience wants excellence. That’s no small challenge when your audience is 400,000 customers in and around Indianapolis. People depend on Julie, and others like her, for the water that brews coffee and fills dog dishes. So every day she makes sure her performance is the best it can be, because Julie doesn’t just work for Citizens Energy Group. She lives here too.
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Visit IndyCitizens.com to learn more.
BACK TO THE FUTURE: FILM WITH ORCHESTRA
OCT 21
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Special Event Wednesday, October 21, 2015, at 7:30 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor Back to the Future Film: with Orchestra STEVEN SPIELBERG Presents BACK TO THE FUTURE A ROBERT ZEMECKIS Film MICHAEL J. FOX CHRISTOPHER LLOYD LEA THOMPSON CRISPIN GLOVER Written by
ROBERT ZEMECKIS & BOB GALE Music by ALAN SILVESTRI Produced by
BOB GALE and NEIL CANTON Executive Producers STEVEN SPIELBERG KATHLEEN KENNEDY and FRANK MARSHALL Directed by ROBERT ZEMECKIS
Length of performance is approximately two hours and one minute. Recording or photographing any part of this performance is strictly prohibited.
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OCT 21
JACK EVERLY, Conductor
Jack Everly is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn. The broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television. Everly is also the Music Director of IPL Yuletide Celebration, now a 30-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other
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recordings include In The Presence, featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs, including the most recent, On Broadway with Kander & Ebb. In the past 13 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 14 years and when not on the podium you can find Maestro Everly at home with his family, which includes Max, the wonder dog.
ALAN SILVESTRI, Composer In his ongoing, decades-long career as a composer, Alan Silvestri has scored some of the most iconically revered and profitable films in Hollywood history, amassing over a hundred credits to the tune of two Oscar and Golden Globe nominations, two Emmy awards, as well as three Grammy awards. While stylistically diverse, the unifying voice of Alan’s work is an unmistakable rhythmic melody whose themes continue to embody movie excitement and drama for generations of moviegoers. Born in New York City and raised in Teaneck, New Jersey, Silvestri first thought of becoming a bebop jazz guitar player. After spending two years at the Berklee College of Music in Boston, Silvestri hit the road as a performer and arranger. Landing in Hollywood at the age of 22 and armed with film scoring books and a sense of adventure, Silvestri found himself successfully composing the music for 1972’s “The Doberman Gang”. The 1970s witnessed the rise of energetic synth-pop scores, establishing Silvestri as the action rhythmatist for TV’s highway patrol hit “CHiPs.” This action driven score caught the ear of budding filmmaker Robert Zemeckis, whose hit film 1984’s “Romancing the Stone” was the perfect first date for the composer and director and it’s success became the basis of a decades long collaboration between the filmmaker and composer that continues to the current day. Their numerous collaborations have taken them through many fascinating landscapes and stylistic variations, from the “Back to the Future” trilogy, the jazzy world of Toontown in “Who Framed Roger Rabbit ?” to the tension filled rooms of “What Lies Beneath”
OCT 21
and “Death Becomes Her”, from the cosmic wonder of “Contact” to the emotional isolation of “Castaway”, and from the Wagnerian brawl of “Beowulf” to the magic of “The Christmas Carol” and “Polar Express” whose song “Believe” garnered an Oscar nomination. But perhaps no film partnership defines their creative relationship better than Zemeckis’ 1994 Best Picture winner, “Forrest Gump”, for which Silvestri’s gift for melodically beautiful themes earned him an Oscar nomination and the affection of film music lovers everywhere. Though the Zemeckis/Silvestri collaboration is legendary, Silvestri has scored well over 100 films of every imaginable style and genre. His energy and experimentation has brought excitement and emotion to the hard-hitting orchestral/percussion scores of “Predator”, “Judge Dredd” and James Cameron’s “The Abyss” and lent thrills to the effects-driven scores for “ The Mummy Returns” and “G/I. Joe: The rise of the Cobra”. His ethnic rhythms for “Soapdish” and “The Mexican” segue to the raucus fun of family entertainments like “Stuart Little 1 and 2” and Disney’s “Lilo and Stitch” as well as the “Night at the Museum” trilogy. The gripping tension of “Blown Away” and “Identity” yield to the romantic film noir of “The Bodyguard” while edgy comedies like “Mousehunt” and romantic comedies like “The Father of the Bride 1 and 2”, “Parent Trap” and “What Women Want” bring heart felt warmth. But Silvestri has also proven adept at riding the western range of “Young Guns 2” and “The Quick and the Dead” while also providing thrilling macho muscle for “Van Helsing” and “The A-Team”. Alan’s talent for a dynamically heroic sound has helped propel such Marvel superheroes as “Captain America: The First Avenger” and “The Avengers” to spectacular world-wide success, even as he provided the restrained, anguished sound for the alcoholic pilot of Robert Zemeckis’“Flight.” Silvestri’s rambunctious orchestral cheer has also helped to create the hit caveman family film “The Croods.”
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OCT 21
ALAN SILVESTRI, Composer
In 2014 Alan won two Emmy awards for his work on “Cosmos: A Spacetime Odyssey.” The new “Cosmos” updates Carl Sagan’s original series with the latest discoveries about the universe we live in and combines those facts with spectacular visual effects and animation. Ann Druyan, widow of Carl Sagan and a co-writer on the original “Cosmos” series, serves as an executive producer, writer and director alongside executive producer Seth MacFarlane. Most recently, Alan has composed the music for Robert Zemeckis’“The Walk.” The film is the story of French high-wire artist Philippe Petit’s attempt to cross the Twin Towers of the World Trade Center in 1974. The film will be in theaters October, 2015. Alan Silvestri and his wife Sandra are long
time residents of California’s central coast. They are founders of the local branch of the Juvenile Diabetes Research Foundation’s Monterey branch and have served in many capacities through their long relationship with the organization since their son was diagnosed as a young child in 1992. They are also the founders of Silvestri Vineyards. Their wines show that lovingly cultivated fruit has a music all its own. “There’s something about the elemental side of winemaking that appeals to me,” he says. “Both music making and wine making involve the blending of art and science. Just as each note brings it own voice to the melody, each vine brings it’s own unique personality to the wine.” Whether in his studio or the vineyard, Alan continues to find inspiration and passion for music, film, family and wine.
A NOTE FROM THE COMPOSER Great Scott! After 30 years we find ourselves being sent Back To The Future. This time the re-entry is in the concert hall, bringing a new sense of excitement through gifted musicians all around the world. Unlike Doc Brown, I could never have dreamed that I would have the opportunity to set the time circuits back to 1985 and have the chance to relive the excitement of the arrival of Back To The Future. “Where we’re going, we don’t need roads…” With a timeless film, and a timeless machine known as an orchestra, we can go anywhere. -Alan Silvestri
Back to the Future is a trademark and copyright of Universal Studios and U-Drive Joint Venture. Licensed by Universal Studios Licensing LLC. All Rights Reserved. Back to the Future – Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Coordinator: Rob Stogsdill
Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Marketing Coordinator: Dan Barry Music Composed by Alan Silvestri Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi
Technical Consultant: Laura Gibson
Synthesizer Programming: Alex Levy
Sound Remixing for Concert Performance: Chace Audio by Deluxe
The score for Back to the Future has been adapted for live concert performance.
With special thanks to: Universal Studios, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy and Mark Graham.
www.filmconcertslive.com
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KENNY ROGERS WITH THE ISO
OCT 23, 24
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Printing Partners Pops Series/Program Two Friday, October 23, 2015, at 8 p.m. Saturday, October 24, 2015, at 8 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor KENNY ROGERS, Vocalist Selections to be announced from stage.
Premiere Sponsor
btlaw.com
Associate Sponsor
Length of performance is approximately thirty-seven minutes. Recording or photographing any part of this performance is strictly prohibited.
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OCT 23, 24
JACK EVERLY, Conductor
Jack Everly is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn. The broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television. Everly is also the Music Director of IPL Yuletide Celebration, now a 30-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other
56
recordings include In The Presence, featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs, including the most recent, On Broadway with Kander & Ebb. In the past 13 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 14 years and when not on the podium you can find Maestro Everly at home with his family, which includes Max, the wonder dog.
KENNY ROGERS, Vocalist
OCT 23, 24
longtime friend and collaborator Dolly Parton, for their new duet, “You Can’t Make Old Friends,” the title track of Rogers’ current acclaimed 32nd studio album released by Warner Bros. in 2013. “You Can’t Make Old Friends” was also included on the American Songwriter Top 50 Songs of 2014 list. The magical Kenny & Dolly reunion was only the third time in the studio together since their “Real Love” hit in 1985.
