MU S I C O F T H E
E A RTH F E S T I VA L
KRZYSZTOF URBAŃSKI
H IL B ERT CIRCLE TH EAT R E KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR
Timeless Classics with Maureen McGovern MUSIC OF THE EARTH FESTIVAL Copland’s Appalachian Spring R. Strauss’ An Alpine Symphony Mahler’s “The Song of the Earth” Recomposed by Max Richter: Vivaldi The Four Seasons Stravinsky’s The Firebird
JANUARY | VOLUME 4
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THE PROGRAM BOOK Programs 17 January 6, 7, 2017 22 January 12, 2017 24 January 13, 14, 2017 31 January 20, 21, 2017 33 January 22, 2017 42 January 27, 28, 2017 Featured Articles 8 Music In My Life 13 ISO Musicians Around Town 14 Inside the Usher Corps 54 Arts in Indy Departments 9 ISO Profile 69 Hilbert Circle Theatre Information Support 55 Endowment 58 Lynn Society 60 Annual Fund 64 Why I Give 65 Tribute Gifts 66 Corporate Sponsors
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2016–2017 Hilbert Circle Theatre Artists 18 Jack Everly 19 Maureen McGovern 25 Krzysztof Urbański 34 Sasha Cooke 35 Paul Groves 44 Roberto Abbado 45 Zach De Pue The Indianapolis Symphony Orchestra 6 Musicians of the ISO 7 Board of Directors 67 Indianapolis Symphony Orchestra Association 68 Administration
WELCOME Dear friends, I am thrilled to be here for the start of 2017 to present our Music of the Earth Festival. This festival is a two week musical journey which explores the physical and metaphysical aspects of our home planet. In the first week, we’ll present Copland’s Appalachian Spring and Richard Strauss’ Alpine Symphony. What I love about Alpine Symphony is that it’s actually not about rocks, it’s not about mountains. It’s about human feelings. There is a hero, a person who travels through the mountains who is likely our composer, and we hear his fascination about the world on the pages of the score. We hear what he sees with his eyes. The music, along with the breathtaking images you’ll see accompanying the music, will make for an incredible experience. In our second week, we will start with Richter’s recomposed version of Vivaldi’s The Four Seasons. So the audience will hear this famous piece but in a completely different light. Then, the ISO will perform Mahler’s “Song of the Earth” which includes six songs, each showing different meanings and different aspects of life. The music being performed during our festival reminds me of what I love about music — that everyone can listen, analyze, and feel it in a different way. Hopefully, every single person will be inspired. And speaking of being inspired, I hope you will join us throughout the winter and spring for the rest of our indoor season which will culminate with our season finale, Orff’s Carmina Burana. Thank you for your support, and I look forward to sharing my musical journey with you throughout the new year. Sincerely,
Krzysztof Urbański Music Director
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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Dean Franke, Assistant Concertmaster The Wilcox Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey Second Violin Konstantin Umansky, Principal David Bartolowits, Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal 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
Yvonne H. Shaheen, Chair Michael Becher, Vice-Chair Gary Ginstling, Chief Executive Officer Charlene Barnette, Secretary Michael Becher, Treasurer Yvonne H. Shaheen, Chair
Board of Directors Wendy Adams 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* Kiamesha Colom Trent Cowles Andrea Davis* Craig Fenneman Gary Ginstling* Peter W. Howard, Ph.D.
Ann Hampton Hunt Phil Kenney* Joseph M. Kessler David Kleiman Liz Kyzr Martha D. Lamkin* Sarah L. Lechleiter Greg Loewen Karen Mangia 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* Alice K. Schloss Patrick Sells Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* C. Daniel Yates James C. Zink Sr. Jennifer Zinn *Executive Committee
Board of Trustees John M. Mutz, Chair Robert A. Anker Stephen E. DeVoe Carolyn S. Hardman 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
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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MUSIC IN MY LIFE
QUENTIN QUINN, Stage Manager
Quentin Quinn has been the Stage Manager at the ISO for the past 23 years. Prior to the ISO, Quentin worked as a supervisor with the Indiana Convention Center for 20 years. His father was Stage Manager at the ISO with the orchestra for 30 years prior to him taking the position. The Quinn family is on year 53 of stage managing at the ISO. Quentin describes his time at the ISO as being an interesting, challenging, and wonderful time with a lot of positive changes. He has developed friendships with many musicians, some of which he even knew before he arrived at the ISO. What attracted you to making a career out of stage management ? It may just be in the family genes to a certain degree. I went to school in Indiana, and my intention was to go to IU School of Dentistry. I came back to stage craft and stage work and have been here ever since. An interesting fact is that I have two other brothers that are in the business also. They actually work here for the ISO part time. My oldest son is a production electrician traveling about the country working for the largest trade, corporate, and auto shows. My younger son is a PE teacher and coaches Varsity basketball and golf on the high school level. My wife, Marilyn, of 48 years holds the family production together. What is the most critical aspect to success as a stage manager? Staying ahead of the game. Making sure that I am giving the stage crew as much information as I can as early as possible. This avoids having everyone jumping through hoops any more than they have to. Everyone really appreciates getting production information up front, and we go from there. What do you love about your job? Show time! It makes it all worthwhile to see the effort you have put into your work come out in real time and come off well. Most importantly, which I do quite often, I take a look and listen to the audience and see and hear their expressions. If it is a kid’s show, I peek through the curtain and take a look to see all the kids smiling—that’s important and so rewarding! Outside of work, what do you enjoy doing? How do you spend your time? I like to play golf and particularly help out with the Maestro Open each year. It’s an exciting and valuable fundraiser for the ISO. I have two grand kids, so I enjoy spending time with them and going to their sporting events. We also enjoy boating. What is the biggest lesson in your life that you’ve learned thus far? Listen once, listen twice. Always listen and assess before you make any decisions on productions and concerts. Don’t go off shorthanded, don’t go off the deep end. When you make a decision, take your time in making the decision to make the right decision the first time. If you make a hurried decision, you may have to go back and change things, and a lot of times the decision you’ve made affects a lot of people and possibly the production.
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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. Special events this year include the 31st anniversary of the IPL Yuletide Celebration and the 100th anniversary of the Hilbert Circle Theatre.
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OFFER VALID THROUGH FEBRUARY 27
Carmina Burana
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FO R MO RE D E TA I L S , CA LL 3 17.639.4 3 00, O R V IS IT I N D I A N A PO L I S SYM P HO N Y.O RG
With your Indianapolis Symphony Orchestra
CBH TUESDAY, FEBRUARY 28 • 7:30PM Ad F REE & O PEN TO THE P UB L IC HILBERT CIRCLE THEATRE
The ISO honors the significant impact of African-American musicians on the cultural life of Indianapolis and the nation. IMPD Officer Christopher Wilburn will also accompany the ISO, singing with the orchestra in his Hilbert Circle Theatre debut.
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INDIANAPOLIS SYMPHONY ORCHESTRA
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MUSICIANS AROUND TOWN On January 25 at 7:30 p.m., The University of Indianapolis presents The Icarus Ensemble as part of its Jazz Series in the Ruth Lilly Performance Hall of the Christel DeHaan Fine Arts Center. Admission is $15, $5 for Seniors; free for ages 18 and younger. The Icarus Ensemble is made up of ISO Musicians Peter Hansen, bass, and Mark Ortwein, bassoon, along with regular ISO extras Jon Crabiel, percussion, and Gary Mark Ortwein, Bassoon Peter Hansen, Bass Walters, piano. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD is available on I-Tunes, CD Baby, in the Circle Theatre lobby, and from band members.
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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, Pat Craven.
Pat Craven was born and raised in the Indianapolis area, originally just east of Fountain Square, not far from what was then the Circle Theater. Eventually both her father and aunt worked for Eli Lilly, a growing and respected local business. In 1981, her family decided to move from Indianapolis to Florida to start a new family business. While the business venture did not turn out as planned, they found fulfilling opportunities. Pat worked for the Clerk of Court in Sarasota County in 1985 and relocated to Indianapolis upon retirement in 2014. What motivated you to become an ISO volunteer? I have always enjoyed the arts and was able to volunteer for the West Symphony in Florida. When I moved back to Indianapolis in the fall of 2015, I sought out volunteer opportunities in the arts again. I was thrilled to learn of the volunteer positions with the Indianapolis Symphony Orchestra and the opportunity to join a team of such great volunteers. Have you ever played an instrument? I have never played an instrument, however, I have always been drawn to music and have several favorite composers. Why is volunteering for the ISO important to you? I most enjoy interacting with people, both the patrons as well as the volunteer team. Being retired I feel it is important to stay connected and active within the community. The Indianapolis Symphony Orchestra fulfills those aspects of my life, and I thoroughly enjoy all the opportunities it has provided. What would you tell someone that is considering volunteering with the ISO? I tell my family, friends, and visitors in the city that the Indianapolis Symphony Orchestra is a vital part of our community. Volunteering with the ISO really makes a difference, and you should join us. It is so much fun!
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W EDNES DAY, FEBRUARY 8 HIL B ER T CIR CL E T HEAT R E 5 PM , HAPPY HOUR 6 :3 0 PM , CONCERT
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BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300
Matthew Halls, Conductor | Simone Porter, Violin
The Los Angeles Times, after referring to her as a “future star,” wrote, “Let’s strike the word ‘future.’ She sounds ready. Now.” At 20 years old, Simone Porter makes her debut with the ISO, performing Mendelssohn’s beloved Violin Concerto followed by Bruckner’s Seventh Symphony. Second Presbyterian Church is located at 7700 N. Meridian Street.
