HI LB ERT C IR CL E T H E AT R E KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR
Music for the Royal Fireworks Leslie Odom, Jr. with the ISO Harry Potter and the Goblet of Fire TM — In Concert Classic Hollywood Ohlsson Plays Tchaikovsky Beethoven’s “Pastoral” Saint-Saëns’ Violin Concerto No. 3 Audra McDonald Romantic Songs with Michael Cavanaugh Kirill Gerstein Plays Beethoven’s “Emperor”
JANUARY & FEBRUARY | VOLUME 4
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Careful planning, talent and passion are on display at today’s performance. At Citizens Energy Group, we understand the value of working hard behind the scenes to deliver quality on a daily basis. We strive to replicate that ensemble effort in our work and are proud to support the productions that bring live performances to our community. Congratulations to the musicians, crew and staff on a job well done!
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TABLE OF CONTENTS Programs 11 January 4, 6, 2018 23 January 5, 2018 27 January 11, 14, 2018 31 January 12–13, 2018 33 January 19–20, 2018 41 January 26–27, 2018 59 February 2–3, 2018 69 February 9–10, 2018 71 February 14, 2018 73 February 23–24, 2018 Featured Articles 7 Music in My Life 7 Musicians Around Town The Indianapolis Symphony Orchestra 8 Board of Directors 9 Musicians of the ISO 80 Arts in Indy 81 Endowment 84 Lynn Society 86 Annual Fund 89 Tribute Gifts 90 Why We Give 91 Corporate Sponsors 92 Administration 93 Hilbert Circle Theatre Information 94 Indianapolis Symphony Orchestra Association
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Artists 12 Nicholas McGegan 14 Karen Gomyo 24 Jack Everly 25 Leslie Odom, Jr. 29 Justin Freer 32 Krzysztof Urbański 34 Garrick Ohlsson 40 Thomas Hampson 42 Kelley O’Connor 60 Bramwell Tovey 61 Benjamin Beilman 68 Audra McDonald 72 Michael Cavanaugh 74 Nikolaj Znaider 75 Kirill Gerstein
WELCOME Dear Friends, One of my favorite ways to stay warm in these cold winter months is attending a concert right here in the historic Hilbert Circle Theatre. Thank you for bundling up and joining us for today’s performance! We have so many phenomenal concerts throughout the months of January and February. From Broadway stars Audra McDonald, Leslie Odom, Jr., and Michael Cavanaugh to classical power players including Garrick Ohlsson, Thomas Hampson, Kirill Gerstein, and more—there is a lot to look forward to this winter. I am also delighted as we have a pair of exciting special events in February; the legendary John Williams is conducting the ISO as a special benefit for our organization, and our annual Celebration of Black History concert honors the 50th anniversary of Dr. Martin Luther King, Jr.’s passing—along with the special place in history Indianapolis holds for the nonviolent gathering at what is now Kennedy-King Memorial Park. As we look ahead to the announcement of our 2018–19 season in late February, I hope you will consider joining us for one or more of the exciting concerts we have coming up this spring. Thank you, as always, for your continued support of the ISO. Sincerely, Steve L. Hamilton Interim Chief Executive Officer Vice President of Finance and Chief Financial Officer
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FRIDAY, MARCH 16, 8PM Hilbert Circle Theatre BRENT HAVENS, CONDUCTOR BRODY DOLYNIUK, VOCALS On St. Patrick's Day weekend, the ISO and a full rock band take a musical journey spanning four decades of unforgettable hits including “With or Without You,”“I Still Haven’t Found What I’m Looking For,”“Pride (In the Name of Love),”“Sunday Bloody Sunday,”“Desire,” “One,” and many more. Formed in 1976 in Dublin, Ireland, U2 quickly climbed the charts and became one of the premiere rock bands of all time, selling more than 150 million records worldwide and earning 22 GRAMMY® Awards — more than any other band.
WEDNESDAY, JULY 11, 7:30PM THURSDAY, JULY 12, 7:30PM HILBERT CIRCLE THEATRE JACK EVERLY, CONDUCTOR
FILM + ORCHESTRA
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The winner of three Academy Awards® and one of the most thrilling science fiction adventures ever made comes to life on the big screen at the Hilbert Circle Theatre, with the ISO performing John Williams’ iconic and beloved score. Welcome… to Jurassic Park!
PHILIP PALERMO, Violin
MUSIC IN MY LIFE
Philip Palermo joined the Indianapolis Symphony Orchestra in January 1985, following in the footsteps of his father, George, who had been a member of the ISO from 1938 to 1940. A native of Barrington, Illinois, he studied violin with his father as well as Morris Gomberg, Franco Gulli, and Dorothy DeLay. He made his concerto debut with the Chicago Symphony at age 15 and has appeared as soloist with the Pittsburgh, Baltimore, Houston, and Milwaukee symphony orchestras in addition to numerous times with the ISO. Palermo is artist in residence at the University of Indianapolis and is heard regularly with the Ronen Chamber Ensemble and the Canale Quartet. A recitalist in many countries throughout Europe and numerous parts of the United States, he participates in music festivals from San Diego to Maine and enjoys tennis and high-performance automobiles. What was your first musical instrument? Piano was my first instrument, which I started at age 7. I took up the violin at age 8. What was your first experience hearing classical music? My mother performed Beethoven’s 9th with the Chicago Symphony while she was pregnant with me! She also was a singer—she worked with Frank Sinatra, the Chicago Symphony, and Erich Leinsdorf. What is your favorite part about living in Indianapolis? The Indianapolis Motor Speedway and all it has to offer. And I love go-karting! What is your favorite memory with the Indianapolis Symphony? It was a Mitch Miller pops weekend in late 1996. My now-wife attended the show, and I asked her out for the first time afterward. What is your favorite performance thus far? Performing at the Wiener Musikverein on the ISO’s 1993 European tour. What was your very first job? Playing in the pit orchestra for the touring Bolshoi Ballet in Chicago when I was 17 years old. Tell us something about you that most people don’t know. I have a black and white pet snake named Tux because he looks like he’s wearing a tuxedo.
MUSICIANS AROUND TOWN Northminster Presbyterian Church’s Sound and Spirit series will feature the Philatroi string trio on February 11, 2018, at 4 p.m. Phillip Palermo, violin, and Concertmaster Zach De Pue will be joined by violist Michael Isaac Strauss for a concert of diverse chamber repertoire. Readers voted Mark Ortwein as the number three Best Instrumentalist in the 2017 Best of Indy listing and the Ortwein JazzTet as number three in the Best Jazz Group category. Ortwein recently held a Bassoon Masterclass at Wright State University in Dayton, Ohio.
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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 STEVE HAMILTON, Interim Chief Executive Officer CHARLENE BARNETTE, Secretary JOSEPH M. KESSLER, 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 Steve Hamilton* 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 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
Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder Fred E. Schlegel
Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood
*Executive Committee
BOARD OF TRUSTEES John M. Mutz, Chair Robert A. Anker Stephen E. DeVoe Carolyn S. Hardman Kay Koch
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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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate 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 Michelle Kang, Acting Assistant Concertmaster Barbara Fisher Agresti Michelle Black Sophia Cho Sarah Drake ** Sherry Hong Vladimir Krakovich Joseph Ohkubo ** Han Xie
Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith
Second Violin Konstantin Umansky, Principal Mary Anne Dell’Aquila, Acting Associate Principal Jennifer Greenlee, Acting Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Victoria Griswold Patrick Dalton-Holmes Hua Jin Jayna Park Lisa Scott Oleg Zukin
Oboe Jennifer Christen, Principal The Frank C. Springer Jr. Chair Sharon Possick-Lange Roger Roe, Assistant Principal
Viola Yu Jin, Principal, The Schlegel Chair Mike Chen, Associate Principal Beverly Scott, Assistant Principal Zachary Collins Emilee Drumm ** Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong
Bass Clarinet Samuel Rothstein
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
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
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
English Horn Roger Roe The Ann Hampton Hunt Chair Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair Cathryn Gross, The Huffington Chair Samuel Rothstein, Assistant Principal
Bassoon John Wetherill, Principal Michael Muszynski Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein
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 Jack Brennan, Principal The Thomas N. Akins Chair Craig A. Hetrick, Assistant Principal Percussion Braham Dembar, Principal Craig A. Hetrick Pedro Fernandez Harp Diane Evans, Principal The Walter Myers Jr. Chair Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian Stage Quentin L. Quinn, Manager Kenneth Bandy, Technician P. Alan Alford, Technician Steven A. Martin, Technician
*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. ** One-year position
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ASSOC ATION PEOPLE WITH A PASSION FOR MUSIC
VOLUNTEER OPPORTUNITIES Duke Energy Discovery Concerts are designed for students in grades 3-6. Teachers receive custom curriculum to prepare their students, and the culminating experience is attending a live performance by the Indianapolis Symphony Orchestra. ISOA members act as greeters and ushers.
Symphony in Color is an art contest in which elementary students create works of visual art that are inspired by excerpts of classical music featured on the current ISO season. The ISOA oversees this contest.
The Michael Ben & Illene Komisarow Maurer Young Musicians Contest is an opportunity for Indiana's middle and high school instrumentalists to compete for the grand prize: the chance to be a soloist with the Indianapolis Symphony Orchestra.
The Side-by-Side Concert offers high school musicians the opportunity to rehearse and perform with their professional counterparts from the ISO on stage of the Hilbert Circle Theatre. The ISOA provides the rehearsal luncheon.
The Metropolitan Youth Orchestra is a youth and family development program of the ISO. The program is designed to use the life skills learned through music instruction to engage youth in activities that discourage at-risk behaviors and keep them committed to staying in school. The ISOA volunteers at MYO events, activities, and receptions.
BECOME A MEMBER OF THE ISOA... Please contact us at 317.231.6726 or
[email protected]
Music for the royal fireworks
Jan 4, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program Three
Thursday, January 4, at 11 a.m. Hilbert Circle Theatre NICHOLAS MCGEGAN, Conductor | KAREN GOMYO, Violin Wolfgang Amadeus Mozart (1756–1791)
Concerto No. 3 in G Major for Violin and Orchestra, K. 216 Allegro Adagio Rondo: Allegro Karen Gomyo, Violin
Felix Mendelssohn (1809–1847)
The Hebrides Overture, Op. 26 (“Fingal’s Cave”)
Franz Joseph Haydn (1732–1809)
Symphony No. 103 in E-flat Major (“Drumroll”) Adagio – Allegro con spirito Andante più tosto allegretto Menuet Allegro con spirito
† The Coffee Concert is an abbreviated performance. There is no intermission Length of performance is approximately one hour and five minutes. Recording or photographing any part of this performance is strictly prohibited.
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JAN 4, 6
NICHOLAS MCGEGAN, Conductor
As he embarks on his fifth decade on the podium, Nicholas McGegan—long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker)—is recognized for his probing and revelatory explorations of music of all periods. The 2017–18 season marks his 32nd year as music director of Philharmonia Baroque Orchestra and Chorale and he is also Principal Guest Conductor of the Pasadena Symphony. Best known as a baroque and classical specialist, McGegan’s approach—intelligent, infused with joy, and never dogmatic—has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s. At the same time, he was principal conductor of the Drottningholm Opera in Sweden.
McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, and more. Since the 1980s, McGegan has released more than 20 recordings with Hungary’s Capella Savaria on the Hungaroton label, the latest being a two-CD set of the complete Mozart violin concerti. English-born Nicholas McGegan was educated at Cambridge and Oxford. He is an honorary professor at the Georg-August University in Göttingen and also was given an honorary Doctorate of Music at the San Francisco Conservatory of Music. In 2010, he was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” He also was awarded the Verdienstkreuz (am bande) from Niedersachsen (Germany) in 2011. In 2016 he was the Christoph Wolff Distinguished Visiting Scholar at Harvard and is a frequent visitor to Yale. Visit Nicholas McGegan online at www.nicholasmcgegan.com.
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Music for the royal fireworks
Jan 6, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Seven Saturday, January 6, at 5:30 p.m. Hilbert Circle Theatre
NICHOLAS MCGEGAN, Conductor | KAREN GOMYO, Violin George Frideric Handel (1685–1759)
Music for the Royal Fireworks Overture Bourrée La Paix La Réjouissance Menuet I and II
Wolfgang Amadeus Mozart (1756–1791)
Concerto No. 3 in G Major for Violin and Orchestra, K. 216 Allegro Adagio Rondo: Allegro Karen Gomyo, Violin INTERMISSION — Twenty Minutes
Felix Mendelssohn (1809–1847)
The Hebrides Overture, Op. 26 (“Fingal’s Cave”)
Franz Joseph Haydn (1732–1809)
Symphony No. 103 in E-flat Major (“Drumroll”) Adagio – Allegro con spirito Andante più tosto allegretto Menuet Allegro con spirito
Premier Sponsor
Associate Sponsor
This performance is endowed by the Eugene B. Hibbs Fund. Length of performance is approximately one hour and forty-five minutes. Recording or photographing any part of this performance is strictly prohibited.
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JAN 4, 6
KAREN GOMYO, Violin Praised by the Chicago Tribune as “a first-rate artist of real musical command, vitality, brilliance, and intensity,” Canadian violinist Karen Gomyo continues to captivate audiences worldwide.
Gomyo recently performed with the City of Birmingham Symphony Orchestra conducted by Karina Canellakis and the WDR Orchestra Cologne and the Orchestre symphonique de Radio France, both conducted by Jakub Hrusa. She also performed the Glass Concerto No. 1 with Hugh Wolff and the Minnesota Orchestra, and the Pintscher Concerto No. 2 with Mr. Pintscher conducting the Dallas Symphony. Highlights of the 2017–18 season include a recital at the Sydney Opera House, a tour with Edo de Waart and the New Zealand Symphony, followed by performances with WASO Perth and the Tasmanian Symphony. She returns to the St. Louis Symphony, the NACO, and the symphony orchestras of Milwaukee, Montreal, Cincinnati, and Detroit among others. She also performs in recital at the Louisiana Museum in Denmark. Strongly committed to contemporary works, Gomyo performed the North American premiere of Matthias Pintscher’s Concerto No. 2 Mar’eh with the composer conducting the National Symphony of Washington D.C., as well as Peteris Vasks’ Vox Amoris with the Lapland Chamber Orchestra conducted by John Storgårds, and has collaborated in chamber music compositions with
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Jörg Widmann, Olli Mustonen, and Sofia Gubaidulina. In recital and chamber music, Gomyo has performed in festivals throughout the U.S. and Europe. She recently toured with the Australian Chamber Orchestra and fellow guest artist, the mezzo-soprano Susan Graham. In 2018 she appears at the Seattle Chamber Festival and the Australian Festival of Chamber Music in Townesville, Australia. Gomyo has worked with the New York Philharmonic, Cleveland Orchestra, San Francisco Symphony, Philadelphia Orchestra, the City of Birmingham Symphony, Vienna Chamber Orchestra, Danish National Symphony, Bamberg Symphony, Stuttgart Radio Symphony, Sydney Symphony, and Tokyo Symphony among others and with many well-known conductors. Recently, NHK Japan produced a documentary about Antonio Stradivarius called The Mysteries of the Supreme Violin and featured Gomyo as violinist, host, and narrator. The film was broadcast worldwide on NHK WORLD. Gomyo is deeply interested in the Nuevo Tango music of Astor Piazzolla, and performs with Piazzolla’s longtime pianist and tango legend Pablo Ziegler and his partners Hector del Curto (bandoneon), Claudio Ragazzi (electric guitar), and Pedro Giraudo (double bass). She also performs regularly with the Finnish guitarist Ismo Eskelinen, with whom she has appeared at the Dresden and Mainz Festivals in Germany, and in recitals in Helsinki and New York. A recording with Mr. Eskelinen is planned for release soon. Gomyo plays on the “Aurora, exFoulis” Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor.