Grammy Award-winning country superstar and music icon Kenny Rogers has enjoyed great success during his storied career of five and a half decades. The enduring Country Music Hall of Fame member and pop superstar has endeared music lovers around the globe with his amazing songs, heartfelt performances, distinctive voice, gift for storytelling and universal appeal. Rogers has played to millions of fans around the world, performing songs from his catalog of 24 Number One hits including “The Gambler,” “Lucille,”“Coward of the County,”“Ruby, Don’t Take Your Love To Town,” and “Lady”. The first country artist to consistently sell out arenas, Rogers has charted a record within each of the last seven decades. He has sold more than 120 million albums worldwide, making him one of the Top Ten Best-Selling Male Solo Artists of All Time, according to the RIAA. Rogers has won many awards for his music and charity work, including three Grammy Awards, 19 American Music Awards, 11 People’s Choice Awards, eight Academy of Country Music Awards and six Country Music Association Awards, including the CMA Lifetime Achievement Award in 2013. He has been the recipient of the Lifetime Achievement Award from the International Entertainment Buyers Association, the Cliffie Stone Pioneer Award from the Academy of Country Music, and the Horatio Alger Award, given to those who have distinguished themselves despite humble beginnings. Rogers earned a Grammy Award nomination and CMA Award nomination in 2014, along with
Rogers’ music has always crossed boundaries — his 28 Billboard Adult Contemporary Top 10’s is sixth-best all-time, and fourth-best among men, trailing only Elton John, Neil Diamond and Elvis Presley. Rogers was the only male artist to notch Billboard AC Top 10s in the ‘60s, ‘70s, ‘80s and ‘90s (only Barbra Streisand also managed that feat in those decades). Rogers has sent the most country No. 1’s to the top spot on AC (five of his eight AC No. 1’s were also country No. 1’s) and no core country artist has crossed over more titles to AC. Rogers has continued his amazing run into the 21st century with a Country Music Hall of Fame induction, a CMA Lifetime Achievement Award, two Grammy Award nominations (“Calling Me” with Don Henley and “You Can’t Make Old Friends” with Dolly Parton), a CMA Award nomination (“You Can’t Make Old Friends” with Dolly Parton), a Gold-certified record (21 Number Ones), and three critically acclaimed albums (Water and Bridges, The Love of God, and You Can’t Make Old Friends), considered by Rogers to be some of the very best work of his entire career. In July 2015, it was announced that Rogers will release his first Christmas album in 17 years — Once Again It’s Christmas — during the 2015 holiday season. Remaining a popular entertainer around the world, Rogers, who was once voted the “Favorite Singer of All-Time” in a joint poll by readers of both USA Today and People, still loves touring and recording new music. “I really, really love what I’m doing,” Rogers says. “People survive longer if they love what they’re doing— because you just don’t quit.”
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A family-friendly series presented by:
Symphonic Spooktacular! Sunday, October 25 2pm Pre-Concert Activities 3pm Concert Put your kids in costumes and spend your Sunday afternoon at the Hilbert Circle Theatre with a program of creepy classics featuring the Lemony Snicket favorite, “The Composer is Dead.”
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The Indianapolis Symphony Orchestra is currently accepting volunteers for this year’s IPL Yuletide Celebration! Learn more by attending our November 17 volunteer training at the Hilbert Circle Theatre. Registration begins at 6:00PM. RSVP by contacting
[email protected] – 317.231.6792.
Helping you recover body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee problems. They will offer you professional support and direction toward resolving the problem. Services offered include:
• Identification/Evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources such as legal services, physicians, financial counseling and more
if your company is interested in receiving more information about our program, please call 317.338.4900 or 1.800.544.9412.
st.vincent.org
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OCT 29
MAHLER SYMPHONY NO. 4
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Two Thursday, October 29, 2015, at 11:15 a.m. Hilbert Circle Theatre ALEXANDER SHELLEY, Conductor MALIN CHRISTENSSON, Soprano Gustav Mahler Symphony No. 4 in G Major (1860-1911) Bedächtig, nicht eilen In gemächlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich Malin Christensson, Soprano
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Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Length of performance is approximately fifty five minutes. There is no intermission.
MAHLER SYMPHONY NO. 4
OCT 31
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Four Saturday, October 31, 2015, at 5:30 p.m. Hilbert Circle Theatre ALEXANDER SHELLEY, Conductor MALIN CHRISTENSSON, Soprano Béla Bartók (1881 - 1945) Romanian Folk Dances Jocul cu bâtă (Stick Dance) Brâul (Sash Dance) Pe loc (In One Spot) Buciumeana (Dance from Bucsum) Poarga Românească (Romanian Polka) Mărunțel (Fast Dance) Luciano Berio Folk Songs (1925-2003) Black is the colour... (USA) I wonder as I wander... (USA) Loosin yelav... (Armenia) Rossignolet du bois (France) A la femminisca (Sicily) La donna ideale (Italy) Ballo (Italy) Motettu de Tristura (Sardinia) Malurous qu’o uno fenno (Auvergne) Lo fiolaire (Auvergne) Azerbaijan love song (Azerbaijan) Malin Christensson, Soprano
INTERMISSION – Twenty Minutes
Gustav Mahler Symphony No. 4 in G Major (1860-1911) Bedächtig, nicht In gemächlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich Malin Christensson, Soprano Premier Sponsor
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Length of performance is approximately one hour and forty-four minutes. Recording or photographing any part of this performance is strictly prohibited.
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OCT 29, 31
ALEXANDER SHELLEY, Conductor
Alexander Shelley was appointed Music Directordesignate of Canada’s National Arts Centre Orchestra in October 2013 and will take up the position of Music Director in September 2015. In 2015 he enters his seventh year as Chief Conductor of the Nuremberg Symphony Orchestra where he has transformed the orchestra’s playing, education work and touring activities which have included tours to Italy, Belgium, China and a re-invitation to the Musikverein in Vienna. In January 2015 Shelley was named Principal Associate Conductor of the Royal Philharmonic Orchestra with whom he will curate and perform a series of concerts at Cadogan Hall each season. Born in the UK in 1979, Alexander first gained widespread attention when he was unanimously awarded first prize at the 2005 Leeds Conductors Competition and was described as “the most exciting and gifted young conductor to have taken this highly prestigious award. His conducting technique is immaculate, everything crystal clear and a tool to his inborn musicality.” Since then he has been in demand from orchestras around the world including the Philharmonia, City of Birmingham Symphony, Rotterdam Philharmonic, Stockholm Philharmonic, Mozarteum Orchester Salzburg, Konzerthausorchester Berlin, DSO Berlin, Leipzig Gewandhaus, Simon Bolivar, Seattle and Houston Symphony Orchestras. Further afield Alexander is a regular guest with the top Asian and Australasian orchestras. Recent press has singled him out as “a musician of considerable gifts and extraordinarily impressive interpretative qualities” (Strauss, Elgar and Sibelius in London), a conductor with “exceptional artistic authority” (Brahms with DSO Berlin) and described his Verdi Requiem in Salzburg as an “original, intelligent, thoroughly convincing and well-crafted interpretation”.
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Alexander’s operatic engagements have included The Merry Widow and Gounod’s Romeo and Juliet for Royal Danish Opera; La Bohème for Opera Lyra at the National Arts Centre in Ottawa, Iolanta with the Deutsche Kammerphilharmonie Bremen, Cosi fan tutte in Montpellier and a new production of The Marriage of Figaro for Opera North in 2015. Alongside his regular appearances in London, Ottawa and Nuremberg, the 2014/15 season and beyond includes return visits to, among others, the DSO Berlin, Gothenburg Symphony, Konzerthausorchester Berlin, Leipzig Gewandhaus, Melbourne Symphony and NDR Radio Philharmonic as well as his debuts with Camerata Salzburg, Czech Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg and Oslo Philharmonic. His first recording for Deutsche Grammophon, an album with Daniel Hope and the Royal Stockholm Philharmonic, was released in September 2014. In Germany, Alexander enjoys a close relationship with the Deutsche Kammerphilharmonie Bremen, with whom he performs regularly both in subscriptions in Bremen, and around Germany, and in October 2013 he took the orchestra on tour to Italy with a signature programme of Strauss, Wagner and Brahms. He is artistic director of their Zukunftslabor project - an awardwinning series which aims to build a lasting relationship between the orchestra and a new generation of concert-goers through grassroots engagement and which uses music as a source for social cohesion and integration. The son of professional musicians, inspiring future generations of musicians and audiences has always been central to Alexander’s work. In Spring 2014 he conducted an extended tour of Germany with the Bundesjugendorchester and Bundesjugendballett which included a collaborative concert at the Baden-Baden Easter Festival with Sir Simon Rattle and members of the Berliner Philharmoniker. In 2001, during his cello and conducting studies in Dusseldorf, he founded the Schumann Camerata with whom he created “440Hz”, an innovative concert series involving prominent German television, stage and musical personalities, conceived by him as a major initiative to attract young adults to the concert hall.