Buy tickets at Indianpolissymphony.org, or call 317.639.4300
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JAN 6–7
TIMELESS CLASSICS WITH MAUREEN MCGOVERN
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Pops Series/Program Three † Friday, January 6, 2017 at 11 a.m. Hilbert Circle Theatre Printing Partners Pops Series/Program Four Friday, January 6, 2017, at 8 p.m. Saturday, January 7, 2017, at 8 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor MAUREEN MCGOVERN, Soloist JEFFREY HARRIS, Pianist Irving Berlin Irving Berlin Medley George & Ira Gershwin Stiff Upper Lip George Gershwin & Lou Paley A Corner of Heaven With Me George & Ira Gershwin
Things Are Looking Up / Beginner’s Luck
George & Ira Gershwin Summertime George & Ira Gershwin A Gershwin Medley IN TE R MI SSI O N - Twent y M i n u te s Arthur Schwartz Dancing in the Dark Harold Arlen & Accentuate the Positive / Get Happy Johnny Mercer/Ted Koehler George & Ira Gershwin
Love Walked In / Embraceable You
Richard Rodgers & Lorenz Hart/Cole Porter
Nobody’s Heart / Just One of Those Things
Richard Rodgers & Lorenz Hart To Keep My Love Alive 16
TIMELESS CLASSICS WITH MAUREEN MCGOVERN
JAN 6–7
Richard Rodgers & Lorenz Hart It Never Entered My Mind Harold Arlen & E. Y. Harburg
Ding, Dong, the Witch is Dead
Harold Arlen & E. Y. Harburg Optimistic Voices / Over the Rainbow Harold Arlen Arlen Medley
Premier Sponsor btlaw.com
† The Coffee Concert is an abbreviated performance. Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. There is no intermission
Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited.
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JAN 6–7
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.
Mr. Everly is also the Music Director of the IPL Yuletide Celebration, now a 31-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other 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.
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.
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.
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.
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MAUREEN MCGOVERN Maureen McGovern, celebrated as “The Stradivarius Voice,” marked the 40th anniversary of the release of her number one Oscarwinning International Gold Record, “The Morning After” from The Poseidon Adventure, which garnered her a Grammy Nomination in 1973 for “Best New Artist.” Maureen received her second Grammy Nomination in 1998 for “Best Traditional Pop Vocal” for her solo piano/voice album, “The Pleasure of His Company,” with Emmywinning, Grammy-nominated jazz pianist, Mike Renzi. She was also a featured guest artist on the Grammy Award-winning Songs from the Neighborhood: The Music of Mister Rogers. Other hits include, “Can You Read My Mind” from Superman, the Oscar-winning “We May Never Love Like This Again” from The Towering Inferno and “Different Worlds” from the TV series Angie. Her many critically acclaimed recordings include tributes to George Gershwin, Alan and Marilyn Bergman, Harold Arlen, and Richard Rodgers. Her current PS Classics CD, A Long and Winding Road has been praised by The New York Times
JAN 6–7
as “A captivating musical scrapbook from the 1960’s to the early 70’s. Ms. McGovern’s vocal technique is second to none.” In 2005, Ms. McGovern was nominated for a Drama Desk Award for her role as ‘Marmee’ in Little Women, The Musical on Broadway. In 1981, she made her Broadway debut as ‘Mabel’ in The Pirates of Penzance, then went on to star as ‘Luisa’ in Nine with Raul Julia and as ‘Polly Peachum’ in 3 Penny Opera with Sting. Maureen reprised her role as ‘Marmee’ in the first National Tour of Little Women, The Musical and starred as ‘Mrs. Anna’ in the Broadway revival National Tour of The King and I. Regionally, she has starred in Elegies, Dear World, The Umbrellas of Cherbourg, The Lion in Winter, Letters from ‘Nam and Of Thee I Sing-Let ‘Em Eat Cake, among others. She is currently performing her IRNE Awardwinning “Best Solo Performance” one-woman musical memoir “Carry It On” (co-written and created with director, Philip Himberg). For 34 years, Ms. McGovern has served the Muscular Dystrophy Association as volunteer, performer, Board Member, Vice President and Chairperson of the record breaking Shamrocks Against Dystrophy Campaign and NYC Telethon Co-Host for 6 years. Maureen supports music therapy and has been an Artist Spokesperson for the American Music Therapy Association since 2001.
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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.
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JAN TEXT 12
R STRAUSS: AN ALPINE SYMPHONY
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical/Program Four Thursday, January 12, 2017, at 11:15 a.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor Richard Strauss Eine Alpensinfonie, Op. 64 (1864-1949)
Concept, photography, and projection of ”An Alpine Symphony in Images” by Tobias Melle.
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Length of performance is approximately fifty minutes. Recording or photographing any part of this performance is strictly prohibited.
WEEK 1: MUSIC OF THE EARTH FESTIVAL
JAN 12–14
INDIANAPOLIS SYMPHONY ORCHESTRA
MUSIC OF THE EARTH PRE-CONCERT SPEAKER Scott Russell Sanders is the author of twenty books of fiction and nonfiction, including Hunting for Hope and A Conservationist Manifesto. His most recent books are Earth Works: Selected Essays (2012) and Divine Animal: A Novel (2014). A collection of his eco-science fiction stories entitled Dancing in Dreamtime will be published this fall, and a new edition of his documentary narrative, Stone Country, co-authored with photographer Jeffrey Wolin, will appear in 2017. Among his honors are the Lannan Literary Award, the John Burroughs Essay Award, the Mark Twain Award, the Cecil Woods Award for Nonfiction, the Eugene and Marilyn Glick Indiana Authors Award, and fellowships from the Guggenheim Foundation and the National Endowment for the Arts. In 2012, he was elected to the American Academy of Arts and Sciences. He is a Distinguished Professor Emeritus of English at Indiana University. He and his wife, Ruth, a biochemist, have reared two children in their hometown of Bloomington, in the hardwood hill country of Indiana’s White River Valley.
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: Thank you to our Music of the Earth Festival partners:
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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JAN 13, 14
R STRAUSS: AN ALPINE SYMPHONY
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Seven Friday, January 13, 2017, at 8 p.m. Saturday, January 14, 2017, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor Aaron Copland (1900-1990)
Suite from Appalachian Spring
INTERMISSION - Twent y M i n ute s Richard Strauss Eine Alpensinfonie, Op. 64 (1864-1949)
This performance is endowed by the Eugene B. Hibbs Fund. Premier Sponsor
Associate Sponsor
Concept, photography, and projection of ”An Alpine Symphony in Images” by Tobias Melle.
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Length of performance is approximately one hour and forty minutes. Recording or photographing any part of this performance is strictly prohibited.
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.
JAN 12–14
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.
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JAN 12–14
Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Appalachian Spring Aaron Copland Born November 14, 1900, in Brooklyn, NY Died December 2, 1990, in Westchester, NY In the 1930s, Aaron Copland wrote that he was making a significant change in his style. “I felt that it was worthwhile to see if I couldn’t say what I had to say in the simplest possible terms.” Additionally, he was committed to creating a distinctive American voice in music. “It was Copland’s genius for finding the memorable, evocative musical phrase that moved him from the avant-garde maverick to the voice of America.” (Barbara Heninger, program note annotator) He succeeded brilliantly. Composer Virgil Thompson called him “The President of American Music.” His music in this regard was so effecting, so endearing, so comprehensible, so identifiable as ours that he singularly defined the American spirit in music. On one occasion, the composer recalled that an audience member, after hearing Appalachian Spring in 1981, came up to him and said, “Mr. Copland … when I hear your music, I can just see the Appalachians and I just feel spring. …” Mr. Copland concluded, “Well, I am willing if they are!” Appalachian Spring (for chamber orchestra) began as “Ballet for Martha,” referencing Martha Graham’s ballet troupe. According to Copland, the music was based on his friendship with Graham herself. “I was thinking primarily about Martha and her unique choreographic style, which I knew well. Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably very American: there’s something prim and restrained, simple yet strong about her which one tends to think of as American.” Copland met Martha Graham in the early 1930s at a concert that featured his Piano Variations. She told the composer she wanted to dance to it; Copland told her that was “impossible.” Proving him wrong, she created the dance Dithyramb. Copland
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was thunderstruck. “Surely only an artist with an understanding of my work could have visualized dance material in so rhythmically complex and thematically abstruse a composition.” The composer began work on Appalachian Spring in 1943, commissioned by the Foundation of Arts patron Elizabeth Sprague Coolidge, who paid him $500 “for a dance piece.” Martha Graham (who actually titled the work) had been inspired for a ballet by Hart Crane’s poem, “The Dance,” which included these words: O Appalachian Spring! I gained the ledge; Steep, inaccessible smile that eastward bends And northward reaches in that violet wedge Of Adirondacks! The ballet received the Pulitzer Prize in May 1945. Copland orchestrated the chamber score, and the Suite for Orchestra premiered in 1945 with the New York Philharmonic. The setting is the early 19th century, on the site of a Pennsylvania farmhouse that was a wedding gift to a young couple. Copland wrote, “The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, which their new domestic partnership invites. An old neighbor suggests, now and then, the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.” The ballet had 14 segments; the orchestral version eight. The composer kindly provided the following road map: 1. Very slowly. Introduction of the characters,
Notes one by one, in a suffused light. 2. Fast. Sudden burst of unison strings in A Major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene. 3. Moderate. Duo for the Bride and her Intended — scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feeling — suggestions of square dances and country fiddlers. 5. Still faster. Solo dance of the Bride — presentiment of motherhood. Extremes of joy and fear and wonder. 6. Very slowly (as at first). Transition scene to music reminiscent of the introduction. 7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by author Edward D. Andrews, and published under the title “The Gift to Be Simple.” The melody most borrowed and used almost literally is called “Simple Gifts.” 8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music. The above became iconic American music, deeply embedded and embraced in our culture. The seventh section, “Simple Gifts,” sometimes tends to “steal the show.” In response, Copland made a separate arrangement for orchestra, titled “Variations on a Shaker Tune,” which has also become part of our American musical heritage. The ISO’s last performance of Appalachian Spring was February, 2015, conducted by Jeffrey Kahane.