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CLASSICAL | POPS | COFFEE CLASSICAL
JOSH KAUFMAN WITH THE ISO JOSH KAUFMAN
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TCHAIKOVSKY’S FOURTH
LUTOSLAWSKI’S CELLO CONCERTO
ALISA WEILERSTEIN, CELLO
MOZART ’S THE MAGIC FLUTE KRZYSZTOF URBAŃSKI, CONDUCTOR
HAPPY HOUR TIME FOR THREE
FO R MORE DETAI LS CAL L 3 17.639.4 3 00 OR V IS IT I N D IAN AP OLIS SYM P HO NY.O R G
LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
MUSIC FOR THE ROYAL FIREWORKS, HWV 351 GEORGE FRIDERIC HANDEL
Born: February 23, 1685, Halle, Saxony, Germany Died: April 14, 1759, London, England Year Composed: 1749 Length: c. 18 minutes World Premiere: April 27, 1749, Green Park, London Last ISO Performance: September 2006 with Maestro Raymond Leppard Instrumentation: 3 oboes, 2 bassoons and contrabassoon, 3 horns, 3 trumpets, timpani, harpsichord, and strings When George Friedrich Handel, Composer of the Royal Chapel, was asked by King George II for music to celebrate the Treaty of Aix-la-Chapelle, he agreed enthusiastically. Britain was still in a celebratory mood a year later when Handel’s suite, Music for the Royal Fireworks, premiered in London. To be diplomatic to their former enemy, Handel included an Overture in the French Style, a French Bourrée, a couple of Menuets, and titled two movements in French: La Paix and La Réjouissance. On April 27, 1749, the spectacle was underway in grand style. More than 100 cannons were on hand to strike a pose of great power and, of course, to render a massive salute. Colorful fireworks were to be launched in London’s Green Park from a huge structure called “the machine,” which was 410 feet long and 114 feet high. Handel’s Suite served as a prelude to the cannons’ roar. Fireworks rocketed into the air to the delight of the huge assemblage, and then proceeded to burn down a large section of the great structure. Handel’s music, performed by 100 musicians, was successfully received, but upstaged by the disaster, and the audience of 12,000 fled the scene. Clearly,
this was not an auspicious beginning, but a month later (now rescored for full orchestra), Music for the Royal Fireworks re-appeared at a benefit for Handel’s favorite charity, The Foundling Hospital, and it was a fabulous success. Music for the Royal Fireworks begins with a large, tripartite overture in French style: double dotted rhythms, stately themes, and a slow pace. It also includes several big fanfares displayed by winds, heavy brass, three kettledrums, and a contrabassoon. Later, Handel added violins and a harpsichord in the second minuet. Note the concerto grosso texture in which instrumental groupings contrast with one another and the terraced dynamics. This suite was the essence of baroque style in one of Handel’s last major orchestral works. The second movement is a bourrée, a popular French clog dance, emanating from the seventeenth century. La Paix (The Peace), in honor of the treaty itself, flows serenely in a Largo allla siciliana style, including nine French horns in the first edition. Violins begin softly and are joined by lower strings in a relaxed, gentle tune reminiscent of pastoral settings. La Réjouissance announces a bright trumpet theme with soft drum accompaniment. Violins enter in responsive behavior for a sprightly celebration, which focuses on the opening idea throughout. Two minuets follow: the first is subdued, cast in D minor. The second moves to D major for a festive conclusion. Handel’s first version used only oboes and bassoons; later the winds were blended with violins and harpsichord.
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LILLY Classical Series Program Notes By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
VIOLIN CONCERTO NO. 3 IN G MAJOR, K. 216 WOLFGANG AMADEUS MOZART Born: January 27, 1756, Salzburg, Austria Died: December 5, 1791, Vienna, Austria Year Composed: 1775 Length: c. 25 minutes World Premiere: Unknown Last ISO Performance: June 2016 with conductor David Danzmayr and violinist Caroline Goulding Instrumentation: 2 flutes, 2 oboes, 2 horns, strings, and solo violin
Johann Andreas Schachtner, a friend of the Mozarts, recalled that at age seven, Wolfgang appeared with his little violin to join a party making music in his home. He had been taking violin instruction from his father for a couple of years. Challenging his father’s demands to leave the guests, the child responded: “But you don’t need to have studied in order to play second violin” (my apologies to second violinists in the ISO). The story goes on to report that the little boy joined the group anyway, played beautifully, and Herr Schachtner, with tears streaming down his face, finally laid down his own violin to listen to the prodigy. Although he did not like it, Mozart continued his violin studies, and during the 1770s, became an acclaimed soloist. Since the violin was the most popular instrument of that time, the concertizing provided money and important background for future string writing. In 1775 when he was nineteen, Mozart penned four more violin concerti, having composed the first in 1773. While writing his violin concerti, he was also working as concertmaster and fulltime section player for Hieronymous Colloredo, Prince-Archbishop of Salzburg’s royal orchestra. Mozart’s duties were extensive, including co-conducting, playing, and composing special requests for the archbish-
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op’s pleasure and parties. Coupled with these responsibilities, the speed of such concerto output was startling, but as a teenager he was filled with energy, bravura, confidence, and a bit of defiance. Defiance was aimed at the man whom he called “Archbishop Booby” who had deservedly earned the hatred of the citizenry, especially of Mozart, not only for his tyrannical, autocratic attitudes, but also because he treated Mozart as an uppity servant, paid him a paltry sum of 150 guilders, and insisted that he eat with the maids and footmen. Constant tension and fighting were inevitable. When Mozart visited Vienna in 1781, he was finally sacked by Count Arco, the archbishop’s steward. Even though he considered playing the violin to be “an unpleasant chore,” it is likely that Mozart wrote his violin concerti for himself as soloist. The Third, however, was written for his friend Antonio Brunetti. In 1781, Mozart decided to quit playing the violin. Henceforth, if playing a string instrument at all, he played viola for the last ten years of his life. It is not known when K. 216 premiered, but a good guess is that it was sometime soon after its completion in September. Only one performance with Mozart as soloist has been verified. The Third Violin Concerto has three movements. In the first, Mozart adheres to conventional sonata form. The opening introduction begins with a chipper theme displayed by first violins, based on an aria from Il Re Pastore (The Shepherd King, a light opera Mozart had completed one year previously). A second theme is also included in the opening section before the soloist enters with a lightly perfumed version of the first subject. A bold oboe struts into the soloist’s initial presentation, but is quickly dismissed by the leading violin. The development offers virtuosic solo
and collaborative opportunities while focusing on the secondary subject. Texture and mood change with a diversionary recitative, bridging to the traditional recapitulation. A solo cadenza is followed by a coda. The second movement (Adagio) presents an intimate, slow-moving lyrical cantilena sung first by muted violins and then the soloist, underscored with triple metered accompaniment from second violins and violas. Muted strings are joined with pizzicato basses and gentle, sustained wind harmonies. Flutes replace the reedy oboes to soften the texture. Occasionally the winds have a dialogue with the soloist, but orchestration at all times remains light and discrete. This backdrop provides a steady yet quiet foundation against which the soloist projects the final restatement of the tender theme at the close. Noted Mozart scholar Alfred Einstein described this section as “an adagio that seems to have fallen straight from heaven.” The third movement is a bright rondo in a triple meter (3/8). After the orchestra opens the scene with a lilting tune, the soloist happily joins in the first episode. A series of episodes follow before a return of the initial rondo theme. Suddenly, the music is stopped mid-flight as Mozart drops in two slower ideas—one based on a Hungarian folk tune, shifting to 2/2 meter in gavotte style, in the middle of the last movement. The tune presented was known as “The Strassburger,” hence this concerto is sometimes nicknamed “The Strassburg.” Known as a movement within a movement, this unexpected intrusion was a familiar practice of the baroque. Mozart’s surprise episode closes as suddenly as it began, and the jolly opening returns as if nothing had happened. At the conclusion, winds are given a prominent role in saying goodbye. It is likely that this concerto also included a harpsichord during early performances.
THE HEBRIDES OVERTURE, OP. 26 FELIX MENDELSSOHN
Born: February 3, 1809, Hamburg, Germany Died: November 4, 1847, Leipzig, Germany Year Composed: 1830–1832 Length: c. 10 minutes World Premiere: May 14, 1832, London Last ISO Performance: May 2011 with Maestro Krzysztof Urbański Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings Fingal’s cave was a Scottish tourist attraction on Staffa Island in the Hebrides archipelago. The cave was spectacular: located at sea level, it was over 200 feet deep and 35 feet high with colorful basalt pillars. At the entrance to the cave, the columns provided an opening of 150 feet. On his twentieth birthday, Mendelssohn celebrated with a trip to England (the first of nine visits) invited by his friend Carl Klingemann, who introduced the young composer to London society. After the London concert season, Mendelssohn traveled to Scotland, where he visited Sir Walter Scott and the stunning cave. He was taken in a small boat, and was spellbound with the beauty and drama of the scene. Klingemann, also in the skiff, wrote that “its amazing pillars made it look like the inside of an immense organ, black and resounding, absolutely without purpose, and quite alone, the wide grey sea within and without.” Mendelssohn first titled the work Die einsame Insel (Lonely Island) but when he completed the score on June 20,1832, he changed the name to Die Hebriden (the Hebrides) using the name Fingal’s Cave on the orchestra parts. Although he began the work in Scotland, it was completed in Rome in 1830. It premiered, after revision, on May 14, 1832, in London. Before its publication in 1835 it was revised yet again and titled “Fingal’s Cave.”
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LILLY Classical Series Program Notes By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
FUN FACT In December of 1930, Mendelssohn gave
the Hebrides Overture to his father as a birthday present. The Overture has two main themes: the first, very short, is played by violas, celli, and bassoons, meant to capture the beauty and massiveness of the cave and the loneliness within it; the second reflects rolling waves that flowed into the cave. The music begins with a restless one measure motif that repeats 46 times over continually changing harmonies, orchestration, and dynamics. The larger secondary idea follows in bassoons and celli. A development emerges via violas and celli trading the opening idea, evolving into a huge climax before flutes summon the recapitulation. Gradually the turbulence relaxes, another fast moving climax ensues, and the Overture concludes with a recall of the opening sung quietly by clarinets in duet coupled with rising commentary from the flute.
_________________________________ SYMPHONY NO. 103 IN E-FLAT MAJOR, “DRUMROLL” FRANZ JOSEPH HAYDN
Born: March 31, 1732, Rohrau, Austria Died: May 31, 1809, Vienna, Austria Year Composed: 1793 Length: c. 30 minutes World Premiere: March 1, 1795, London Last ISO Performance: February 1967 with conductor Izler Solomon Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings
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In 1761 Haydn began to work for the Esterhazy family, one of the richest and deeply influential families in the Austro-Hungarian Empire. Their family wealth had been initially garnered for supporting the Habsburgs in the AustroTurkish wars and they now sported assorted castles, lands, and power over their principalities in addition to elevated positions. For thirty years, Haydn was employed by Prince Nicholas I, an avid music lover and expert baryton and cello player. H.C. Robbins Landon in Haydn and Eighteenth Century Patronage in Austria and Hungary has noted that Prince Nicholas adored Haydn, made him Kapellmeister, provided him with his own orchestra, a choir, full artistic control, a nice salary of 400 gulden to which was added a “secret” additional 200 gulden, time to compose, and even gave him bonuses of gold coins if he liked certain pieces (especially the operas and the symphonies). Haydn was loyal and admired the prince and was by any metric in a fortunate place. When Prince Nicholas I completed the palace at Esterhazy in 1766, Haydn (although ranked as a servant) found a splendid, magnificent setting for his career and his life. He wrote that “My prince was satisfied with all my work; I received applause. [Since] I was cut off from the world, I was forced to become original” (Griesinger). In a letter of July 6, 1776, Haydn wrote “This is where I wish to live and to die.” However, after Prince Nikolaus died on September 28, 1790, this hope was not to be granted. Haydn found his position to be suddenly titular; responsibilities and salary were greatly reduced under the new Prince Anton, who did not care much for music at all. In fact, the composer was suddenly and shockingly retired. After this professional demise, the impresario Johann Peter Salomon invited Haydn on a providential trip to London.
They arrived together on January 1, 1791. Both men were enthusiastically received, and Haydn had landed on his feet professionally. London was thrilled to have such a famous composer in their midst and his music was well known and appreciated. Eventually he became friends with the royal family as well as the aristocrats. Salomon was delighted, of course, because he stood to profit by bringing Haydn to the English world. Between 1791 and 1795, Haydn wrote a set of twelve symphonies known as “the London Symphonies,” of which Number 103 is next to last. After the premiere on March 2, 1795, the Morning Chronicle had this to say: Another new Overture by the fertile and enchanting Haydn was performed, which as usual had continual strokes of genius, both in air and harmony.” [Overture and symphony meant the same thing at this time in England]. The introduction excited the deepest attention, the Allegro charmed, the Andante encored, the Menuets, especially the Trio, were playful and sweet, and the last movement was equal, if not superior to the preceding. The Drumroll Symphony begins with a kettledrum roll (marked Solo Intrada) which is followed immediately by a slow (adagio), ponderous theme displayed by low strings and bassoons. Small cadential figures are added by flutes and oboes in the fifth and sixth measures before the violins move to the forefront, carrying the heavy theme for thirty-eight measures. It was a strange beginning that certainly merited “the deepest attention.” Even more curious was the fact that Haydn gave no instructions on how the stunning drumroll was to be played. An Allegro con spirito quickly erases the ominous beginning with a vivacious melody that scampers, twirls, and has been likened to “a pop tune” as it raises the curtain into a lighthearted world. A similar jolly subsidiary theme is also added. But the deep introducto-
ry theme has not been discarded: it makes cameo appearances as the movement develops. At the conclusion, the big drumroll interrupts the fun and summons the opening idea for one last utterance before a crisp ending. The second movement, Andante piu tosto allegretto, displays variation format, built on two main subjects quoting two folksongs heard in the region around the Esterhazy estate: one in C major, the other in C minor. Strings open the scene with a quiet statement that becomes magnified dynamically as the movement progresses. At measure 84, listen for the concertmaster’s delicate solo, which is a delightful inclusion. The whole orchestra is pulled back to move into the final segment that boasts increased dynamics, increasing virtuosity, and heavier scoring. Notice the fast tremolos in lower strings that add drama and busyness before uniting in four fortissimo chords. This movement was so successful that the first audience demanded a repeat on the spot! The third movement is a tripartite, stately minuet, opening with the flutes proclaiming a nicely accented theme. Clarinets are provided prominence throughout this movement, especially in the central Trio section. The Finale is marked Allegro con spirito: it begins softly and delicately with the horns sounding an invitation, to which strings respond, moving at a rapid pace in a cheerful theme with conspicuous repeated notes, colored by continued horn participation. Suddenly, the dynamics shift to fortissimo and the zest begins. But, not for long—a sudden denouement, brings back the delicacy. Quickly we are treated to a plan of quickly moving alternating dynamics (louds and softs) that add dramatic propulsion to Haydn’s animated conclusion. Notice that Haydn considers that herein one idea is sufficient for the final movement: one might have expected a more complex ending, but Haydn’s wit and discretion has the last word.
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Leslie Odom, Jr. with the ISO
jan 5, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Special Friday, January 5, at 8 p.m. Hilbert Circle Theatre
JACK EVERLY, Conductor | LESLIE ODOM, JR., Vocalist Selections will be announced from the stage.
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Recording or photographing any part of this performance is strictly prohibited.
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JAN 5
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 32-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 West Lawn of the U.S. Capitol. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers, making them some of the highest-rated programs on PBS.