MALIN CHRISTENSSON, Soprano Born in Sweden, soprano Malin Christensson studied at the Royal College of Music. Her most recent engagements have included Susanna in staged performances of Le nozze di Figaro with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel; Zerlina Don Giovanni for the Houston Grand Opera and at the Helsinki Festival; Bach’s Weihnachts-Oratorium with the Leipzig Gewandhausorchester and Pinnock, the Matthäus-Passion with the Philadelphia Orchestra and Nézet-Séguin, Mozart’s Mass in C Minor with the CBSO and Nelsons and Beethoven’s Symphony no. 9 with the Swedish Radio Orchestra and Blomstedt. Particular highlights in opera have also included Barbarina Le nozze di Figaro at the Salzburg Festival and Susanna at the Aix-en-Provence Festival and in Santiago di Chile; Sophie Werther at the Festspielhaus
OCT 29, 31
Baden-Baden; Miss Wordsworth Albert Herring at the Glyndebourne Festival; Marzelline Fidelio at the Beethoven Festival in Warsaw; Flower Maiden Parsifal at Covent Garden; Drusilla L’incoronazione di Poppea at the Drottningholms Slottsteater and Papagena Die Zauberflöte at the Théâtre du Châtalet, in Montpellier and at the Vienna Festival. She has also appeared at the BBC Proms and at the Lucerne and Daytona Festivals and her recent highlights have included the London Symphony Orchestra with Harding; the BBC Symphony Orchestra with Bělohlávek; the Orchestra of the Age of Enlightenment with Jacobs, Labadie and Leonhardt; the Philharmonia Orchestra with John Wilson, the Gävle Symfoni Orkester with Søndergård; the Royal Scottish National Orchestra with Denève and the Scottish Chamber Orchestra with Ticciati. In recital she works regularly with Simon Lepper, Malcolm Martineau and Roger Vignoles and her appearances include London’s Wigmore Hall, the Laeiszhalle in Hamburg, the Tonhalle in Zurich and the Innsbruck, Cheltenham, Bath Mozart and Oxford Lieder Festivals.
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OCT 29, 31
NOTES
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Romanian Folk Dances Béla Bartók Born March 25, 1881 in Sâanicolau Mare, Romania Died September 26, 1945 in New York City, NY In the late nineteenth century, Hungarian style music had been used with great success by major composers such as Brahms and Liszt as coloration or substance in many of their most famous works. For Liszt, who was born in Hungary but spent most of his life outside of his homeland, the inclusion of Hungarian inflections…sometimes called gypsy style… could be considered “natural.” Among his most stunning works in this genre are the nineteen Hungarian Rhapsodies, so popular they covered the world in various iterations (especially the Second Rhapsody) appearing even in cartoons such as “Convict Concerto” played by Woody Woodpecker and “Rhapsody Rabbit”, by Bugs Bunny. The Rhapsodies’ popularity has been unquenchable on almost any level. Brahms’ Hungarian Dances paid tribute to the Hungarian style in 21 dances. He first became interested in the sound after hearing Hungarian gypsy music in Hamburg, and on his tours with the Hungarian violinist Eduard Remenyi. But, something was wrong: and Bartók and Kodály discovered it. This so-called “Hungarian style” stemmed quite narrowly from gypsies (Roma) and was thoroughly romanticized. In fact, the style was not representative of authentic Hungarian folk music. This subject, sometimes known as “the problem of Hungarian music” was addressed by many writers and eventually clarified by the extensive work of Bela Bartók and Zoltan Kodály. A fine study titled “Redefining Hungarian Music from Liszt to Bartók” by Lynn M. Hooker traces their investigations. Traveling throughout the most remote regions of Hungary, Bartók and Kodály transcribed, saved, recorded on an “Edison” phonograph, and classified thousands of folk
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tunes which provided tunes, rhythms, harmonies, and ideas for their compositions (Bartók’s opera Duke Bluebeard’s Castle, for example) as well as scholarly monographs and a gigantic set of twelve volumes containing their research. The intent was to provide examples of, foundation for, and a renaissance of authentic Hungarian music. This quest led both men into Transylvania, now a part of Romania, but which had been part of Hungary for many years until added permanently to Romania in 1920. Thus, we find the legitimacy of “Romanian Folk Dances” as a source for Hungarian folk style. “Bartók was particularly drawn to Romanian folk traditions because he felt that these had been more isolated from outside influences and were therefore more authentic.” (Stephen Strugnell) Bartók noted “I have collected Hungarian, as well as Slovak and Romanian folk music and used them as models.” The Romanian Dances were written between 1915-1917, first for piano and later orchestrated. In order, the Dances are: 1. Dance with Sticks: a solo dance for a young man, which includes kicking the ceiling 2. Waistband Dance: derived from a spinning song with dancers holding each other’s waists, flowing directly into dance 3 3. On the Spot: a dance in which the participants basically stamp on one spot. 4. Hornpipe Dance: featuring the ancient Mixolydian mode (a type of scale) and Arabian colors 5. Romanian Polka: a children’s dance with changing meters, flowing directly into the final dance 6. Fast Dance: fast, tiny steps are performed by couples, used as a courting dance.
NOTES Folk Songs Luciano Berio Born October 24, 1925 in Oneglia Died May 27, 2003 in Rome, Italy Luciano Berio, 1925-2003, was an Italian musician, composer, conductor, and music theorist (founder of the journal Incontri Musicali, known for his leadership in avantgarde music; especially in the aleatoric (chance) and electronic fields. His Folk Songs, 1964, were written for and dedicated to his wife at that time, mezzo-soprano Cathy Berberian, during the composer’s residency at Mills College. The set was conceived originally for small ensemble, and later expanded for symphony orchestra in 1973. Regarding the title, Berio commented: “My links with folk music are often of an emotional character. When I work with that music, I am always caught by the thrill of discovery… I return again and again to folk music because I try to establish contact between that and my own ideas about music. I have a utopian dream, though I know it cannot be realized: I would like to create a unity between folk music and our music – a real, perceptible, understandable conduit between ancient, popular musicmaking which is so close to everyday work and music.” In “Luciano Berio: Two Interviews by David Osmond-Smith”, Berio reflected; “My interest in folklore is very longstanding – even as a boy I was writing pastiche folksongs. Recently this interest has put down deeper roots, and I have tried to gain a more specific and technical understanding of the processes that govern certain folk idioms…” The songs in this collection – perhaps the earliest example of Berio’s fascination and experimentation with different musical culture and vernaculars, stem from eight countries and regions: America, Armenia, Auvergne, Azerbaijan, France, Italy, Sardinia, and Sicily. 1. Black is the Color: USA 2. I Wonder as I Wander: USA 3. The Moon has Risen: Armenia
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4. Little Nightingale: France 5. The Ideal Woman: Italy 6. Dance: Italy 7. Song of Sadness: Sardinia 8. Wretched is He (Auvergne and dedicated to France) Symphony No. 4 in G Major Gustav Mahler Born July 7, 1860 in Kaliště, Czech Republic Died May 18, 1911 in Vienna, Austria Mahler’s Fourth Symphony is the last of the tetralogy known as the “Wunderhorn symphonies” because they used quotes of themes and elements of songs and poems from “Das Knaben Wunderhorn” (The Youth’s Magic Horn). This was an anthology of German folk music and folklore published in 1805 and 1808, which, over many years, captivated Mahler. In the Wunderhorn collection, the title of the poem used in the symphony’s final movement is “There is not a cloud in the sky” but Mahler changed the title in 1892, in his setting, to: Das Himmlische Leben Elements from the song appear in the first three movements before it is heard in its entirety in the last movement, sung by soprano. Since this was the composer’s main musical source it is not surprising that he wrote the movements in reverse order, starting with the last, which features the song in its entirety. He began the symphony in 1899 and finished it in 1901. The music is clearly declaimed throughout and comparatively (for Mahler) lightly scored: no heavy brass (i.e. no trombones or tuba), just horns, trumpets, winds, and reduced strings. The percussion section is interesting: cymbals, sleigh bells, triangle, tam-tam, and glockenspiel along with timpani. The smallness of the orchestra has spawned adaptations for chamber orchestra: for example, by Erwin Stein (Austrian arranger and writer and admirer of Schoenberg) in 1920 and Yoon Jae Lee (2006) in which he further reduced the original score’s string section to single players. 65
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NOTES
The Fourth Symphony has innocence and congeniality throughout. Each movement is prefaced by instructions that indicate serenity and moderate pace. Many have said it was “accessible, the most accessible of his symphonies to date.” Audiences were a bit perplexed at first, but critics were scathing. A 1904 New York concert described the Fourth as “a drooling and emasculated musical monstrosity.” This was the first symphony for which the composer did not provide precise programmatic descriptions, preferring that the audience understand music for music, without a specific story at hand. “I know the most wonderful names for the movements, but I will not betray them to the rabble of critics and listeners so that they can subject them to banal misunderstandings and distortions.” At one point he called it a humoresque in six movements. Eventually, it would be trimmed to four movements, his last symphony without the brooding nature, intensity, size, and vastness of those yet to come.