JAN 12–14
Eine Alpensinfonie, Op. 64 (Alpine Symphony) Richard Strauss Born June 11, 1864 in Munich, Germany Died September 8, 1949 in Garmisch-Partenkirchen, Germany The tone poem concept initiated by Franz Liszt was carried forward and more fully developed by Strauss. He achieved unprecedented realism in seven formidable tone poems, nine of the Alpine Symphony and Symphony Domestica are included. Strauss explained his attraction, noting that flexibility in the tone poem format provided an all-encompassing freedom from past musical structures. “I have found myself in a gradually, ever-increasing contradiction between the musical-poetic content that I want to convey and the ternary sonata form that has come down to us from classical composers….I consider it a legitimate artistic method to create a correspondingly new form for every subject, to shape which neatly and perfectly is a very difficult task...” In the Alpine Symphony, Strauss wrote that “this represents moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” He began his work on the Alpine Symphony in 1911, and it premiered in 1915 with the Dresden Court orchestra in Berlin, conducted by the composer. Strauss saved his biggest orchestral body (around 125 players) for the last work in the tone poem set, possibly one of the reasons the Alpine Symphony is the least played. Included amid this massive ensemble is a wind machine, two sets of timpani, an organ, and ten to twenty horns (some offstage). At the final rehearsal for the premiere, the composer quipped, “You see, I have finally learned how to orchestrate.” Maestro Emmanuel Villaume commented, “You have everything for the conductor in the piece. The colors, mastering all these climaxes, missing all these textures is absolutely fascinating and an exhilarating experience for a conductor. It is an absolute total masterpiece…Because of the descriptive
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JAN 12–14
Notes
organization it does not have that reputation as one of those major works of the human spirit and human genius. There is something in it that appears decadent, over the top… If there was a kitchen sink on the summit, it would be there.” There are 22 parts in continuous movement, each titled within the score. The music depicts a 24-hour period on the mountain describing an ascent to the top and return. These are:
across an ice field would be. Dangerous Moments: listen for the bassoons as the climber continues to cross the ice. On the Summit: a breathtaking view with oboe solo and the famous peak motive from four trombones..The emotional climax of the work. Vision: shifting harmonies, instability, the organ enters for the first time.
Night: dark low orchestration, nonetheless shimmering, opening with a unison B-flat held by strings, horns, and low winds, followed by a slowly descending scale.
Mists Rise: gentle and evocative, listen for the long scales within the string section.
Sunrise: a smashing picture, truly a sunrise like no other. Introduced by an ascending A major scale…
Elegy: a strange mood overtakes the scene in a unison melody from the strings.
The Ascent: a sturdy, optimistic theme, with offstage horns. Two themes are introduced which will appear in subsequent sections: first, a marching theme from strings and harp and the second, brass fanfares. Entry into the Forest: instrumental tones deepen as thick foliage obscures the sunlight. Birds sing from the upper woodwinds. Wandering by the Brook: watery depiction with an active theme and rushing wavelets. At the waterfall: a glittering section with sparkling winds. Some have said this is the most directly pictorial of all the parts. Apparition: sometimes said to represent the “Fairy of the Alps.” On Flowering Meadows: peaceful, rustic picture with cowbells and shepherd’s pipes. On the Alpine Pasture: listen for the yodeling sounds. Through thickets and undergrowth by the Wrong Way: horns. On the glacier: fanfare type theme with shortlong rhythmic accents, much as staggering
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The Sun gradually becomes obscured.
Calm before the Storm..interrupts the Elegy. Thunder and Tempest, Descent…enormous intensity, probably referencing a mountain experience he had during his youth when he was fourteen years old. After that event, Strauss recalled “The next day I portrayed the whole thing on the piano.” This area uses the largest instrumentation of the entire work Sunset: the harp announces the return of sunlight. Some have considered this to be the coda of the structure. It is marked to be played “in gentle ecstasy.” In the following sections, a recall of themes heard earlier are presented: Quiet Settles (an epilogue) Night: the depths of the darkness are explored in a cascading six-octave drop. Violins recall the marching theme, with a glissando to the last note. The ISO’s first performance of the Alpine Symphony was in January 2014, conducted by Maestro Urbański.
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WEEK 2: MUSIC OF THE EARTH FESTIVAL
JAN 20, 21
INDIANAPOLIS SYMPHONY ORCHESTRA
MUSIC OF THE EARTH
DIANAPOLIS SYMPHONY ORCHESTRA
PRE-CONCERT ACTIVITES
A new, three-year initiative of Ball State University Emerging Media, ReMix the S I C O F THE EARTH Symphony will challenge preconceived notions about classical music through
interactive experiencesORCHESTRA in the Hilbert Circle Theatre lobby during evening DIANAPOLIS SYMPHONY performances.
Students from Purdue University also will present interactive activities that support S I C O F THE EARTH
the discovery and preservation of Earth’s natural acoustic heritage with the Discovery DIANAPOLIS SYMPHONY ORCHESTRA
Park Center for Global Soundscape exhibit.
KRZYSZTOF URBAŃSKI, CONDUCTOR
SIC OF THE EARTH
An hour prior to performances on Friday and Saturday evening, Dr. Jim Larner, Professor of Music and Humanities at Marian University, will give a special presentation, “Going Gently intoathat Goodfestival Night,of” that explores howinspired the death Music Director Krzysztof Urbański presents mid-winter musical masterworks by theof his beloved daughter and own heart ailment led Mahler to confront his grief andin majesty of our planet. Strauss’ epic Alpine Symphony takes you to the very summit, bathing the listener mortality in “The Song of the Earth. ” KRZYSZTOF URBAŃSKI, CONDUCTOR
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.
r Krzysztof Urbański presents a mid-winter festival of musical masterworks inspired by the planet. Strauss’ epic Alpine Symphony takes you to the veryPROGRAMS summit, bathing the TO listenerINCLUDE: in Thank to our theisEarth Festival partners: Mahler’s serene “The Song of the Earth,” drawn you from delicate linesMusic of Chineseof poetry, the KRZYSZTOF CONDUCTOR his great farewells: music as lifeURBAŃSKI, giving, life sustaining, life loving as the Earth itself. MAHLER’S DAS LIED VON DER ERDE R. STRAUSS’
AN ALPINE SYMPHONY PROGRAMS TO INCLUDE:
(“THE SONG OF THE EARTH”)
or Krzysztof Urbański presents a mid-winter festival of13, musical masterworks inspired by the FRIDAY, JANUARY 8PM LIED VON ERDEin R. STRAUSS’ r planet. Strauss’ epic Alpine Symphony MAHLER’S takes you to theDAS very summit, bathingDER the listener JANUARY 14, 5:30PM KRZYSZTOF URBAŃSKI, CONDUCTOR (“THE SONG OF THE EARTH”) LPINE . Mahler’sSYMPHONY serene “The SATURDAY, Song of the Earth,” drawn from delicate lines of Chinese poetry, is the hisJANUARY great farewells: music as life giving, life sustaining, life loving as the20, Earth itself. FRIDAY, JANUARY 8PM AY, 13, 8PM
AY, JANUARY 14, 5:30PM
FRIDAY, JANUARY 20, 8PM SATURDAY, JANUARY 21, 7PM
SPONSOR: SATURDAY,TITLE JANUARY 21, 7PM PREMIER SPONSOR:
r Krzysztof Urbański PROGRAMS presents a mid-winter festival of musical masterworks inspired by the TO INCLUDE: planet. Strauss’ epic TITLE Alpine Symphony takes you to the very summit, bathing the listener in SPONSOR: PREMIER SPONSOR: DAS lines LIEDof VON ERDE Mahler’s serene “The Song of the Earth,”MAHLER’S drawn from delicate ChineseDER poetry, is the R. STRAUSS’ OFas THE EARTH”) his great SYMPHONY farewells: music as life giving, life (“THE sustaining,SONG life loving the Earth itself. LPINE
FRIDAY, JANUARY 20, 8PM AY, JANUARY 13, 8PM FOR MORE INFORMATION, C ALL THE ISO BOX OFFICE AT 317.639.4300, PROGRAMS TO INCLUDE: 21, 7PM AY, JANUARY 14, 5:30PMC ALL THE ISO BOX SATURDAY, MORE INFORMATION, OFFICE AT JANUARY 317.639.4300, OR VISIT INDIANAPOLISSYMPHONY.ORG MAHLER’S DAS LIED VON DER ERDE OR VISIT INDIANAPOLISSYMPHONY.ORG R. STRAUSS’ TITLE SPONSOR:
LPINE SYMPHONY AY, JANUARY 13, 8PM AY, JANUARY 14, 5:30PM
PREMIER SPONSOR:
(“THE SONG OF THE EARTH”)
FRIDAY, JANUARY 20, 8PM SATURDAY, JANUARY 21, 7PM
MORE INFORMATION, C ALL THE ISO BOX OFFICE AT 317.639.4300, TITLE SPONSOR: PREMIER SPONSOR: OR VISIT INDIANAPOLISSYMPHONY.ORG
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MAHLER: SONG OF THE EARTH
JAN DATE 20, 21
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Eight Friday, January 20, 2017, at 8 p.m. Saturday, January 21, 2017, at 7 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor PAUL GROVES, Tenor SASHA COOKE, Mezzo-soprano ALEXI KENNEY, Violin Max Richter The Four Seasons Recomposed (b. 1966) Alexi Kenney, Violin INTERMISSION - Twent y M i n ute s Gustav Mahler Das Lied von der Erde (1860-1911) Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Sorrow) Der Einsame in Herbst (The Solitary One in Autumn) Von der Jugend (Youth) Von der Schönheit (Beauty) Der Trunkene im Frühling (The Drunkard in Spring) Der Abschied (The Farewell) Paul Groves, Tenor Sasha Cooke, Mezzo-Soprano This performance is endowed by Ina M. and Robert H. Mohlman.
Premier Sponsor
Associate Sponsor
See page 25 for Maestro Urbański’s bio. Length of performance is approximately two hours and ten minutes. Recording or photographing any part of this performance is strictly prohibited.