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 15 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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Contact
[email protected] to place a program ad. 24
LESLIE ODOM, JR., Vocals Multifaceted performer Leslie Odom, Jr. completed his run on Broadway starring as ‘Aaron Burr’ in the original cast of the blockbuster hit musical Hamilton, a role that earned him the 2016 Tony Award for Lead Actor in a Musical. He is also a Grammy Award-winner as a principal soloist on Hamilton’s Original Broadway Cast Recording, which won the 2016 award for Best Musical Theater Album. He made his Broadway debut at the age of 17 in Rent before heading to Carnegie Mellon University’s prestigious School of Drama, where he graduated with honors. He is the recipient of a 2002 Princess Grace Award for
JAN 5
Acting. Additional theatre credits include Leap of Faith on Broadway, for which he won the 2012 Astaire Award for Outstanding Male Dancer on Broadway and was nominated for a Drama League Award; the 2014 musical Venice, which also played at The Public Theater; and the Encores! Off Center production of Tick, Tick... Boom! which was his first time working with Hamilton creator, LinManuel Miranda. On the small screen, Odom, Jr. is best known for his portrayal of ‘Sam Strickland’ in the NBC musical series Smash, and his recurring role as ‘Reverend Curtis Scott’ on Law & Order: SVU. He’s also appeared in episodes of Gotham, Person of Interest, Grey’s Anatomy, House of Lies, Vanished, and CSI: Miami. He also starred in the 2012 film Red Tails and the 2017 movie Murder on the Orient Express. His solo album Leslie Odom, Jr. was released in 2016. Odom, Jr. was raised in Philadelphia, and resides in New York City.
The 34th annual Celebration of Black History concert with your Indianapolis Symphony Orchestra
FR EE CO NCERT TUESDAY, FEBRUARY 6 • 7:30PM HILBERT CIRCLE THEATRE
As we near the 50th anniversary of Dr. Martin Luther King, Jr.'s death, the ISO presents a program focused on the historic nonviolence in Indianapolis on the night of his assassination. Join us for an evening of music celebrating the life of Dr. King!
RESERVE YOUR TICKETS BEGINNING JANUARY 15!
SPONSORED BY:
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THE ISO’S YOUNG PROFESSIONALS GROUP
THE ISO’S
GROUP
• • • •
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RECEIVE all this FOR A $50 yearly membership fee!
To sign up and start receiving benefits, visit IndianapolisSymphony.org/FORTE!
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Group events are great for family gatherings, meetups, company picnics and more! We'll work directly with your group to guarantee a memorable night for you and your guests. Groups of 30+ can take advantage of these great benefits and discounted tickets! Begin planning your outing by contacting Joshua Shuck, Director of Sales, at 317.231.6788 or
[email protected].
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HARRY POTTER AND THE GOBLET OF FIRE
jan 11, 14, 2018
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Specials and Presentations Thursday, January 11, at 7:30 p.m. Sunday, January 14, at 3 p.m. Hilbert Circle Theatre
JUSTIN FREER, Conductor John Williams
Harry Potter and the Goblet of Fire™ IN CONCERT
Harry Potter and the Goblet of Fire In Concert Produced by CineConcerts Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Jennifer Wootton, Production Associate David Hoffis, Sound Engineer/Production Supervisor Ed Kalnins, Playback Operator and Synthesizer Production Marketing Director: Molly Haydon Press Manager: Andrew P. Alderete Worldwide Representation: WME Entertainment Music Preparation: JoAnn Kane Music Service Music Editing: Ramiro Belgardt and Ed Kalnins Sound RemixingJustin Moshkevich, Igloo Music Studios A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams.
HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17) Recording or photographing any part of this performance is strictly prohibited.
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REGISTER TODAY! INDIANAPOLIS SYMPHONY ORCHESTRA
15TH ANNUAL
P R E S E N T E D B Y C E N TA U R G A M I N G
JUNE 4, 2018 THE FORT GOLF COURSE 6002 N POST RD INDIANAPOLIS, IN 46216
Contact Carol Ann Arnell for details;
[email protected] or 317.262.5225
CINE CONCERTS
JAN 11, 14
CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by producer/conductor Justin Freer and producer/writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, and Breakfast at Tiffany’s. Justin Freer has quickly become one of the most sought-after conductors of film music with a long list of full symphonic live to projection projects. He has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.
JUSTIN FREER, Conductor
JAN 11, 14
American composer/ conductor Justin Freer is a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, playing in wind ensembles, marching bands, and community orchestras. He composed his first work for wind ensemble at age eleven and saw multiple performances of his music while still a teenager. He gave his professional conducting debut at age sixteen.
Major League Soccer Championship Cups in Los Angeles. He has served as composer for several independent films and has written motion picture advertising music for Avatar, The Day the Earth Stood Still, Dragonball Evolution and Aliens in the Attic.
Continually composing for various different mediums, he has written music for worldrenowned trumpeters Doc Severinsen and Jens Lindemann and is in demand as a composer and conductor for everything from orchestral literature to chamber music. Major League Soccer called upon Freer to compose and conduct music for the 2011 and 2012
Freer earned both his BA and MA degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.
In upcoming seasons Freer will guest conduct the Minnesota Orchestra as well as the orchestras of Chicago, Dublin, London, Paris, Philadelphia, San Francisco, Sydney, Toronto and others. He has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. Freer also spent several years as one of the principal conductors for The Lord of the Rings Trilogy In Concert and conducted the European concert run of Titanic.
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PROUD TITLE SPONSOR OF THE PRINTING PARTNERS POPS SERIES SINCE 2008
Origami model by Philip Kuhns.
At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indianapolis Symphony Orchestra aren’t just organizations, but educational journeys to a broadened mindset and an open heart. And we’re proud to support it.
Printing • Mailing Services • Publishing • Signage • Promotional Products • Marketing
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PrintingPartners.net
Classic hollywood
jan 12–13, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Four Friday, January 12, 2018, at 8 p.m. Saturday, January 13, 2018, at 8 p.m. Hilbert Circle Theatre
JUSTIN FREER, Conductor Alfred Newman Dimitri Tiomkin
Jerry Goldsmith
Max Steiner Bernard Herrmann Franz Waxman
Erich Korngold Jerry Goldsmith
Jerry Goldsmith Ennio Morricone Jerry Goldsmith Miklos Rozsa
“Conquest” from Captain from Castile Suite from Big Sky Prelude Forest at Night (Nocturne) The Wide Missouri (Epilogue) Suite from Planet of the Apes Apes The Search Continues The Clothes Snatcher The Hunt “Tara’” from Gone With The Wind Prelude from Vertigo Suite from Sunset Boulevard Prelude Norma Desmond The Studio Stroll The Comeback: Norma as Salome INTERMISSION — Twenty Minutes “March of the Merry Men” from The Adventures of Robin Hood Suite from Islands In The Stream The Island The Marlin It Is All True (End Title) Overture from Capricorn One Theme from Cinema Paradiso “Love Theme” from Forever Young Suite from Ben-Hur Prelude Love Theme Parade of the Charioteers
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Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduceLength ads that don’t bleed to be at one least 0.25” from edge. of performance is approximately hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s biography on page 24.
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JAN 19–20
KRZYSZTOF URBAŃSKI, Conductor
In September 2017, Krzysztof Urbański entered the seventh season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. In 2015, Urbański became Principal Guest Conductor of the NDR Elbphilharmonie Orchestra succeeding Alan Gilbert. In addition to concerts in Hamburg last season, they toured Japan and Europe. Alongside these performances, they released for Alpha Classics ‘wholly excellent renderings’ (Gramophone) of Lutosławski works and Dvořák’s Symphony No. 9 and A Hero’s Song. His discography also includes Chopin small pieces for piano and orchestra with Jan Lisiecki and the NDR Elbphilharmonie Orchestra for Deutsche Grammophon which received an ECHO Klassik award, and Martinu’s Cello Concerto No.1 recorded for Sony with Sol Gabetta and the
32 IndianapolisBallet-ISO-Program-Jan18_OUTLINES.indd
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Berliner Philharmoniker. Krzysztof Urbański simultaneously maintains an international presence by appearing as guest conductor for numerous orchestras around the world, including the Münchner Philharmoniker, Staatskapelle Dresden, London Symphony Orchestra, Philharmonia Orchestra, Tonhalle Orchestra Zürich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Radio France, New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra Washington and Toronto Symphony Orchestra, among others. Next season sees his debut with the Leipzig Gewandhaus Orchestra, Accademia Nazionale di Santa Cecilia Orchestra and Orchestre de Paris. Urbański served as Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra from 2010 until 2017 and embarked on a concurrent four-season tenure as Principal Guest Conductor of Tokyo Symphony Orchestra in 2012. In 2017 he was appointed Honorary Guest Conductor of the Trondheim Symfoniorkester & Opera. In June 2015 Urbański received the prestigious Leonard Bernstein Award at the SchleswigHolstein Musik Festival; notably, he is the first conductor to have ever received this award.
12/1/17 1:12 PM
ohlsson plays tcHaikovsky
Jan 19–20, 2018
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Eight Friday, January 19, at 8 p.m. Saturday, January 20, at 7 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | GARRICK OHLSSON, Piano Alexander Borodin (1833–1887)
“Polovtsian Dances” from Prince Igor Dance of the Polovtsian Maidens Polovtsian Dance
Piotr Ilyich Tchaikovsky (1840–1893)
Concerto No. 1 in B-flat Minor for Piano and Orchestra, Op. 23 Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Garrick Ohlsson, Piano INTERMISSION — Twenty Minutes
Dmitri Shostakovich (1906–1975)
Symphony No. 6 in B Minor, Op. 54 Largo Allegro Presto
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Length of performance is approximately one hour and forty-five minutes. Recording or photographing any part of this performance is strictly prohibited.
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JAN 19–20
GARRICK OHLSSON, Piano in New York’s Tully Hall, Seattle, Denver, Houston, Los Angeles, and Puerto Rico. He appeared once this season already with the Indianapolis Symphony—playing two Prokofiev concerti in a weekend in which all five were programmed.
Pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, Ohlsson commands an enormous repertoire ranging over the entire piano literature and has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century. This season, that vast repertoire can be sampled in concerti ranging from Chopin, Mozart, Beethoven, Brahms, Barber, and Busoni in cities including St. Louis, Washington D.C., Cincinnati, San Francisco, Portland, Ore., Prague, Stockholm, Wroclaw, and Strasbourg. In recital he can be heard
An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, and Tokyo string quartets, and toured last fall with the Takacs Quartet. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels. A native of White Plains, N.Y., Ohlsson began his piano studies at the age of 8 at the Westchester Conservatory of Music; at 13 he entered The Juilliard School in New York City. He has been awarded first prizes in the Busoni and Montreal Piano competitions, the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, Mich. (1998), and the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music (2014).
The 2018 Indianapolis Early Music Festival 52nd Season: June 22 through July 15 at the Indiana History Center Alkemie
Bach Society of Minneapolis directed by Matthias Maute performing J.S. Bach’s Ascension Oratorio, BWV 11
www.IEMusic.org 317- 577- 9731 34
Ayreheart Bach Society of Minneapolis Ensemble Caprice (Montreal) Ronn McFarlane & Paul O’Dette Tempesta di Mare (Philadelphia)
LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
“POLOVTSIAN DANCES” FROM PRINCE IGOR ALEXANDER BORODIN Born: November 12, 1833, St. Petersburg, Russia Died: February 27, 1887, St. Petersburg, Russia Years Composed: 1874–1875 Length: c. 14 minutes World Premiere: November 4, 1890 Last ISO Performance: May 2009 with conductor Carlo Rizzi Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, orchestra bells, snare drum, suspended cymbal, tambourine, triangle), harp, and strings, Alexander Borodin was tremendously gifted in two widely separated fields. His life reflected that dualism, responding to the two creative forces within him. On the one hand, Alexander Borodin was internationally respected as an experimental research chemist, was a noted surgeon, founded the first Russian School of Medicine for Women, and authored the definitive study The Solidification of Aldehydes and Researches upon the Fluoride of Benzole. On the other hand, he gained his lasting fame in the field that was more like a hobby: music composition. Sometimes these activities were separate, and sometimes they converged. For example, while writing treatises on chemical groupings, he might suddenly write down a musical tune or idea, and then continue on with the treatise. “For me, composing is an indulgence that distracts me from my principal work,” he explained. Music had been Borodin’s constant companion during his youth and his medical training. In 1859 when he traveled to Germany for scientific purposes, he was dazzled by that musical
scene, becoming thoroughly enamored by the music of Wagner, Liszt, Schumann, and Berlioz. Upon Borodin’s return to Russia, a friendship with Balakirev bridged his entry into the group of composers known as “The Mighty Five.” “I told him that composition was his real business,” Balakirev recalled. Amazingly, Borodin managed to keep both medicine and music consistently in his life. Between 1868 and 1870 he also found time to serve as music critic for the Petersburg Gazette. All of this took place in what has been called a chaotic household: children, a few mistresses, relatives, assorted birds, cats, and dogs. And a tolerant wife. Borodin was devoted to his country, its history, and its culture; these became important wellsprings for musical inspiration. The Russian critic and conductor Vladimir Stasov once stated, “He was our epic poet.” The outcome was music of enormous proportions with splendid orchestration, which had a superb ability to evoke historical and sometimes exotic grandeur. He gathered ideas, inflections, and topics from many primary and secondary sources, and his travels produced operas, symphonies, songs, and tone poems, revealing and encapsulating an enchanting Russian world. His opera, Prince Igor, was based on the medieval Russian account of Igor Svyatoslavich in The Tale of Igor’s Campaign, also known as the Lay of Igor’s Host. After following Stasov’s encouragement to write an opera on this narrative, the composer concluded, “Prince Igor is essentially a national opera, interesting only to us Russians who love to steep our patriotism in the sources of our history and to see the origins of our nationality again on the stage.” After eighteen years of working intermittently
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
on Prince Igor, it still lay unfinished at the time of his unexpected death in 1887. In 1890 the opera premiered at the Mariinsky Theater in St. Petersburg, thanks to three years of untiring work by Glazunov and Rimsky-Korsakov who orchestrated the second part of the score. The “Polovtsian Dances,” originally a sequence of choral dances, appear at the end of the second act when Prince Igor and his son are taken prisoner by the Polovtstian leader, Khan Konchak. Konchak calls on his slaves to perform the exhilarating dances to boost Prince Igor’s spirits. There are four dances, which combine in a recapitulatory finale. In order these are: Andantino (Dance of the Maidens): female slaves Allegro vivo (Dance of the Men): male slaves Allegro (General Dance): in praise of Khan, who in this part offers Igor “the woman of his choice.” Presto (Dance of the Boys) Piu animato Finale (sometimes described as pandemonium)
FUN FACT
In the orchestrated version, the “Polovtsian Dances” have been frequently excerpted to become one of Borodin’s most popular works. Parts of this music were adapted for the 1953 Broadway musical Kismet; the most familiar tune, “Stranger in Paradise,” is sung by the oboe in the opening Dance of the Maiden.
CONCERTO NO. 1 IN B-FLAT MINOR FOR PIANO AND ORCHESTRA, OP. 23 PIOTR ILYICH TCHAIKOVSKY Born: May 7, 1840, Votkinsk, Russia Died: November 6, 1893, St. Petersburg, Russia Years Composed: 1874–1875 Length: c. 32 minutes World Premiere: October 5, 1875, Boston Last ISO Performance: June 2015 with conductor Fawzi Haimor and pianist Nareh Arghamanyan Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo piano Christmas Eve 1874 was a terrible day in Tchaikovsky’s life. He was hoping that his close friend Nicholai Rubinstein—director of the Moscow Conservatory and noted pianist—would premiere his First Piano Concerto. Hoping for the best, the composer previewed the new work for him on December 24. After the first movement, there was silence. After the second movement, there was another horrible, seemingly eternal silence. Clearly something was very wrong. After the third movement, Rubinstein exploded, declaring the work “derivative, unplayable, vulgar, chaotic, and utterly worthless.” In a letter three years later to his patroness, Nadezzha von Meck, the composer vividly described the scene: “The chief thing I cannot reproduce is the tone in which all this was uttered. In a word, a disinterested person in the room might have thought I was a maniac, a talented senseless hack who had come to submit his rubbish to an eminent musician.” But later that same night, Tchaikovsky remembered, “He did agree that he would do me the honor of playing the concerto if I reworked it
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according to his demands.” Shocked and hurt by Rubinstein’s reaction and conditions, the hypersensitive composer corralled his anger and summoned the strength to reply, “I shall not alter a single note. I shall have the concerto printed exactly as it stands.” The only thing at that time that Tchaikovsky did change was to erase the dedication to Rubinstein and substitute the extraordinary German pianist Hans von Bulow. He had heard von Bulow in Moscow in March 1874 and had been deeply impressed. His choice was a good one. Rubinstein had been known as a careful, powerful, and talented pianist, but also an “intellectual” one; von Bulow had these attributes as well, but also was passionate to his core. Opus 23 demanded, required, and fortunately did receive the needed drama and romantic expression. One critic noted that “von Bulow rode to the rescue.” Not only was von Bulow delighted to be the dedicatee, but he also proceeded to introduce the Concerto in a series of Boston concerts. At the premiere, October 25, 1875, the American audience was thrilled and even demanded a repeat of the last movement. The pianist immediately cabled the good news to Tchaikovsky in Moscow and this was said to be the “first cable sent between Boston and Moscow” (Michael Allsen). More importantly, von Bulow promoted the Concerto at 139 of 172 concerts in that season to great acclaim.