Make a
lasting impression
It is the shortest of Mahler’s symphonies, weighing in at just under one hour, and the most frequently performed. He completed the work August 5, 1900. Mahler seemed happy with it, but nonetheless sent this observation to his wife, Alma. “My Fourth … is all humor, naïve, etc. It is that part of me which is still the hardest for you to accept and which in any case only the fewest of the few will comprehend for the rest of time.”
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In The Mahler Companion, Donald Mitchell writes, “The Fourth, to my mind, represents a manifestation of neoclassicism peculiar to Mahler himself, an awareness of and reflection on the role he himself and his work(s) in progress might play in the still evolving history of the idea of the symphony. The Fourth spells out the impossibility of rolling history back or complacently attempting to continue in the line of – wake of, rather – the Great Tradition.”
in print
The first movement appears in sonata -allegro format, opening with four flutes and sleigh bells, marked “moderately, not rushed.” This combination will also appear in the fourth movement. The first theme is a friendly melody from the first violins, and the second is a folk-style tune from the celli, marked “sung broadly.” The development reveals more complexity, especially in its contrapuntal textures.
The second movement opens as a delicate scherzo, which includes two trios. Similar to the speed of the first movement: the instruction is “play without haste, leisurely moving.” Mahler’s wife, Alma, noted that his inspiration was a painting (1872) by Arnold Bocklin titled “Self Portrait with death playing the Fiddle.” Mahler described this movement as “Friend Death is Striking up the Dance.” The original title was “Friend Hein Strikes Up.” Hein was a medieval violinist who led his victims to death. Note the solo violin part in which the instrument is tuned higher than usual (scordatura), to give a ghostly atmosphere in his danse macabre. Herein, the violinist is instructed
NOTES to play wie ein Fidel (like a medieval fiddle). To accomplish this, the concertmaster uses two violins. The irony of death and jollity as a combination is cleverly exploited throughout with grim undercurrents from lower instruments. A sudden chirp from the solo violin ends the movement, emerging after a grim section from the lower instruments. His third movement consists of two contrasting ideas announced at the beginning and set of variations, marked “peacefully, somewhat slowly”. For this, Mahler noted that he had been inspired by church sculptures, which had their arms “closed in eternal peace.” The last movement - once titled The Celestial Life, is marked “Very comfortably, featuring a child (represented by the soprano) singing a naïve vision of Heaven and preparation of a feast. “The instruction from Mahler is to sing “with child-like, bright expression, and without the slightest suggestion of parody.” “No worldly tumult is to be heard in heaven All live in greatest peace We lead angelic lives Yet have a merry time of it besides”
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A bit of darkness enters only in the time of the animal slaughter: John lets out the little lamb Herod the butler lies in wait for it We lead a patient innocent, patient Darling little lamb to its death… Saint Luke slaughters the ox Without any thought or concern…” The happy vision is quickly restored: “Good greens of every sort grow in the heavenly vegetable path… and gardeners who allow everything… There is just no music on earth That can compare to ours…. The song controls the musical form (strophic) and verses are separated by interludes. The ending is soft, sealed by solo harp repeating alternating fourths, with a final triple pianissimo sustained note from the double basses.
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ARTS IN INDY Dance Kaleidoscope Dance Kaleidoscope and The Remembrances Holocaust Coalition Limited present Remembrances. The concert includes DK’s athletic iconoGlass (set to the music of Philip Glass). Remembrances: A Ballet in Memory of the Victims of the Holocaust, presented with support from the National Endowment for the Arts, is dedicated to the six million Jews and five million others who died in the Holocaust. This historic ballet will receive its Indiana Premiere October 16 – 18, 2015, at Clowes Memorial Hall at Butler University. More information at dancekal.org; tickets at TicketMaster.com or 800.982.2787. Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) as it celebrates its historic 30th anniversary concert season! The season begins with two fall performances – “Music of the Night,” a Halloween-themed concert, and “Sweet Melodies,” where the ICC will be joined by special guests the New World Youth Orchestra. These concerts showcase the ICC’s advanced ensembles and will kick off a truly momentous year for the ICC and the Indianapolis area. The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or make a financial donation, visit icchoir.org or call 317.940.9640. Indianapolis Symphonic Choir You’re always excited to hear the Indianapolis Symphonic Choir unite with the ISO for performances of great musical masterworks. But did you know that the 200-voice Symphonic Choir also serves as the “official choral partner” of IPS and provides myriad educational initiatives for students? With the understanding that a balanced education demands access to music experiences, the Symphonic Choir’s education programs serve over 2,500 youth through initiatives such as the All-City Honor Choir, the Spotlight Choir (side-by-side) program and many others. To learn more about the Symphonic Choir’s music education programming, visit indychoir.org. New World Youth Orchestras The New World Youth Orchestras (NWYO) is Indiana’s premiere youth orchestra entering into its 34th season with two, autumn concerts in November in collaboration with the Indianapolis Children’s Choir: Nov 1 at Saints Peter and Paul Cathedral and Nov 8 at the Hilbert Circle Theatre. Comprised of three separate orchestras, NWYO’s mission is to develop the musical talent and nurture the personal growth of young people in Indianapolis and central Indiana through the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Visit www.nwyso.org for more information. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at
[email protected] or 317.664.7812
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INDIANAPOLIS
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THURSDAY, NOVEMBER 19 HAPPY HOUR 5PM CONCERT 6:30PM
The ISO’s Stella Artois Happy Hour at the Symphony series continues! Enjoy pre-concert complimentary food and drink samples from area restaurants and vendors followed by a 60-minute concert featuring Time for Three with the ISO.
BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL 317.639.4300
317 SERIES
COMING TO HENDRICKS COUNTY
THE INDIANAPOLIS SYMPHONY ORCHESTRA WILL BE PERFORMING IN HENDRICKS COUNTY THIS SEASON! DON’T MISS THREE GREAT CONCERTS AT AVON HIGH SCHOOL. BRAHMS’ PIANO CONCERTO NO. 1
SUNDAY, NOVEMBER 8, 2015 3PM
THE PLANETS
PICTURES AT AN EXHIBITION
SUNDAY, JANUARY 31, 2016 3PM
SUNDAY, APRIL 3, 2016 3PM
All concerts take place at Hendricks Regional Health Performing Arts Center at Avon High School.
TICKETS $20 FOR ADULTS AND $10 FOR CHILDREN AND STUDENTS. SAVE MORE WHEN YOU SUBSCRIBE TO ALL THREE! FOR MORE INFO, CALL 317.639.4300, OR VISIT INDIANAPOLISSYMPHONY.ORG TITLE SPONSOR:
Supported by: The Margot L. and Robert S. Eccles Fund, a fund of CICF & The Deedee Daniel Opportunity Fund, a fund of the Hendricks County Community Foundation
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ENDOWMENT Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund. Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian and Boris Meditch The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox Dean Franke, Assistant Concertmaster The Taurel Assistant Principal Second Violin Chair Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal Second Violin The Dick Dennis Fifth Chair Endowed in memory of Richard F. Dennis by Carol Richardson Dennis This Second Violin Section Chair is Seated Using Revolving Seating The Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel The Assistant Principal Cello Chair Endowed anonymously The Randall L. Tobias Cello Chair Endowed by Randall L. Tobias The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello The Sidney and Kathy Taurel Principal Flute Chair Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo The Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe
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The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet The Robert L. Mann and Family Principal Horn Chair Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth and Darrell Bakken Jerry Montgomery, Horn The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test The Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra Endowed Performances The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor”
ENDOWMENT The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen October 9-10, 2015 – Beethoven’s Missa solemnis Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 6-7, 2015 – Brahms’ Piano Concerto The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise and Alison Paul November 13-14, 2015 – Brahms’ Piano Concerto No. 2
The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias April 15-16, 2016 – André Watts The Mrs. Earl B. Barnes Memorial Fund in Support of a Guest Artist Endowed Anonymously May 7, 2016 – The Legendary Menahem Pressler The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 20-21, 2016 – Beethoven’s “Pastoral”
Yuletide Celebration Opening Performance Endowed by Marianne Williams Tobias First Performance December 2015
The Willian L. and Jane H Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 3-4, 2016 – Garrick Ohlsson
Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias Last performance December 2015
The Bishop Family Holliday Park Concert Endowed by the Mrs. Irving M. Fauvre Fund Summer 2016
The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring
The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2016 – Marsh Symphony on the Prairie
The performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist fund January 29-30, 2016 – The Planets The Performance of New Music Endowed by LDI, Ltd. February 5-6, 2016 – Music from 2001: A Space Odyssey The Performance of a Young Professional Artist Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara Worden The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund March 4 - 5, 2016 – Rachmaninoff’s Second Piano Concerto The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund March 11-12, 2016 – Don Quixote The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick March 18, 2016 – Nielsen’s “Inextinguishable” symphony
The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund The Performance of a Young Professional Artist Endowed by Roche Diagnostics Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator
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ENDOWMENT Artist in Residence Endowment Endowed in memory of Hortense and Marvin Lasky The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Endowed by Randall and Deborah Tobias
Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle
The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund
The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984
The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund
First Monday Music Club Endowed anonymously
The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund
Stage Terrace Seating Endowed anonymously
The J.K Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation
Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox
The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984 The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991
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The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers
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J A C K E V E R L Y, MUSIC DIRECTOR
& S A N D I P A T T Y, HOST
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DECEMBER 2015 YULETIDE PERFORMANCES 6
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10 7:30PM**
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Celebrating its 30th Anniversary, IPL Yuletide Celebration welcomes the return of our beloved host Sandi Patty, joining Jack Everly and the ISO for Indiana’s greatest holiday tradition!