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TELAMON PALLADIUM SERIES
JAN DATE 22
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series Sunday, January 22, 2017, at 3 p.m. The Palladium at the Center for the Performing Arts KRZYSZTOF URBAŃSKI, Conductor PAUL GROVES, Tenor SASHA COOKE, Mezzo-Soprano ALEXI KENNEY, Violin Max Richter The Four Seasons Recomposed (b. 1966) Alexi Kenney, Violin INTERMISSION - Twent y M i n ute s Gustav Mahler Das Lied von der Erde (1860-1911) Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Sorrow) Der Einsame in Herbst (The Solitary One in Autumn) Von der Jugend (Youth) Von der Schönheit (Beauty) Der Trunkene im Frühling (The Drunkard in Spring) Der Abschied (The Farewell) Paul Groves, Tenor Sasha Cooke, Mezzo-Soprano
See page 25 for Maestro Urbański’s bio. Length of performance is approximately two hours and ten minutes. Recording or photographing any part of this performance is strictly prohibited.
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JAN 20–22
ALEXI KENNEY, Soloist
The recipient of a 2016 Avery Fisher Career Grant, violinist Alexi Kenney has been praised by the New York Times for “… immediately drawing listeners in with his beautifully phrased and delicate playing.” His win at the 2013 Concert Artists Guild Competition at the age of nineteen led to his critically acclaimed Carnegie Hall debut recital at Weill Hall. Alexi’s 2016–17 season began this summer with unaccompanied recitals at New York’s Mostly Mozart Festival at David Geffen Hall and at Festival Napa Valley (formerly Festival del Sole). Concerto highlights this season include performances with the Indianapolis, Jacksonville (FL), Santa Fe, Riverside, and Tulare County (CA) symphonies, as well as A Far Cry and the Staatstheater Orchester in Cottbus, Germany. He has given recitals at the Kennedy Center in Washington, D.C., Jordan Hall and the Isabella Stewart Gardner Museum in Boston, Napa’s Festival del Sole, Chicago’s Dame Myra Hess series, and the Mondavi Center for the Performing Arts, and he has been featured on Performance Today, WQXR-NY’s Young Artists Showcase, WFMT-Chicago, and NPR’s From the Top. Recent concerto engagements include the Santa Fe Symphony, Las Vegas Philharmonic and Roswell Symphony in New Mexico, the Hofheim Academy Orchestra in Bad Soden, Germany, and the NEC Philharmonia at Symphony Hall in Boston. A passionate chamber musician, Alexi has performed at Caramoor, “Chamber Music Connects the World” at the Kronberg
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Academy, ChamberFest Cleveland, the Lake Champlain Chamber Music Festival, Marlboro, Music@Menlo, Open Chamber Music at Prussia Cove, Ravinia, Yellow Barn, and on tour with Musicians from Ravinia’s Steans Institute, collaborating with artists including Pamela Frank, Miriam Fried, Gary Graffman, Steven Isserlis, Kim Kashkashian, Gidon Kremer, and Christian Tetzlaff. He has an upcoming tour with Musicians from Marlboro in 2017. He is the recipient of top prizes at the Yehudi Menuhin International Competition (2012), the Mondavi Center Competition (2010), and the 2013 Kronberg Academy master classes. He was praised by Strings magazine for his “beautiful, aching tone” for a performance of the Sibelius Concerto with the China Philharmonic Orchestra in Beijing during the Menuhin Competition. Born in Palo Alto, California in 1994, Alexi Kenney received his Bachelor’s of Music degree from the New England Conservatory of Music in Boston, where he is currently the only violinist in its selective Artist Diploma program. At NEC he studies with Donald Weilerstein and Miriam Fried on the Charlotte F. Rabb Presidential Scholarship. Former teachers include Wei He, Jenny Rudin, and Natasha Fong. Alexi plays on the “Joachim-Ma” Stradivari of 1714, the violin used by Joseph Joachim for the premiere performance of the Brahms Concerto, through the generosity of the New England Conservatory.
PAUL GROVES, Tenor / SASHA COOKE, Mezzo-Soprano
JAN 20–22
American tenor Paul Groves enjoys an impressive international career performing on the stages of all the world’s leading opera houses and concert halls. Paul Groves begins his 2016/17 season with his return to the Opéra national de Paris for a rare role debut singing Alessandro Cesare in Cavalli’s Eliogabalo this September. Groves returns to his native New Orleans later in the season singing the title role of Faust with the New Orleans Opera. An avid concert performer, Groves’ season is filled with debuts and return engagements with symphonies across the United States. He can be seen singing Mahler’s Das Lied von der Erde with the Cleveland Orchestra and the Indianapolis Symphony, Berlioz’ Requiem with the San Francisco Symphony under Charles Dutoit, as well as Stravinsky’s Perséphone with the Oregon Symphony. Highlights of recent seasons for the American tenor include his first performances in the title role of Wagner’s Parsifal with Lyric Opera Chicago led by Sir Andrew Davis, appearances as Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thais with the Los Angeles Opera, and Pylade in Iphigénie en Aulide with Theater an der Wien. Groves returned to the Metropolitan Opera last season for Berg’s Lulu, and was seen in the East Coast premiere of Jennifer Higdon’s Cold Mountain with Opera Philadelphia.
Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (New York Times) and “equal parts poise, radiance, and elegant directness” (Opera News). Ms. Cooke appears frequently this season singing Mahler, whose works she has sung to great acclaim on four different continents. Sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music, Ms. Cooke’s season continues to bring world premiere performances and unique artistic collaborations. A frequent performer of contemporary works, Ms. Cooke performed five world premieres last season including the first transgender opera, Laura Kaminsky’s As One with American Opera Projects at Brooklyn Academy of Music as well as a new cycle by Kevin Puts at Carnegie Hall. She sang Mary in Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera, Jan Arnold in Joby Talbot’s Everest at Dallas Opera as well as Kitty Oppenheimer in John Adams’ Doctor Atomic at the Metropolitan and English National Operas. The coming season features the world premieres of Marc Neikrug’s Canta-Concerto with the New York Philharmonic conducted by Alan Gilbert, and Mark Grey’s operatic adaption of Frankenstein at La Monnaie in Brussels.
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JAN 20–22
Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair The Four Seasons Recomposed Max Richter Born March 22, 1966 in Hamelin, Germany One of the most famous works of the Baroque period (1600–1750) is a set of virtuosic pieces by Antonio Vivaldi titled The Four Seasons, published in 1785 within a twelve part set of violin concerti titled Il cimento dell’armonie e dell’inventione (the Contest between Harmony and Invention.) In the original format, Vivaldi called for solo violin, string quartet and basso continuo. Each musical season was accompanied by an evocative sonnet, attributed to Vivaldi. There is no other author identified, and each sonnet is tripartite and follows the form and spirit of the music. In the context of music history, these are among the earliest examples of program music — music depicting a narrative or extra-musical event. The Four Seasons has been popular for hundreds of years, not only in its original form but also in many arrangements and transcriptions specifically for piano, a harp ensemble, jazz groups, recorders, concert band, and many other assorted groups. The work has been sliced and diced over the years to provide background music for advertisements such as Peugeot’s 308 Coupe Cabriolet in 2009. Max Richter’s “recomposition” did more than transcribe and rearrange. He absorbed Vivaldi’s original “into his own musical bloodstream” and has noted that he discarded 75% of Vivaldi’s original work. The composer stated that “The Four Seasons is something we all carry around with us. It is just everywhere. In a way, we stop being able to hear it. So this project is about reclaiming this music for me personally, by getting inside it and rediscovering it for myself… and taking a new path through a wellknown landscape.” One of his most interesting ignition points for his endeavor was the fact that he was simply “irritated” by how often he heard it. “You hear it in the supermarket regularly you are confronted with it in adverts or hear it as music when on hold…slowly you begin to blank it out.”
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Max Richter is a German born British composer who was classically trained but has become well known in postminimalist styles, influenced by punk and electronic, and popular music of the twenty-first century. His work is well known in movies. He has composed 25 film scores since 2000, and he has written many works for stage, opera, ballet, and orchestras. The Four Seasons Recomposed was composed in 2011, and premiered at the Barbican Centre on October 31, 2012, performed by the Britten Sinfonia. The Four Seasons Recomposed combines Richter’s own music, electronics, with small elements (quotes and articulations) saved from the original (the violin horn calls from Autumn and the birdsong from Spring, for example) which reflect Vivaldi’s voice but with a twenty-first century spin. Richter explained that his method was “throwing molecules of the original Vivaldi into a test tube with a bunch of other things and waiting for an explosion… There are times I depart completely from the original, yes, and there are moments when it pokes through. I was pleased to discover that Vivaldi’s music is very modular. It is pattern music, in a way, so there is a connection with the whole post-minimalist aesthetic I am a part of.” His method was “to open the original score on a note by note level, and working through it was like digging mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, recomposing it in a literal way.” (Nick Kimberley: program notes for the Recomposed Release) In the final result, Richter achieves his goal — respect for Vivaldi and preservation of the original, while creating a splendid evocation of seasonal dramas in our current, re-wired musical language. His intent never was to jettison Vivaldi or patronize his masterpiece.
Notes “Hats off to him!” Richter stated. “That is what I am really pleased with. My aim was to fall in love with the original again — and I have.” Answering the question; “If you could hear anyone admit they’re a huge fan of the piece who would it be?” the composer answered, “Vivaldi!” His answer is not only clever, but very much in keeping with baroque practices of a composer borrowing other composer’s works, re-arranging, and recasting musical ideas which had been generated by someone else. The Four Seasons Recomposed is not plagiarism, but a demonstration of the potential of Vivaldi’s concepts in modern discourse and imaginative outcomes for our time. This is the ISO’s first perfomnce of The Four Seasons Recomposed.
Das Lied von der Erde (Song of the Earth) Gustav Mahler Born July 7, 1860 in Kaliste, Bohemia Died May 18, 1911 in Vienna, Austria Das Lied von der Erde (Song of the Earth) was one of Mahler’s last completed works, and he explained to Bruno Walter, it occupied a very special place in his oeuvre. On September 1, 1908, he wrote to the conductor, “I have been hard at work…I do not know what the whole thing could be called. I have been granted a time that was good, and I think it is the most personal thing I have done so far.” It was completed one year after his diagnosis of congenital heart disease (1907), and three years before his death in 1911. Mahler was afraid of this diagnosis, and thought often about his mortality during these final years. Thus, this gigantic synthesis of symphony and song has often been considered as his farewell to life. The year 1907 had been a dreadful, depressing time for Mahler. Not only the heart diagnosis, but also the death of his daughter Maria from diphtheria and his dismissal from the Vienna Opera fueled his despair. Although he had confronted death before in his music, at this point death was no longer an abstract concept but imminent. And he decided to react to that realization.