FUN FACT
After the Sputnik launch of 1957, the United States countered with a huge cultural victory. The Cold War was at its height in 1958 when American pianist Harvey “Van” Cliburn won the first quadrennial International Tchaikovsky Piano Competition in Moscow playing Opus 23. At the close, the crowd stood and clapped for eight minutes! Van Cliburn’s recording of Tchaikovsky’s First Piano Concerto with RCA Victor was the first classical recording to go platinum.
Witnessing such successes, Rubinstein changed his tune and included it in his performance repertoire in 1879, but it was too late for him to share in the concerto’s initial triumphs. Rubinstein apologized to the composer and performed the work at the Paris Exhibition in 1878 and several years henceforth until his death. He offered to premiere Tchaikovsky’s Second Piano Concerto, but died on March 23, 1881. The gigantic first movement of the piano concerto opens with massive horn fanfares before a stunning melody for violins, supported by thundering chords from the piano. This is followed by a virtuosic re-statement from the soloist with pizzicati accompaniment and a cadenza based on the same material. (The theme later became the source of a popular song from the 1940s called “Tonight We Love”). The full orchestra re-embraces the melody enhanced by rumbling timpani, which gradually and softly decline. One could be fooled that this long introduction of 106 measures contains the main theme of the concerto, but such is not the case. The actual first theme, marked Allegro con spirito, is a snippy, energetic idea based on a tune heard by Tchaikovsky at a country fair in Kamenko, where it was sung by a blind beggar. The pianist takes the lead with the introduction combined with tiny orchestral responses. A second, slowly moving lyrical theme sung by horns and winds (clarinet) follows. The soloist gets a chance at it before the strings reabsorb the melody and play gently with keyboard arpeggios and decorations and some sharing of parts of the theme. From this point on, the structure adheres to sonata-allegro pattern. Tchaikovsky builds a complex development featuring intense interaction between orchestra and soloist. His recapitulation contains no references to the gorgeous opening melody, using only the two vetted main themes, and a brilliant cadenza that precedes the final close.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
A poetic second movement is cast in a three-part format (ABA) marked Andantino semplice – prestissimo – tempo primo. The first section features a beautiful, limpid melody sung by solo flute over muted, plucked strings. The theme immediately becomes subject to variations: the first in decorated format by the soloist, and then echoed by celli. Tchaikovsky’s interior section (B) produces a light, dashing, scherzo-like section with a tune based on the French song, titled, “Il faut s’amuser, danser, et rire,” which had been popularized by the soprano Désirée Artôt (with whom Tchaikovsky had a brief fling in 1868–69). The third section recalls the lyrical subject of the opening. The third movement, Allegro con fuoco, is a vigorous hybrid rondo, beginning with a crisp idea from the orchestra, completed by a response from the piano. Inspiration for this idea came from a Ukrainian folksong, titled, “Vidyi, Vidyi Ivanku” (“Come, Come Ivanku”). Tchaikovsky allows for an unfettered Cossack style dance to emerge, steadily enhanced by pianistic development. A contrasting episode follows from the violins opening with a huge romantic melody accompanied by horns. Not to be denied, however, the original idea pops back, now tantalizing with rhythmic ambiguities. Together, the two ideas roar to an enormous climax before Opus 23 closes with three massive chords from the soloist and orchestra. The Concerto grew to international fame and acclaim and remains a cherished part of piano concerto repertoire. Tchaikovsky did revise the concerto in 1889 and this is the version on this concert.
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SYMPHONY NO. 6 IN B MINOR, OP. 54 DMITRI SHOSTAKOVICH
Born: September 25, 1906, St. Petersburg, Russia Died: August 9, 1975, Moscow, Russia Year Composed: 1939 Length: c. 30 minutes World Premiere: November 21, 1939, St. Petersburg, Russia Last ISO Performance: Feburary 2007 with conductor Vassily Sinaisky Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (bass drum, cymbals, snare drum, tam tam, tambourine, triangle, xylophone), timpani, harp, celesta, and strings Shostakovich began his Sixth Symphony on April 15, 1939, three years after his first government public condemnation in 1936. A lot had happened in those three years. His Fifth Symphony (1937), which the composer had ironically titled “a Soviet Artist’s Reply to Just Criticism,” had signified his rehabilitation and apology for his musical sins of being bourgeois, decadent, and westernized. Privately the composer nursed his disdain and hatred for Stalin. On the leader’s 61st birthday on December 21, 1939, he did not attend the grand party nor offer a musical tribute such as Myaskovsky and Prokofiev had done. He explained that he was too busy re-orchestrating his opera, Boris Godunov. Among many changes in that three-year period, the musical doctrines of Socialist Realism were softened and demands for light patriotic music were minimized. Realizing that he had to gain cultural international prestige, Stalin decided a limited amount of artistic free expression could be tolerated. This loosening was sometimes identified as a “musical NEP” (derived from the New Economic Policy).
Politically, between 1936 and 1939, things were strange. Stalin was pragmatically negotiating and even concluded a non-aggression pact with Hitler. Nazis were called “fraternal laborers.” Thousands of people were executed as part of Stalin’s Purges. Shostakovich in Testimony: The Memoirs of Dmitri Shostakovich recalled these times to be “difficult, mean, unbelievably mean, and hard; I was so lonely and afraid.” In these terrible, ambivalent circumstances, Shostakovich began to write Opus 54. It was unusual, confounding to many critics, and some said that its “lopsidedness, while deliberate, vitiates its value as a work of art once divorced from its historical context.” However, the premiere of the Sixth Symphony on November 21, 1939, was a huge success and the finale was encored. Sadly, Shostakovich was not able to attend, but he did listen on the radio. Music critics were not so enchanted, particularly focusing their vitriol on the enormous length of the first movement, the change in traditional symphonic structure (i.e. three movements), and a “chaotic” finale. And, they were baffled and furious about Shostakovich’s failed promise, stated in 1938, to write a symphony to honor Lenin. In that the composer had stated, “I have set myself a task fraught with tremendous responsibility, to express in sound the immortal image of Lenin as a great son of the Russian people and as a leader of the masses. I have received numerous letters from all over the Soviet Union with regard to my future symphony. The most important advice contained therein was to make considerable use of musical folklore” (Defining Russia Musically by Richard Taruskin). In the Sixth Symphony, there is no folksong, no grandeur, and no follow-through on his stated intentions. Shostakovich spoke about changes from his previous works, writing: “The musical character of the Sixth Symphony will differ from the mood and emotional tone of the Fifth Symphony, in which moments of tragedy and tension were characteristic. In my latest symphony, music of a contemplative and lyrical
order predominates. I want to convey in it the moods of spring, joy, and youth.” The first movement (Largo) is long, expansive, grave, and ponderous. Harmonies are unusual, and orchestration is heavily weighted in favor of a melancholy English horn combining with the dark neighborhood of celli, violas, clarinets, and bassoons. Although the opening is impressive, it is also ominous. This mood yields to heavy desolation and sadness. The second movement (Scherzo) is busy, light, fast, lightly scored, and completely different from the first. A menacing joie de vivre drives the music. Ian McDonald described this outcome saying “If you want light music, you are going to get it — and with a vengeance.” The third movement continues the playful jollity. At this point, Shostakovich opts for a boisterous, no-holds-barred eruption. The mood is endlessly optimistic, energetic, and thrilling. After playing the last movement for his friends— music critic Ivan Sollertinsky and historian Isaak Glikman—Shostakovich stated, “This is the first time I have written such a successful finale. It seems to me not even the sternest of critics will be able to find fault with it.” How is this explained? During his lifetime, Shostakovich said less about this symphony than all others in his oeuvre. Speculation endures, but in the end, a true explanation will remain Shostakovich’s secret. It could be that he feared a terrible judgment with horrendous consequences. He had a justified paranoia. For many years he had been rebuked and punished by the Soviet government (climaxed by two official condemnations and censorship in 1936 and 1948) and he led a life of violent see-sawing between acceptance and denigration. Living within constant instability and variable re-enforcement, the composer’s mental, physical, emotional, and artistic resilience was phenomenal.
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JAN 26–27
THOMAS HAMPSON, Baritone
Thomas Hampson, America’s foremost baritone, has received many honors and awards for his probing artistry and cultural leadership. Honored as a Metropolitan Opera Guild “Met Mastersinger” and inducted into both the American Academy of Arts and Sciences and Gramophone’s “Hall of Fame,” Hampson is one of the most respected and innovative musicians of our time. With an opera repertoire of more than 80 roles sung in all the major opera houses of the world, his discography comprises more than 170 albums, which include multiple nominations and winners of the Grammy Award, Edison Award, and the Grand Prix du Disque. He received the 2009 Distinguished Artistic Leadership Award from the Atlantic Council in Washington, D.C., and was appointed the New York Philharmonic’s first Artist-inResidence. In 2010 he was honored with a Living Legend Award by the Library of Congress, where he has served as Special
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Advisor to the Study and Performance of Music in America. Furthermore, he has received the famed Concertgebouw Prize, and was named ECHO Klassik’s “Singer of the Year” in 2011 for the fourth time in 20 years. Hampson was made honorary professor at the Faculty of Philosophy of the University of Heidelberg and holds honorary doctorates from Manhattan School of Music, New England Conservatory, Whitworth College, and San Francisco Conservatory, as well as being an honorary member of London’s Royal Academy of Music. He carries the titles of Kammersänger of the Vienna State Opera and Commandeur dans l’Ordre des Arts et des Lettres of the Republic of France, and was awarded the Austrian Medal of Honour in Arts and Sciences. In 2017 Hampson received the Hugo-Wolf-Medal from the International Hugo-Wolf-Academy together with his longtime musical companion Wolfram Rieger for their outstanding achievements in the art of song interpretation. Thomas Hampson enjoys a singular international career as an opera singer, recording artist, and “ambassador of song,” maintaining an active interest in research, education, musical outreach, and technology. Through the Hampsong Foundation, which he founded in 2003, he employs the art of song to promote intercultural dialogue and understanding.
beethoven’s “pastoral”
Jan 26–27, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Krzysztof Urbański, Music Director Raymond Leppard, Conductor Laureate Jack Everly, Principal Pops Conductor Raymond Laureate Lilly Leppard, Conductor Classical Series/Program Nine Friday, January 26, at 8 p.m. Lilly Classical Series/Program Saturday, January 27, at 5:30Seven p.m. Saturday, January at 5:30 p.m. Hilbert 6, Circle Theatre Hilbert Circle Theatre
KRZYSZTOF URBAŃSKI, Conductor | THOMAS HAMPSON, Baritone KELLEY O’CONNOR, Mezzo Soprano
Gustav Mahler Songs from Des Knaben Wunderhorn (1860–1911) Antonius von Padua NICHOLAS MCGEGAN, Conductor Des | KAREN GOMYO, ViolinFischpredigt (St. Anthony of Padua’s Sermon to the Fish) Verlor’neNo. Müh (Labor Handel Symphony 101 in D Lost) Major (“The Clock”) LobAdagio des hohen Verstandes (Praise of Lofty Intellect) (1732–1809) - Presto WerAndante hat dies Liedlein erdacht? (Who Thought Up This Song?) DerMenuet: Schildwache, Nachtlied (The Sentinel’s Nightsong) Allegretto Revelge (Reveille) Vivace Rheinlegendchen (Rhine Legend) Lied desinVerfolgten imViolin, Turm Cello, and Orchestra, Op. 102 Mozart Concerto A minor for (Song of the Persecuted in the Tower) (1833–1897) (“Double Concerto”) WoAllegro die schönen Trompeten blasen (Where the Fair Trumpets Sound) Andante DerVivace Tamboursg’sell (The Drummer Boy) non troppo Das irdische Leben Earthly Life) Zach De Pue,(The Violin Urlicht (Primeval Light) Austin Huntington, Cello INTERMISSION — Twenty Minutes Ludwig van Beethoven (1770–1827)
Symphony No. 6 in F Major, Op. 68 (“Pastoral”) Awakening of cheerful feelings on arriving in the country: Allegro ma non troppo Scene by the brook: Andante molto mosso Merry assembly of country folk:Sponsor Allegro Associate Premier Sponsor Thunderstorm: Allegro Shepherd’s Song – Happy, grateful feelings after the storm: Allegretto Associate Sponsor Premier Sponsor This performance is endowed b yXXXXXXXXXXX Length of performance is approximately XXXXXXX
This performance endowed by a giftany from andisthe lateprohibited. Robert H. Mohlman. Recordingis or photographing partIna of M. thisMohlman performance strictly Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Urbański’s biography on page 32.
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JAN 26–27
KELLEY O’CONNOR, Mezzo-Soprano
Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Awardwinning mezzosoprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2017–18 season, the artist’s impressive symphonic calendar includes performances of Bernstein’s “Jeremiah” Symphony with the New York Philharmonic and with the San Diego Symphony, Beethoven’s Missa Solemnis with the St. Louis Symphony, and Mahler’s Eighth Symphony with the Tonkünstler-Orchester Niederösterreich. She returns to the stage of the Kennedy Center for performances of John Adams’ The Gospel According to the Other Mary marking her first collaboration with Gianandrea Noseda, and sings Beethoven’s Ninth Symphony with the Milwaukee Symphony. O’Connor gives the world premiere of a song cycle by Bryce Dessner at Carnegie Hall with the Orchestra of St. Luke’s and, later in the season, she joins the Atlanta Symphony for the world premiere of a new work written for her by Michael Kurth. The American mezzo brings Carmen into her repertoire with presentations by Opera Buffs and the Los Angeles Opera. John Adams wrote the title role of The Gospel According to the Other Mary for O’Connor and she has performed the work in concert and in the Peter Sellars fully staged production. She has sung the composer’s El Niño with the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson’s Neruda Songs, having given this moving set of songs with the National Symphony Orchestra, with the
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Chicago Symphony Orchestra, with the Minnesota Orchestra, and with the Berliner Philharmoniker and the Tonhalle-Orchester Zürich among many others. Recent seasons include performances with the Indianapolis Symphony Orchestra, the Detroit Symphony, the Atlanta Symphony Orchestra, the Budapest Festival Orchestra, the Philharmonia Orchestra, the London Symphony Orchestra, and the New York Philharmonic. She has appeared in recital in Boston’s Jordan Hall, at the Collaborative Arts Institute Chicago in Cincinnati, and in Jackson Hole. O’Connor has appeared numerous times with Gustavo Dudamel and enjoys a rich musical collaboration with Franz Welser-Möst and the Cleveland Orchestra. With the National Symphony Orchestra, she has given the world premiere of a vocal work written for her by the legendary Indian musician Zakir Hussain. Operatic highlights include Donizetti’s Anna Bolena at the Lyric Opera of Chicago, Madama Butterfly in a new production by Lillian Groag at the Boston Lyric Opera and at the Cincinnati Opera, Berlioz’s Béatrice et Bénédict at Opera Boston, Falstaff with the Santa Fe Opera, and A Midsummer Night’s Dream at the Lyric Opera of Chicago and the Canadian Opera Company. O’Connor has received unanimous international, critical acclaim. For her debut with the Atlanta Symphony, she joined Robert Spano for performances and a Grammy Award-winning Deutsche Grammophon recording. Her discography includes Mahler’s Third Symphony with the Dallas Symphony Orchestra, Lieberson’s Neruda Songs with the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with the Cleveland Orchestra.