Times in red denote SuperSaver performances. Times in green denote Premium Priced performances. *symFUNy Sundays presented by Dow AgroSciences performance is December 6 at 2pm. **Audio & Visual Impaired performance
TICKETS ON SALE MONDAY, SEPTEMBER 21 AT 10AM! 76
BUY AT INDIANAPOLISSYMPHONY.ORG OR CALL 317.639.4300.
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LYNN SOCIETY The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity. Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.713.3342. Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett
David & Deloris “Dee”* Garrett Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Gail H. Hall Mary & George Harless Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Alice* & Kirk McKinney Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch William F. Murphy, CPA John & Carolyn Mutz Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak
Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley Dr. & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Mrs. Raiford Scott* Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Mrs. David Thiel Marianne Williams Tobias Ann Vaughan Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (15) *Deceased
THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Mrs. Raymond A. Basso Miss Helen F. Bernheisel Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Edgar L. Conn
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Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards Mr. Francis E. Fitzgerald
Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn Mr. David A. Jacobs
LYNN SOCIETY Frances M. Johnson Mr. E. Patrick Kane Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure Sarah Forney McFarland Mrs. Judd R. McKay Martha Means Mr. & Mrs. J. Irwin Miller Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter
Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn Miss Sally Reahard Mr. Vernley R. Rehnstrom Peter C. & Dr. Jeanette P. Reilly Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr.
Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White Clara M. Wilmeth Ms. Mary Wratten Mildred R. Young Wilma K. Young Steven J. Zellman Karl & Barbara Zimmer Anonymous (5)
Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”
YOUR LEGACY MATTERS Remembering the ISO in your will impacts the music we share for generations to come. No amount is too small to make a difference.
Contact Casey Chell, Director of Major Gifts, with questions about The Lynn Society at or
[email protected]. 79
Indianapolis Symphony Orchestra
THANK YOU 2015 SPONSORS! PREMIER PLUS SPONSORS:
PREMIER SPONSORS:
Rick Brown & Cathy Springer-Brown
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BATON SPONSORS:
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LUNCH SPONSOR:
DINNER SPONSOR:
BEVERAGE STATION SPONSORS:
CONTRIBUTORS: Ashworth/Addias Golf Apparel • Blend Cigar Bar • Budweiser Zink Distributing • Cabrito Tequila • Centaur Gaming • Coca Cola Essig Management • Fairway Custom Golf • Golf Academy of Indiana • Golf Club of Indiana • Golf Galaxy • Golf Smith • GolfTec/Carmel • GoldTec/Castleton • Gary Eagle Gold Club • Harbor Trees Golf Club • Hickory Stick Golf Club • Indiana Pacers Indiana Wholesale Wine & Liquor • Indianapolis Colts • Indianapolis Motor Speedway • Ironwood Golf Club • Maple Creek Golf Club McNamara Florists • Meridian Music • Musicians of the ISO • New Amsterdam Vodka • Nike Golf • Old National Bank Old Oakland Golf Club • Prairie Vodka • Plum Creek Golf Club • Ruth's Chris • Stony Creek Golf Club • Taylor Made Titleist/Cobra Golf • Winding Ridge
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ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of August 8, 2015. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. $100,000 and Above Anonymous Mr. Jim S. Irsay Mr. & Mrs. Eli Lilly II B. M. “Marti” Ripberger Yvonne H. Shaheen -------------------------------------Anonymous Arts Council of Indianapolis and the City of Indianapolis The Christel DeHaan Family Foundation Efroymson Family Fund Eli Lilly and Company The Herbert Simon Family Foundation Indianapolis Power & Light Company Indianapolis Symphony Orchestra Association Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF Marsh Supermarkets, LLC. Nina Mason Pulliam Charitable Trust Ruth Lilly Philanthropic Foundation Founders’ Society, Music Director ($50,000+) Kay F. Koch Sarah & John Lechleiter Marianne Williams Tobias Richard D. Wood -------------------------------------The Glick Fund, a fund of Central Indiana Community Foundation Founders’ Society, Concertmaster ($20,000-$49,999) Christina Bodurow Trent & Amy Cowles Ann Dettwiler Dr. & Mrs. E. Henry Lamkin, Jr. Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Mr. David Rodgers Robert & Alice Schloss Ann M. & Chris Stack Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Kathy & Ralph Wilhelm -------------------------------------Anonymous Anthem Blue Cross and Blue Shield Arthur Jordan Foundation Barnes & Thornburg LLP
BMO Harris Bank Budweiser Zink Distributing Co, LLC The Clowes Fund Delaware Community Foundation Duke Energy Erie Insurance ExactTarget Ice Miller LLP Indiana Arts Commission Chase National Endowment for the Arts Navient Nicholas H. Noyes Jr. Memorial Foundation Printing Partners R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics Scott A. Jones Foundation St.Vincent Health The Martin D. & Mary J. Walker Charitable Foundation Founders’ Society, First Chair ($10,000-$19,999) Anonymous (2) The Honorable & Mrs. Alex M. Azar II Mr. & Mrs. Robert Bader Charlene & Joe Barnette Mr. & Mrs. Barry J. Bentley Maestro Raymond Leppard & Dr. John C. Bloom Mrs. Elanor Bookwalter Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Charles W. Brown Vincent & Robyn Caponi Mr. & Mrs. Daniel P. Carmichael Mr. & Mrs. James M. Cornelius Mr. Daniel Corrigan Fred & Priscilla Crawford Mr. & Mrs. James E. Dora Erin & Scott Dorsey Mr. & Mrs. John Fazli Craig & Mary Fenneman Otto N. Frenzel IV Don & Carolyn Hardman Allan & Kathy Hubbard Phil & Colleen Kenney Joseph & Kathy Kessler Timothy J. & Cindy Konich Dr. Gwen & Mr. Robert Krivi Drs. W.H. & K.T. Landschulz Mr. E. Kirk McKinney, Jr. Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Dr. Kenneth & Mrs. Debra Renkens
Phyllis & Gary Schahet Marlyne Sexton Jeff & Cassandra Short Christopher A. Slapak & Michael J. Robertson Mr. Kevin D. Taylor Roberta & Bill Witchger Dr. Christian Wolf & Elaine Holden-Wolf Jim & Rita Zink -------------------------------------ADL Charitable Trust Buckingham Foundation Inc. Citizens Energy Group CNO Financial Group Community Health Network Dorsey Foundation Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. The Glick Family Foundation The Frenzel Family Charitable Lead Trust Hendricks County Community Foundation Indiana Members Credit Union The Indiana Rail Road Company Indiana University Health Partners Industrial Dielectrics Holdings Ann and Gordon Getty Foundation and the League of American Orchestras OneAmerica Financial Partners, Inc. Ricker’s Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana Rotary Foundation of Indianapolis Shaheen Family Foundation Terry Lee Hyundai Tobias Family Foundation Founders’ Society ($5,000-$9,999) Anonymous (5) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Teresa & Don Altemeyer Bob & Pat Anker Mr. Aasif Bade Drs. Douglas & Deborah Balogh Ms. Sarah Barney Dr. & Mrs. John E. Batchelder Mr. & Mrs. Michael Becher Suzanne B. Blakeman Charles & Joyce Boxman Mr. & Mrs. John Bratt Donald & Barbara Broadlick
Mr. Richard F. Brown & Mrs. Cathy Springer-Brown Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Ms. Jane Conley Stephen & Andrea Cranfill David & Consuelo Davis Rollin & Cheri Dick Jack Everly & Ty A. Johnson Ms. Carol J. Feeney Dr. & Mrs. Richard W. Garrett Michael & Beth Gastineau Gary Ginstling & Marta Lederer Mr. & Mrs. Larry Glasscock Charles & Susan Golden Mr. & Mrs. Thomas W. & Mary P. Grein Steve L. Hamilton & Keith O. Norwalk Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Sharon Hoog Peter & Emily Howard Dr. Ann H. Hunt Dr. and Mrs. Ronald Iacocca Dr. & Mrs. Raymond V. Ingham Carlyn Johnson Bob & Rhonda Kaspar Kimra Kidd Drs. Sandra & Charles Kinsella Ned & Wendy Kirby Mrs. James L. Kittle, Sr. Don & Jen Knebel Dr. & Mrs. Eugene P. Kroeff James E. & Patricia J. LaCrosse Nancy Lilly Dr. Richard E. Lindseth Greg & Alexandra Loewen Dr. & Mrs. Carlos Lopez Stacy A. Maurer Mr. & Mrs. Bruce McCaw Robert H. McKinney Virginia Melin Mr. & Mrs. Dayton Molendorp Ellie, Weber & Emaline Morse Jerry & Anne Moss John & Carolyn Mutz Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Holly & John Pantzer Kay Pashos & Neal Steinbart Mr. & Mrs. Thomas J. Pence Donald & Karen Perez Bart Peterson Zeb & Barbara Portanova Mary Frances Rubly Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. William N. Salin
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ANNUAL FUND William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Michael & Carol Stayton Mr. & Mrs. Frank D. Walker Pete & Lena Ward Margaret Watanabe Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Hsiu-Chiung Yang & Marian Mosior Sara & Michael Zeckel John & Linda Zimmermann Jennifer & Michael Zinn -------------------------------------Ann & Gordon Getty Foundation Barefoot Wine Bose McKinney & Evans LLP Care Institute Group, Inc. Charles W. Brown Foundation City of Carmel Cornelius Family Foundation, Inc. Deloitte & Touche LLP DMC Holdings, Inc. FedEx Corporation Franklin Symphonic Council, Inc. Hoover Family Foundation The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF MacAllister Machinery Company, Inc. Macy’s McCaw Family Foundation Meridian Dermatology Merrill Lynch MusicCrossroads The National Bank of Indianapolis NextGear Capital Regions Bank The Rock Island Refining Foundation Skiles Detrude Telamon Corporation Vectren Corporation Conductor’s Circle ($2,500-$4,999) Anonymous (4) Mr. James Adams Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Trudy W. Banta Dr. & Mrs. Richard Barb Kenneth & Patricia Burow Dr. & Mrs. John T. Callaghan Nancy Christy Dave & Christie Crockett Fred & Alice Croner James J. & Barbara Curtis Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneed & Sam Sutphin Robert W. Dyar, M.D. Mrs. Marian Elliott Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr.
