volume 2

V2 Cover

KRZYSZTOF URBAŃSKI

GIL SHAHAM

JACK EVERLY

HIL B ERT C IR CL E T H E AT R E KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR

Gil Shaham Plays Beethoven Romantic Chopin Indiana Jones: Raiders of the Lost Ark: Film + Orchestra

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THE PROGRAM BOOK Programs 18 November 3, 2016 19 November 4, 5, 2016 27 November 12, 2016 41 November 18–20, 2016 44 November 22, 2016 Featured Articles 9 Music In My Life 13 Inside the Usher Corps 15 ISO Musicians Around Town 46 Arts in Indy Departments 8 ISO Profile 61 Hilbert Circle Theatre Information Support 47 Endowment 50 Lynn Society 52 Annual Fund 56 Why I Give 57 Tribute Gifts 58 Corporate Sponsors

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2016–2017 Hilbert Circle Theatre Artists 20 Gil Shaham 21 Jennifer Christen 28 Krzysztof Urbański 29 Jan Lisiecki 42 Jack Everly 45 Brent Havens The Indianapolis Symphony Orchestra 6 Musicians of the ISO 7 Board of Directors 59 Indianapolis Symphony Orchestra Association 60 Administration

WELCOME Dear friends, With the Thanksgiving holiday approaching, I wanted to take a moment to recognize all that we have to be grateful for here at the ISO. First, I want to thank our Music Director Krzysztof Urbański and Principal Pops Conductor Jack Everly. Our 2016–17 season started off strong with Krzysztof’s incredible performances with André Watts and Hilary Hahn, and we are highly anticipating the upcoming Music of the Earth Festival in January. In addition, Jack Everly not only opened the Printing Partners Pops Series conducting The Doo Wop Project, but just six days later, conducted two sold-out screenings of Harry Potter & the Sorcerer’s Stone and a thrilling Opening Night Gala performance. Our organization continues to be grateful for the integrity and hard work of our two artistic leaders. Next, I would like to thank our musicians, management, staff, and board. On September 15, a new three-year collective bargaining agreement was approved more than a year in advance of the current contract’s expiration. The new agreement runs from the 2017–18 through the 2019–2020 seasons. This new contract is a result of the constructive and collaborative approach taken by ISO musicians and management, the hard work of all involved to support and execute the daily operations of our organization, and our shared commitment to the future of the ISO. And speaking of the future of the ISO, I’d like to finally thank all of you. Whether you are a patron, subscriber, donor, or volunteer, you have shown your support through your ticket purchase, your donation, and your time given to help ensure the future of our organization. This support is truly what drives us as an orchestra to continue to inspire and entertain our community for years to come. On behalf of the musicians, staff, and board of the ISO, we thank you for your support, now and in the future.

Gary Ginstling Chief Executive Officer

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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 Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal 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 Jian-Wen Tong

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Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Assistant Principal Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal

Timpani Oboe Jack Brennan, Principal Jennifer Christen, Principal The Thomas N. Akins Chair The Frank C. Springer Jr. Chair Craig A. Hetrick, Assistant Principal Sharon Possick-Lange Roger Roe, Assistant Principal Percussion Braham Dembar, Principal English Horn Craig A. Hetrick Roger Roe Pedro Fernandez The Ann Hampton Hunt Chair Harp Clarinet Diane Evans, Principal David A. Bellman, Principal The Walter Myers Jr. Chair The Robert H. Mohlman Chair Cathryn Gross Keyboard The Huffington Chair The Women’s Committee Chair Samuel Rothstein, Assistant Endowed in honor of Dorothy Principal Munger Bass Clarinet Samuel Rothstein Bassoon John Wetherill, Principal Michael Muszynski Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein 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

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

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating.

BOARD OF DIRECTORS Founded by Ferdinand Schaefer in 1930 Maintained and Operated by the Indiana Symphony Society, Inc.

Officers

Vincent Caponi, Chair Yvonne H. Shaheen, Vice-Chair Gary Ginstling, Chief Executive Officer Charlene Barnette, Secretary Michael Becher, Treasurer Vincent Caponi, Chair

Board of Directors Wendy Adams Don Altemeyer 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* Peter Howard, Ph.D. Ann Hampton Hunt

Phil Kenney Joseph M. Kessler David Kleiman Martha D. Lamkin* Sarah Lechleiter Greg Loewen Scott Martin Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Marc Nichols Jackie Nytes Michael P. O’Neil

Kay Pashos Alice K. Schloss Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada Marianne Williams Tobias Pete Ward 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 Bob Anker Sen. Dan Coats Stephen E. DeVoe Carolyn S. Hardman

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 is in his ninth season with the ISO, leading 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 appearances on the podium each season. The ISO in 2016–2017 In his sixth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Prokofiev, Mahler and Chopin and is collaborating with renowned soloists André Watts, Hilary Hahn and Dejan Lazić. Maestro Urbański also presents the Music of the Earth festival, a mid-winter festival of musical masterworks inspired by the majesty of our planet. In the Printing Partners Pops Series, Maestro Jack Everly is proud to conduct John Williams’ Indiana Jones: Raiders of the Lost Ark with film and orchestra, Sci-Fi Spectacular, celebrating the 50th anniversary of Star Trek, and Timeless Classics with music legend, Maureen McGovern. Upcoming special events include the 31st anniversary of the IPL Yuletide Celebration and the 100th anniversary of the Hilbert Circle Theatre.

BEVERLY SCOTT, Viola

MUSIC IN MY LIFE

Beverly Scott was born in Greensboro, North Carolina, and earned M.M. degrees in both viola and piano at Indiana University. His major teachers have included Georges Janzer and Laurie Kennedy on viola and Jorge Bolet and Hans Graf on piano. Prior to joining the Indianapolis Symphony Orchestra as assistant principal viola in 1981, he played in the Costa Rican National Symphony for three seasons. With his brother, ISO cellist Perry, his sister-in-law, ISO violinist Lisa, and his wife, a pianist, he is part of the Scott Chamber Players, an active chamber music group. He and his wife are the parents of two sons. What inspires you about classical music? My father was in charge of the record player at home, and he always put on lots of opera and symphonic music. He was a great lover of music and even played a little bit of violin. My parents both liked music and took us to concerts—classical music has always been a part of my existence from a young age. What do you want classical patrons to know about your instrument? In symphonic music, if composers want to feature the viola, we often get somber solos, the way an English Horn does. In fact, we’re not infrequently in unison with the English Horn in a solo passage. It is not an instrument like the violin that is easily featured as a solo instrument. It’s register is not as high, and it’s more difficult for a composer to write a viola concerto, for instance. We are limited to the middle range of the pitch spectrum. What is your recommendation for a new patron that is hesitant to attend the classical series? If someone is hesitant to come to the Lilly Classical Series, it is probably because they haven’t had great exposure to classical music. I would say if you know with enough advance time, these days on YouTube you can hear anything, so check it out and see what it sounds like. I would recommend coming to Words on Music. I would also recommend looking up the historical and biographical details of what was going on in the world and the composer’s life when he was writing the particular piece. Sometimes very little is known in that way, but other times, a lot is known and such relations can be very interesting. With the 100th anniversary of the Hilbert Circle Theatre, describe your first memory of the theater. I remember the first time I saw the HIlbert Circle Theatre in 1983. The floors of the theater area were still sticky with pop, popcorn, and bird droppings. The sound of the space struck me. Even the sound from the balcony level was very good. I am a great fan of reusing old buildings, and I am delighted that this was saved and reused. I think it’s made a very good home for us, and it is a delight to perform on this stage.

Interview as told to Leila Viera

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JACK EVERLY, MUSIC DIRECTOR JOSH KAUFMAN, HOST

DECEMBER 2-23

Hosted by The Voice winner and Indy’s own Josh Kaufman

•

H I L B E R T C I R C L E T H E AT R E

Christmas songs performed by Broadway’s best singers and dancers

Twin tappers Sean and John Scott

Traditions like “Twas the Night Before Christmas” return

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 10

INDIANAPOLIS SYMPHONY ORCHESTRA

MUSIC OF THE EARTH

KRZYSZTOF URBAŃSKI, CONDUCTOR Music Director Krzysztof Urbański presents a mid-winter festival of musical masterworks inspired by the majesty of our planet. Strauss’ epic Alpine Symphony takes you to the very summit, bathing the listener in sonic sunlight. Mahler’s serene “The Song of the Earth,” drawn from delicate lines of Chinese poetry, is the first of his great farewells: music as life giving, life sustaining, life loving as the Earth itself. PROGRAMS TO INCLUDE:

R. STRAUSS’ AN ALPINE SYMPHONY FRIDAY, JANUARY 13, 8PM SATURDAY, JANUARY 14, 5:30PM TITLE SPONSOR:

MAHLER’S DAS LIED VON DER ERDE (“THE SONG OF THE EARTH”)

FRIDAY, JANUARY 20, 8PM SATURDAY, JANUARY 21, 7PM PREMIER SPONSOR:

FOR MORE INFORMATION, C ALL THE ISO BOX OFFICE AT 317.639.4300, OR VISIT INDIANAPOLISSYMPHONY.ORG

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INDIA

NAPOLIS

SYMPHONY ORCHE S

TRA

Ad ult s $25, St ud e nt s $10 Dale Clevenger, Prin c ip a l Horn of th e Ch ica g o Symp h ony O rc hes t ra fro m 1 96 6 to 2 01 3, leads members of th e I SO b ra ss se c tion in a g l orious a n d ma j es t i c p er fo r m ance to i nc l u d e holiday music, bra ss tra n sc rip tion s of c l a ssica l music, a n d o r i g i nal b ras s co m p o s i t i o ns.

B u y ti c ke ts at I n dia n a po l isSy m ph o ny. o rg, or c al l 317.639.4300.

I n d i a n a p o l i s S y m p h o n y O r c h e s t r a ’s

OPEN NG Night Gala The ISO would like to thank Co-Chairs, Rollin and Cheri Dick! Along with Volunteer Committee Members Trent Cowles Bob and Rhonda Kaspar Peggy and Byron Myers Carson and Carla Shadowen Yvonne Shaheen Deborah Thornburgh For their dedication to make this year’s Opening Night Gala a success!

A special thank you to our Presenting Sponsor, the Christel DeHaan Family Foundation, for their 27-year support of this event.

Thank you to all those who attended and celebrated the opening of the ISO’s 2016-2017 Season.