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JAN 26–27
Gustav Mahler: Songs from Des Knaben Wunderhorn Des Antonius von Padua Fischpredigt Antonius zur Predigt die Kirche find’t ledig! Er geht zu den Flüssen und predigt den Fischen! Sie schlag’n mit den Schwänzen! Im Sonnenschein glänzen, sie glänzen. Die Karpfen mit Rogen sind all hierher zogen; hab’n d’Mäuler aufrissen, sich Zuhör’n’s beflissen. Kein Predigt niemalen den Fischen so g’fallen! Spitzgoschete Hechte, die immerzu fechten, sind eilends herschwommen, zu hören den Frommen! Auch jene Phantasten, die immerzu fasten, die Stockfisch ich meine, zur Predigt erscheinen! Kein Predigt niemalen den Stockfisch so g’fallen! Gut’ Aale und Hausen, die Vornehme schmausen, die selbst sich bequemen, die Predigt vernehmen. Auch Krebse, Schidkroten, sonst langsame Boten, steigen eilig vom Grund, zu hören diesen Mund! Kein Predigt niemalen den Krebsen so g’fallen! Fisch’ große, Fisch’ kleine! Vornehm’ und gemeine! Erheben die Köpfe wie verständ’ge Geschöpfe! Auf Gottes Begehren Die Predigt anhören! Die Predigt geendet, ein Jeder sich wendet! Die Hechte bleiben Diebe, die Aale viel lieben die Predigt hat g’fallen, sie bleiben wie Allen! Die Krebs’ geh’n zurücke, die Stockfisch’ bleib’n dicke, die Karpfen viel fressen die Predigt vergessen! Die Predigt hat g’fallen, sie bleiben wie Allen!
St. Anthony of Padua’s Sermon to the Fish At sermon time Anthony finds the church empty! He goes to the rivers and preaches to the fish! They flap with their tails! They gleam in the sunshine, they gleam. The carp with roe have all congregated; their jaws gaping, intent on listening. Never did a sermon so please the fish! Sharp-snouted pike, that fence continually, swam up in a hurry to hear the holy man! Even those odd creatures that continually fast: I mean the codfish, appear for the sermon! Never did a sermon so please the codfish! Good eels and sturgeon that people of quality relish, even they condescend to attend the sermon. Crabs, too, and turtles, usually slowboats, climb hurriedly from the depths to hear this voice! Never did a sermon so please the crabs! Fish big and fish small! Of quality and common! They raise their heads like rational creatures! At God’s command they listen to the sermon. The sermon finished, each one turns away! The pike remain thieves, the eels great lovers, the sermon was pleasing, they all stay the same! The crabs go backwards, the codfish stay fat, the carp gorge a lot, the sermon’s forgotten! The sermon was pleasing, they all stay the same!
Verlorne Müh’! Sie: Büble, wir – Büble, wir wollen auße gehe! Wollen wir? Unsere Lämmer besehe?
Labour Lost She: Laddie, we – Laddie, we want to go out! Shall we? Look at our lambs?
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JAN 26–27
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Komm’, lieb’s Büberle, komm’, ich bitt’!
Come, dear laddie! Come, I beg you!
Er: Närrisches Dinterle, ich geh dir holt nit!
He: Silly lassie, I won’t go with you at all!
Sie: Willst vielleicht? Willst vielleicht ä bissel nasche? Hol’ dir was aus meiner Tasch’! Hol’, lieb’s Büberle, hol’, ich bitt’!
She: You want perhaps? You want perhaps a little bit to nibble? Fetch yourself something out of my bag! Fetch it, dear laddie! Fetch it, I beg you!
Er: Närrisches Dinterle, ich nasch’ dir holt nit!
He: Silly lassie, I’ll nibble nothing of yours at all!
Sie: Gelt, ich soll – gelt, ich soll mein Herz dir schenke!? Immer willst an mich gedenke!? Immer!? Nimm’s! Lieb’s Büberle! Nimm’s, ich bitt’!
She: You mean, I should – You mean, I should give you my heart!? Always will you want to think on me!? Always!? Take it! Dear laddie! Take it, I beg you!
Er: Närrisches Dinterle, ich mag es holt nit! Nit!
He: Silly lassie, I don’t care for it at all! Nothing!
Lob des hohen Verstands Einstmals in einem tiefen Tal Kukuk und Nachtigall täten ein’ Wett’ anschlagen: Zu singen um das Meisterstück, gewinn’ es Kunst, gewinn’ es Glück: Dank soll er davon tragen. Der Kukuk sprach: “So dir’s gefällt, hab’ ich den Richter wählt.“ Und tät gleich den Esel ernennen. “Denn weil er hat zwei Ohren groß, so kann er hören desto bos! Und, was recht ist, kennen!“ Sie flogen vor den Richter bald. Wie dem die Sache ward erzählt, schuf er, sie sollten singen. Die Nachtigall sang lieblich aus! Der Esel sprach: “Du machst mir’s kraus! Ija! Ija! Ich kann’s in Kopf nicht bringen!“ Der Kukuk drauf fing an geschwind sein Sang durch Terz und Quart und Quint. Dem Esel g’fiels, er sprach nur: “Wart! Dein Urteil will ich sprechen, ja sprechen. Wohl sungen hast du, Nachtigall! Aber Kukuk, singst gut Choral! Und hältst den Takt fein innen! Das sprech’ ich nach mein’ hoh’n Verstand! Und kost’ es gleich ein ganzes Land,
Praise of Lofty Intellect Once in a deep valley the cuckoo and the nightingale struck a wager: whoever sang the masterpiece, whether won by art or won by luck, thanks would he take away. The cuckoo spoke: “If you agree, I have chosen the judge.” And he at once named the ass. “For since he has two large ears, he can hear all the better! And recognize what is right!” Soon they flew before the judge. When he was told the matter, he decreed that they should sing. The nightingale sang out sweetly! The ass spoke: “You muddle me up! Heehaw! Heehaw! I can’t get it into my head!” There upon the cuckoo began quickly his song in thirds and fourths and fifths. It pleased the ass, he spoke but: “Wait! I will pronounce thy judgment, yes, pronounce. You have sung well, nightingale! But, cuckoo, you sing a good chorale! And hold the beat precisely! I speak from my higher understanding! And even if it cost a whole country,
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JAN 26–27
so laß ich’s dich gewinnen!“ Kukuk, kukuk! Ija!
I thus pronounce you the winner!” Cuckoo, cuckoo! Heehaw!
Wer hat dies Liedlein erdacht?! Dort oben am Berg in dem hohen Haus! In dem Haus! Da gucket ein fein’s lieb’s Mädel heraus! Es ist nicht dort daheime! Es ist des Wirt’s sein Töchterlein! Es wohnet auf grüner Haide! Mein Herzle is’ wundt! Komm’, Schätzle, mach’s g’sund! Dein’ schwarzbraune Äuglein, Y die hab’n mich verwund’t! Dein rosiger Mund macht Herzen gesund. Macht Jugend verständig, macht Tote lebendig, macht Kranke gesund, ja gesund. Wer hat denn das schön schöne Liedlein erdacht? Es haben’s drei Gäns’ über’s Wasser gebracht! Zwei graue und eine weiße! Und wer das Liedlein nicht singen kann, dem wollen sie es pfeifen! Ja –
Who Thought up this Song?! Up there on the mountain, in the high house! In the house! There peers out a fine, dear maiden! There is not her home! She is the innkeeper’s daughter! She lives on the green heath! My heart has a wound! Come, sweetheart, make it well! our dark brown little eyes, they have wounded me! Your rosy mouth makes hearts well. It makes young people rational, brings the dead back to life, makes the ill healthy, yes, healthy. Who then thought up this pretty, pretty little song? Three geese have brought it over the water! Two grey and one white! And whoever cannot sing this little song, to him they will whistle it! Yes –
Der Schildwache Nachtlied Ich kann und mag nicht fröhlich sein! Wenn alle Leute schlafen! So muß ich wachen! Ja, wachen! Muß traurig sein! Ach Knabe, du mußt nicht traurig sein! Will deiner warten im Rosengarten! Im grünen Klee! Zum grünen Klee da komm ich nicht! Zum Waffengarten! Voll Helleparten! Bin ich gestellt! Stehst du im Feld, so helf’ dir Gott! An Gottes Segen ist alles gelegen! Wer’s glauben tut! Wer’s glauben tut, ist weit davon! Er ist ein König! Er ist ein Kaiser! Er führt den Krieg! Halt! Wer da!? Rund’! Bleib’ mir vom Leib! Wer sang es hier? Wer sang zur Stund’? Verlorne Feldwacht sang es um Mitternacht! Mitternacht! Feldwacht!
The Sentinel’s Nightsong I cannot and will not be cheerful! When everyone is asleep! Then I must keep watch! Yes, keep watch! Must be sorrowful! Ah, lad, you mustn’t be sad! I’ll wait for you In the rose-garden! In the green clover! To the green clover, there I do not come! To the weapons garden! Full of halberds! I am posted! If you are on the battlefield, may God help you! On God’s blessing is everything dependent! Whoever believes it! He who believes it is far away! He’s a king! He’s an emperor! He wages war! Halt! Who’s there? Patrol! Stand back! Who sang here? Who sang just now? A solitary field sentinel sang it at midnight! Midnight! Field sentinel!
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JAN 26–27
TEXT
Revelge Des Morgens zwischen drei’n und vieren, da müssen wir Soldaten marschieren das Gäßlein auf und ab, trallali, trallaley, trallalera, mein Schätzel sieht herab! Ach Bruder, jetzt bin ich geschossen, die Kugel hat mich schwere, schwer getroffen, trag’ mich in mein Quartier, trallali, trallaley, trallalera, es ist nicht weit von hier! Ach Bruder, ich kann dich nicht tragen, die Feinde haben uns geschlagen, helf’ dir der liebe Gott! Trallali, trallaley, trallali, trallaley, trallalera, ich muß, ich muß marschieren bis in’ Tod! Ach Brüder, ach Brüder, ihr geht ja mir vorüber, als wär’s mit mir vorbei, als wär’s mit mir schon vorbei! a Trallali, trallaley, trallali, trallaley, trallalera, ihr tretet mir zu nah! Trallali, trallaley, trallali, trallaley. Ich muß meine Trommel wohl rühren, trallali, trallaley, trallali, trallaley, sonst werd’ ich mich verlieren. Die Brüder, dick gesät, sie liegen wie gemäht. Er schlägt die Trommel auf und nieder, er wecket seine stillen Brüder, trallali, trallaley, trallali, trallaley, sie schlagen und sie schlagen ihren Feind, trallali, trallaley, trallalerallala, ein Schrecken schlägt den Feind! Er schlägt die Trommel auf und nieder, da sind sie vor dem Nachtquartier schon wieder, trallali, trallaley, trallali, trallaley. In’s Gäßlein hell hinaus! Sie zieh’n vor Schätzleins Haus. Trallali, trallaley, trallali, trallaley, trallalera, sie ziehen vor Schätzeleins Haus, trallali. Des Morgens stehen da die Gebeine in Reih’ und Glied, sie steh’n wie Leichensteine in Reih’, in Reih’ und Glied. Die Trommel steht voran, daß sie ihn sehen kann, trallali, trallaley, trallali, trallaley, trallalera, daß sie ihn sehen kann!
Reveille In the morning between three and four, we soldiers must march up and down the alley, trallali, trallaley, trallalera, my sweetheart looks down! Oh, brother, now I’ve been shot, the bullet has struck me hard, carry me to my billet, trallali, trallaley, trallalera, it isn’t far from here! Oh, brother, I can’t carry you, the enemy has beaten us, may the dear God help you! Trallali, trallaley, trallali, trallaley, trallalera, I must, I must march on until death! Oh, brothers, oh, brothers, you go on past me as if I were done with, as if I were already done with! Trallali, trallaley, trallali, trallaley, trallalera, you’re treading too near to me! Trallali, trallaley, trallali, trallaley. I must nevertheless beat my drum, trallali, trallaley, trallali, trallaley, otherwise I will lose myself. My brothers, thickly covering the ground, lie as if mown down. Up and down he beats the drum, he wakes his silent brothers, trallali, trallaley, trallali, trallaley, they battle and they strike their enemy, trallali, trallaley, trallalerallala, a terror smites the enemy! Up and down he beats the drum, there they are again before their billets, trallali, trallaley, trallali, trallaley. Clearly out into the alley! They draw before sweetheart’s house, trallali, trallaley, trallali, trallaley, trallalera, they draw before sweetheart’s house, trallali. In the morning there stand the skeletons in rank and file, they stand like tombstones, in rank, in rank and file. The drum stands in front, so that it can see him, trallali, trallaley, trallali, trallaley, trallalera, so that it can see him!
Rheinlegendchen Bald gras’ ich am Neckar, bald gras’ ich am Rhein; bald hab’ ich ein Schätzel, bald bin ich allein! Was hilft mir das Grasen,
Rhine Legend Now I mow by the Neckar, now I mow by the Rhine; now I have a sweetheart, now I’m alone! What good is mowing
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TEXT
JAN 26–27
wenn d’Sichel nicht schneid’t; was hilft mir ein Schätzel, wenn’s bei mir nicht bleibt! So soll ich denn grasen am Neckar, am Rhein; so werf’ ich mein goldenes Ringlein hinein! Es fließet im Neckar und fließet im Rhein, soll schwimmen hinunter in’s Meer tief hinein! Und schwimmt es, das Ringlein, so frißt es ein Fisch! Das Fischlein soll kommen auf’s König’s sein Tisch! Der König tät fragen, wem’s Ringlein sollt’ sein? Da tät mein Schatz sagen: “Das Ringlein g’hört mein!“ Mein Schätzlein tät springen Berg auf und Berg ein, tät mir wied’rum bringen das Goldringlein fein! Kannst grasen am Neckar, kannst grasen am Rhein! Wirf du mir nur immer dein Ringlein hinein!
if the sickle doesn’t cut; what good is a sweetheart, if he/she doesn’t stay with me! So should I then mow by the Neckar, by the Rhine; then I will throw my little gold ring in! It will float in the Neckar and float in the Rhine, it shall swim right down into the deep sea! And when it swims, the little ring, then a fish will eat it! The fish will land on the king’s table! The king would ask, whose ring can it be? Then my sweetheart would say: “The ring belongs to me!” My sweetheart would spring up hill and down hill, would bring back to me the fine little gold ring! You can mow by the Neckar, you can mow by the Rhine! You can always toss in your little ring to me!
Lied des Verfolgten im Turm Der Gefangene, leidenschaftlich eigenwillig Die Gedanken sind frei, wer kann sie erraten; sie rauschen vorbei wie nächtliche Schatten, kein Mensch kann sie wissen, kein Jäger sie schießen; es bleibet dabei: die Gedanken sind frei! Das Mädchen, verzagt schmeichlerisch Im Sommer ist gut lustig sein, auf hohen, wilden Haiden. Dort findet man grün’ Plätzelein, mein Herz verliebtes Schätzelein, von dir mag ich nicht scheiden!
Song of the Persecuted in the Tower The prisoner, vehemently determined Thoughts are free, who can guess them; they rush past like nocturnal shadows, no man can know them, no hunter can shoot them; it remains thus: thoughts are free! The maiden, disheartenedly cajoling Summer is a time for merriment, on high, wild heaths. There one finds a green place, my heartily loving little sweetheart, from you I do not wish to part!
Der Gefangene Und sperrt man mich ein in finstere Kerker, dies Alles sind nur vergebliche Werke; denn meine Gedanken zerreißen die Schranken und Mauern entzwei, die Gedanken sind frei!