JAN 20–22
In this regard, he commented to Maestro Walter (who conducted the premiere on November 20, 1911, six months after his death), “If I am to find my way back to myself, I have got to accept the horrors of loneliness. I speak in riddles, since you do not know what has gone on and is going on within. It is surely no hypochondriac fear of death, as you might suppose. I have long known that I must die... without trying to explain or describe something for which there are probably no words, I simply say that at a single stroke I have lost any calm and peace of mind that I have ever achieved. I stand vis-à-vis de rien [face to face with nothingness], and now, at the end of my life, have to learn again to walk and stand.” In 1908, Mahler read Hans Bethge’s translations of a set of poems written three thousand years before during the T’ang dynasty titled “Die chinesische Flöte” (The Chinese Flute) by Li Tai-Po, Mong Kao-Yen, Wang Wei, and Tchang Tsi. The poems not only comforted him, but also kindled his creativity and another investigation into life and the living of it. In fact, he was so energized by this collection that his wife noted he wrote Das Lied von De Erde in only two months during the summer and orchestrated it in the winter. At first, Mahler had considered a six-part song cycle, based on selected poems to be titled “The Jade Flute” but later changed to “The Song of Earth’s Sorrow.” The composer subtitled his work Das Lied von De Erde, a Symphony for tenor, contralto (or baritone) and Orchestra. This would have been his ninth symphony, but it was alleged by his wife, Alma, that he was superstitious about that number, being aware that Beethoven, Schubert, and Bruckner all died after writing nine symphonies. Hence he did not give Das Lied von De Erde an ordinal number. However, before his death, he did lay aside the “curse of the ninth,” wrote another completed symphony designated “the Ninth,” and a tenth lay uncompleted in his desk. There are six movements in Das Lied von der Erde, derived from the life experiences of a single person. Note that Mahler altered many of the poems to suit his message: life is brief and death is all-powerful and inevitable. Credit for
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Notes
the poems’ translations as quoted is given to the doctoral Thesis of Shioh-Ni Sun. The first song is titled “Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth’s Sorrow)” based on one of 1,000 extant poems, by Li Tai-Po, aka Li Bai, a jolly member of the group known as “Eight Immortals of the Wine Cup” who (it was said) drowned in a drunken state, falling from a boat, while trying to lift a shimmering moonbeam on the water. The text speaks of wine’s ability to shake off fear, encourages the drinker to “drain the goblet” but each of three stanzas concludes “Dark is life, and so is death.” In Mahler’s setting, this foreboding, frightening refrain is sung on a higher pitch on each iteration. The second song “Der Einsame in herbst” (The Solitary One in Autumn) is attributed to Tchang Tsi, also written and known as Qian Qi and Zhang Ji. The mood is sad and depressing as the female protagonist (a seamstress) reflects on the everlasting death of flowers and beauty during a quiet, dark night. Bethge’s paraphrase reads: The lonely one in autumn My heart is weary… My little lamp has burnt out with a splutter It puts me in mind to sleep I come to you, beloved resting place Yes, give me sleep, I need refreshment I weep much in my loneliness Autumn in my heart is lasting too long Sun of love, will you never shine again To dry my bitter tears? Note the rocking figure in the cellos which creates a resigned, contemplative mood. Muted violins create a soft background for solo oboe and soloist in a lyrical duet. The third song “Von der Jugend” brings us to a party where friends are together in Mr. Tao’s green pavilion to drink and converse together. The poem was written by Li Tai-Po. In translation, the text reads: Youth, Beautifully dressed, drinking and chatting Several are writing down verses Their silken sleeves slip backwards
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Their silken caps perch gaily on the back of their necks On the pool’s still surface Everything appears fantastically in a mirror image The upside down arch of the bridge Appears like a half moon Friends, beautifully dressed, are drinking and chatting Everything is standing on its head In the pavilion of green and while porcelain This is the shortest of the movements and includes Chinese inflections, such as pentatonic scales and tam- tam participation. In a piano version, Mahler indicated directions: “Leicht und phantastisch (light and fantastic).” There are four basic themes, only the final theme casting a serious and deeper effect for contemplation. Notice the writing for bassoon which in its repetitive display imitates quick conversations. Von der Schönheit (Beauty) by Li Tai-Po. The scene describes young girls gathering lotus flowers on a riverbank. One of them falls in love with a young man, only to have her heart broken: On the riverbank, maidens pluck flowers by the river’s edge Amid the bushes and leaves they sit, gathering flowers Sunlight weaves around their forms, mirrors them in shining water, and mirrors their slender limbs and sweet eyes The breeze lifts with wheedling caresses the fabric of their sleeves And bears the magic of their fragrance through the air Oh look: racing along, what handsome lads There on the riverbank, on spirited horses.. lads in the flush of youth They trample in sudden onslaught the fallen flowers Look at the mane flapping, its nostrils steaming And the loveliest of the maidens sends long glances of yearning after him
Notes Her proud bearing is only pretence In the flashing of her large eyes, in the darkness of her passionate glance The tumult of her heart still surges painfully towards him. The music is happy, and notice the frequent trills and dotted, jaunty rhythms which animate the scene. It is likely that Mahler was remembering happier moments in his own life. Der Trunkene Im Frühling (The Drunkyard in Spring) reverts to a grim aspect of life: solitude, alienation, and sadness. Alcoholic happiness has given way to reality. The source was from Li Tai-Po. The drunkard in spring: If existence is but a dream, Why then toil and fret? I drink till I can drink no longer the whole live-long day And when I can drink no longer…Then stagger to my door And sleep wonderfully What do I hear when I awake? The bird sings in a tree. I ask him if the spring is here; I feel as if I were dreaming… The bird twitters yes!... I fill my glass again, and drain it… For what does spring matter to me? Let me be drunk! Notice the bird references in the music (often from the piccolo) and the contrast of deep introspection characterized by slower tempi in the bird/human conversations. Der Abschied (The Farewell) This final section is the longest of the preceding, comprising over fifty percent of the entire work. Mahler derives this setting from two poems by Mong Kao-Yen “Staying at a Teacher’s Mountain retreat and Awaiting a Friend in Vain” and Wang Wei’s “Farewell”. The final lines are from Mahler.
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distant space….Forever…forever…. The music opens with tam tam and oboe supported by deep orchestral responses, creating a stark resigned mood before the soloist begins the first text. The orchestration in this part will move from thick and multifaceted to very thin and delicate. Notice the intricate blending of Eastern and Western musical elements…lingering melodies, drifting melodies, unusual dissonances, high drama with lush coloration and crescendi. Between the two poems Mahler provides an orchestral interlude, allowing the listener to contemplate messages from both poets. Das Lied von der Erde departs on a note of acceptance after a massive tracing of the life cycle. “Mahler realizes that life and death are only a natural part of living, not a unique, individual tragedy.” At the close, the word evig (forever) is repeated nine times. Forever there will be beauty, sadness, and the inexorable march of time as the same existential elements will be repeated and repeated. There will forever be tears and happiness in personal remembrances and experiences. Mahler’s quiet conclusion is breathtaking in its truth, revelation, and wisdom. From this perspective, Der Abschied can be seen as revealing the future as well as embracing the past. As Mahler has eloquently transmitted solitude and persistent questions of life he has concluded that “plus ça change, plus c’est la même chose.” The more things change, the more they remain the same. As he faced his own death, Mahler rallied to produce work of profound impact and influence as we all confront the ending of our own life and what we can foresee for those who follow us. The ISO’s last performance of Mahler’s Song of the Earth was May of 1994, conducted by Raymond Leppard.
I shall no longer seek the far horizon Still is my heart and awaits its hour…. The lovely earth everywhere blossoms and grows anew Everywhere and forever the luminous blue of
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THE FIREBIRD
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Nine Friday, January 27, 2017, at 8 p.m. Saturday, January 28, 2017, at 7 p.m. Hilbert Circle Theatre ROBERTO ABBADO, Conductor ZACH DE PUE, Violin Modest Mussorgsky (1839-1881) Orch. Rimsky-Korsakov
Prelude to Khovanshchina (Dawn on the Moskva River)
Dmitri Shostakovich Concerto No. 1 in A Minor for Violin and Orchestra, Op. 77 (1906-1975) Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante Burlesca: Allegro con brio Zach De Pue, Violin
INTERMISSION - Twe nt y M i n ute s
Igor Stravinsky L’Oiseau de feu (The Firebird) (1882-1971) This performance is endowed by Roche Diagnostics. Premier Sponsor
Associate Sponsor
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ROBERTO ABBADO, Conductor
Recently appointed as the Music Director at Palau de les Arts Reina Sofía in Valencia, Roberto Abbado’s crisp, dramatic music-making, instinctive lyricism, and evocative command of varied composers and styles have made him an esteemed conductor among orchestras and opera companies today. He is both a sophisticated and energetic conductor, which, combined with superb communication skills have made him a favourite among musicians and public alike. In 2009, Mr. Abbado was honoured with the “Franco Abbiati” award of the National Association of Italian Music Critics — Italy’s most prestigious classical music award — as Conductor of the Year, “for the maturity of interpretation and for his breadth and curiosity of repertoire, in which he has delivered remarkable results and an intensity which was manifested in La Clemenza di Tito by Mozart (Teatro Regio Torino) executed using classical period performance practices; in the contemporary opera Phaedra by Hans Werner Henze (Maggio Musicale Fiorentino);
in Rossini’s Ermione (Rossini Opera Festival, Pesaro); and for the rare Der Vampyr of Heinrich Marschner (Teatro Comunale Bologna).” A popular figure in the United States, Mr. Abbado’s most extensive relationship is currently with the St. Paul Chamber Orchestra, where he is an Artistic Partner, a position that has now been extended into an unprecedented third three-year term. He has performed regularly with the Atlanta and St. Louis Symphony Orchestras and has appeared often with the Boston Symphony Orchestra, Philadelphia Orchestra, Houston Symphony, and San Francisco Symphony, as well as with New York City’s Orchestra of St. Luke’s. Born into a dynastic musical family, his grandfather was a famous pedagogue of violin, his father was director of the Milan Conservatory, and uncle is Claudio Abbado, the esteemed Maestro. Roberto Abbado studied with renowned conducting teacher Franco Ferrara at Venice’s La Fenice and Rome’s Accademia Nazionale di Santa Cecilia, where he was the only student in the the Accademia’s history to be invited to conduct the Orchestra di Santa Cecilia.