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INSIDE THE USHER CORPS Ushers are Indianapolis Symphony Orchestra ambassadors and an integral part of our success! These volunteers are responsible for providing outstanding customer service to Hilbert Circle Theatre and Marsh Symphony on the Prairie patrons. Read the experience first-hand from one of our dedicated ISO volunteers, Megan Willis! Tell us a little about your background. Where are you from and where do you work? I am originally from a small town in Indiana called Gosport, but I now live with my husband, Tim, and son, Duncan, in Pendleton. I graduated with a degree in Psychology from Ball State University. Since graduating, I have had a plethora of jobs, including working as a flight attendant. Being a flight attendant allowed me to travel the world and visit many unique places. I am now a stay-at-home mom, which I enjoy immensely, but look forward to doing something with my degree in the future. What motivated you to become an ISO volunteer? Being a stay-at-home mom is a rewarding experience, but the interaction with adults is limited. I have always loved attending ISO shows, so when I got an e-mail asking for volunteers, I was thrilled. I viewed it as an opportunity to give back to my community while meeting new and interesting people. Have you ever played an instrument? I have never played an instrument, but music has always had an important role in my life. I have always been more interested in the visual counterparts of music, like dance. In school, I was involved in dance and color guard. Who is your favorite composer? Debussy. “Clair de Lune” has always been a favorite as well. What has been your favorite experience with the ISO so far? Marsh Symphony on the Prairie is probably my favorite time to volunteer. The concerts are fantastic, and the venue is gorgeous. It is a wonderful experience that combines my love of nature with my love of music. Why is volunteering for the ISO important to you? The ISO brings so much joy to the patrons that attend the concerts. I have always liked making people happy, and that is what I get to do as a volunteer. It has become an important part of my life that I genuinely enjoy doing. What would you tell someone that is considering volunteering with the ISO? Do it! It has enriched my life in many ways and seems to positively impact every volunteer I talk to.

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MUSICIANS AROUND TOWN

Zach De Pue, Violin

Austin Huntington, Cello

Pedro Fernandez, Percussion

James Beckel, Trombone

On November 2, The Arizona Wind Symphony, under the direction of Bill Richardson, will perform James Beckel’s (principal trombone) The Glass Bead Game with Alex Austin as soloist. On November 7, A Quartet Debut, including Zach DePue, violin, and Austin Huntington, cello, will perform with acclaimed artist Orli Shaham at 7:30 p.m. at the Ruth Lily Performance Hall of the Christel DeHaan Fine Arts Center. The performance is free and open to the public. On November 11, Pedro Fernandez will lead a masterclass on orchestral excerpts as a part of the Percussive Arts Society International Convention. On November 15, Alan Gemberling will lead his University of Idaho wind band in a performance of Beckel’s The Glass Bead Game with Jason Johnston as soloist. On November 17, Liberty University is playing Beckel’s The Glass Bead Game.

Serving Serving the the Indianapolis Indianapolis Symphony Orchestra Symphony Orchestra for for more more than than 45 45 years. years. OneAmerica® is the marketing name for the companies of OneAmerica. OneAmerica® is the marketing name for the companies of OneAmerica. © 2016 OneAmerica Financial Partners, Inc. All rights reserved. © 2016 OneAmerica Financial Partners, Inc. All rights reserved.

C-28628 08/09/16 C-28628 08/09/16

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THURSDAY, JANUARY 5

Hilbert Circle Theatre

5PM, Happy Hour 6:30PM, Concert

BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300 16

Our Corporate Sponsors have exclusive access to ISO events, and receive the best value in brand exposure and promotion. Take advantage of our Corporate opportunities and make the most out of your business.

CORPORATE ENGAGEMENT OPPORTUNITIES: Corporate Suite Packages Corporate Sponsorships Philanthropic Support Special Events “The ISO is an economic driver, a key to our city’s reputation and our ability to recruit talented people to Indianapolis. The Symphony plays a role in our crucial efforts to improve education. And, as part of our city’s diverse arts scene, it contributes to the richness and vitality of our civic life. Of special importance to companies like Eli Lilly, the presence of a world-class orchestra here in Indianapolis helps us attract world-class talent from across the country and around the globe.” - John C. Lechleiter, PhD Chairman, President and Chief Executive Officer, Eli Lilly and Company

Interested in learning more about Corporate sponsorship opportunities? Contact Associate Director of Corporate Giving, Melissa Weseli at [email protected] or 317.262.1880.

THE ISO’S YOUNG PROFESSIONALS GROUP

THE ISO’S

GROUP

MEMBERSHIP IS ONLY $50 FOR MORE INFORMATION ABOUT MEMBERSHIP BENEFITS OR UPCOMING EVENTS, VISIT US AT INDIANAPOLISSYMPHONY.ORG.

Get connected, Support the Symphony, mix ‘n’ mingle, reap the REwards! 17

NOV 3

GIL SHAHAM PLAYS BEETHOVEN

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Three Thursday, November 3, 2016, at 11:15 a.m. Hilbert Circle Theatre GIL SHAHAM, Conductor and Violin JENNIFER CHRISTEN, Oboe Johann Sebastian Bach Concerto in C Minor for Oboe, Violin and String Orchestra, (1685–1750) BWV 1060 Allegro Adagio Allegro Jennifer Christen, Oboe Gil Shaham, Violin Ludwig van Beethoven Concerto for Violin and Orchestra in D Major, Op. 61 (1770–1827) Allegro ma non troppo Larghetto Rondo: Allegro Gil Shaham, Violin

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Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited.

GIL SHAHAM PLAYS BEETHOVEN

NOV 4, 5

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Five Friday, November 4, 2016, at 8 p.m. Saturday, November 5, 2016, at 5:30 p.m. Hilbert Circle Theatre GIL SHAHAM, Conductor and Violin JENNIFER CHRISTEN, Oboe Johann Sebastian Bach Concerto No. 2 in E Major for Violin and String Orchestra, (1685–1750) BWV 1042 Allegro Adagio Allegro assai Gil Shaham, Violin Johann Sebastian Bach Concerto in C Minor for Oboe, Violin and String Orchestra, (1685–1750) BWV 1060 Allegro Adagio Allegro Jennifer Christen, Oboe Gil Shaham, Violin INTERMISSION - Twent y M i n ute s Ludwig van Beethoven Concerto for Violin and Orchestra in D Major, Op. 61 (1770–1827) Allegro ma non troppo Larghetto Rondo: Allegro Gil Shaham, Violin

Premier Sponsor

Associate Sponsor

This concert is endowed by Dorit, Gerald, Eloise, and Alison Paul. Length of performance is approximately one hour and forty minutes. Recording or photographing any part of this performance is strictly prohibited.

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NOV 3–5

GIL SHAHAM, Conductor and Violin

Gil Shaham is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy Award-winner, also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world for concerto appearances with leading orchestras and conductors and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Last season, Shaham headlined the Seattle Symphony’s opening night gala, before joining the San Francisco Symphony and Michael Tilson Thomas for Prokofiev’s Second at Carnegie Hall and other stops on the orchestra’s 20th anniversary tour. The Prokofiev was one of the works showcased in the “Violin Concertos of the 1930s” project, which also took him to the Philadelphia Orchestra for Berg and to the Berlin Radio Symphony and London Symphony Orchestra for Britten. Besides premiering David Bruce’s new concerto with the San Diego Symphony, the violinist’s orchestral highlights included Bach with the Sydney and Dallas Symphonies and Mendelssohn in Tokyo, Canada,

Luxembourg, and with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl. After Canary Classics released his interpretation of Bach’s complete solo sonatas and partitas on disc, Shaham gave unaccompanied Bach recitals at Chicago’s Symphony Center, L.A.’s Disney Hall, and other U.S. venues, in company with David Michalek. Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of seven, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellermann at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with DeLay and Hyo Kang. He also studied at Columbia University. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008, he received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America, which cited the “special kind of humanism” with which his performances are imbued. He plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

Pursue Your Passion bsu.edu/music

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9/22/16 3:08 PM

JENNIFER CHRISTEN, Oboe Jennifer Christen, a Buffalo, NY native, is the Principal Oboist of the Indianapolis Symphony Orchestra. She has performed as Guest Principal Oboe with the Pittsburgh, Detroit, Baltimore, and Milwaukee Symphony Orchestras and as Guest English Horn with the Atlanta Symphony. Ms. Christen studied at the Juilliard School with John Mack, Nathan Hughes, and Elaine Douvas. Before her time in Indianapolis, Ms.

NOV 3–5

Christen spent a year in Miami Beach with the New World Symphony under Music Director Michael Tilson Thomas. She has also spent several summers with the Verbier Festival Orchestra in Switzerland, where she met her husband. As a teacher, Ms. Christen has had the pleasure of working with students at the Verbier Music Camp, Indiana University Summer Music Clinic, Indiana University Med Orchestra, and with the students of the New World Symphony in Indianapolis. She enjoys traveling, good coffee, exploring local food, and running. She has an identical twin sister who plays the flute.

Next Generation ISO provides tickets free of charge for qualifying schools in Central Indiana. For more information on the qualifying criteria and reservations, call 317.231.6759 or email [email protected]

WE

STUDENT S

$10 STUDENT TICKETS VALID FOR ALL Lilly Classical, Coffee Classical, Printing Partners Pops, The Stratford Coffee Pops, Stella Artois Happy Hour at the Symphony, and Dow Agrosciences symFUNy Sundays concerts

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NOV 3–5

Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Concerto No. 2 in E Major for Violin and String Orchestra, BWV 1042 J.S. Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig, Germany

ample time to write secular music (he had to supply weekly music for the court), and he made the most of that opportunity. During these six years, he composed orchestral suites, cello studies, sonatas, partitas for solo violin, and the Brandenburg Concerti.

During his lifetime, J.S. Bach wrote over 1500 compositions; astonishingly, only three extant violin concertos remain. It is more than likely others were composed and eventually lost. Bach’s son, CPE Bach, reported that his father, known primarily as a composer and organist, Musicologists generally agree that all three violin concertos were composed in Cothen as continued to play the violin “cleanly and KRZYSZTOF URBAŃSKI, MUSIC DIRE well, even though autograph penetratingly…until the approach of old age.” (Joel material exists for only the A Lester Bach’s Works for Solo Minor and D Minor concertos The ISO from that city. His Second Violin Violin.) ISO FUN FACT Harry Potter and Concerto was possibly written in During his first term in 1720, although the exact date is More than 100 Weimar, 1703–1707, the not certain. Because of similarity André descendants of Bach to the Brandenbrug Concertos, teenaged Bach was appointed have been cathedral and subsequent complicated as violinist in the orchestra, organists. and he also played violin in logic, Martin Geck postulates his second term in Weimar, that the violin concertos were written in 1730. In the case of 1708–1717. At this time in his BWV 1042, the original score life (the early term) he was and all of the original parts are especially drawn to Italian Cirque De La music, and assiduously studied the music of lost. The oldest hand written manuscript dates Vivaldi, and Corelli, and Torelli, who were the from 1760 from a copyist Bach used, Johann Harry Potter and T first important concerto composers—both in Friedrich Hering. the concerto grosso structure and early solo An Evenin concerto formats. Using his favorite learning BWV 1042, perhaps the most popular of the set, style, Bach not only copied their scores in is written in three movements: Allegro, Adagio, order to learn from them but also transcribed and Allegro assai, following the Italian model the Italians’ concertos for other instruments, of fast-slow-fast. The first movement begins particularly those of Vivaldi. (Vivaldi was quite with a strong Italian influence in form and zest. popular in Germany.) However, Forkel, Bach’s A clear tonic triad in E Major announces the first biographer, noted that “Bach does not opening, a feature which will occur several adopt the virtuosic extremes of the Italian times in this section. Quickly thereafter, Bach models, nor does he abandon his inclination produces a bouncing happy theme from the toward a style that combines expressive orchestra before the soloist enters. Alternation delivery with his meticulous development of of soloist and orchestra continues throughout themes and complexity of form. “ (Martin Geck, the movement, a similarity to Italian concerto Johann Sebastian Bach, Life and Work quoting grosso style. The main idea and subsequent Johann Nikolaus Forkel) motivic variations are worked out in fast moving, contrapuntal, imitative style. Notice After Bach moved to Cothen (1717–1723), he the unrelenting sixteenth notes flowing from was in the service of Prince Leopold. Since the soloist throughout, whether in solo position the Prince was a Calvinist, the composer had or playing with the orchestra.