The Prisoner And if they lock me up in a dark dungeon, all this is but effort in vain; for my thoughts tear the bars apart and the walls in twain, thoughts are free!
Das Mädchen Im Sommer ist gut lustig sein auf hohen, wilden Bergen. Man ist da ewig ganz allein auf hohen, wilden Bergen, man hört da gar kein Kindergeschrei.
The Maiden Summer is a time for merriment, on high, wild mountains. There one is always quite alone, on high, wild mountains. There one hears no children yelling.
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JAN 26–27
TEXT
Die Luft mag einem da werden, die Luft mag einem werden.
There the air invites one to himself, The air invites one to himself.
Der Gefangene So sei’s, wie es will! Und wenn es sich schicket, nur Alles, Alles sei in der Stille, nur All’s in der Still! Mein Wunsch und Begehren, Niemand kann’s wehren! Es bleibt dabei, die Gedanken sind frei!
The Prisoner So may it be the way it is! And if it happens, may it all happen in the silence, only everything in the silence! My wish and desire can be restrained by no one! It remains thus, thoughts are free!
Das Mädchen Mein Schatz, du singst so fröhlich hier, wie’s Vögelein im Grase; ich steh’ so traurig bei Kerkertür, wär’ ich doch tot, wär ich bei dir, ach muß ich immer denn klagen?
The Maiden My sweetheart, you sing as cheerfully here as a little bird in the grass; I stand so sadly at the prison door, if I only were dead, if I only were with you, alas, must I then always complain?
Der Gefangene Und weil du so klagst, der Lieb’ ich entsage, und ist es gewagt, so kann mich Nichts plagen! t So kann ich im Herzen stets lachen und scherzen; es bleibet dabei: Die Gedanken sind frei! Die Gedanken sind frei!
The Prisoner And since you complain so, I’ll renounce love, and if I dare, then nothing can worry me! Then in my heart I can always laugh and be jovial; it remains thus: Thoughts are free! Thoughts are free!
Wo die schönen Trompeten blasen Wer ist denn draußen und wer klopfet an, der mich so leise wecken kann? Das ist der Herzallerlieble dein, steh’ auf und laß mich zu dir ein! Was soll ich hier nun länger steh’n? Ich seh’ die Morgenröt’ aufgeh’n, die Morgenröt’, zwei helle Stern’. Bei meinem Schatz da wär ich gern’! Bei meinem Herzallerlieble! Das Mädchen stand auf und ließ ihn ein, sie heißt ihn auch willkommen sein. Willkommen trauter Knabe mein! So lang hast du gestanden! Sie reicht’ ihm auch die schneeweiße Hand. Von ferne sang die Nachtigall, da fängt sie auch zu weinen an! Ach weine nicht, du Liebste mein! Auf’s Jahr sollst du mein Eigen sein. Mein Eigen sollst du werden gewiß, wie’s Keine sonst auf Erden ist! O Lieb auf grüner Erden. Ich zieh’ in Krieg auf grüne Haid; die grüne Haide, die ist so weit! Allwo dort die schönen Trompeten blasen, da ist mein Haus, mein Haus von grünem Rasen!
Where the Fair Trumpets Sound Who then is outside and who is knocking, that can so softly awaken me? It is your dearest darling, get up and let me come to you! Why should I go on standing here? I see the red of morn arise, the red of morn, two bright stars. I long to be with my sweetheart! With my dearest darling! The maiden got up and let him in, she bade him welcome, too. Welcome, my fine lad! You have been standing so long! She offered him too her snow-white hand. From far away the nightingale sang, then began she too, to weep! Ah, do not weep, beloved mine! After a year you will be my own. My own you shall certainly become, as is no other on earth! Oh love on the green earth. I’m off to war, on the green heath; the green heath is so far away! Where there the fair trumpets sound, there is my home, my house of green grass!
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TEXT
JAN 26–27
Der Tamboursg’sell Ballade Ich armer Tamboursg’sell! Man führt mich aus dem G’wölb! Wär ich ein Tambour blieben, dürft ich nicht gefangen liegen! O Galgen, du hohes Haus, du siehst so furchtbar aus! Ich schau dich nicht mehr an! Weil i weiß, daß i g’hör d’ran! Wenn Soldaten vorbeimarschier’n, bei mir nit einquartier’n, wenn sie fragen, wer i g’wesen bin: Tambour von der Leibkompanie! Gute Nacht, ihr Marmelstein! Ihr Berg’ und Hügelein! Gute Nacht, ihr Offizier, Korporal und Musketier! Gute Nacht! Ihr Offizier, Korporal und Grenadier! Ich schrei’ mit heller Stimm’: Von Euch ich Urlaub nimm! Gute Nacht!
The Drummer Boy Ballad I, poor drummer boy! They are leading me out of the dungeon! If I’d remained a drummer, I would not lie imprisoned! Oh, gallows, you tall house, you look so frightening! I don’t look at you any more! Because I know that’s where I belong! When soldiers march past, that are not billeted with me, when they ask who I was: Drummer of the first company! Good night, you marble rocks! You mountains and hills! Good night, you officers, corporals and musketeers! Good night! You officers, corporals and grenadiers! I cry out with a clear voice: I take leave of you! Good night!
Das irdische Leben “Mutter, ach Mutter, es hungert mich! Gieb mir Brod, sonst sterbe ich!“ “Warte nur! Warte nur, mein liebes Kind! Morgen wollen wir ernten geschwind!“ Und als das Korn geerntet war, rief das Kind noch immerdar: “Mutter, ach Mutter, es hungert mich! Gieb mir Brod, sonst sterbe ich!“ “Warte nur! Warte nur, mein liebes Kind! Morgen wollen wir dreschen geschwind!“ Und als das Korn gedroschen war, rief das Kind noch immerdar: “Mutter, ach Mutter, es hungert mich! Gieb mir Brod, sonst sterbe ich!“ “Warte nur! Warte nur, mein liebes Kind! Morgen wollen wir backen geschwind!“ Und als das Brod gebacken war, lag das Kind auf der Totenbahr!
The Earthly Life “Mother, oh mother, I’m hungry! Give me some bread or I shall die!” “Just wait! Just wait, my dear child! Tomorrow we shall hurry to harvest!” And when the grain was harvested, the child still cried out: “Mother, oh mother, I’m hungry! Give me some bread or I shall die!” “Just wait! Just wait, my dear child! Tomorrow we shall hurry and go threshing!” And when the grain was threshed, the child still cried out: “Mother, oh mother, I’m hungry! Give me some bread or I shall die!” “Just wait! Just wait, my dear child! Tomorrow we shall hurry and bake!” And when the bread was baked, the child lay on the funeral bier!
Urlicht O Röschen rot! Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein! Je lieber möcht’ ich im Himmel sein! Da kam ich auf einen breiten Weg; da kam ein Engelein und wollt’ mich abweisen.
Primeval Light O little red rose! Man lies in greatest need! Man lies in greatest pain! Even more would I rather be in heaven! There I came upon a broad path; there came an angel and wanted to turn me away. Ah no, I would not be turned away! I am from God and want to return to God! The loving God will give me a little of the light, will illuminate me to the eternal blessed life!
Ach nein, ich ließ mich nicht abweisen! Ich bin von Gott, und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis an das ewig selig’ Leben! (Translation: Renate Voit-Stark/Thomas Hampson)
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WEDNE S DAY, F EB RUA RY 14, 2 018 7:3 0PM | H I L B ERT C I R C L E T H E AT R E
Made famous for his piano/lead vocals in the broadway musical Movin’ Out, Michael Cavanaugh returns to the Hilbert Circle Theatre for a special one-night-only Valentine’s Day concert per forming romantic ballads and classic love songs. The ISO will not perform at the concert.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
SONGS FROM DES KNABEN WUNDERHORN GUSTAV MAHLER
Born: July 7, 1860, Kalischt, Bohemia Died: May 18, 1911, Vienna, Austria Years Composed: 1892–1893 Length: c. 51 minutes World Premiere: unknown Last ISO Performance: February 2013 with conductor Joano Carneiro and baritone Thomas Hampson Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (cymbals, glockenspiel, triangle), harp, strings, and solo voice Songs from Des Knaben Wunderhorn (The Youth’s Magic Horn) stemmed from an anthology of 723 old German songs and poems, compiled and edited by the romantic poet/antiquarian Ludwig von Arnim and poet/ dramatist Clemens Brentano between 1805 and 1808. Their collection came to Mahler’s attention in 1887 when he happened to be visiting with Carl von Weber’s grandson who had inherited his grandfather’s estate. They were together to complete Weber’s unfinished opera, Die Drei Pintos. Mahler wrote an additional thirteen musical parts to complete the opera, based on Weber’s sketches and themes. At one point within his many visits to the Weber household to work on the project, Mahler pulled a book from the shelf in the library, titled, Alte deutsche Lieder (Old German Songs.) He was deeply moved, surprised, and inspired by the content, and within three months, he started to sketch songs from these texts. In a letter of 1905 the composer explained “I have devoted myself heart and soul to that poetry which is essentially different from any other kind of literary poetry and might almost be called something more like Nature and Life—in other words, the sources for all poetry . . . in full awareness of character and tone.”
What he sensed therein was a notion dear to the heart of romantic poets: universal poetry. This meant that the poetry was understandable and relevant to all; that it was not of a “high” nature, but rather was closer to folk poetry or romantic realism. Richard Freed has noted: “Mahler identified himself with Des Knaben Wunderhorn as no other composer has done or is likely to do: the substance and character of these verses and of his music simply suited each other as if sprung from the same source.” The first nine songs were written for voice and piano between 1887 and 1890; between 1892 and 1901, he selected fifteen more for voice and orchestra. Later the first nine were orchestrated by other composers with Mahler’s permission. Songs from Des Knaben Wunderhorn consists of twelve songs with orchestral accompaniment set from the original texts. Mahler began this project in 1892, and it was published in 1899 under the title Humoresken. In 1901, two songs, Urlicht and Es sungen drei Engel, were removed and replaced by Revelge and Der Tamboursg’sell. The Songs are as follows (note: for this weekend’s performances the songs will be sung in a different order): 1. Der Schildwache Nachtlied (the Sentinel’s Nightsong) is a military-style setting of a sentinel’s rejection of joy and love while musing on the futility of trying to control his own life. Mahler attached a simple subtitle: “A Scene from Army Life.” 2. Verlor’ene Müh (Labor Lost) is a serenade in 3/8 meter. A young lady tries to attract a young man, but fails with his constant rejections that grow in intensity as the song unfolds.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
3. Trost im Unglück (Solace in Misfortune): The reaction of a person to lost or rejected love. 4. Wer hat dies Liedel erdacht (Who Thought Up This Song?): Again in 3/8 meter within a pastoral style setting; the topic is admiration of an innkeeper’s daughter. 5. Das irdische Leben (the Earthly Life): The text is a dialogue between mother and child wherein the child asks for food and the mother asks for patience. Eventually the child dies of starvation after the last loaf of bread has been baked. The music is grim with divided strings providing constant, unsettling motion. 6. Revelge (Reveille): the most intense song of the collection. A fallen drummer boy is left for dead by his comrades. Note the constant military rhythm in trumpets and eerie col legno (on the wood) playing of the violins. Mahler commented to Natalie Bauer-Lechner, “This is the most important of all my Lieder.” Mahler later confided to his friends that the melody occurred to him one day in June 1899 while “on the toilet in Altaussee.” 7. Das Antonius von Padua Fischpredigt (St. Anthony of Padua’s Sermon to the Fish) became the scherzo of the Second Symphony. Strings and winds move in constant motion. The text describes a saint who, upon finding a church empty, preaches to the fishes (clarinet) who listen in full attention. However, after the saint’s lesson, they simply return to the way they once were. Perhaps this was the message Mahler was trying to assign to mortal existence when he used it in his symphony. Richard Freed writes: A somewhat sweet and sour humor prevails . . . . Antonious preaches to the fishes, but he seems to be drunk. And what a glittering congregation! The eels and carps and sharp-nosed pikes with their stupid expressions as they look at Antonious, stretching their stiff necks
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out of the water. I practically saw them in the music, and burst out laughing. Then, the sermon over, the congregants swim away in all directions. 8. Rheinlegendchen (Rhine Legend): The text is cast in beautiful, relaxed music similar to a Ländler (Austrain folk dance). A young lady throws a ring into the ocean, hoping that her true love would find it. A fish swallows it, is caught, and is cooked for the King’s dinner. The ring is discovered, of course, and claimed by the young lady’s lover, per the ending of the Tyrolian folk poetry source. 9. Lied des Verfolgten im Turm (Song of the Persecuted in the Tower): A military-style setting is provided for a dialogue between a prisoner’s sweetheart and the prisoner who wishes they could be together. The prisoner comes to the conclusion that his thoughts, as well as his body, are imprisoned, and he sends her away. 10. Wo die schönen Trompeten blasen (Where the Fair Trumpets Sound): Two lovers are meeting before the young man must go to war. Horn calls are distinctive in this setting. The man describes his house where “bright trumpets always play” and then speaks of grass, implying his ultimate home is his grave. Muted strings and brass communicate impending death; reality comes with the removal of mutes on horns and trumpets at the end. 11. Lob des hohen Verstandes (Praise of Lofty Intellect): An ironical take on a singing contest between the cuckoo and nightingale. The judge is a donkey who declares the cuckoo the winner. Note the wonderful orchestration of the two birds and the braying of the “judge.” This was used in the finale of Mahler’s Fifth Symphony. Mahler noted this to be a “humorous mockery of the critics.” 12.Tambourg’sell (The Drummer Boy): Again, the topic is another ill-fated drummer, but this time he is in prison. The music is mourn-
ful, leaden, and weighty. Winds trill laments; drum rolls are slow and ponderous. Again, Mahler uses the strange sound of col legno (playing with the wooden part of the bow, no hair) playing in the violins at the end. It is the saddest of all the Wunderhorn songs. As the boy is marched from his dungeon and he sees the gallows, he speaks a sad goodbye to the earth, the officers, and the soldiers. Note the poignant English horn passage in the final section. Throughout, the orchestration is grim, without violins and violas and trumpets. Gustav Mahler composed only in the media of song and symphony, often combining his songs, or elements of the songs, within symphonic contexts. In fact, his Second, Third, and Fourth Symphonies are sometimes known as the Wunderhorn symphonies. In this regard, his First Symphony uses themes from Songs of a Wayfarer. The Second Symphony uses “Primal Light” in the fourth movement, and the third movement is an adaptation of one of the Wunderhorn songs. In his Third Symphony, Mahler also used themes from The Heavenly Life. The Fourth Symphony’s last movement uses the theme from a child’s view of heaven from Des Knaben Wunderhorn, and the last Kindertotenlieder song and the Sixth Symphony’s finale are linked. Deryck Cooke noted that “his songs flower naturally into symphonic movements, being already symphonic in cast.” ______________________________________
SYMPHONY NO. 6 IN F MAJOR, OP. 68 “PASTORAL” LUDWIG VAN BEETHOVEN
Born: December 16, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria Years Composed: 1807–1808 Length: c. 40 minutes World Premiere: December 22, 1808, Vienna, Austria Last ISO Performance: May 2016 with conductor Giancarlo Guerrero Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings
The Sixth Symphony premiered in a blockbuster program of Beethoven’s new works in a giant, benefit concert on December 22, 1808, in Vienna. Other new pieces on that program were his Fifth Symphony, Fourth Piano Concerto, three excerpts from his Mass in C major, and the aria “Ah, Perfido.” It concluded with the Fantasy in C Minor for piano, chorus and orchestra. In that program, the “Pastoral” followed the Fifth Symphony. This music marathon had additional trials for the audience besides the length since the heating broke down in the concert hall. The audience remained loyal until the end of the program. Composer Friedrich Reichardt reported, “There we sat, in the bitterest cold, from half past six to half past ten, and experienced that truth that one can easily have too much of a good thing. Poor Beethoven, who from this concert was having the first and only scant profit that he had found in a whole year had found much opposition and little support in the rehearsals and the performance.” At this time, Beethoven’s deafness had reached an advanced stage, a condition that caused endless pain, emotional agitation, and despair. Long walks in the countryside alleviated his stress. For this reason, he particularly liked walking in the countryside, “where nature is so beautifully silent . . . . How happy I am to be able to wander among the bushes and grass, under trees and over rocks; no man can love the country as I love it.” The serenity of the countryside offered refuge, and his student Therese von Brunswick recalled that “he loved to be alone with nature, to make her his only confidant.” Nature relaxed Beethoven, and that relaxation and wonderment are found throughout his Sixth Symphony.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
Owen Downes explained that the “Pastoral symphony suggests that his worship (of Nature) had more of love than awe. In the utter simplicity and peace of the symphony there is something beatific.” Additionally, the composer’s pantheistic philosophy consistently found proximity to God in nature. Mr. Downes continued, saying, “The way he dwells with tireless, repetitious wonder over the simplest of his lovely phrases suggest those moments when time stands still for us too, while we watch a single autumn leaf, sunlight on the water, or smell the scent of warm grass.” The sobriquet “Pastoral” is apt, although Beethoven had cautioned in sketches for this work that “carried too far, all painting in instrumental music will fail . . . It (the Sixth Symphony) is more an expression of feeling than tone painting.” Nonetheless, the thunderous storm with piccolo providing lightning streaks, bird chirps, flowing streams, and peasant dances are so clear that it is impossible to ignore imagery. And, in a walk taken with Anton Schindler, Beethoven did acknowledge, “Here I composed the Scene by the Brook and the yellowhammers up there, the quails, nightingales, and cuckoos around about composed with me.” And, in the score Beethoven did identify the birdcalls: nightingale for the flute, quail for the oboe solo, and cuckoo for the clarinet, with a little sketch of the bird in the score. There are five movements: each movement has a descriptive titled provided by the composer. How accurate are they? In an NPR interview on December 12, 2012, Christoph Eschenbach stated, “The titles are only an indication of the sentiment one would find in these ideas. These are all spiritual attitudes. For example, the tempest is an interior event as well exterior event.”