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.
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C-28628 08/09/16 C-28628 08/09/16
ZACH DE PUE, Violin Known for his virtuosic, high‐energy performances, violinist Zach De Pue successfully balances his roles as ISO concertmaster, soloist, chamber musician, fiddler, community leader, and mentor with passion and dedication. A rising star among both classical and crossover music fans, he was appointed concertmaster of the Indianapolis Symphony Orchestra in 2007 and became one of the youngest concertmasters in the country. He graduated in 2002 from the Curtis Institute of Music in Philadelphia, where he studied with renowned violinists Ida Kavafian and Jaime Laredo. He earned a full‐tuition scholarship to Curtis and he also held the David H. Springman Memorial Fellowship. He served as concertmaster of the Curtis Symphony Orchestra before becoming a violinist in The Philadelphia Orchestra. Prior to entering
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Curtis, he attended the Cleveland Institute of Music, where he studied with William Preucil, concertmaster of the Cleveland Orchestra. With an innate talent for improvisation and arranging, Zach found much of his inspiration from his three older brothers, all violinists and fiddlers. In 1985, the four classically‐trained brothers formed their own acclaimed group, The DePue Brothers, which combines classical and bluegrass for an eclectic, fun concert experience. The group’s father is Wallace DePue, a composer and professor emeritus at Bowling Green State University. Zach was also a founding member of Time for Three, ISO’s first ever ensemble-in-residence, alongside his fell Curtis colleagues, violinist Nick Kendall and double bassist Ranaan Meyer. Zach is a member of the 40th Class of the Stanley K. Lacy Executive Leadership Series, a prestigious program that connects Indianapolis’ emerging leaders to the issues and needs of the community. Zach’s violin was made by Ferdinand Gagliano of Naples, Italy, in 1757.
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Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Prelude to Khovanshchina (Dawn over the Moskva River) Modest Mussorgsky Born March 21, 1839 in Karevo, District of Pskov, Russia Died March 28, 1881 in St. Petersburg, Russia In September 1874, Mussorgsky completed a piano score for Dawn over the Moskva River. It was intended to open his last opera, Khovanschina (The Khovansky Affair), which lay uncompleted upon his death from alcohol poisoning on March 28, 1881. The topic of the opera was the rebellion of Prince Ivan Khovansky focused against the regent Sofia Alekseyevna (1682–1689) and the Westernizing reforms instituted by Tsar Peter the Great and Ivan IV. Plump. Assertive Sofia had wiled her way into the regency after her brother, Tsar Feodor III, a feeble and weak leader, died leaving succession matters in bloody political and familial confusion. She was lucky that the Moscow Uprising of 1682 supported her successful candidacy. She was actually well trained in government, and many said Feodor did her bidding during his reign. She was supported in this ascendancy by the Miloslavsky party and her own conniving strengths to gain the position. She immediately appointed Prince Vasily Galitzine (said to have been her lover, in spite of having a wife and large family) to handle political affairs. Sofia lasted for seven years, the first woman to rule her country, said to have governed effectively. Russia, for example, became the first “western” country to sign a trade agreement with Imperial China. However, she was tried by a special tribunal, summoned by her half brother Peter who suspected her of planning a coup against him to prevent his “rightful” ascension. To his mind, her many portraits in full regal attire and her minting of coins with her image on them meant she was in it for the long haul. The trial was a culmination of his paranoia which included not only fears for his
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political success but his murder as well. Sofia was arrested, cast out, and confined in seclusion to a cell in the Novodevichy Convent for the remaining six years of her life. At age seventeen, Peter succeeded her and was eventually proclaimed Emperor in 1721. The music critic Vladimir Stasov brought this matter to the attention of the composer, who was fond of Russian history as a suitable operatic topic, and Mussorgsky agreed, dedicating the work to him. Stasov noted, “It seemed to me that struggle between the old and new Russia, the passing of the former from the stage and the birth of the latter, was rich soil for drama.” Between 1872 and 1880, Mussorgsky worked hard on the project, wrote the libretto for his four act opera, duration of about five hours, which was never performed, never completed and never scored for orchestra. After the composer’s death, Rimsky-Korsakov took over, finishing the opera (to his liking) and scoring. The Prelude premiered in St. Petersburg on February 21, 1866. Shostakovich, as well, took a turn and completed the opera in his own version in 1959. A Ravel-Stravinsky orchestral version was also written but was not successful. The Prelude to Act I was described by the composer as “depicting dawn over the Moscow River, matins at cock crow, the patrol, and the taking down of the chains (on the city gates).” It is short but very effective — it begins delicately and soon a beautiful tune emerges. This grows until the oboe has the tune against rising scales in the violins, the curtain rises, and we see not the Moscow River but Red Square. As the music becomes more animated, we see the church domes lit by the rising sun. The bells sound for early mass. The bells die away, and the music dissolves like the mist from the river. ”
Notes The atmospheric beauty and gentle nature of the Prelude stands in sharp contrast to the vicious political strife in Russia. A single, folklike melody is proclaimed at the beginning and then treated to small variations. It stands apart from the searing governmental wars; for Mussorgsky, the real Russia lay in what he called the “black, unfertilized earth of its people.” (Mark Rohr). The ISO’s last subscription performance of Mussorgsky’s Prelude to Khovanschina was in March 2010, conducted by Hannu Lintu. Concerto No. 1 in A Minor for Violin and Orchestra, Op. 77 Dmitri Shostakovich Born September 25, 1906 in St. Petersburg, Russia Died August 9, 1975 in Moscow, Russia Shostakovich wrote his two violin concerti for his friend, master violinist David Oistrakh, who was very helpful to him in the writing of the solo parts. The First Violin Concerto, written in 1947-48, lay hidden in a desk drawer until its premier October 29, 1955, with the Leningrad Philharmonic and the dedicatee as soloist. It was not safe to bring it out until two years after Stalin’s death. The 1946 Zhdanov Doctrine, named after his “Witchfinder General” Andrew Zhdanov, had stated that the post war world was divided in two camps: the imperialist United States and the democratic Soviet Union, and it included a thinly disguised warning: “The only conflict that is possible in the Soviet culture is the conflict between good and best.” Although a decree on music was not specifically issued until February 10, 1948, Shostakovich knew that the meaning of the Zhadanov Doctrine would apply to his work; that “best” meant adherence to specific government cultural standards. And he also knew that his First Violin Concerto would not have been acceptable: it was too individualistic. Too complicated. Too novel. Too atonal. Too incomprehensible for the lowest
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denominator of Soviet music audiences to easily enjoy. The decree was not limited to an artistic critique. It also meant direct persecution and possible expulsion to the Siberian Gulag and forced labor camps. The term GULAG was the acronym for Main Administration of Corrective labor Camps. It was easy to get a one way ticket on the Trans-Siberian railroad during Stalin’s regime, and during his dictatorship, over a million people would lose their lives in exile to one of the camps. And Shostakovich and Stalin did not get along. The composer was suspect. In 1948 he was condemned for formalist perversions and antidemocratic tendencies in music, alien to the Soviet people and its artistic tastes. “Shostakovich’s First Violin concerto is a veritable “iron man” concerto, calling on everything in the violinists’ technical arsenal, as well as vast physical and emotional stamina. Even Oistrakh begged the composer to give the opening of the finale to the orchestra so that ‘I can at least wipe the sweat off my brow’ after the daunting solo cadenza that concludes the third movement.” (Program notes, Baltimore Symphony Orchestra) There are four movements in Opus 77 (sometimes also called opus 99 after its publication in 1956.) At one time, Shostakovich noted that his concerto was “a symphony for solo violin and orchestra.” The first movement is titled Nocturne, beginning in a low register, a slow pace, and producing a haunting atmosphere. The soloist begins with a long expansive melody which is based on the orchestra’s introduction, a part which seems to meditate on the introductory ideas. From time to time the bassoon offers contrapuntal commentary, and the winds offer complimentary color. The focus remains steadily on the violinist who is given biting, dissonant heavy discourse. “Only in the central episode where the soft celesta chimes, does the music give way and there is a glimpse of lightness or freedom.” At the close, the opening eerie mood returns, continuing what
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Notes
Oistrakh called “suppression of feelings.” The second movement, Scherzo, bounces out quickly from the winds, followed by a sassy, rough answer from the soloist, likened to “unruly vodka-fed folk dance.” Rhythms are brusk, crude, and uneven, set within frenetic tempi. There is nothing playful or happy herein; if anything, we find a sardonic parody of jollity. For added impudence, Shostakovich inserts his own musical initials in the second section, (the tones D, E flat, C, B) the first time he put this four-note pattern into his music: a ploy he would use in other future works as well. The third movement, Andante, is a passacaglia, producing a set of nine variations over the repeated baseline pattern of seventeen measures. From time to time, this baseline is passed along to other parts of the orchestra, aside from the low strings and tuba, such as the English horn. At the close of the ninth variation, the orchestra freezes on a long-held F: preparing for the gigantic cadenza, which bridges to the finale. The finale continues with wild abandon in a Burlesca marked allegro con brio. A brisk tune moves relentlessly forward with heavy timpani accents, sometimes called a “kicking Stalin gopak.” The soloist enters in a brilliant, fast-paced statement. Some elements of Stravinsky’s Petrushka are also quoted, lending a celebratory element in what could be liked to a crazed Shrovetide festival. Dynamics remain loud most of the time; orchestra and soloist combine with frequent interactions, which each performing force seizes aggressively. The passacaglia theme makes another appearance, but this time with a fast-paced presto running below it. There is no let up in the inferno as the concerto ends in scorching conflagration. The ISO’s last subscription performance of Shostakovich’s Violin Concerto was in February 2001, with soloist Paul Daniel.