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Notes The second movement opens with a soft, throbbing melody sung by the cello which is given gentle deep support. Although the melody is passed along through the orchestra, the soloist never shares significantly in its declamation, allowed only to make commentary or to sing a counter melody. Heartfelt sadness continues throughout, closing slowly and quietly. The third movement provides a perky dancelike rondo. Like the first movement, Bach immediately emphasizes an E major tonal center, only this time the presentation is filled in from its former skeletal appearance. Throughout, the pace remains fast; rhythms are clearly accented; the texture is busy and virtuosic for both forces. There is no slowing down as the concerto dashes to a brisk decisive ending.

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There are two big problems with the provenance. First, the original score was lost. Second, the transcription, which has formed the basis of the concerto’s reconstruction, was not written in Bach’s handwriting. What we do know is that Bach did make a second version for two harpsichords. Recycling his music in the harpsichord transcriptions was a common practice, and an efficient and necessary option to expand the performances of his music.

Differences between the extant harpsichord scores for this concerto in tessitura and melodic characteristics indicated that the composer was writing for contrasting solo instruments. The DNA of solo parts strongly suggested his initial choice of violin and oboe. Furthermore, they KRZYSZTOF URBAŃSKI, D offered an imaginative combination inMUSIC which, even when playing together, their distinctive timbres never The IS faded.

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The ISO’s last performance of Bach’s Concerto No. 2 in E Major for Violin and String Orchestra was May, 1992 featuring violinist Hidetaro Suzuki, conducted by Raymond Leppard.

ISO FUN FACT

Once Gil Shaham chartered a private plane to get his violin safely out of the United Kingdom.

Concerto for oboe, violin, and string orchestra BWV 1060 J.S. Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig, Germany Bach’s six years as Court Kapellmeister and Director of the Princely Chamber of Musicians in Cothen (1717–1723) afforded him time to write secular music, which included more than a dozen concertos. First, Prince Leopold was a connoisseur of music and a musician, playing the viola da gamba, keyboard, violin, and he asked for instrumental repertoire for solo performance as well as for his 13-member orchestra. Second, since he was a Calvinist, the Prince did not require very much music for church services. Bach enjoyed this musical direction and opportunity. However, we do not have an exact date of composition for BWV 1060.

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BWV 1060 follows the standard Italian baroque concerto And structure: three movements: fast-slow-fast. Other Italian influences (such as aria style melodies and strong rhythmic drive) were stylish in Cothen, and Bach made certain to include such elements which were pleasing to his employer. He was an avid student of Cirque Vivaldi, De copying Vivaldi scores, and frequently informed Harry Potter an by his music in this regard.

An The first movement (Allegro) alternates between soloists (concertino) and orchestra (ripieno) clearly defining the separation of forces. A brisk, sturdy main theme is shared by soloists as well as the orchestra, not only in thematic imitation and combination, but also in motivic echoes. The tempo is unflagging, often sustained by long sixteenth note passages supporting independent solo lines.

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Similar to Vivaldi concerto procedure, the second movement (Adagio) features an aria influenced melodic line. Beginning with the oboe, Bach fashions an elegant cantilena, drawn in contrapuntal texture as a duet for the soloists. Herein, the orchestra is continually held in the background, submissively producing soft

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pizzicato accompaniment. The closing features an extended oboe line leading to the closure.

in Vienna, Franz Clement, noted for “graceful playing, a relatively small but expressive style, and unfailing purity in high positions and exposed entrances.. indescribable delicacy, neatness and elegance” introduced Beethoven’s Violin Concerto, which he had requested from the composer. The frequent high positions, restraint, and lyricism in Opus 61 were tailormade for his personal strengths, and the concerto was dedicated to him.

The flashy last movement pops out with a crisp main theme, presented in entirety, which will also reappear within the central and closing sections of the movement (a ritornello.) Its jaunty personality controls the mood, and it remains the main topic of conversation. Bach makes the most of his instrumental recipe with an emphasis on the baroque taste for contrast. Notice the consistent sixteenth note However, the performance was deadly for bustling allocated to the strings and solo several reasons. Clement had received the violin combined with distinctive, idiomatic hand written score only two days before the oboe writing. This contrasting feature is musicians; the twenty-six year old wasMUSIC probably DIRE KRZYSZTOF URBAŃSKI, present as well in staccato sight reading most of the time; articulations combined with a cadenza was missing and The ISO legato passages. Baroque Clement most likely improvised terraced dynamics (sudden a cadenza on the spot. Between ISO FUN FACT Potter and louds and softs) are utilized the first and secondHarry movements, Beethoven often dipped throughout, not only within his youthful ego took over, André his head in cold water the individual forces, but also and he threw in a couple by rapid shifting between the compositions of his own, played before composing. instrumental power of soloists upside down on one string for and orchestra. Unstoppable a bit of saucy showmanship rhythmic energy and which regaled the audience. The consistent fast tempo drive concerto itself was marginalized the concerto to a dashing conclusion. at best. After the concert, Clement advised that the work be re-written for the piano, which Cirque De La This is the ISO’s first performance of Bach’s Beethoven did in 1808. Eventually, this was put Concerto for Oboe and Violin. on the shelf. Harry Potter and T

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Concerto for Violin and Orchestra in D Major, Op. 61 Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria In 1794, Beethoven met a precocious violinist, Franz Clement, who was only thirteen at that time. Shortly thereafter, he wrote to the teenager, “Continue along the road on which you have already made such a fine and magnificent journey. Nature and art have combined to make a great artist of you…” Beethoven followed Clement’s career and trusted him with conducting the first performance of his Eroica. Selecting him to premiere Opus 61 was not surprising. On December 23, 1806, at Theater an der Wien

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To audiences of that time, the Violin Concerto An was perplexing at best because it just did not seem like a “real” knockout concerto. For example, the opening began with a long three minute wait for soloist entry; the five note “knocking rhythm” from the timpani seemed strange; direct connectivity between second and third movements was unusual; a brusque ending was shocking; a comparative “lack” of traditional virtuosity was disappointing, and the length seemed excessive. Reviewer Johann Nepomuk Moser commented in the Theaterzeitung,“ The concerto’s many beauties must be conceded but…the endless repetitions of certain common place passages may easily become tedious…it is to be feared that if Beethoven continues upon this path he and the public will fare badly.” In Harmonicon, William Ayrton wrote, “Beethoven has put forth no strength in his Violin Concerto. It is merely

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a fiddling affair and might have been written by any third or fourth rate composer.” After this inauspicious debut, the concerto was very slow to gain traction.

commentary. (Before the Kreisler cadenza most soloists made up their own cadenza at this point.) A quote of the second theme concludes the movement.

It was not until the precocious Joseph Joachim at age thirteen played the concerto in London in 1844 with Mendelssohn conducting, that the concerto began to thrive. Audience reception finally was positive, and Joachim continued to play the concerto many times to great acclaim. This support for Opus 61 was critical to its survival.

The Larghetto offers a stately theme presented first by muted strings then repeated by clarinet and bassoon. As the melody moves to the background, the soloist assumes a role of melodic decoration with extensive, high register ornaments swirling in graceful arabesques. This behavior immediately sets up a theme and variation format. Gradually, the soloist assumes more than a decorative role and initiates a secondary theme before the first idea tiptoes back in pizzicato. A cadenza passage carries the concerto directly into the finale. The third movement, Rondo: Allegro, flows seamlessly with the soloist presenting a rocking theme on the low g string. This is repeated three times. The result is warm and folk-like, and the orchestra quickly joins in the informal merrymaking, as the rondo unfolds. Contrasting sections offer colorful changes of mood and key in securely crafted, bold writing. There is ample opportunity for virtuosic fun (including an inserted cadenza), and horns lend pastoral touches throughout. The concerto dwindles at the end but suddenly closes with a pair of hammered orchestral chords.

The first movement, Allegro ma non troppo, opens with five pulsing strokes from the timpani (a motif which will inhabit and unify the entire work, hence the sobriquet kettledrum concerto) followed by a calm, gently sculpted first theme sung by oboes, clarinets, and bassoons. Violins echo the timpani strokes before winds and horn present a second theme in a well-coifed statement. After this expansive introduction, which increases anticipation and tension, the soloist finally enters with a daring passage of high ascending octaves (no room for an error in intonation) playing in quasi-improvisatory fashion before launching his first theme. A second theme follows, and the two forces work out the ideas in tight collaboration during the huge development, concluding with a quiet section sung by the soloist. The recapitulation is announced by reference to the opening timpani strokes from the orchestra. Themes from the exposition re-emerge with decorative

The ISO’s last performance of Beethoven’s Concerto for Violin and Orchestra in D Major was October 2010, featuring violinist Midori, conducted by Juanjo Mena

The Indianapolis Symphony Orchestra is currently accepting volunteers for this year’s IPL Yuletide Celebration! Learn more by attending our Tuesday, November 15 volunteer training at the Hilbert Circle Theatre. Registration begins at 6:00PM. RSVP by contacting our Volunteer Services Manager, Donna Finney at [email protected] – 317.231.6792.

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This is our standing ovation. Today’s ISO performance was rehearsed, well planned and took an incredible amount of talent to bring to life. At Citizens Energy Group, we recognize the dedication required to deliver quality work. We strive to provide excellent customer service and believe that being involved in the community is an ensemble effort.

Bravo on an excellent season!