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The first movement opens with Awakening of Joyful Feelings upon Arrival in the country with the direction that it should be played “cheerfully but not too fast.” The silence and quietude he so enjoyed goes on for five hundred measures. Owen Downes observed that “At one point a tiny five-note figure derived from the second measure is repeated some eighty times without interruption, and yet the whole movement makes an impression of inexhaustibly fertile imagination.” The music begins with a simple theme from first and second violins that provides the basis of the movement. Beethoven eschews any complicated development: repetitions of the melody and fragments of the melodic served his intent. Several subsidiary themes are birthed, but none take over the primacy of the opening idea. At all times the pace is unhurried and relaxed. Scene at the Brook continues the gentleness of the first. Second violins set of the watery undercurrent in murmuring triplet figures, and violins produce two main ideas. A small development ensues before the recap fleshes out the ideas in thicker orchestration. The conclusion features the birds aforementioned with the nightingale having the last trill. The final three movements are played without pause. A Merry Gathering of Country Folk is embedded in a boisterous scherzo, sometimes attributed to rustic bands Beethoven heard in Viennese taverns. Anton Schindler commented, “Beethoven asked me if I had noticed how village musicians often played in their sleep, occasionally letting their instruments fall and keeping quite still, and then waking up with a start, getting in a few vigorous blows or strokes at a venture, although usually in the right key before dropping to sleep again.”
Apparently he had tried to portray these people in the “Pastoral” Symphony. A special image herein is the “village musician” as portrayed by bassoon occurring mid-section: at this point, probably inebriated or sleepy, he is only capable of playing two notes. The gaiety is interrupted by menacing clouds, a ramming F minor triad leading to a fearsome storm. This tempest, Hector Berlioz commented “is no longer just a wind and rain storm: it is a frightful cataclysm, a universal deluge, the end of the world.” Dissonance abounds; piccolos scream, timpani provide thunderclaps, volcanic rhythmic patterns shift the winds. In a spectacular climax, Beethoven invokes a huge syncopated chord (including trombones) over a six-measure span. Relief comes from the oboe and a staccato flute section, lightening the mood, and promising peace that arrives in the last movement.
INDIANAPOLIS
Shepherd’s Song: Gladsome and thankful feelings after the storm begins with the shepherd’s song spun from the clarinet, followed by solo horn. The modest ideas are seized by the orchestral body that provides extensive development and ornamentation. At this point, Beethoven wrote in his score, “We give Thee thanks for thy great glory.” A muted horn call has the last word. Contemporary reviews often criticized the length of the Sixth. Five years would pass before another symphony would be forthcoming.
SYMPHONY ORCHESTRA
The Indianapolis Symphony Orchestra will be one of just four orchestras to participate in the John F. Kennedy Center for the Arts’ 2018 SHIFT Festival. The ISO will preview its Kennedy Center program featuring music of Krzysztof Urbański’s homeland in a special “Bon Voyage” concert!
Krzysztof Urbański, Conductor
LUTOSŁAWSKI Cello Concerto PENDERECKI Credo Krzysztof Urbański, Conductor Alisa Weilerstein, Cello Indianapolis Symphonic Choir Indianapolis Children’s Choir
WEDNESDAY, APRIL 11, 7:30PM Hilbert Circle Theatre
Alisa Weilerstein, Cello
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International Violin Competition of Indianapolis 2017-2018 Laureate Series
www.violin.org
ECCO – East Coast Chamber Orchestra Susie Park, 2002 Laureate Sunday, February 11, 2018, 2:30 PM Eugene and Marilyn Glick Indiana History Center - 450 W. Ohio St.
Tuesday, March 13, 2018 Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, Pianist Jaime Laredo, Violinist Bermel Murmurations Sharon Robinson, Cellist Shostakovich Chamber Symphony, Op.110a Tuesday, April 17, 2018 Sarasate Zigeunerweisen, Op. 20 Hot Swing: An Evening of Gypsy Jazz Tessa Lark, 2014 Silver Medalist Bartók Divertimento Michael Thurber, Bassist $5 Student Tickets Gabe Schnider and Use promo code PARK18 Alex Wintz, Guitarists (Must bring valid ID to concert) Tuesday, May 15, 2018 Tickets available at violin.org or (317) 637-4574 Dami Kim, 2014 Laureate Chih-Yi Chen, Pianist Proudly Sponsored by
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Saint-saëns’ violin concerto no. 3
feb 2–3, 2018 Krzysztof KrzysztofUrbański, Music Urbański, MusicDirector Director Jack Everly, Principal Pops Conductor Jack Everly, Principal Pops Conductor Raymond RaymondLeppard, Conductor Leppard, ConductorLaureate Laureate LillyClassical ClassicalSeries/Program Series/ProgramSeven Ten Lilly Friday, February 2, at 8 p.m. Saturday, January 6, at 5:30 p.m. Saturday, February 3, at Theatre 7 p.m. Hilbert Circle Hilbert Circle Theatre
NICHOLAS MCGEGAN, BRAMWELL TOVEY, Conductor Conductor | BENJAMIN | KAREN GOMYO, BEILMAN,Violin Violin Carl Maria von Weber Handel (1732–1809) (1786–1826) Arr. Hector Berlioz
Symphony Invitation No.to101 theinDance, D Major Op.(“The 65 Clock”) Adagio - Presto Andante Menuet: Allegretto Vivace
Camille Saint-Saëns Mozart (1833–1897) (1835–1921)
Concerto Concerto in A minor No. 3 infor B Violin, Minor for Cello, Violin andand Orchestra, Orchestra, Op.Op. 10261 (“Double Allegro Concerto”) non troppo Allegro Andantino quasi allegretto Andante Molto moderato e maestoso – Allegro non troppo Vivace Benjamin non troppoBeilman, Violin Zach De Pue, Violin INTERMISSION Austin Huntington, — TwentyCello Minutes
Igor Stravinsky (1882–1971)
Pétrouchka The Shrovetide Fair Pétrouchka’s Cell The Moor’s Cell The Shrovetide Fair (Towards Evening) Premier Sponsor
Associate Sponsor
This performance This performance is endowedisbyendowed the JeanbD. yXXXXXXXXXXX Weldon Guest Artist Fund Length of performance Length of performance is approximately is approximately one hour andXXXXXXX thirty-five minutes Recording or photographing any part of this performance is strictly prohibited.
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FEB 2–3
BRAMWELL TOVEY, Conductor
Grammy and Juno award-winning conductor/ composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China, Korea, across Canada, and throughout the United States. Tovey is also the Artistic Adviser of the VSO School of Music, a state-of-the-art facility and recital hall that opened in downtown Vancouver in 2011, next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, and Brahms as well as the establishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus. The 2017–18 season in Vancouver includes tours in the fall and spring showcasing the orchestra in their home state as well as key east coast Canadian cities. Other engagements will take him to the New York Philharmonic, Philadelphia Orchestra, St. Louis, Houston, Toronto, and Melbourne symphonies as well as returns to summer festivals in Vail, Tanglewood, and the Hollywood Bowl. As guest conductor during the 2016–17 season he returned to the Los Angeles Philharmonic, the Boston and Chicago Symphonies, the Philadelphia Orchestra, the Melbourne and Sydney symphonies, as well as the Royal Conservatory Orchestra in Toronto. An active composer, Tovey won the 2003 Juno Award for Best Classical Composition for his choral and brass work Requiem for a
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Charred Skull. Past commissions include the New York and Los Angeles Philharmonics and the Toronto Symphony and Calgary Opera, who premiered his first full length opera The Inventor in 2011, a recording of which by the VSO with UBC Opera and the original cast has been released on the Naxos label. In 2014 his trumpet concerto, Songs of the Paradise Saloon, was performed by the LA Philharmonic with Alison Balsom as soloist, and was subsequently repeated by the same soloist with the Philadelphia Orchestra in December 2014. A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras including the New York, Sydney, Melbourne, Los Angeles, Pittsburgh, St Louis, Toronto, and Royal Scottish orchestras. In the summer of 2014 he played and conducted Gershwin’s Rhapsody in Blue at the Hollywood Bowl with the LA Phil and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg Symphonies and the Royal Philharmonic. Tovey was Music Director of the Winnipeg Symphony Orchestra from 1989 to 2001 where he founded the WSO’s now celebrated New Music Festival. From 2002 to 2006 he was Music Director of Orchestre Philharmonique du Luxembourg, leading tours of Europe, the USA, China, and Korea. He opened Luxembourg’s Salle Philharmonie with the world première of Penderecki’s 8th Symphony. Tovey is a Fellow of the Royal Academy of Music in London, the Royal Conservatory of Music in Toronto and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen, and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music. In August 2011 he was described by Musical America as “one of the most versatile and charismatic musicians in the world.”
BENJAMIN BEILMAN, Violin Benjamin Beilman is recognized as one of the fastest rising stars of his generation, winning praise for his passionate performances and deep rich tone, which the Washington Post called “mightily impressive” and the New York Times described as “muscular with a glint of violence.” The Times also praised his “handsome technique, burnished sound, and quiet confidence, which showed why he has come so far so fast.” Following his First Prize win at the Montreal Competition, the Strad described his performance of the Sibelius Violin Concerto as “pure poetry.” Highlights of Mr. Beilman’s 2017–18 season include performances with the Houston Symphony, Oregon Symphony, North Carolina Symphony, and Orchestra St. Luke’s, as well as a multi-city tour of California play-directing the New Century Chamber Orchestra. In recital, he will premiere a new work written for him by Frederic Rzewski and commissioned by Music Accord, presented by Boston Celebrity Series and Shriver Hall, and on tour throughout the U.S. in the 2017–18 and 2018–19 seasons. Abroad, Beilman will make his Australian concerto debut with the Sydney Symphony and debuts with the Scottish Chamber Orchestra and Trondheim Symphony. He will also perform the European premiere of Frederic Rzewski’s new work at the Heidelberg Spring Festival, and return to the Wigmore Hall in recital. In Europe, Beilman has performed with many of the major orchestras including the London Philharmonic, Frankfurt Radio Symphony and Zurich Tonhalle, and in 2016–17 made his debut with the Rotterdam Philharmonic and Krzysztof Urbański, the City of Birmingham Symphony and Vassily Sinaisky, and the
FEB 2–3
Orchestre National de Capitole de Toulouse and Rafael Payare. He also appeared in recital on a ten-city tour of Australia. In recent seasons, Beilman has appeared in subscription with the Philadelphia Orchestra. He also made his recital debuts at the Berlin Philharmonie, and at Carnegie Hall in a program that included the premiere of a new work by David Ludwig commissioned for him by Carnegie Hall. Further recital appearances include performances at the Verbier Festival, Heidelberg Spring Festival, Louvre, Tonhalle Zürich, Wigmore Hall, and Festpiele Mecklenburg-Vorpommern. Beilman has also previously performed with Tonhalle Orchester Zürich and Sir Neville Marriner, l’Orchestre Métropolitain de Montréal and Yannick Nézet-Séguin, and the Malaysian Philharmonic and Hans Graf. Beilman has received several prestigious awards including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant, and a London Music Masters Award. In 2010 he won First Prize in the Young Concert Artists International Auditions, and as First Prize Winner of the 2010 Montréal International Musical Competition and winner of the People’s Choice Award, Beilman recorded Prokofiev’s complete sonatas for violin on the Analekta label in 2011. In 2016 he released his first disc for Warner Classics titled Spectrum, featuring works by Stravinsky, Janacek, and Schubert. Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. Beilman plays the “Engleman” Stradivarius from 1709, generously on loan from the Nippon Music Foundation.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
CARL MARIA VON WEBER INVITATION TO THE DANCE, OP. 65 ARR. HECTOR BERLIOZ Born: November 18, 1786, Eutin, Germany Died: June 5, 1826, London, UK Year Composed: 1819 Length: c. 9 minutes World Premiere: June 7, 1841, Paris, France Last ISO Performance: September 2004 with conductor Mario Venzago Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 4 trumpets, 3 trombones, timpani 2 harps and strings In the early nineteenth century, an old Austrian “turning dance” or “gliding dance” that dated from the sixteenth century graduated from the lower classes into the aristocratic ballrooms, becoming especially popularized after the Congress of Vienna in 1815. The waltz, as it was known, gained momentum in spite of the fact that moralists criticized the closely held position of the dancers, and the church considered such frontal touching sinful and vulgar. After the waltz had its London debut on July 15, 1816, The Times explained such opinions after a party at the English Court was given by the Prince Regent: We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last . . . it is quite sufficient to cast one’s eyes on the voluptuous intertwining of the limbs and close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females. So long as this obscene display was confined to prostitutes and adulteresses, we did not think
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it deserving of notice; but now that it is attempted to be forced on the respectable classes of society by the civil examples of their superiors, we feel it a duty to warn every parent against exposing his daughter to so fatal a contagion. However, the waltz was not to be denied. It thrived because it was delightful, fun, elegant, beautiful, accessible, addictive, sensual, thrilling, and romantic. And it found its way from parties into the concert halls and major ballets of the nineteenth century. One of the most influential early works in this regard is Carl Maria von Weber’s glittering Rondo Brilliant, Invitation to the Dance, written first for piano in 1819 and later orchestrated by Hector Berlioz. His orchestral setting first appeared as ballet music for a Paris production of Weber’s seminal romantic opera, Der Freischütz, on June 7, 1841. Invitation to the Dance begins with an invitation from solo cello: a slowly moving start as the invitation is considered (responses from the winds), and then accepted. At this point, the first waltz begins with a dramatic, highly accented entrance that gradually sweeps throughout the orchestra. Weber then strings together a set of irresistible waltzes, each following quickly on the heels of its predecessor. Finally, the partners bid farewell to each other in a quiet ending.