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L’Oiseau de feu (The Firebird) Igor Stravinsky Born June 18, 1882 in Oranienbaum, Russia Died April 6, 1971 in New York City, New York The legend of a large glowing firebird with magical feathers and crystal eyes had appeared in many Russian fairy tales, and several of these involve Prince Ivan, son of the Tsar. In the early twentieth century, the great Russian impresario Sergei Diaghilev, founder of the famous Ballet Russes, had introduced Russian culture and stories to life via ballet to Europe, and in 1909 he decided that a setting of The Firebird would be a fine choice after his success with the Polovtsian Dances from Borodin’s Prince Igor in May of that year. For his new topic, he mixed a Russian story “Koschei the Deathless” and a child’s poem from A Winter’s Journey: And in my dreams I see myself on a wolf’s back Riding along a forest path To do battle with a sorcerer-tsar (Koschei In that land where a princess sits under lock and key, Pining behind massive walls. There gardens surround a palace all of glass; There Firebirds sing by night And peck at golden fruit. In this version, the fairy tale narrates that Prince Ivan becomes lost while hunting and finds himself in a magic garden filled with golden apples and the exquisite firebird which he captures. For her freedom, she offers him a golden feather to give him aid should he ever need it. He does not know that he has actually trespassed into a garden owned by the evil Koschei, who can, at will, turn people into stone. Continuing on, he finds himself in front of a large castle, Koschei’s residence. On the front lawn, he meets 13 princesses (falling in love with number 13: Tsarevna) who are prisoners of Koschei: though allowed to play outside, they are turned into stone every day. Although he is captured by castle guards, he is saved from being turned to stone
Notes
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by the magic feather. The firebird then leads Koschei and his supporters in a wild dance, so exhausting that they fall asleep. The firebird tells him that Kostchei’s soul is housed in a large egg hidden in a casket. He destroys the egg, and therefore, the spell. The princesses are saved and he is betrothed to Tsarevna.
Stravinsky’s music followed the narrative closely per Diaghilev’s instructions, but it was his orchestral coloration, sound effects, intoxicating themes, and novel rhythms that electrified the audience and illumed the fairy tale. In the final scene, the firebird does not appear. Apparently, she has flown away.
Diaghilev first asked Nikolai Tcherepnin for a score, but the composer fought with the choreographer, Michael Fokine, and quit. Diaghilev then asked Anatoly Lyadov to write the music but Lyadov for one reason or another (Procrastination? Confusion about whether he ever signed a commission to do so?) never seemed to get around to it and was basically fired. Thirdly, he gambled on the young, unknown Igor Stravinsky. The composer recalled: “The Firebird did not attract me as a subject. Like all story ballets it demanded descriptive music of a kind I did not want to write. I had not yet proved myself as a composer...in truth my reservations about the subject were a defense for my not being sure I could… I was flattered, of course, by the promise of a performance of my music in Paris…” He turned away from his work on his opera, The Nightingale, to address this opportunity. As it turned out, in one night, Firebird launched Stravinsky into enormous prominence and was transformative in his career. “Mark him well...he is a man on the eve of celebrity,” Diaghilev had prophesized to the ballerina Tamara Karsavina who was dancing the starring role, and he was right. Three very popular orchestral suites were later derived from the original score in 1911, 1919, and 1945.
“I am more proud of the orchestration than the music itself.” Stravinsky stated.
The lavish Firebird premier on June 25, 1910, was a huge success in every respect. The dancers, costumes, choreography, stage sets, and music dazzled Parisian audiences and critics alike. Stravinsky remembered, “The first night audience at the Paris opera glittered indeed… I sat in Diaghilev’s box where at intermissions a stream of celebrities, artists, dowagers, writers, balletomanes appeared…I was called to the stage to bow at the conclusion and was recalled several times…”
Some listening points: In the beginning, the strings are asked to play sul ponticello (near the bridge), giving a special effect with shuddering repetitions (tremolos) lots of harp glissandi throughout (there are three harps) which add a swirling de-stabilized atmosphere. At the end of the introduction (the Magic Garden), notice the fairy-like effect of the string sliding notes (glissandi) at the close. Notice herein, the Firebird’s depiction, in the introduction, Stravinsky’s use of chromatic lines which add a shimmering sound, reflecting glittering bird feathers. In the Firebird’s solo dance, syncopations add birdlike behavior in rendering a musical bird portrait. In the big Infernal Dance, listen for the brutal rhythms, the simultaneous combinations of different rhythms to create an unsettling and disorienting effect. The scoring is heavy with loud dynamics marked fff…Trombone glissandi add to the frenzy, and the harps sometimes play on top of the strings to generate strange harmonic overtones. At the conclusion, revel in the huge orchestration, and the extended sevenmeasure closing. The Stravinsky score has the following main parts:
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Notes
Introduction First Tableau Le Jardin enchanté de Kachtcheï (The Enchanted Garden of Kastchei) Apparition de l’Oiseau de feu, poursuivi par Ivan Tsarévitch
(Appearance of the Firebird, Pursued by Prince Ivan)
(Dialogue of Kastchei and Prince Ivan) Intercession des princesses (Intercession of the Princesses) Apparition de l’Oiseau de feu (Appearance of the Firebird) Danse de la suite de Kachtcheï, enchantée par l’Oiseau de feu (Dance of Kastchei’ Retinue, Enchanted by the Firebird) Danse infernale de tous les sujets de Kachtcheï (Infernal Dance of All Kastchei’s Subjects) Berceuse (L’Oiseau de feu) (Lullaby) Réveil de Kachtcheï (Kastchei’s Awakening) Mort de Kachtcheï (Kastchei’s Death) Profondes ténèbres (Profound Darkness) Second Tableau Disparition du palais et des sortilèges de Kachtcheï, animation des chevaliers pétrifiés, allégresse générale (Disappearance of Kastchei’s Palace and Magical Creations, Return to Life of the Petrified Knights, General Rejoicing) Rejoicing
Danse de l’Oiseau de feu (Dance of the Firebird) Capture de l’Oiseau de feu par Ivan Tsarévitch (Capture of the Firebird by Prince Ivan) Supplications de l’Oiseau de feu (Supplication of the Firebird) Apparition des treize princesses enchantées (Appearance of the Thirteen Enchanted Princesses) Jeu des princesses avec les pommes d’or (The Princesses’ Game with the Golden Apples) Brusque apparition d’Ivan Tsarévitch (Sudden Appearance of Prince Ivan) Khorovode (Ronde) des princesses (Khorovod (Round Dance) of the Princesses) Lever du jour (Daybreak) Ivan Tsarévitch pénètre dans le palais de Kachtcheï (Prince Ivan Penetrates Kastchei’s Palace) The ISO’s last performance of Stravinsky’s Carillon Féerique, apparition des monstresFirebird was in March 2003, conducted by gardiens de Kachtcheï et capture d’Ivan Mario Venzago. Tsarévitch (Magic Carillon, Appearance of Kastchei’s Monster Guardians, and Capture of Prince Ivan) ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEME Arrivée de Kachtcheï l’Immortel TARY(Arrival | MIDDLE SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY of SCHOOL Kastchei| HIGH the Immortal) MIDDLE SCHOOL | HIGH SCHOOL COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDD Dialogue de Kachtcheï avec| Ivan Tsarévitch
SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOO HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHO COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY| |MIDDLE MIDDLESCHOOL SCHOOL||HIGH HIGHSCHOOL SCHOOL||COLLEGE COLLEGE |ELEMENTARY |ELEMENTARY || MIDDLE MIDDLE SCHOOL SCHOOL || HIGH ELEMENTARY HIGH SCHOOL SCHOOL || COLLEGE COLLEGE|ELEME |ELEME TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY We’re setting our goals high! TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY || MIDDLESCHOOL SCHOOL| |HIGH HIGHSCHOOL SCHOOL||COLLEGE COLLEGE|ELEMENTARY | ELEMENTARY| |MIDDLE MIDDLE SCHOOL HIGH SCHOOL COLLEGE |ELEMENTARY MIDDL ThisStudent year, wetickets want entertain 10,000 students aretoavailable forover ISO concerts at theat || MIDD MIDDLE SCHOOL ||HIGH SCHOOL ||most COLLEGE |ELEMENTARY our performances. From Beethoven to Broadway and SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOO SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOLHilbert | HIGHCircle SCHOOL |ELEMENTARY MIDDLE SCHOO Theatre!| COLLEGE From Beethoven to Broadway|and even our popular Happy Hours, student tickets are HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE even our popular Happy|ELEMENTARY Hours, studentfor tickets are justSCHOOL $10! | HIGH available for|ELEMENTARY most performances onlySCHOOL $10! SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE | HIGH SCHOO SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOO COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEG COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE SCHOOL | HIGH SCHOOL | COLLE CALL THE|ELEMENTARY BOX OFFICE AT 317.639.4300 | ELEMENTARY | MIDDLE TICKETS SCHOOLAT|INDIANAPOLISSYMPHONY.ORG HIGH SCHOOL | COLLEGEOR | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEME 50 TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY |
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ARTS IN INDY Indy Fringe 2017 Indianapolis Winter Magic Festival casts its spell. MAGIC, MENTALISM, MYSTERY on Thursday, January 19 – Sunday January 22, 2017. The Winter MagicFest is designed to bring back to the stage amazing, live, magic shows by bringing together master magicians and future stars of magic. The sixth annual Winter MagicFest will be headlined by Kosmo, one of the world’s leading street magicians, and will include millennials Trent James, the hipster magician, along with Alex Boyce, a rising star who regularly performs at NYC Monday Night Magic. For show times and tickets, visit www.indyfringe.org, or call 317.522.8099.
Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) March 12 for Tapestry of Song and Voices of Youth — two concerts that will transform the Hilbert Circle Theatre stage into a 1940s dance hall! These funfilled performances will harken back to the era of swing and big band music. Not to be missed! 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.
Indianapolis Symphonic Choir The Indianapolis Symphonic Choir performs Mendelssohn’s oratorio Elijah in a one-night-only performance on Friday, March 17 at The Palladium in Carmel. Celebrating its 80th Anniversary Season, the 200-voice Symphonic Choir presents what has been called one of “the greatest choral works ever.” Artistic Director Eric Stark — celebrating his 15th season with the choral institution — conducts the Symphonic Choir, Indianapolis Chamber Orchestra, and Indianapolis Children’s Choir in a performance not to be missed. Tickets begin at just $15 and are available by calling (317) 843-3800 or online at www.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 orchestral masterworks, both traditional and contemporary. Join us for our next concert at the Hilbert Circle Theatre February 12, 5:00 p.m., featuring Rimsky-Korsakov’s Scheherazade. For more information, please visit www.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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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
April 21-22, 2017 — Brahm’s Requiem
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 Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 5, 2017 — Rachmaninoff
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
The Performance of New Music Endowed by LDI, Ltd. April 28, 2017 — Mozart and Salieri
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 Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Andrea Davis 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
58
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 Robert H. & Ina Mohlman 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 October 20, 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 B. M. “Marti” Ripberger 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 EPI 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 Christopher A. Slapak & Michael J. Robertson Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox
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Anonymous Anthem Blue Cross and Blue Shield Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase The Clowes Fund Community Health Network Duke Energy The Glick Fund, a fund of Central Indiana Community Foundation Ice Miller 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. R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics Salesforce Scott A. Jones Foundation St.Vincent Health Telamon Corporation 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 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 Buckingham Foundation Inc. Care Institute Group, Inc. Citizens Energy Group CNO Financial Group Delaware Community Foundation Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. Erie Insurance The Glick Family Foundation Fenneman Family Foundation Fifth Third Bank Hendricks County Community Foundation Indiana Members Credit Union The Indiana Rail Road Company Indiana University Health Partners Industrial Dielectrics Holdings The Kroger Company 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 Davis David & Consuelo Davis Erin & Scott Dorsey Dr. Thomas & Paula Elam Jack Everly & Ty A. Johnson Ms. Carol J. Feeney George R. Flexman 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 Dr. & Mrs. Daniel H. Mowrey 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 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 Honda Manufacturing of Indiana Hoover Family Foundation Howard K. Johnson Fund, a fund of The Indianapolis 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 Mallor Grodner LLP
Merrill Lynch SHC – Senior Home Companions 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 The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Susanah M. Mead Flip & Cindy Miller Jim Miller Milton & Margaret Miller Jim & Jackie Morris 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 Dick & Susan Simon 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 Indy Eleven InterDesign Indianapolis Symphony Orchestra Association South Group ITT Technical Institutes J M Smith Foundation Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc Milhaus Development RBC Wealth Management Ricker’s Salin Bank & Trust St. Richard’s Episcopal School The Stratford 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
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ANNUAL FUND 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 O’Connor Mr. & Mrs. Gerald V. Hinchman Abigail W. Hohmann Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Mrs. Joan D. 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. Robert B. McNamara 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 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
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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 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 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 Mr. & Mrs. Needham S. Hurst 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 Ralph & Nancy 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 Mrs. Lynn Stocksill 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
ANNUAL FUND 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 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 Cavalier Family Foundation Cole Hardwood, Inc. Douglas & Angela Braly Family Foundation ASA Concierge Psychological Services, LLC Gregory & Appel Insurance The Humke Foundation, Inc. Linebarger Janin Family Fund, a fund of Central Indiana Community Fdtn
Marni McKinney Foundation O’Ryan Law Firm Psi Iota Xi, Iota Tau RSE Realty, Inc The Saltsburg Fund; Karen Lake 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 Mr. & Mrs. Tom Cooper Daryl, Sherry & Kevin Cox Patrick and Jennifer Cross Jessica R. Di Santo Jack & Connie Douglas Constance C. Earle Dr. & Mrs. Christopher Eddy Brian & Sara Eldridge Mr. & Mrs. Ardith Fleetwood Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dona & Catherine Gatlin Drs. Jean & Gerald Godfrey Brian & Claudia Grant John & Mary Ann Grogan Susan C. Guba
Ms. Lauren Guidotti Dan & Vicky Hancock Mr. & Mrs. Thomas G. Harvey Jr. Mr. & Mrs. Jerome T. Henning Mike & Noel Heymann Jack & Ruth Hoover 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) Blue & Co., LLC Catherine Rossi DCG: Digital Color Graphics Enflora Flowers for Business NUVO Newsweekly Printing Partners Second Helpings Thomas N. Akins Well Done Marketing WTTS
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WHY WE GIVE PEGGY AND BYRON MYERS Lilly Classical Series subscribers for many years, Peggy and Byron Myers realize the importance of supporting the Indianapolis Symphony Orchestra. In addition to supporting the orchestra through their attendance and commitment to the ISO, the Myers are Annual Fund donors and members of the Lynn Society, having made a legacy gift to the orchestra. Have you always lived in Indianapolis? Byron is from Brazil, IN, and I am from Santa Rosa, CA. We settled in Indianapolis after we were married in 1978. Did you ever play an instrument? If so, tell us about that experience. I studied piano from age 9 until college and played clarinet in the band and Junior Symphony Orchestra in Santa Rosa. Byron has always enjoyed music and played trombone in his elementary and high school bands. I continue to play piano at home and enjoyed accompanying the choir at Indian Creek Elementary and middle and high school students for ISMAA competition. Do you remember when you first heard classical music? There was always classical music and opera in my home. That is what my parents enjoyed, too. The classical recordings were played on the record player all day on Sundays! As a family, we were season ticket subscribers to the Santa Rosa Symphony until 2008. Byron’s interest in and appreciation for classical music grew as he and I became regular attendees of the ISO after settling in Indianapolis. I became a member of the Women’s Committee, now the ISOA, as an ISO volunteer in 1983. What has been your favorite musical experience with the ISO so far? Our favorite musical experience with the ISO is difficult to name. ISO Opening Night Gala is always exciting as we anticipate the new season. Yuletide Celebration and Symphony on the Prairie are also favorites for a year-round ISO enjoyment. What concerts do you recommend for new patrons to the ISO? For new patrons of the ISO, I would recommend a Beethoven concert, perhaps the Fifth Symphony, for its universal recognition to many people. The live experience is so much better than a recording. Why is an orchestra important to a community? We understand the importance of the ISO and other cultural attractions as essential elements in creating and growing a well-rounded business environment and an attractive place to live. The Orchestra’s educational programs and community outreach are essential to encouraging young people to play an instrument as well as building our future audiences. What led you to donate to the ISO? Why is that important to you? We have been Annual Fund donors for decades, and we both feel it is a gift that can continue through making a planned gift to the ISO. We want greatly to see the ISO thrive now and through the years so our wonderful Orchestra can continue to entertain and enthrall its audience.
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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 October 20, 2016–November 14, 2016.
Honor Gifts In Honor of Martha Anne Varnes’ 100th Birthday Wendy Adams Sharon L. Amlung Janet F. Barb Charlene A. Barnette Nancy C. Christy Karen L. Davis Dawn M. Fazli Pamela H. Hicks Connie J. Menke
Margaret A. Myers Kathryn D. Patterson Helen Frances Rudesill Ann R. Strong Anna S. White In Honor of Ruth Hoover Brandy Rodgers
Memorial Gifts In Memory of Dorothy Brown Linda Marsh In Memory of Kenneth Dye Barbara A. Dye
In Memory of Dr. Robert Rudesill Blue and Co., LLC David Warrick
ISO V O L U N T E E R L O O K I N G T O G E T I N VO LV E D ? Each year it takes over 23,000 volunteer hours to keep the ISO running and we need you! Join our ISO family by contacting our Volunteer Services Manager, Donna Finney at
[email protected] or 317.231.6792 65
CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact Melissa Weseli, 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
THE METROPOLITAN YOUTH ORCHE STRA
SYMP H O NY IN CO LO R
MYO CLASSICAL CONCERT S U N DAY, J A N UARY 1 5 , 3 :0 0 PM
Symphony in Color is an annual enrichment program of the ISOA which offers a unique blending of symphonic music and visual arts for Indiana School Children, grades 1-6. The ISOA is looking for Volunteers for this event!
Join the Metropolitan Youth Orchestra (MYO) as they showcase all of their young people and parents in a memorable classical performance that ends with a stunning, signature finale.
IMPORTANT DATES: Contest week and judging - February 6-8, 2017 Hilbert Circle Theatre Exhibit - February 25-March 27, 2017
Free Concert - Open to the Public Call 317.639.4300 for ticket information
Call the ISOA office at 317.231.6726 for more information
MEET VINCE LEE
THE ISO’S ASSOCIATE CONDUCTOR
P R E S E N T S T H E L E T U S E N T E RTA I N YO U EVENT OF THE YEAR
save the date
WE D N E SDAY, F E BR UARY 8 , 1 1 :0 0 AM Meet and greet the dynamic personality behind ISO’s Discovery Concerts. These concerts educate, entertain, enlighten and engage Indiana’s school children in grades 3-6.
april 23, 2017 Join us at the Willows on Westfield for a fabulous evening of Dinner, Dancing and an incredible Auction. All proceeds go to support the ISO's Metropolitan Youth Orchestra and Discovery Concert programs of the Indianapolis Symphony Orchestra. F O R M O R E I N F O R M AT I O N C A L L T H E I S O O F F I C E AT 3 1 7. 2 3 1 .67 2 6
HERE’S HOW
TO BECOME A MEMBER OF ISOA... Please contact us at 317.231.6726 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, Associate Director of Foundation Giving Allison Gehl, Gift Officer 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 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 Kim McManus 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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Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge. This advertisement paid for by IPL shareholders, not our customers.
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