CitizensEnergyGroup.com 26

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Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical series/Program Six Saturday, November 12, 2016, at 7 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor JAN LISIECKI, Piano Witold Lutosławski Musique funébre (1913–1994) Prologue Métamorphoses Apogée Epilogue Fryderyk Chopin Concerto No. 1 in E Minor for Piano and Orchestra, Op. 11 (1810–1849) Allegro maestoso Romanze: Larghetto Rondo: Vivace Jan Lisiecki, Piano INTERMISSION - Twent y M i n ute s Béla Bartók Concerto for Orchestra (1881–1945) Introduzione: Andante non troppo - Allegro vivace Presentando le coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante—Presto

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Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited.

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KRZYSZTOF URBAŃSKI, Conductor

“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,” stated the Chicago Tribune when describing conductor Krzysztof Urbański who, in September 2016, entered the sixth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. In his final season as Chief Conductor and Artistic Leader of Trondheim Symfoniorkester, Urbański leads the orchestra in performances of Stravinsky’s The Rite of Spring, Bartók’s Concerto for Orchestra, Brahms’ Requiem and concludes his successful tenure with Mahler’s Symphony No.1. Previous highlights 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. In September 2015, Urbański formally became Principal Guest Conductor of NDR Elbphilharmonie Orchester, and this season, in addition to concerts in Hamburg, they tour Japan with soloists Alice Sara Ott and Sayaka Shoji.

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Alongside his performances in Hamburg, this season sees the release of two discs recorded with NDR Elbphilharmonie Orchester: Dvořák’s Symphony No.9 for Outhere and Chopin small pieces for piano and orchestra with Jan Lisiecki for Deutsche Grammophon. Also soon to be released is Martinu’s Cello Concerto No.1 recorded for Sony with the Berliner Philharmoniker and Sol Gabetta. In addition, his discography includes “holly excellent renderings” (Gramophone) of Lutosławski works for Alpha Classics with NDR Elbphilharmonie Orchester. In 2016–17, Urbański’s European season includes his debut with the Netherlands Radio Philharmonic Orchestra and reinvitations to Rotterdam Philharmonic Orchestra, Tonkünstlerorchester, Philharmonia Orchestra, Münchner Philharmoniker, and Wiener Symphoniker for their annual Beethoven Symphony No.9 New Year concerts. Past debuts include Berliner Philharmoniker, London Symphony, and Oslo Philharmonic orchestras. In North America, Urbański returns to the Toronto Symphony Orchestra, Los Angeles Philharmonic, and Washington’s National Symphony Orchestra. His recent U.S. debuts include The Cleveland Orchestra, New York Philharmonic, and Chicago and San Francisco Symphony orchestras. In June 2015, Urbański received 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 this award.

JAN LISIECKI, Piano Just 21, Canadian pianist Jan Lisiecki has won acclaim for his interpretive maturity, distinctive sound, and poetic sensibility. The New York Times has called him “a pianist who makes every note count.” Lisiecki’s insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age. Jan Lisiecki was born to Polish parents in Canada in 1995. He began piano lessons at the age of five and made his concerto debut four years later, while always rebuffing the label of “child prodigy”. His approach to music is a refreshing combination of dedication, skill, enthusiasm, and a realistic perspective on the career of a musician. “I might be lucky to have talent, but it is also about dedication and hard work,” says Jan. Lisiecki was brought to international attention in 2010, after the Fryderyk Chopin Institute issued a recording of Chopin’s piano concertos, performed live by Jan at age 13 and 14. BBC Music Magazine wrote of the “mature musicality” of his playing and commended the “sensitively distilled” insights of his Chopin interpretations; the release was awarded the prestigious Diapason Découverte. Confirming his status among the most imaginative and poetic pianists of his generation, Deutsche Grammophon signed an exclusive contract with Jan in 2011, when he was just 15 years old. Lisiecki’s first recording for DG, released in 2012, features Mozart’s Piano Concertos K. 466 and 467. It was followed in 2013 by Chopin’s Etudes Op. 10 and 25, praised by

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Gramophone magazine for being “played as pure music, given as naturally as breathing”. His latest album, issued in January 2016, presents Schumann’s works for piano and orchestra, and as ClassicFM wrote, “he may be young, but Jan Lisiecki plays Schumann like a legend”. Jan says his aim is to always perform in a way that carries forward the beauty and brilliance of the original work. He has demonstrated that he is capable of rendering compositions remarkably close to the way they were intended. “Going into a concert hall should be like going into a sanctuary. You’re there to have a moment of reflection, hopefully leaving feeling different, refreshed, and inspired.” The remarkable 21-year-old musician made his debut in the main auditorium at New York’s Carnegie Hall in January 2016. In its rave review, the New York Times noted that it was an “uncommonly sensitive performance”. Foremost radio and television networks in Europe and North America have extensively broadcast Lisiecki’s performances, he was also the subject of the CBC National News documentary The Reluctant Prodigy. In 2013, he received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival and was also named as Gramophone’s magazine’s Young Artist of the Year. Jan is involved in charity work, donating his time and performance to such organizations as the David Foster Foundation, the Polish Humanitarian Organization, and the Wish Upon a Star Foundation. In 2012, he was named UNICEF Ambassador to Canada having been a National Youth Representative since 2008. “Jan Lisiecki. Remember the name.” – The Financial Times

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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Musique funébre Witold Lutosławski Born January 25, 1913, Warsaw, Poland Died February 7, 1994, Warsaw, Poland Witold Roman Lutosławski (1913–1994) was part of the amazing set of Polish composers who emerged on the world stage in the twentieth century. He was intrigued by avant-garde music of the twentieth century, and in Musique funébre we find his expertise in twelve-tone (dodecaphonic) logic as the controlling force in music composition. Developed by the Austrian composer Arnold Schoenberg, twelve-tone technique presents the twelve pitches of the scale in a specific row or pattern created by the composer. This sequence (sometimes called a row or a series) carefully omits the gravitational force of tonality by stressing the equality of each tone and by purposely choosing intervals between the tones, which cancel tonal implications. (This row is sometimes called the prime series.) Between 1954 and 1958, Lutosławski was commissioned by Jan Krenz to write a work celebrating the tenth anniversary of Béla Bartók’s death. Regarding this testimonial, the composer stated, “When writing my work, I did not try to base it on Bartók’s music, and any similarities in Funeral Music are unintentional. If they do exist, they reaffirm the unquestionable fact that studying Bartók’s music was one of the fundamental lessons for most of the composers of my generation….What I have achieved in this work is rather a set of ways which enable me to move with some sense within the twelvetones, naturally apart from the tonal system and dodecaphony. It is a beginning of a new period… and I tried to create a range of means that would become my own…And it is the first word— though obviously not the last one—spoken in what is a new language for me.” Musique funébre premiered on March 26, 1958, in Katowice, at the second Warsaw Autumn Contemporary Music Festival. Musique funébre has a single movement, in four parts:

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Prologue­: this introduces the row, via cello, which is subject to metrical changes and is structured with two intervals between the tones: a tritone and half step. Herein, Lutosławski writes in canonic (imitative) texture. Metamorphoses: this section displays twelve changes to the original row, combining excised segments of the row in polyphonic texture. Apogeum: this word refers to the farthest distance point of a satellite from the earth. At this time, Lutosławski stacks the row into a succession of 32 chords. Epilogue: this summation recalls the canonic ideas of the prologue, but in mirror form (i.e. in reverse). How did this relate to Bartók? Lutosławski connected by seeing Bartók as a pioneer— not only in ethnomusicology but by his experimentation in tonality and form (palindromes, arches, etc.) Musique funébre has often been linked to an arch form. Bartók’s use of canonic and polyphonic writing was plentiful. (For example, see the extraordinary fugue in Sonata for Two Pianos and Percussion—hence the canonic reference in the Prologue.) Bartók’s use of polytonality loosened the effect of tonality and hastened the breakdown of the diatonic system, and in this experimentation with harmony (such as the alpha chord), redirected traditional harmonic functions. Bartók used a twelve-tone scale in the second movement of his Second Violin Concerto, jokingly noting that he “wanted to show Schoenberg that one can use all twelve tones and still remain tonal.” (Bartók Remembered by Malcolm Gilles) Bartók’s use of octatonic scales in the Mikrokosmos and other works involved the use of a tritone in the construction of two symmetrical cells and variations within their combinations. Notice Lutosławski’s use of the tritone in the formation of his main row in Musique funébre. Thus, Bartók was moving

Notes away from traditional western scale patterns via pentatonic scales and new intervallic movement. (See The Music of Bela Bartók: A Study of Tonality and Progression in Twentieth-Century Music by Elliott Antokoletz.) Bartók also had an interest in unique rhythmic combinations and metric changes (referenced in the Prologue). In this tribute, Lutosławski selected elements from Bartók’s forward thinking to use in his tribute and to commemorate Bartók’s memory. “This work is a revelation, an illumination, a shock. It already merits a place among the few summits of all contemporary music...” (1958 review by Bohdan Pociej) In 1959, Musique funébre received the annual Polish Composers’ Union Award. Also in 1959, it received first place at the International Rostrum of Composers in Paris.

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Elegant audiences fit the composer’s comfort zone for his performances and taste—he was not eager to concertize on a big scale. Just before his death, he explained to Liszt, “I am not at all fit for giving concerts, the crowd intimidates me, its breath suffocates me, I feel paralyzed by its curious look and the unknown faces make me dumb.” But he could relax with the aristocracy.

The socially powerful Countess Delfina Potocka quickly took him under her wing. Another strong contact was Count Luwdik Plater and his wife who entertained every Thursday. Adding to his personal elan he took an apartment at 27 boulevard poissonniere, just below Montmartre­—a chic address. He dined frequently at the best restaurant in Paris, Au Rocher de Cancal. KRZYSZTOF URBAŃSKI, MUSIC His finances had improved dramatically in Paris not only via concerts, but especially with private piano lessons, ISO FUN FACT given to the most prominent Chopin’s first piece was piano maker Pleyel who

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The ISO’s last performance of Lutosławski’s Musique funébre was February, 1985 conducted by Jerzy Semkow.

published in 1817, when he was only seven years old.

Concerto No. 1 in E Minor for Piano and Orchestra, Op. 11 Fryderyk Chopin Born March 1, 1810 in Zelazowa Wola, Poland Died October 17, 1849 in Paris, France When Chopin arrived in Paris in September 1831, he was quickly absorbed into the society of prominent Parisian literati, composers, financiers, and intellectuals. They undoubtedly had heard of his successful visit to Vienna in 1829 and his many accolades preceded his arrival. Compounding this good news, Parisians loved their private salons in which the piano was frequently played—not only to hear music written for the instrument but also to learn the latest operatic and orchestral scores.

Chopin was not only famous but fresh, young, and handsome. He offered a new pianistic voice, eschewing bombast and dazzle for nuance, intimacy, and sensitivity. François Fétis, editor of the Revue musicale noted, “I find in M. Chopin’s inspirations the indication of a renewal of forms which may exercise in time much influence over this department of the art.”