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Dr. & Mrs. Larry C. Franks Julia & Doug Gard David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Jim & Roberta Graham Christian & June Gries Mr. & Mrs. James Hancock Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Marsha A. Hutchins Larry & Annette Hutchison Mr. & Mrs. John C. Jenkins & Family Mr. & Mrs. John Jokantas Daniel H. Joseph Dr. Louis N. Jungheim & Dr. Thalia Nicas Dr. and Mrs. John E. Kalsbeck Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Andrew J Macht Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Mr. & Mrs. Robert B. McNamara Boris E. Meditch Pete and Cindy Method Flip & Cindy Miller Milton & Margaret Miller Jim & Jackie Morris Dr. & Mrs. Daniel H. Mowrey Peggy & Byron Myers Mr. & Mrs. Guido Neels Cindy Nichols Mr. & Mrs. Thomas O’Leary Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Jack & Katie Patterson Eloise Paul & Bill Lee Walt & Mary Prouty Dr. & Mrs. George F. Rapp Richard & Betty Lou Reasoner Jasmine Reese Dr. Merrill Ritter Mrs. John R. Roesch Mr. & Mrs. Todd K. Rutledge James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Drs. Lei Shen and Soomin Park Eric Siemers & Peggy Edwards Dr. Mike Simmons Joanne & Gerald Solomon Dee & Tom Spencer Drs. Pamela Steed & Peter Furno Sydney L. Steele Jim & Cheryl Strain Drs. Randall & Bonnie Strate James Sweeney Norm & Dawn Tabler Dr. & Mrs. Reed Tarwater Dr. & Mrs. Ron Thieme Dr. James & Linda Trippi Martha Anne Varnes Hugh & Jane Watson Dr. & Mrs. William Wheeler
Anna S. & James P. White Bob & Marnie Wilken Terence & Margaret Yen Barrie & Margaret Zimmerman -------------------------------------The Barrington of Carmel Chubb Group of Insurance Companies DB Engineering LLC Enflora Flowers for Business Ernst & Young LLP Fifth Third Bank Firestone Building Products and Industrial Products First Person Huntington Bank Indiana American Water Co., Inc. Indiana Farm Bureau Insurance Indiana Spine Group ITT Technical Institutes J M Smith Foundation Jungclaus-Campbell Co., Inc. Dr. Michael J. Helms, DPM The Shaw-Burckhardt-Brenner Foundation Sheila Fortune Foundation Skyline Club, Indianapolis Smoke Free Indy The Stratford Symphony at Sunset Group, Inc UnitedHealthcare Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (4) Joan Baker Mary Ruth Barnard Frank & Katrina Basile James & Lynda Beckel Ms. Susan Bever Jay & Julie Bishop Mr. & Mrs. Jesse L. Bobbitt Dr. & Mrs. W. C. Bonifield Terry & Robert L. Bowen Mr. C. Harvey Bradley Jr. Alice Brown & Randy Trowbridge Gordon & Celia Bruder Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. Bert Curry Mr. Douglas Davies Mr. & Mrs. Gregory C. Davis Manuel & Sally Debono Julie & David DeWitt Mr. & Mrs. Robert M. Donovan Ms. Phyllis Dye Turner Miss E. Frances Eickhoff Andrew & Irene Engel John N. & Julia Luros-Failey Gracia & Jim Floyd Dr. Norm & Adrienne Fogle Dr. & Mrs. Mark Foglesong Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith John & Chichi Guy Bob Hallam
Mr. & Mrs. Richard A. Harrison Mr. & Mrs. Gerald V. Hinchman Clarena Huffington Mr. & Mrs. V. William Hunt Ms. Harriet Ivey & Dr. Richard Brashear Mr. Gerald R. Jenn Holly & Scott Johnson Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn James & Jennifer Kelley Mr. Charles E. Kendall Mr. Doug Klitzke Dr. Elisabeth Krug Mr. & Mrs. George Kyle Mr. & Mrs. Joseph C. Lanning Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Mr. & Mrs. Allan Litz Jon D. Marhenke, M.D. Linda & Carter Mathews Dr. & Mrs. Ronald Maus Ann & John McGrath Marni McKinney Mr. & Mrs. Richard Menke Jim Miller Mr. & Mrs. Robert E. Miller Mrs. Ina Mohlman Elizabeth & William Murphy Tim & Nancy Nagler Timothy S. Needler Mr. Carl & Dr. Loui Lord Nelson Mr. & Mrs. John S. Null Jackie Nytes Mrs. Martha O’Connor Dorit & Gerald Paul Allen H. Pekar Mr. Lee & Mrs. Patricia Perkinson Beverley & Bill Pitts Scott & Susan Putney Mr. & Mrs. Randall Riggs Mr. & Mrs. Byron Robinson Gordon & Patsy Roe Parker & Sarah Ross Dr. & Mrs. Randall G. Rowland Mr. John Ruhl Dave & Marcia Sapp Jerry & Rosie Semler Randall & Amy Shepard Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Rita & Larry Steinberg Mrs. David Thiel Jerry & Linda Toomer Stephen L. Tracy Dr. James & Linda Trippi John & Kathy Vahle Joe & Diane Vande Bosche Scott & Sue Webber Courtenay & Emily Weldon Emily A. West Mrs. Phyllis West Mrs. Mary Whalin Mrs. Lucy Wick -------------------------------------The Ackerman Foundation Batt Family Foundation Conrad Indianapolis Endowment Development Services Gracia E. Johnson Foundation The Indianapolis Recorder The Jenn Foundation
ANNUAL FUND Mallor Grodner LLP Marni McKinney Foundation McKinney Family Foundation Mike Watkins Real Estate Group Inc The Penrod Society The Toomer Family Foundation Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (8) Kate & Dan Appel Mr. & Mrs. John S. Ayre The Honorable & Mrs. Taylor L. Baker, Jr. Terry & Patricia Balko Meaghan Banks Nicholas Barbaro & Sue Ellen Scheppke Dean Barnhard Ms. Susan Bates Spencer & Marcia Bavender Eric & Elaine Bedel Dr. & Mrs. Steven C. Beering Kirk & Sharon Boller -- Bottom-Line Performance Inc Rev. James R. Bonke Mrs. Jeanne Book Erv & Priscilla Boschmann Mr. & Mrs. R. Robert Brafford Terri Bruksch Randall & Ann Burgess Celeste & Derrick Burks Helen Burnett Donald W. Buttrey Mr. & Mrs. E. M. Cavalier Dexter & Rosemary Cooley Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis Mr. Douglas B. Day Dr. & Mrs. Frank Deane Diantha V. DeGraw Mr. & Mrs. Joseph E. DeGroff Mr. & Mrs. Dan Dumbauld Constance C. Earle Mr. & Mrs. Thomas J. Eggers Dr. & Mrs. Tom Elam The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Ms. Linda A. Erickson David & Julie Eskenazi Sherry Faris Dr. & Mrs. Harvey Feigenbaum Linda Felton Dick & Brenda Freije Mr. & Mrs. James F. Gallagher Mr. & Mrs. Raymond Gibson Marianne Glick Dr. Lawrence I. Goldblatt Thomas & Nancy Grembowicz Mr. & Mrs. Peter Grossman Jerry & Kathleen Hacker Dr. & Mrs. Jim Hamby Kenneth & Barbara Hamilton Mr. & Mrs. Lucius O. Hamilton Velda Hamman Ms. Lisa Heid Mr. & Mrs. Eugene E. Henn Mike & Noel Heymann Mrs. Sue Hirschman
C. Jane Hodge Mrs. Ginny Hodowal Mrs. Jill Hoyle Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ethan & Joyce Jackson Mr. & Mrs. Richard Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Donn & Dot Kaupke Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent David H. Kleiman Richard & Roxanne Kovacs Barry Kroot Terrence & Jodi Kunstek Cindy & Rick Leffler Mr. Eric Everett Leiter Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Mr. & Mrs. John D. Long Lowell & Penelope Lumley Mr. & Mrs. Ralph E. Lundgren Carey Lykins Ms. Karen Mangia & Mr. Thom England James R. & Rita E. Martin Dr. & Mrs. Douglas R. Maxwell Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Dorothy J. McIver Alan & Ann McKenzie Nancy L McMillan Dr. Bruce & Mrs. Stefany Mitlak Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Carolyn and Blake Lee Neubauer Paul Nordby Lara Noren Michael & Lorelee Palmetier Mrs. Karen L. Parrish Sally & Jay Peacock James & Raymond Luther-Pfeil Gayle L. Phillips Larry & Nancy Pugh Myrta J. Pulliam Jo & Chris Rathbun Mr. Robert F. & Mrs. Mary L. Rice Jean & Lamar Richcreek The Riggs Family William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Bill & Gail Rodecker Margaret Cole Russell & Steve Russell Roderick & Anne Scheele Roger & Barbara Schmenner Paul & Martha Schmidt David & Kitty Sedgley Jonathon & Donna Sedgwick John Seest Jackie Simmons & Tom Schnellenberger Mr. & Mrs. Henry E. Sleeth Marian Small Nancy C. & James W. Smith Christy & Jeffery Soldatis
Dennis Sponsel Betty & Alan Stanford T.S. Sun Richard & Lois Surber Mr. John Tan Phillip A. Terry Mr. & Mrs. Robert Thomas The Throm Family Douglas L. Tillman Barbara S. Tully Lynn C. Tyler Constance Van Valer, M.D. Don & Coleen Walker Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Charles Warren Nick and Maureen Weber J. Anne Werry L. Alan & Elizabeth Whaley Mr. & Mrs. Frederic Wiese, Jr. Mr. & Mrs. Meredith L. Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Jim & Karen Wolf Mrs. Edna Woodard Turner & Diann Woodard Mrs. Irene Yacko Diana & Dan Yates Josephine Yu Mary Ann & Gene Zink Sue & John Zinser -------------------------------------Anonymous Cavalier Family Foundation Cole Hardwood, Inc. Dayton Foundation Gracie Communications Gregory & Appel Insurance The Humke Foundation, Inc. Indiana First Lady’s Charitable Foundation, Inc. Indiana Utility Shareholders Association James O. & Alice F. Cole Foundation Milestone Ventures Inc NTN Driveshaft RSE Realty, Inc The Ruth E. Stilwell Endowment Fund, a fund of CICF Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey Straubinger Flutes Virtuoso ($750-$999) Anonymous (2) Ms. Cindy Bailey Mark & Ann Bear Mr. & Mrs. Robert Berger Mr. & Mrs. Fred Boso Casey Chell Kevin M. Clements Dan & Laura Conder Mr. James & Mrs. June Conine Terry & Debbie Cottingham Norman Dean Jack & Connie Douglas Judith Erickson Dr. Karen & Thomas Gallagher Dr. Matt Gardlik Ms. Dorothy Gitlin
Mr. Ray E. Gotshall & Ms. Lillian K. Fox Ms. Lauren Guidotti Mr. & Mrs. Alan Hamilton Mr. & Mrs. Chris Hanley Mr. & Mrs. Thomas G. Harvey, Jr. Mr. & Mrs. Jerome T. Henning Mr. Ronald N. Hermeling Catherine Jones Mr. William A. & Mrs. Elizabeth M. Kerr Dr. & Mrs. Jerry L. Kight Robert & Cindy Kirkpatrick Dr. Yukiko Kitagawa Steve & Sharon Klusman Col. A. D. Kneessy Howard & Sarah Knight Mr. Richard & Mrs. Gwen Knipstein Ms. Katherine Kovac Rev. Richard & Mrs. Nancy Lewer Dennis & Karen Licht Dr. Erik L.Lindseth Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Mr. & Mrs. Ralph McCormick Ms. Lawren K. Mills Mr. Bill Moreau Dr. Kathy Moreira Graham Denby Morey Dr. and Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Dr. Donald and Mary Jean Orander Muriel Patterson Marvin C. & Anne K. Perry Marian Pettengill Diane Richardson Mr. Gilva F. Sallee Saundra & Tuck Schulhof Mr. Carson Shadowen Michael & Priscilla Shaw Dr. & Mrs. Robert K. Silbert Peter & Chris Smithhisler Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Claudia V. Swhier Lonn Bayha & Nela Swinehart Mrs. Maggie Tatter Ms. Sheree Toney Paul & Gretchen Watson Miss Gretchen Wolfram Dr. & Mrs. Steve Young -------------------------------------Contributed Goods and Services ($5,000 and Above) Carol & Ken Bandy Buckingham Foundation Inc. Conrad Indianapolis Enflora Flowers for Business Lynch, Incorporated mitsch design NUVO Newsweekly Printing Partners WTTS
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WHY I GIVE
Chris and Lesley Conrad Lynn Society Members The Lynn Society first became important to me in 1959 as a fourth grader at IPS #91. The Indianapolis Public Schools had teamed up with the Indianapolis Symphony Orchestra to create a program where children from all over the city, grades 4-6, would be given the opportunity to foster an appreciation for and a knowledge of classical music. The program was called Music Memory and it taught students to identify the title and composer of famous classical works just by listening to short excerpts. Students with perfect scores were granted a “field trip” to Clowes Hall where the final contest was performed by the Indianapolis Symphony Orchestra, under the direction of Izler Solomon. The ISO would play a portion of eight or so classical pieces and the students would mark their sheets and identify the composer. As students, this was the equivalent of actually seeing classical music “rock stars.” I recall my classroom music teacher commenting that someone had been the financial overseer of this program, and I thought to myself, “Wow, that person doesn’t even know us. This program must be really important to them.” I have been privileged to be the junior high and high school guidance counselor to the children of several of these classical music “rock stars” throughout the years, and my husband Chris and I have become friends with a number of the orchestra members. I hold a fondness for the ISO that goes clear back to those Music Memory performances of1959. Because of this, Chris and I, through our estate plans, hope to be like that financial overseer to the Music Memory Contest. Being a member of The Lynn Society insures that after we have had our last ISO ticket scanned, the programs and the music of future classical music “rock stars” will continue to enhance the lives of people we don’t even know.
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TRIBUTE GIFTS Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from April 14, 2015 – August 10, 2015.