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The I Harry Potter And gave him a wonderful piano

for his use and sponsored concerts for him. Finally, he was publicly endorsed by established composers such as Mendelssohn, Meyerbeer, and Liszt (whom he did not like). To cap it all off, he changed his name Cirque De from Frederck to Fryderyk. His transition to “becoming French” was complete, although he an Harry Potter did a great deal to help Polish emigres to be settled in Paris. An Eve When Chopin arrived in Paris, he brought his only two piano concerti with him, written when he was twenty-nine years old. Penned mainly for his personal use, the concerti are not revolutionary in form nor are they big thrillers. The orchestra remains the servant of the piano and, sometimes it has been said that the concerti provided a backdrop for a piano monologue. That role was fulfilled to perfection. Chopin composed exclusively for the piano throughout his lifetime. His lover, author George Sand (Aurore Dudevant), wrote, “Invention came to his piano: sudden, complete, and sublime.”

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Chopin premiered this work at age twenty

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in his third public concert at the National Theatre in Warsaw, the last concert he would perform in Poland. Opus 11 opens with a full orchestra declaiming a vigorous, sturdy theme before the first main idea in E Minor is presented in the strings. Strings also were selected to present the second theme in E major. In preparation for the soloist, the orchestra subsides momentarily moving to a rhapsodic section, subsiding before the piano enters with beautiful flourishes before recapping the orchestral introduction. The soloist presents the first theme in E minor and then the second theme cast in the parallel E major, similar in its lyricism to the first—a decision which Donald Tovey called “a suicidal path.” There seemed to be little contrast or opportunity for dramatic development and fireworks. The beautiful wind support and horns add exquisite richness to the melodies. Chopin’s development focuses on the first idea, extending by decorative scales and chords to fulfill a new kind of development, a generalized inflation of the idea, rather than motivic examination. The recapitulation begins with the orchestra alone; the pianist focuses exclusively on the second theme, now cast in G major. The movement ends on a sudden unison. Regarding his second movement, the composer wrote to his friend Titus Woyciechowski on May 15, 1830, “the Adagio of my new concerto is in E major. It is not meant to create a powerful effect: it is rather a Romance, calm and melancholy giving the impression of someone looking gently towards a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening. Hence, the accompaniment is muted, that is, the violins are stifled by a sort of comb which fits over the strings and gives them a nasal and silvery tone….” The movement is essentially a nocturne: a songlike narrative, delicate and romantic. The last movement is based on a Polish folk dance, the Krakowiak, set in rondo format.

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The mood is ebullient, happy, and energetic, ending with an exciting race across the keys in virtuosic splendor. The soloist immediately presents the dance, and for good measure, repeats it with small variations. The orchestra’s responses and participation remain witty and bouncy, standing back respectfully when the pianist assumes unquestioned leadership. At one point, the Krakowiak assumes a reserved presentation, but only for a minute. The orchestra pushes back, urging the pianist to resume his plucky attitude. Notice how Chopin uses the total keyboard, spreading out in fast scales, arpeggios, and rapid–fire sequences. Dynamics are richly colored, ranging from fortissimo to pianissimo. At the end, the soloist soars to the top, and the orchestra immediately provides closing chords. The ISO’s last performance of Chopin’s Concerto No. 1 in E Minor for Piano and Orchestra was September, 2013 featuring pianist Garrick Ohlsson, conducted by Krzysztof Urbański. Concerto for Orchestra Béla Bartók Born March 25, 1881, Sânnicolau Mare, Romania Died September 26, 1945, New York City, NY The musical term “concerto” derives in part from the classical Latin verb concertare meaning to contend, to skirmish, to debate, or to dispute, combined with the Italian language meaning to arrange, to agree, or to get together. Both etymologies are evidenced when applied to music. The initial compositional format featured separate vocal choirs, extending the idea after a few years to instruments with a soloist or group of soloists, playing in alternation of two different forces. During the Baroque period, Italians took the lead in concerto development, especially popular and thriving in the Venetian school. Giovanni Gabrieli, in his Sacrae Symphoniae Iand Canzoni e Sonata, was one of the pioneers in extending the idea to include not only voices but also instruments. As the form developed, more and more virtuosic parts

Notes were given to the soloist (or featured group) in a style called concertato or concertante. It was not until the late seventeenth century and eighteenth century that the term concerto specified a specific genre. As centuries passed, a concerto became especially noted for displaying virtuosic abilities of a soloist. Thus the title “Concerto for Orchestra” can easily seem like a contradiction. However, the basic DNA of “contrast by independent forces” has been maintained. A concerto for orchestra preserves the concertante element by selecting individual sections, or maybe an individual of an orchestra, to serve momentarily into the solo spotlight . In 1943, the Hungarian composer, Béla Bartók, wrote his iconic Concerto for Orchestra within the span of two months while visiting Saranac Lake in upstate New York. For the premiere, he wrote: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious deathsong of the third, to the life-assertion of the last one... The title of this symphony-like orchestral work is explained by its tendency to treat the single orchestral instruments in a concertant or soloistic manner. The virtuoso treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile-like passage of the principal theme in the last movement (strings), and especially in the second movement, in which pairs of instruments consecutively appear with brilliant passages.” Bartók’s Concerto for Orchestra crystallizes dominant features in his musical thought. Halsey Stevens has written, “In no other composer is there to be observed such an undeviating adherence to the same basic principles throughout an entire career. In the Concerto for Orchestra, one of his last and most stunning works, there are no new tendencies to be observed…only the

NOV 12

confirmation and continuation of the creative directions demonstrated by the scores which preceded them.” The vibrant color and rhythmic intensity of this music is an amazing outcome from a mind and temperament which was basically retiring and modest. The power and stature of the work belies the physical weakness of the frail 87-pound composer who was eaten by cancer when he produced what was to become his most famous masterpiece. The Concerto for Orchestra was secretly commissioned by two Hungarian-born friends, Szigeti and Reiner, who prevailed upon the flamboyant conductor Serge Koussevitsky to visit Bartók in a New York hospital and deliver the commission. Koussevitsky threw the commission down on the bedsheet, along with a $500 down payment, and coaxed the ailing composer back to work. Bartók revived his lagging spirits and began to write in August of 1943, completing the concerto in October. Fate was kind, and he managed to attend the successful premiere on December 1, 1944, in Boston. The first movement, titled Introduzione: Andante non troppo, opens with a slow passage based in the celli and basses combined with high responses in violins and winds. Gradually the music gains momentum, entering the rapid paced allegro-vivace section. Bartók described this section as constructed “in more or less regular sonata form.” There is an energetic first theme, featuring mixed 3/8 and 2/8. Then a second theme emerges from the solo oboe, singing over open fifths in the strings. The development is dazzling in Bartók’s innovative combinations of melodic ideas and contrapuntal techniques such as imitation and inversion. The second movement is called Presentando le coppie. Bartók explained that “this movement consists of a chain of independent short sections by wind instruments, consecutively introduced in five pairs (bassoons, oboes, clarinets, flutes, and muted trumpets.) Thematically the five sections have nothing in common. A kind of trio that is a short chorale

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NOV 12

Notes

for brass instruments and side drum follows after which the five sections are recapitulated into more elaborate instrumentation. ”The sections are clearly delineated by snare drum marking the cadence of each. Bassoons present their ideas in sixths, oboes in thirds, clarinets in sevenths, flutes in fifths, and muted trumpets in major seconds. The third movement is titled Elegia. Continuing Bartók’s own words, “the structure of the third movement is also chain-like. The three themes appear successively. These constitute the core of the movement which is framed by a misty texture of rudimentary motifs. Most of the thematic material of this movement derives from the introduction to the first movement.” The fourth movement is titled Intermezzo interrotto. Bartók explained, “The form of the fourth movement could be rendered by the letter symbols A-B-A-Interruption -B-A. “A” is an original theme and “B” is a rendering of the song “Hungary, Gracious, and Beautiful.” ”The Intermezzo interrotto is a parody of a march which the composer heard from Shostakovich’s Seventh Symphony. The fifth movement, Pesante, is marked presto. A brief brass fanfare unleashes the strings into a wild perpetual motion piece. Folk dance rhythms and melodies burst from the rushing notes. An elaborate fugue in the middle section, announced by the trumpet, adds to the complexity and richness of the texture. The recapitulation then recalls the dance rhythms, and in the coda, the fugue subject re-appears. Bartók’s Concerto for Orchestra, crystallizing dominant features in his musical thought, is one of the most remarkable works of the twentieth century. Although he was largely unappreciated during his lifetime, after his death in 1945, 48 performances of his music took place around the world within a few weeks of his passing. “Just four years after its (Concerto for Orchestra) premiere, Bartók’s orchestral music was more played in this

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country than that of Berlioz, Liszt, Dvorak, Mahler or Schubert….It was gratifying for Bartók to achieve recognition and respect, however, belatedly. It is tragic that he could not compose more of the music he had planned.” (Jonathan Kramer) The fact that one of the world’s greatest composers died a painful death in abject poverty—and almost unknown—in New York City is chilling commentary. Béla Bartók, Zoltan Kodaly, and Ernst Dohnanyi were essential in bringing Hungarian music to world class stature in the twentieth century. All were scholars, as well as composers and musicians, and their collective efforts in exploring Hungarian folk music, codifying their musical research, and using their discoveries in composition generated a renaissance of Hungarian music. The ISO’s last performance of Bartók’s Concerto for Orchestra was October, 2010 conducted by Juanjo Mena.

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Origami model by Daniel Brown.

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PA I N T I NG B Y A PR I L W I L LY.

INDIANAPOLIS SCHOOL OF BALLET PR E S E N T S

i

the NutCraCKer WITH THE

INDIANAPOLIS SYMPHONY ORCHESTRA

-18,2016 December 16 OLD NATIONAL CENTRE TICKETMASTER.COM

RAIDERS OF THE LOST ARK: FILM + ORCHESTRA

NOV 18–20

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Printing Partners Pops Series/Program Three Friday, November 18, 2016, at 8 p.m. Saturday, November 19, 2016, at 2 p.m. Saturday, November 19, 2016, at 8 p.m. Sunday, November 20, 2016, at 3 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor

PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film

RAIDERS OF THE LOST ARK Starring HARRISON FORD KAREN ALLEN PAUL FREEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLD ELLIOT Music by JOHN WILLIAMS Executive Producers GEORGE LUCAS and HOWARD KAZANJIAN Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG

Premier Sponsor: Recording or photographing any part of this performance is strictly prohibited.

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NOV 18–20 Tonight’s performance is a presentation of the complete film Raiders of the Lost Ark with a live performance of the films’ entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. “RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. This program licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos © 1981 Lucasfilm Ltd. All Rights Reserved. MUSIC WRITTEN BY JOHN WILLIAMS BANTHA MUSIC (BMI) ALL RIGHTS ADMINISTERED BY WARNER-TAMERLANE PUBLICHING CORP. (BMI) ALL RIGHTS RESERVED. USED BY PERMISSION.

Raiders of the Lost Ark — 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 Supervising Technical Director: Mike Runice Technical Director: Matt Yelton Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparationfor Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance. With special thanks to: Paramount Pictures, Lucasfilm Ltd, Steven Spielberg, Frank Marshall, John Williams, Alan Bergman, Howard Roffman, Chris Holm, Chip McLean, Darryl J. Franklin, Dan Butler, Pat Woods and Mark Graham.

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JACK EVERLY, Conductor Jack Everly is the 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 and the broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television.

NOV 18–20

He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other 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, Mr. 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 Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. 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.

Mr. Everly is the also Music Director of the IPL Yuletide Celebration, now a 30-year tradition.

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THE MUSIC OF PRINCE

NOV 22

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Specials and Presentations Tuesday, November 22, 2016, at 7:30 p.m. Hilbert Circle Theatre BRENT HAVENS, Conductor

Selections to be announced from stage.

Prince’s originally designed ‘Yellow Cloud’ Electric Guitar Custom-made in 1989 by the Minneapolis, Minnesota firm, Knut-Koupee Enterprises, “This Yellow Cloud guitar was Prince’s main guitar and used in most of his early videos, touring performances and album recordings,” wrote Prince’s former guitar technician, Zeke Clark. In June of 2016, Jim Irsay, Indianapolis Colts owner and avid music memorabilia collector, purchased the guitar at auction. Mr. Irsay has kindly allowed the ISO to borrow the guitar for use in tonight’s performance.

Beverage Partner

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Recording or photographing any part of this performance is strictly prohibited.

BRENT HAVENS, Conductor Berklee-trained arranger/ conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth

NOV TEXT 22

Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others. In 2013, Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin and 2015 with the Music of Queen. Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. In 2013, he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day half time show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for twelve symphonic rock programs—the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, The Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2, and most recently, the Music of Journey! Havens also premiered a full orchestral show for Lou Gramm, The voice of Foreigner, with Lou singing out front.

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ARTS IN INDY Indy Fringe OnyxFest­—Written in Black, now in its fifth year, provides an outlet for African American playwrights to write plays tackling issues important to the community including drug and alcohol abuse, gang violence, and family politics. As diversity and inclusion become even more of a community focus, IndyFringe will keep providing a place where African American playwrights can create and develop works strong enough for professional stages. Plays from OnyxFest have also gone on to be produced in New York, Chicago, Los Angeles, and Cincinnati. Check out OnyxFest this month at indyfringe.org

/ un ex pe ct ed me a ll th e ti

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) as it enters a new era! The 2016–2017 season marks the ICC’s first year led by Artistic Director Joshua Pedde. Mr. Pedde’s inspirational leadership promises to bring the ICC’s mission of artistic excellence and quality music education to new heights while advancing the choir’s status as a fixture in the central Indiana community. Get ready for an amazing season! The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org, or call 317.940.9640.

d/ une xpe cte e all the tim

tHEATRE

tHEATRE

Indianapolis Symphonic Choir Celebrating the 80th Anniversary Season, the Indianapolis Symphonic Choir presents the annual holiday favorite Festival of Carols throughout the month of December. With five performances to choose from at The Scottish Rite Cathedral in downtown Indianapolis and at The Palladium in Carmel, Festival of Carols features the Symphonic Choir and orchestra performing your beloved Christmas carols and holiday favorites. Grammy Award-winning soprano Sylvia McNair joins the Symphonic Choir for these performances… suitable for kids from 1 to 92. Tickets begin at just $15 and are available at indychoir.org.

New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestra masterworks, both traditional and contemporary. The 2016–2017 season premiere will be held at the Hilbert Circle Theatre, November 6 at5:00 pm. For more information, please visit nwyso.org. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

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now sho

E ASryK20AL- IC21 GO rua Feb

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 Peter Vickery, Assistant Concertmaster 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 Ingrid Fischer-Bellman, Cello 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 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 Conrad Jones, Principal Trumpet 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

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ENDOWMENT Endowed Performances The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias September 30 and October 1, 2016 — André Watts The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund October 7-8, 2016 — Hilary Hahn The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 4-5, 2016 — Gil Shaham and Jennifer Christen Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 12, 2016 — Jan Lisiecki Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias December 2016 — Opening Night Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 2016 — Closing Night

April 21-22, 2017 — Brahm’s Requiem The Performance of New Music Endowed by LDI, Ltd. April 28, 2017 — Mozart and Salieri The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 5, 2017 — Rachmaninoff The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 2–3, 2017 — Bertrand Chamayou The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund June 9–10, 2017 — Carmina Burana The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2017 — Marsh Symphony on the Prairie The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick

The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund January 13-14, 2017 —­Krzysztof Urbański

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert

The Mohlman Performance of Classical Music Endowed by a gift from Ina M. and Robert H. Mohlman January 20-21, 2017 — Mahler’s “The Song of the Earth”

The Tobias Green Room Endowed by Randall L. Tobias

The Performance of a Young Professional Artist Endowed by Roche Diagnostics January 27–28, 2017 — Zach De Pue The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund February 17–18, 2017 — Tim McAllister The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously February 24, 2017 – Katia and Marielle Labèque 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

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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 Artist in Residence Endowment Endowed in memory of Hortense and Marvin Lasky

ENDOWMENT The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt

Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen

The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer

Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof

The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett

Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter

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 Underwritten by Friends of Ava Button The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund

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 Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984 First Monday Music Club Endowed anonymously 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 New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley

The Grand Lobby Endowed by Marianne Williams Tobias

The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré

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

The ISO Association Office Endowed by Peggy & Byron Myers

Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune

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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 Dale & Barb Benson 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 Rollin & Cheri Dick Mr. & Mrs. Richard A. & Helen J. Dickinson 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 Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury 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 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 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 Carol E. Taylor Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Dan & Doris Weisman Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Richard D. & Billie Lou* Wood 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. Walter Chroniak 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 Gail H. & Robert H. Hall Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn Mr. David A. Jacobs Frances M. Johnson

LYNN SOCIETY 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 Alice & Kirk McKinney 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. Raiford Scott 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.”

“

We strongly believe that a great city needs a symphony orchestra, and Indianapolis is so very privileged to host the ISO. Our orchestra brings a wide variety of music for the joy and enlightenment of all citizens. We especially appreciate the involvement of so many youth in the Symphony’s music and education programs. Our continued contributions to the Annual Fund and our legacy gift to the Lynn Society allow us to simultaneously support a city treasure, enhance the education of the city’s youth, and personally experience the joy of great music.

”

- Rollie and Cheri Dick

YOUR LEGACY MATTERS Contact Casey Chell, Director of Development, with questions about The Lynn Society at 317.713.3342 or [email protected].

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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 September 1, 2016. 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 Ms. Christel DeHaan Kay F. Koch Sarah & John Lechleiter Yvonne H. Shaheen Marianne Williams Tobias Randall & Deborah Tobias Anonymous Arts Council of Indianapolis and the City of Indianapolis The Christel DeHaan Family Foundation Efroymson Family Fund Eli Lilly and Company Indianapolis Power & Light Company Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF Marsh Supermarkets, LLC Founders’ Society, Music Director ($50,000+) Anonymous Mr. & Mrs. Michael Becher Rollin & Cheri Dick Phil & Colleen Kenney Ann M. & Chris Stack Richard D. Wood Printing Partners The Rock Island Refining Foundation Ruth Lilly Philanthropic Foundation Founders’ Society, Concertmaster ($20,000-$49,999) Christina Bodurow Trent & Amy Cowles Dawn M. Fazli Dr. & Mrs. E. Henry Lamkin, Jr. Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Dr. Jeffrey Vanderwater-Piercy Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox

Anonymous

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Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase The Clowes Fund The Glick Fund, a fund of Central Indiana Community Foundation Ice Miller LLP Indiana Arts Commission Ann and Gordon Getty Foundation and the League of American Orchestras MacAllister Machinery Company, Inc. National Endowment for the Arts Nicholas H. Noyes Jr. Memorial Foundation OneAmerica Financial Partners, Inc. xR.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics SalesForce Scott A. Jones Foundation St.Vincent Health Telamon Corporation Terry Lee Genesis & Terry Lee Hyundai 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 Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Vincent & Robyn Caponi Mr. & Mrs. Daniel P. Carmichael Mr. Daniel Corrigan Mr. & Mrs. James E. Dora Craig & Mary Fenneman Don & Carolyn Hardman Mr. Kent Hawryluk Emily & Peter Howard Allan & Kathy Hubbard Bob & Rhonda Kaspar Joseph & Kathy Kessler Cindy L. & Timothy J. Konich

James E. & Patricia J. LaCrosse Drs. W.H. & K.T. Landschulz Mr. & Mrs. Bruce McCaw Mr. E. Kirk McKinney, Jr. Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Dorit & Gerald Paul Mel & Joan Perelman Walt & Mary Prouty Mary Frances Rubly Phyllis & Gary Schahet Marlyne Sexton Jeff & Cassandra Short Christopher A. Slapak & Michael J. Robertson Mr. Kevin D. Taylor Mr. & Mrs. Daniel O. Weisman Kathy & Ralph Wilhelm Roberta & Bill Witchger Dr. Christian Wolf & Elaine Holden-Wolf Hsiu-Chiung Yang & Marian Mosior Jim & Rita Zink ADL Charitable Trust Ann & Gordon Getty Foundation Anthem Blue Cross and Blue Shield Buckingham Foundation Inc. Care Institute Group, Inc. Citizens Energy Group CNO Financial Group Community Health Network Delaware Community Foundation Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. Erie Insurance The Glick Family Foundation Fenneman Family Foundation Fifth Third Bank Indiana Members Credit Union The Indiana Rail Road Company Indiana University Health Partners Industrial Dielectrics Holdings The Junior League of Indianapolis Lacy Foundation Macy’s McCaw Family Foundation Navient NextGear Capital Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana The Sells Group Vectren Corporation