Honor Gifts In Honor of David and Ingrid Bellman, Ms. Diane Evans and Ms. Terry Langdon - Happy Birthday Rita and Larry Steinberg In Honor of Jack Everly, Indiana Historical Society’s Indiana Living Legend Mr. and Mrs. John Fazli In Honor of Geoffrey Lapin Virginia Melin In Honor of Alice and Bob Schloss on the occasion of their 50th wedding anniversary Robin Bernstein In Honor of Katie Patterson Capital Group
In Honor of Helen Rudesill’s birthday Mrs. Donna Gilkison, sons Phillip and Scott Rita and Larry Steinberg Peggy Myers In Honor of Yvonne Shaheen Rita Steinberg In Honor of Ms. Ada Shaum Dr. Thomas Whittaker & Dr. Ann Zerr In Honor of Christal Phelps Steele on her retirement Anne and Dennis McCafferty Rita and Larry Steinberg Virginia Melin In Honor of the wedding anniversary of Jim and Anna White Amy MacDonell and Randall Shepard
Memorial Gifts In Memory of Louise and Walter Bellman David and Ingrid Bellman
In Memory of Dennis King Norma King
In Memory of Karen Chapman Laura Cones
In Memory of Sandra Krebs Sue A. Aranjo
In Memory of Bertha Custer Peggy Myers
In Memory of Mary Ellen Pankratz Ed & Jackie Rowell
In Memory of Mrs. Edna DeFlorio, ISO Second Clarinetist Trina Gross’ mother Michael Borschel
In Memory of Roseann and Paul Pitz Janeann Pitz and Reinhard Pollach Dr. Deborah Studen Pavlovich and George Pavlovich Marylynne Pitz and Mark Weitzmann Donna and Thomas Pitz
In Memory of Neal Grundy Mark Frederick Garringer In Memory of Paul Haugan Henry A. Ryan In Memory of Virginia Hofmann Dawn Fazli Mr. & Mrs. Ralph McCormick on behalf of the ISOA South Group ISO Association South Group
In Memory of Herb Strong Katie Patterson Peggy Myers In Memory of Sue Westbrook Marilyn George Dawn Fazli
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CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact the Director of Development at 317.262.1880.
btlaw.com
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ISO ASSOCIATION Sherry Amlung / President Wendy Adams / President Elect Nela Swineheart / Treasurer Rita Martin / Recording Secretary Cindy Ohlrogge / Assistant Treasurer Roberta Graham / Corresponding Secretary Connie Menke / Immediate Past President
Board Members, City Group & State Units J. Dara Amlung Mary Kay Anthony Janet Barb Charlene Barnette Susan Beckett Peg Brummit Joannie Burgett Faye Crabtree Nancy Christy E. J. Choe Marty Davis Rebecca Davis Ruth Durbin – VP Carol Edgar
Glenda Griffin Karen Harding Pat Hoeffken Ruth Hudson Kay Kinder – VP Meme Kramer Mable Lewis – VP Pat McCormick – VP Gail McDermott-Bowler Ann McKenzie Sue Meyer Dorothy Miller Peg Myers – VP Laura Nelson
Leslie Nelson Davine Nolcox Sharon Paskins Joyce Peterson Jan Pierce – VP Kimberly Potosnak Barbara Ralph Mary Richards Carol Rohrabaugh-Mote Cheryl Rosenfeld Helena Rudolf Sondra Scaggs Betty Sisco
Susan Smithburn – VP Sarah Stoel Peg Strodtbeck Linda Sykes – VP Marge Vogel Joanna Weiler Mary Ellen Weitekamp Esther Weaver Mary Whalin Dorothy White Eleanor Wilcox Jackie Williams Margie Zaring
Lou Ramey Martha Anne Varnes Marian Meditch Margaret Hansen Kahn Kitty Baker Ann Strong Jean Quinn Anna White
Helen Rudesill Sue Maine Dagnia Kleinops Illene Maurer Nancy Christy Karen Davis Peggy Myers Katie Patterson
Dawn Fazli Janet Barb Patricia A. Quinn Charlene Barnette Pam Hicks Connie Menke
Past Presidents Alma Ayres Jo Latham Sarah Goodman Josephine Madden Marion Fotheringham Florence Curle Margie Tomlinson Jessie Burns
On behalf of the entire Indianapolis Symphony Orchestra family, I want to express my personal thanks to each and every one of the members of the ISO Association for all they do for the ISO. Association members donated more than 11,000 volunteer hours last year to the ISO, a remarkable achievement! And, I am well aware that the contributions of Association members go well beyond volunteer hours; their hard work, enthusiasm and generous financial contributions have all helped to enrich the ISO in ways that are beyond measure. Thank you, ISO Association! Sincerely, Gary Ginstling Chief Executive Officer
If you would like to learn more about the ISO Association, email
[email protected] or call 262-4068.
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ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Orchestra Operations K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Operations and Facilities Joanne Bennett, Director of Operations Bethany Anderson, Facilities Coordinator Audience Services & Events David Armstrong, Director of Audience Services Kalyn Whitaker, House Manager Frances Heavrin, Event Coordinator Artistic Administration Zack French, Director, Artistic Planning Gregg Gleasner, Artistic Advisor Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Pops & Presentations Coordinator DEVELOPMENT Holly C. Johnson, Vice President Tanya Sovinski, Director, Development Rita Steinberg, Senior Major Gift Officer Casey Chell, Director, Major Gifts Missy Eltz, Director, Development Operations Meg Williams, Director, Foundation Relations Sally Meyer, Foundation and Grants Manager Carol Ann Arnell, Manager, Special Events and Donor Benefits Cindy McHone, Manager, Gift Processing Danielle McCormick, Corporate Relations Associate Caily Wolma Lee, Individual Giving & Research Associate Megan Meyer, Executive Administrative Assistant
MARKETING & COMMUNICATIONS Sarah Ross, Director of Marketing Anja Hoover, Associate Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Marci Taylor, Graphic Designer Communications Jessica Di Santo, Director of Communications Leila Viera, Publications Manager Lauren King, Digital Communications Specialist Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Andrew Lay Senior Customer Care Representative Anita Blackwell Mary Ferguson Crystal Black Nick Neukom Erika Fowler Janine Knuutila Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Linda Noble, Associate Director, Education Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Education Program Coordinator FINANCE Steve L. Hamilton, Vice President Adam White, Controller Candi Berry, Staff Accountant Teaka Vest, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist
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HILBERT CIRCLE THEATRE INFORMATION Welcome to the Hilbert Circle Theatre, home of the Indianapolis Symphony Orchestra. We are delighted you are with us and hope you enjoy the performance. Box Office For questions about parking, tickets, subscriber benefits and will call, visit our Box Office at the main entrance to the theater (off of Monument Circle) or the satellite Box Office at the east entrance (off Scioto Street). Coat Checks and Restrooms Coat checks are located on the main floor and on the Oval Promenade on the second floor. The second floor can be reached by staircases on the east and west end of the theater or elevators near the main entrance. Accessible restrooms are located on both floors. Emergency In the event of an emergency, please use the nearest exit (marked by lighted signs). This is your shortest route out of the theater. Ushers For questions about Hilbert Circle Theatre accessibility, first aid and lost and found, please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.
Subscriber Hotline If you are a subscriber and have any ticketing needs, please call the Subscriber Hotline at 317.236.2040, or email the ISO at subscriber@ IndianapolisSymphony.org. This dedicated hotline is staffed during normal business hours by our Customer Care Representatives. You may also leave a message after hours, and a representative will respond promptly. Beyond the Concert Attend The J. K. Family Foundation Words on Music one hour before every Lilly Classical Series concert to hear from conductors and musicians performing that evening. Grab a drink and mingle with friends and ISO musicians after select evening concerts during Reverb. Also, join us for a behind-the-scenes discussion with special guests during First Mondays at the ISO. For information, please email firstmondays@IndianapolisSymphony. org.
Parking Garage Attached to Hilbert Circle Theatre Express Parking Garage is open on the west side of Pennsylvania Street between Market and Washington Streets. A canopy connects the garage to the Hilbert Circle Theatre lobby, giving you a close and convenient parking option. For evening concerts, pay on your way in to save the time and trouble of waiting in line after the concert. For our Coffee Concert patrons, parking is limited; therefore, we recommend garages at the Circle Centre Mall.
For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at
[email protected]!
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2015-2016
YOUR SEASON ~ YOUR WAY CUSTOMIZE YOUR SUBSCRIPTION! Beethoven’s Missa Solemnis Kenny Rogers Brahms’ Piano Concerto #1 and #2, featuring Dejan Lazić Beethoven’s Fifth & Stravinsky’s The Rite of Spring Pink Martini Tchaikovsky’s Romeo and Juliet with André Watts Pictures at an Exhibition A Choral Spectacular, featuring Indianapolis Symphonic Choir, Indianapolis Children’s Choir and a Gospel Chorus Chopin’s Grand Polonaise, featuring Garrick Ohlsson Krzysztof Urbański
Jack Everly
SUBSCRIBE AND SAVE! Subscribers receive the best deals the ISO has to offer: deep discounts, access to the best seats, pre-sale opportunities, restaurant discount card, and MORE!
SUBSCRIBE TODAY BY CALLING THE BOX OFFICE AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 317.639.4300 | IndianapolisSymphony.org
Carmen BIZET’S
Featuring Oksana Volkova as “Carmen” Krzysztof Urbański, Conductor
A story full of passion, love and betrayal, it has become the most popular opera seen by audiences all over the world. Don’t miss this special event as Krzysztof Urbański leads the Indianapolis Symphony Orchestra in a semi-staged production of Georges Bizet’s Carmen. F R I D AY, J U N E 1 0 , 2 0 1 6 , 8 P M
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S U N D AY, J U N E 1 2 , 2 0 1 6 , 3 P M
H I L B E R T C I R C L E T H E AT R E
BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300.
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