Founders’ Society ($5,000-$9,999) Anonymous (9) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Teresa & Don Altemeyer Bob & Pat Anker Mr. Aasif Bade Drs. Douglas & Deborah Balogh Trudy W. Banta Ms. Sarah Barney Alpha Blackburn Suzanne B. Blakeman Terry & Robert L Bowen Charles & Joyce Boxman Mr. & Mrs. John Bratt Donald & Barbara Broadlick Charles W. Brown Michael & Mary Ann Browning Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Ms. Jane Conley Dexter & Rosemary Cooley Andrea Cranfill David & Consuelo Davis Erin & Scott Dorsey Dr. Thomas & Paula Elam Jack Everly & Ty A. Johnson Ms. Carol J. Feeney Dr. & Mrs. Richard W. Garrett Michael & Beth Gastineau Gary Ginstling & Marta Lederer Larry C. & Lee A. Glasscock Charles & Susan Golden Mr. & Mrs. Thomas W. & Mary P. Grein John & Chichi Guy Steve L. Hamilton & Keith O. Norwalk Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Sharon Hoog Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Dr. & Mrs. Raymond V. Ingham Carlyn Johnson Kimra Kidd & Thomas Buethner Drs. Sandra & Charles Kinsella Ned & Wendy Kirby Mrs. James L. Kittle, Sr. Don & Jen Knebel Dr. & Mrs. Eugene P. Kroeff

ANNUAL FUND Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Dr. Richard E. Lindseth Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Andrew J. Macht Mr. & Mrs. Morris Maurer Boris E. Meditch Virginia Melin Mr. & Mrs. Dayton Molendorp Ellie, Weber & Emaline Morse Jerry & Anne Moss John & Carolyn Mutz Mr. Carl and Dr. Loui Nelson Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Kay Pashos & Neal Steinbart Donald & Karen Perez Bart Peterson Mr. Robert T. Rice Timothy E. Rice Margaret Cole Russell & Steve Russell Mr. & Mrs. William N. Salin Perry & Lisa Scott Patrick & Sarah Sells Drs. Lei Shen and Soomin Park William & Faye Sigman SHC – Senior Home Companions Maribeth & Al Smith Susanne & Jack Sogard Mr. & Mrs. John Thornburgh Pete & Lena Ward Margaret Watanabe David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Sara & Michael Zeckel John & Linda Zimmermann Mary Ann & Gene Zink Jennifer & Michael Zinn Barefoot Wine The Barrington of Carmel Bose McKinney & Evans LLP Chubb Group of Insurance Companies City of Carmel Deloitte & Touche LLP DMC Holdings, Inc. Dorsey Foundation Faegre Baker Daniels The Frenzel Family Charitable Lead Trust Hoover Family Foundation Huntington Bank Indiana Space Grant Consortium Indianapolis Chapter of The Links, Inc. James O. & Alice F. Cole Foundation Jungclaus-Campbell Co., Inc. The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF Lumina Foundation for Education Merrill Lynch MusicCrossroads The National Bank of Indianapolis

PNC Regions Bank Skiles Detrude Winners Circle Conductor’s Circle ($2,500-$4,999) Anonymous Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Mr. C. Harvey Bradley Jr. Mary Clare & George Broadbent Mr. Richard F. Brown & Mrs. Cathy Springer-Brown Dr. & Mrs. John T. Callaghan Mr. & Mrs. Albert Chen Nancy Christy Fred & Alice Croner James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneen & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. Mark Foglesong Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Stephen F. Fry Julia & Doug Gard David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Jim & Roberta Graham Dr. Christian & Mrs. June Gries Bob Hallam Velda Hamman Mr. & Mrs. James Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear Mr. & Mrs. John C. Jenkins & Family Scott & Holly Johnson Dr. & Mrs. C. Conrad Johnston Jennifer & John Jokantas Daniel H. Joseph & Liu Li Dr. Louis N Jungheim & Dr. Thalia I. Nicas Dr. & Mrs. John E. Kalsbeck Donn & Dot Kaupke James and Jennifer Kelley Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Larry & Rose Kleiman Dr. Gwen & Mr. Robert Krivi Peg Lavagnino

Andrew & Lynn Lewis Jim & Sarah Lootens Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Dr. & Mrs. Ronald Maus Susanah M. Mead Flip & Cindy Miller Jim Miller Milton & Margaret Miller Jim & Jackie Morris Dr. & Mrs. Daniel H. Mowrey Elizabeth & William Murphy F. Timothy & Nancy Nagler Timothy S. Needler Marc A. Nichols & James E. Collins Jackie Nytes Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jack & Katie Patterson Eloise Paul & Bill Lee Ray and Jim Luther-Pfeil David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Myrta J. Pulliam Jo & Chris Rathbun Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. Todd K. Rutledge Mr. Gilva F. Sallee James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Armen & Marie-Claude Shanafelt Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Dee & Tom Spencer Michael & Carol Stayton Sydney L. Steele Drs. Randall & Bonnie Strate James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Ms. Cathy Turner Martha Anne Varnes Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman 500 Festival, Inc. Community Health Network South Region DB Engineering LLC Donovan CPAs & Advisors Firestone Building Products and Industrial Products

First Person Franklin Symphonic Council, Inc. Hoosier Park at Anderson Horace Mann Indiana American Water Co., Inc. Indiana Farm Bureau Insurance The Indianapolis Recorder The Indy Star InterDesign ITT Technical Institutes J M Smith Foundation Mallor Grodner LLP Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc Milhaus Development RBC Wealth Management Ricker’s Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (4) Dr. & Mrs. Wayne Ambrous Nicholas Barbaro & Sue Ellen Scheppke Mr. Todd Barrett Spencer & Marcia Bavender Jay & Julie Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Kirk & Sharon Boller— Bottom-Line Performance Inc Dr. & Mrs. W. C. Bonifield Ms. Marsha Bragg Matt & Janette Brown Gordon & Celia Bruder Dr. Mark Overhage & Dr. Mary Brunner Mrs. Alva Buchholtz Kenneth & Patricia Burow Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. James M. Cornelius Dave & Christie Crockett Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Dennis K. Dickos, M.D. Patty Donnelly & Rob Pozzebon Mr. & Mrs. Robert M. Donovan Miss E. Frances Eickhoff Andrew & Irene Engel John N. & Julia Luros Failey Jim & Gracia Floyd Dr. Norm & Adrienne Fogle Dick & Brenda Freije Marianne Glick Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Robert Gregory Ms. Julie Griffith Kenneth & Barbara Hamilton Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Ms. Lisa Heid Gregory Henneke & Martha

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ANNUAL FUND O’Connor Mr. & Mrs. Gerald V. Hinchman Abigail W. Hohmann Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn Dana & Marc Katz Mr. Charles E. Kendall Patricia Kilbury Mr. Doug Klitzke Col. A. D. Kneessy Tim, Amy & Matthew Konrad Dr. Elisabeth Krug Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Mr. & Mrs. Allan Litz Deborah & Joe Loughrey John & Ingrid Mail Mr. Kevin Malley & Mr. Ronald Nobles Jon D. Marhenke, M.D. Dr. & Mrs. Douglas R. Maxwell Scott & Tiffany McCorkle Mr. & Mrs. Russell Mobley Teresa Morton Nyhart Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Sarah Myer Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Guido Neels Tom & Nancy Newlin Mr. & Mrs. John S. Null Thomas & Stacy O’Leary Bill & Jamie Parrish Allen H. Pekar Beverley & Bill Pitts Barbara Poulsen Christine & Ken Price Scott & Susan Putney Dr. & Mrs. George F. Rapp Mr. Alan & Mrs. Deborah Rasper Mr. & Mrs. Randall Riggs Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. & Mrs. John F. Schaefer Paul & Martha Schmidt John Seest Jerry & Rosie Semler Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Christy & Jeffery Soldatis Drs. Pamela Steed & Peter Furno Rita & Larry Steinberg Ed & Barbara Steward Jim & Cheryl Strain Richard & Lois Surber Sidney Taurel Stephen L. Tracy Dr. James & Linda Trippi Randall Trowbridge & Alice Brown Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Don & Coleen Walker Courtenay & Emily Weldon Mrs. Mary Whalin

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Mrs. Lucy Wick Ken & Wendy Yerkes Josephine A. Yu The Ackerman Foundation Batt Family Foundation Conrad Indianapolis Cornelius Family Foundation, Inc. CSO Architects, Inc. F.A. Wilhelm Construction Co. Gracia E. Johnson Foundation Indy Eleven The Jenn Foundation Joanne W. Orr Charitable Fund The Penrod Society Pointer Management Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (5) Mr. Eric Adolph & Ms. Teresa Beam Kate & Dan Appel Mr. Wilbur L. Appel, Jr. Joan Baker Mrs. Taylor L. Baker Terry & Patricia Balko Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Mr. & Mrs. Laurens Beyland Jeffrey Stant & Mary Bookwalter Erv & Priscilla Boschmann Douglas & Angela Braly Tiffany & William Browne, Jr. Terri Bruksch Mr. James & Mrs. Joan Burgett Lorene M. Burkhart Celeste & Derrick Burks Pam & Jack Burks Helen Burnett Donald W. Buttrey Mr. & Mrs. E. M. Cavalier Betty Chapple Casey Chell & Daniel Duarte Ray and Lisa Childers Mr. & Mrs. Randall Christie Dan & Laura Conder Mrs. Mary C. Crean Mr. Douglas Davies Joanne Meyer Davis Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Norman Dean Dr. & Mrs. Frank Deane Dr. Tom & Pat DeCoster Julie & David DeWitt Mr. & Mrs. Dan Dumbauld Stephen Dutton Joe & Florie Eaton Mr. & Mrs. Thomas J. Eggers David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum Linda Felton Ann & David Frick Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. James F. Gallagher Paul & Beth Gaylo Mr. & Mrs. Raymond Gibson

Mr. Scott & Ms. Amy Goldsmith Mr. & Mrs. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Mr. & Mrs. Berl J. Grant Thomas & Nancy Grembowicz Peter Grossman and Pauline Spiegel Jim Gutting Jerry & Kathleen Hacker Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Mr. & Mrs. Eugene E. Henn Dr. Stephen & Susan Henson Mr. Ronald N. Hermeling William & Patricia Hirsch C. Jane Hodge Mrs. Ginny Hodowal Brenda S. Horn Mrs. Jill Hoyle Ms. Lysiane Huber Clarena Huffington Meredith & Kathleen Hull Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson David L. Johnson & Anne Nobles Catherine Jones Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Mr. and Mrs. Robert P. Kassing Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. & Mrs. Daniel E Klausner David H. Kleiman Steve & Sharon Klusman Richard & Roxanne Kovacs Terrence & Jodi Kunstek Dr. Matthew Landman Gene & Carolyn Lausch Cindy & Rick Leffler Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Grace Long Lowell & Penelope Lumley Mr. & Mrs. Ralph E. Lundgren Carey Lykins Mr. Greg Malone Michael & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Elaine M. Mattson Dr. Rose Mays Carson & Betsy McCaw Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Myron J. McKee Alan & Ann McKenzie Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. James Miller Mr. & Mrs. Robert E. Miller James E. LeGrand & William A.

Nichols Mr. Bill Moreau Ann & Jim Murtlow Peggy & Byron Myers Mr. Reid Nagle Don Nead & Caryl Matthews Paul Nordby Lara Noren Linda Pence Pat Perkinson Marian Pettengill Mr. Matthew & Mrs. Christine Phillips Gayle L. Phillips Lois Pless Larry & Nancy Pugh Mrs. Nancy Quest Roger & Anna Radue Patricia L. Ragan Richard & Betty Lou Reasoner Barb and Tom Reed Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg Rick Rezek Mrs. Mary L. Rice Jean & Lamar Richcreek Mark & Susan Ridlen William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Mrs. Lisa M. Sapp Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Dr. Richard Schevitz & Ms. Rosemary Ervin Roger & Barbara Schmenner Ms. Silvana Schuster Carson & Carla Shadowen Mr. & Mrs. Henry E. Sleeth Mrs. Marian Small Nancy C. & James W. Smith Mr. Peter & Mrs. Chris Smithhisler The Sneed Family Loren Snyder Judy A. Springmire Barb Stang Brian & Martha Steinkamp Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland T.S. Sun Nela Swinehart & Lonn Bayha Mr. John Tan Phillip A. Terry Mr. Mark Thompson Douglas L. Tillman Jerry & Linda Toomer Mrs. Clara Trapp Bob & Sue True Barbara S. Tully Kenneth L. Turchi Ms. Phyllis Dye Turner Constance Van Valer, M.D. Mr. & Mrs. Bradley Warnecke Paul & Gretchen Watson Scott & Sue Webber Frank & Sandy Weddle Mrs. Phyllis West L. Alan & Elizabeth Whaley

ANNUAL FUND Meg Williams & Nicole Collins Forrest Williamson Mr. & Mrs. Meredith L. Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Mrs. Edna Woodard Turner & Diann Woodard Diana & Dan Yates Mrs. Teresa P. Youngen Mr. & Mrs. Leslie R. Zimmerman

Buttrey (deceased), Donald W. Buttrey SBC Wealth Management The Toomer Family Foundation

Virtuoso ($750-$999) Anonymous (6) John & Reita Bertsch Mr. & Mrs. Borissov Mr. & Mrs. Fred Boso Christine & Robert Broughton The Ruth E. Stilwell Endowment Mr. & Mrs. Tom Cooper Fund, a fund of CICF Daryl, Sherry & Kevin Cox Cavalier Family Foundation Patrick and Jennifer Cross Cole Hardwood, Inc. Jessica R. Di Santo Douglas & Angela Braly Family Jack & Connie Douglas Foundation Constance C. Earle ASA Concierge Psychological Dr. & Mrs. Christopher Eddy Services, LLC Brian & Sara Eldridge Gregory & Appel Insurance Mr. & Mrs. Ardith Fleetwood The Humke Foundation, Inc. Mr. Kenneth Fraza Indiana First Lady’s Charitable Dr. Karen & Thomas Gallagher Foundation, Inc. Dona & Catherine Gatlin Linebarger Janin Family Fund, Drs. Jean & Gerald Godfrey a fund of Central Indiana Brian & Claudia Grant Community Fdtn John & Mary Ann Grogan Marni McKinney Foundation Ms. Lauren Guidotti O’Ryan Law Firm Dan & Vicky Hancock Psi Iota Xi, Iota Tau Mr. & Mrs. Thomas G. Harvey, Jr. RSE Realty, Inc Mr. & Mrs. Jerome T. Henning Salin Bank & Trust Mike & Noel Heymann The Saltsburg Fund; Karen Lake Jack & Ruth Hoover

Mr. & Mrs. Needham S. Hurst Larry & Marianne Jacobi Mr. & Mrs. David Jensen Robert & Cindy Kirkpatrick Mr. Richard & Mrs. Gwen Knipstein Robbie & Emily Kusz Mrs. Carl Lesher Dennis & Karen Licht Mr. Joseph Lime Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Mr. & Mrs. Ralph McCormick Earl Miller & Ek-Leng Chua-Miller John & Tara Morse Dr. & Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Brian Oakley Dr. John A. & Cinda Overman Anne K. Perry & Marvin C. Perry, II John Mainella & Michael Pettry Janeann M. Pitz & Reinhard Pollach The Prible Family Diane Richardson Mr. & Mrs. Timothy J. Riffle Mr. & Mrs. Jeffrey Schmahl Saundra & Tuck Schulhof Dr. & Mrs. William Segar Michael & Priscilla Shaw

Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Lyman A. Snyder Ms. Sarah Studzinski Greg & Linda Sykes M. C. Tanner Mrs. Maggie Tatter Kirk & Jo Taylor Mrs. T. Marilyn Trout Mr. & Mrs. Clark Williamson Larry E. Wollert II & Arif Kocabas Ty & Keri Wooten Dr. & Mrs. Steve Young Richard E. Ziegler Sue & John Zinser Contributed Goods and Services ($5,000 and Above) Thomas N. Akins Blue & Co., LLC DCG: Digital Color Graphics Enflora Flowers for Business NUVO Newsweekly Printing Partners Catherine Rossi Second Helpings Well Done Marketing WTTS

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WHY I GIVE

MATTHEW AND CHRISTINE PHILLIPS Donor and subscriber Christine Phillips enjoys attending SymFuny Sundays, Marsh Symphony on the Prairie, and a variety of other concerts with her family and friends. Wanting to see the ISO continue to thrive, Christine realizes the importance of giving and attending. Have you and your family always lived in Indianapolis? No, we moved here six years ago from out of state. Did you ever play an instrument? If so, tell us about that experience. No, I have zero musical talent. Do you remember when you first heard classical music? It was during a grade school field trip to Heinz Hall. I had never seen such a beautiful building or heard live music like that before. I was amazed.

What has been your favorite musical experience with the ISO so far? It’s hard to pick a favorite experience with the ISO because we enjoy so many different types of programming. We love going to Symphony on the Prairie with family and friends. SymFuny Sundays have been so enjoyable, especially the IPL Yuletide Celebration. I think if I had to select a favorite, it might be when the ISO performs with film. We’ve seen two films that way (soon to be a third). The live music adds a magical layer to the film that makes it so much better. How is your family’s life better with music? I can’t imagine how bland our life would be without music. What would you tell a family who is considering a symFUNy Sundays subscription? I would encourage them to subscribe. It is an amazing value and a great time. We enjoy our subscription so much that we purchased extra seats this year so our children could bring friends to each show. Why is an orchestra important to a community? Music brings together so many people for so many varied reasons. Having an orchestra in town gives the community many opportunities to experience live music. I love how we have offerings like the Lunch Break Series, symFUNy Sundays, Symphony on the Prairie, as well as the more traditional shows. What types of music do you and your family enjoy besides classical? We listen to a wide variety. I am a huge Motown fan, but we listen to country, show tunes, really anything on the radio. What led you to donate to the ISO? Why is that important to you? I donate to help the ISO thrive. I personally enjoy attending concerts, but I also think about school field trips. I think back to my childhood, and my only exposure to music like this was during field trips. I hope every child has the opportunity to enjoy live music.

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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 August 3, 2016–September 1, 2016.

Honor Gifts In Honor of Sherry and Dara Amlung Margie Zaring In Honor of Emma Hitchcock Jacqueline Garland In Honor of Walter Lefavour Mrs. Lisa M. Sapp

In Honor of Yvonne Shaheen Mr. Christopher H. Molloy Brian & Martha Steinkamp In Honor of Martha Anne Varnes’ birthday and her association with The Indianapolis Symphony Orchestra Mel and Joan Perelman

In Honor of Raymond Leppard Dinah and Jerry Montgomery Memorial Gifts In Memory of Margot Lacy Eccles Ms. Leslie J. Donchetz & Mr. Michael Dick

In Memory of Achille Rossi Paul & Donna Berns

In Memory of Jack Eichacker Mrs. Mary Jane Eichacker

In Memory of Ralph and Anne M. Springer Mr. Rick Brown & Mrs. Cathy Springer-Brown

In Memory of Neal Grundy Mark Frederick Garringer

In Memory of Clara Toplis Michael and Wendy Byers

In Memory of Patsy Kunz Gloria Cole Ryan

In Memory of Marilyn Jean Walters Anne Dorton Janie Hodge Suzanne Killen

In Memory of John D. Long Grace Long In Memory of Michael B. & Illene K. Maurer Thomas F. and Elizabeth W. O’Gara In Memory of William D. Ragan, MD Patricia L. Ragan In Memory of MYO alumni, Kevin Randolph Mr. Ray Biederman

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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 Associate Director of Corporate Giving at 317.262.1880.

btlaw.com

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ASSOC ATION

JOIN US

IN WHAT WE DO...

PEOPLE WITH A PASSION FOR MUSIC

DISCOVERY CONCERTS • Indiana Students attend kid-friendly concerts at the Hilbert Circle Theatre. • ISOA members act as greeters and ushers.

SYMPHONY IN COLOR • An art contest for children and teens in which works of art are created while listening to classical music. • The ISOA oversees the contest.

THE MICHAEL BEN & ILENE KOMISAROW MAURER

YOUNG MUSICIANS CONTEST • Indiana’s classical musicians are showcased in solo performances. • The ISOA organizes this contest.

SIDE-BY-SIDE CONCERT • High School Students perform side-by-side with their ISO counterparts • The ISOA hosts the rehearsal luncheon.

THE METROPOLITAN YOUTH ORCHESTRA • Life skills are gained through individual instruction, rehearsals and concerts. • ISOA provides support at on-going events.

HERE’S HOW

TO BECOME A MEMBER OF ISOA... Please contact us at 317.231.6762 or [email protected]

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ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Philomena Duffy, Operations Coordinator 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 Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration 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 Megan Meyer, Executive Assistant to the Vice President Casey Chell, Director of Development Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and Foundation Giving Melissa Weseli, Associate Director of Corporate Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Sally Meyer Chapman, Foundation and Grants Manager Cindy McHone, Gift Processing Manager Caily Wolma Lee, Individual Giving Associate Beckie Kern, Development Assistant Tom McTamney, Gift Processing Associate Catherine Lockhart, Corporate Relations Associate

MARKETING & COMMUNICATIONS Sarah Myer, Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Catherine Cardwell, Audience Development Manager Marci Taylor, Graphic Designer Communications Leila Viera, Publications Manager Lauren King, Digital Marketing and Communications Manager Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Mary Ferguson Senior Customer Care Representative Anita Blackwell Janine Knuutila Crystal Black Nick Neukom Carolyn Kupchik McKenzie Witherell Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager FINANCE Steve L. Hamilton, Vice President of Finance and Chief Financial Officer Adam White, Controller Teaka Vest, Staff Accountant Jennifer Morrell, 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 before and after the concert in the Encore Lounge. Also, join us for a behind-the-scenes discussion with special guests during the First Mondays: Backstage Pass to the ISO! For information, please email [email protected].

Parking Garage Attached to Hilbert Circle Theatre EZ Park 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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