CAMILLE SAINT-SAëNS CONCERTO NO. 3 IN B MINOR FOR VIOLIN AND ORCHESTRA, OP. 61
Born: October 9, 1835, Paris, France Died: December 16, 1921, Algiers Year Composed: 1880 Length: c. 30 minutes World Premiere: January 2, 1881, Paris Last ISO Performance: April 2012 with conductor Jun Märkl and violinist Alina Ibragimova Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings, and solo violin “For me, art is form, expression and passion seduces the amateur above all; for the artist it is different. An artist who is not fully satisfied by elegant lines, harmonious colors, and beautiful harmonic progressions has no understanding of art.” —Camille Saint-Saëns Camille Saint-Saëns lived a long life between 1835 and 1921. One of his happiest times must have been during the Second Empire, 1852 to 1870. Under Napoleon III, Paris entered a phase of massive change and improvements. Georges-Eugene Haussmann added fountains and parks, planted 100,000 trees, and began to enlarge the streets that were lit by 56,573 gas lamps (hence the nickname “City of Light”). Citizens conveniently traveled by public transport via the Paris omnibus and fiacre; manufacturing grew; the economy grew; ten suburbs were annexed and parts of thirteen more, resulting in a population of 1,800,000; the market for luxury items expanded; the heure verte at 5 p.m. became a popular time for wine and cocktails; the decorative arts flourished; painters such as Courbet, Manet, Monet, Degas, Delacroix, and Sisley produced masterpieces often displayed in the Louvre, which was greatly expanded; forty-one theaters provided consistent dramatic fare with farces, vaudeville, operettas, comedies of manners, and ballets. It was a glamorous, fun-loving city. However, serious French music did not share in the flurry of artistic joie de vivre.
Audiences during the Second Empire in Paris were out for musical amusement. Germanic instrumental music or symphonies were considered tedious and “boring.” Opera Seria however was the stylish musique du jour, often performed in the beautiful Palais Garnier and the Imperial Opera theatre. It offered glamour, pageantry, and variety that kept the citizens thrilled and captivated. Emphasis on classical antiquity was very popular. Most of all, in this lush, vibrant, successful culture, Parisians loved to party in their lavish salons. And so did Camille SaintSaëns. He hosted many lavish gatherings, sometimes providing hilarious renditions of Marguerite (from Gounod’s Faust) in drag. He was, through and through, a witty Parisian product, raised by his mother and great aunt, after his father died. He performed his first piano concert at age eleven, and earlier at age five had been composing little songs. He was formally educated in the Paris Conservatoire, graduating in 1853, pursuing a stellar career as pianist and conductor as well as composer. Saint-Saëns matched the sparkle of Parisian society with his music. The elegance, clarity, wit, seduction, and brilliance of the social scene easily migrated into his music. But there was more to the story. Almost single handedly, he injected life and power into the decaying Parisian instrumental scene, reviving it from stagnation. He was a patriot at heart, and after the military defeat of France by Prussia, he founded the National Music Society, which would become one of the most important and influential institutions in French musical life. Saint-Saëns was not a violinist, and when embarking on his Second and Third violin concerti, he sought help. In the case of the Second Violin Concerto he was advised by George Autustus Bridgetower; for his Third Violin Concerto, he received significant guidance from his dear friend and great Spanish violinist Pablo de Sarasate. The two had met when they were teenagers (ages 15 and 19).
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
When Sarasate requested something more substantial than crème puffs for his repertoire, Saint-Saëns’ First Violin Concerto filled that request. His Third Violin Concerto was exceptional, and became the most popular of his violin concerti. Jonathan Kramer noted, “This work, more than any of its seven other pieces for violin and orchestra or the eight chamber works for solo violin, shows the subtle and understanding, and brilliance that the composer learned from Sarasate.” Opus 61 premiered in 1880 and was performed by Sarasate. The first movement opens with a passionate theme drawn (for thirty measures!) from the lower violin register. As the music progresses, the soloist moves steadily into its upper register, cutting through the orchestra with strong double and triple stops (two and three notes played simultaneously). The coda is a virtuosic thriller, using every position on the instrument, often finding the violin in its stratosphere, cutting through the orchestra with diamond-like precision, brilliance, and strength. There is no cadenza. His second movement, marked andantino quasi allegretto, summons the lyrical capabilities of the violin in a barcarole with a simple dancelike tune. Violin and winds share the stage in a leisurely setting. At the end, the soloist plays arpeggiated harmonics (notes generated by partial depression of the strings) combined with solo clarinet. These provide background coloration while the oboe recalls the main subject. The third movement is a virtuoso’s dream. After a recitative-like introduction (nine measures), the violin steps forward with gymnastic flips and display with orchestral accompaniment. Afterward, the movement’s rapidly paced main first theme is presented. An intensely sweet second theme emerges quietly, demonstrating the violin’s beautiful capabil-
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ity for melodic lyricism. In an unusual chorale section, the soloist moves into an accompaniment position for a moment, but resumes its dominant position as the movement develops. A coda marked Presto is led by the soloist in a headlong dash to a fortissimo conclusion. ________________________________________
IGOR STRAVINSKY PÉTROUCHKA
Born: June 17, 1882, Oranienbaum, Russia Died: April 6, 1971, New York City Years Composed: 1910–1911 Length: c. 34 minutes World Premiere: June 13, 1911, Paris Last ISO Performance: April 2014 with conductor Hans Graf Instrumentation: 3 flutes, 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, four horns, 3 trumpets, 3 trombones and tuba, timpani, percussion (triangle, cymbal, bass drum, tambourine, side drum, tamtam, xylophone), celesta, harp, piano, and strings. Following up on his success with Igor Stravinsky and The Firebird Ballet, ballet impresario and founder of Ballet Russes Serge Diaghilev asked for another ballet in 1910. The young composer was thrilled and grateful for the opportunity, and began to consider ideas for the Rite of Spring. Before assuming that task, he wrote: Before taking (on) the Rite of Spring, which would be a long and difficult task, I wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part, a sort of Konzertstuck. In composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.
The orchestra, in turn retaliates with menacing trumpet blasts. I struggled for hours . . . to find a title that would express in a word the character of my music. One day I leapt for joy: I had found my title. Petrushka, the immortal and unhappy hero of every fair in all countries. After showing a partially completed Petrushka score to Diaghilev, the impresario was so fascinated that he decided to create a mimed ballet based on Stravinsky’s music. The two collaborated again, and again they had a triumph. Petrushka, conducted by Pierre Monteux, premiered on June 13, 1911, at the Théâtre du Châtelet, with choreography by Mikhail Fokine. It was an all-star cast, and a brilliant synthesis of several art forms. The premiere was an enormous success and “the last word in musical modernism.” Rapidly changing meters were a major challenge to the dancers. The legendary Vaslov Nijinsky danced the part of Petrushka, and some have said that his performance “forever solidified his fabled career.” Sets and costumes were by Alexandre Benois. The orchestral suite is derived from that score. Stravinsky did this revision so that he could get copyrights on the music, and justifiably, he wanted some profits. Petrushka came straight from the heart of Russian folklore: a stock puppet, stuffed with sawdust and straw, similar to a jester dressed in red with a red kolpak (the pointed jester hat topped with fur). He always had a naughty personality, was totally anti-authoritarian, and a trickster. Dostoevsky wrote: “How trusting he (Petrushka) is. How joyful and straightforward . . . how quickly he becomes angry and throws himself against unfairness.” (Petrushka in the Context of Russian Modernist Culture by Andrew Wachtel). Stravinsky wrote to his mother, “My Petrushka is turning out each day completely new and there are new disagreeable traits in his character, but he delights me because he is absolutely devoid of hypocrisy.” In the ballet he is identified by a dissonant polytonal chord: F sharp major and C major played together.
Throughout the score, Stravinsky uses many dissonances, quotes from Russian folktunes, and strong, brutal rhythms. Many of these ideas would appear later in his Rite of Spring. Herein, Stravinsky also depicted a brutal story. Underlying the turbulent narrative is a political message depicting the horrible lives of the Russian people. A mood of tender compassion for the small and helpless of society and indignation at unjust persecution (in this case resulting in the death of the puppet) exist as an unmistakable subtext. In the suite, there are four parts, following the four tableaux of the ballet. These are: The Shrovetide Fair, Petrushka’s Room, The Moor’s Room, and The Shrove Tide Fair Towards Evening. The first tableau opens on Admiralty Square in St. Petersburg on a sunny winter day. Jolly flutes and harps invite the people into a happy party and celebration. Crowds assemble for all the festivities. The music is fast, replete with dances, and even an organ grinder with a monkey (clarinets). Occasional rumbles from the timpani preface the underlying dangerous story. Suddenly a frightening showman appears from a little puppet theater. His introduction marks a sudden change from the revelry. As timpani roll loudly, the music slows to a lento (slow) pace. The Moor’s scary presence is marked by low bassoons. As he plays his flute (nine solo measures marked “cadenza, ad libitum”) the curtain rises at the puppet theater. In the ballet, three puppets are presented: Petrushka, the Ballerina, and the Moor, all of whom spring to life as the showman plays his flute. A slow passage marks the life force transmission. All three begin a peppy Russian dance, marked allegro giusto. The timpani roar again, and we are within the next tableau, which was the first part Stravinsky composed in his original concep-
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
tion. The setting of Petrushka’s dark, humble room reveals Petrushka as a little person (not just a puppet) who has suffered greatly. He is filled with fear and resentment toward his nemesis, the blackamoor. At this point we hear the famous “Petrushka chord.” His loneliness is represented by quietness and thin orchestration. Emotions run high within his heart, with frustration represented by brass, tremolos, and racing passage work. The piano summons the ballerina entrance and she dances for him in a setting of mixed meters (3/4 and 2/4). However, instead of staying, she quickly runs away. Petrushka is distraught; he hurls himself against a portrait of the Moor that is hanging in his cell. This anger is represented in a loud passage of savage tremolos from winds and violins with the piano playing the Petrushka chord. Notice the emotions attributed to the puppet: this is truly a little human being. In preparation for the next scene a military drum roll presents a rapid four measure passage followed by a ferocious display of anger. Entrance to the Moor’s sumptuous room is marked by a slower passage, indicated to be played pesante (heavy). In the ballet, the Moor’s room is a glamorous setting featuring bright wallpaper with the Blackamoor lounging on a sofa, languidly playing with a coconut. The ballerina is attracted to
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him, and dances provocatively. Introduced by the bassoon, the two dance a slow waltz (flute solo) with trumpet interjections and coloration. Suddenly Petrushka, in his jealous rage, bursts into the love scene amid orchestral turbulence. An agitato section presents a fight between the Moor and Petrushka; the ballerina faints. The puppet is thrown down. The final tableau reverts to Admiralty Square, where the revelry reappears in a sequence of dances: a wet nurse’s dance, a bear dance, a gypsy dance, a mummer’s dance, and quotes from the opening tableau. Clearly, the crowd is unaware of the fight going on in the little theatre. The Moor’s heavy leitmotif emerges ominously. For a moment, the music resumes its happy pace. The mood changes as Petrushka dashes from the Moor’s room into the crowd, pursued by the Moor, where he is quickly decapitated by his scimitar (flutes fortissimo in a fast descending tremolo). Stunned, the crowd drifts away in softly falling snow. Because he is indestructible, Petrushka’s little ghost rises over the theatre, a smiling face, thumbing his nose, in a surreal unforgettable closing. In the suite, trumpets sound his theme again to indicate his continuing life. Righteousness has prevailed. The message was, in no uncertain terms, a warning for the Russian government.
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FEB 9–10
AUDRA MCDONALD, Vocals On television, she was seen by millions as the Mother Abbess in NBC’s The Sound of Music Live! and played Dr. Naomi Bennett on ABC’s Private Practice. She won an Emmy Award for her role as host of PBS’s Live From Lincoln Center and has received nominations for Wit, A Raisin in the Sun, and Lady Day at Emerson’s Bar & Grill.
Audra McDonald is unparalleled in the breadth and versatility of her artistry as both a singer and an actress. The winner of a record-breaking six Tony Awards, two Grammy Awards, and an Emmy Award, she was named one of Time magazine’s 100 most influential people of 2015 and received a 2015 National Medal of Arts—America’s highest honor for achievement in the arts— from President Barack Obama. In addition to her Tony-winning performances in Carousel, Master Class, Ragtime, A Raisin in the Sun, The Gershwins’ Porgy and Bess, and Lady Day at Emerson’s Bar & Grill—the role which also served as the vehicle for her 2017 debut on London’s West End. She has appeared on Broadway in The Secret Garden, Marie Christine (Tony nomination), Henry IV, 110 in the Shade (Tony nomination), and Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed. The Juilliard-trained soprano’s opera credits include La voix humaine and Send at Houston Grand Opera, and Rise and Fall of the City of Mahagonny at Los Angeles Opera.
In 2018, she joins the cast of The Good Fight for the second season of the CBS All-Access original drama series. On film, she has appeared in Seven Servants, The Object of My Affection, Cradle Will Rock, It Runs in the Family, The Best Thief in the World, She Got Problems, Rampart, Ricki and the Flash, Disney’s liveaction Beauty and the Beast, and the moviemusical Hello Again. An exclusive recording artist for Nonesuch Records, she has released five solo albums for the label. McDonald also maintains a major career as a concert artist, regularly appearing on the great stages of the world and with leading international orchestras. Of all her many roles, her favorites are the ones performed offstage: passionate advocate for equal rights and homeless youth, wife to actor Will Swenson, and mother to her children.
612 N. Delaware Street Indianapolis, IN 46204 317-636-5040 indianapolis.thegreatframeup.com Custom Framing | Jersey Framing | Mirror Framing Shadowbox Framing | Fine Art Prints Proud Sponsor of the Indianapolis Symphony Orchestra
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feb 9, 10, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Five Friday, February 9, 2018, at 8 p.m. Saturday, February 10, 2018, at 8 p.m. Hilbert Circle Theatre
JACK EVERLY, Conductor | AUDRA MCDONALD, Soloist Selections will be announced from the stage.
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Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s biography on page 24.
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lakecitybank.com
romantic songs with michael cavanaugh
feb 14, 2018
Special Wednesday, February 14, 2018, at 7:30 p.m. Hilbert Circle Theatre
MICHAEL CAVANAUGH, Piano & Vocals Selections will be announced from the stage.
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photographing part0.125” of this performance is strictly prohibited. Note: Recording Ad sizesor spec’ d were any only from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge.
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FEB 14
MICHAEL CAVANAUGH, Vocals and joined him on stage one fateful night in February 2001. It only took 2 songs before Billy was convinced that he had found his new Piano Man. Michael closed up shop at New York, New York and moved to New York City to work alongside Billy Joel and Twyla Tharp to shape the Broadway Musical that would be called Movin’ Out.
Michael Cavanaugh is the new voice of the American Rock & Roll Songbook and a charismatic performer, musician and actor, made famous for his piano/lead vocals in the Broadway musical Movin’ Out. Handpicked by Billy Joel to star in Movin’ Out, Cavanaugh evokes a style rivaling the Piano Man, and appeared in the show for three years and more than 1,200 performances, receiving accolade after accolade, culminating in 2003 with both Grammy and Tony award nominations. His latest album, The Way I Hear It, was released in April 2017, and debuted at #17 on the Billboard Heatseekers Album Chart. Cavanaugh began playing at age 7 when his parents bought their first piano. Encouraged by family and friends and inspired by his hero Billy Joel, Cavanaugh formed his first band at age 10 and began playing local functions, fine-tuning the craft that would become his chosen career. His first full-time gig as a musician was an extended engagement in Orlando, Florida, at a piano bar called Blazing Pianos. In January 1999, Michael received an offer that would unknowingly change his life, with an opportunity to play Las Vegas at the famed New York, New York Hotel and Casino. It was there that Billy Joel spotted Cavanaugh
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With the close of Movin’ Out at the end of 2005, Cavanaugh began touring in his own right, creating a show that reinterprets the modern pop/rock songbook. Cavanaugh soon became one of the hottest artist’s in the private events market. He continues to perform worldwide for company and charity events as well as sporting events including PGA tour events, the US Open, and the Indy 500. It wasn’t long before symphony orchestras discovered Cavanaugh’s talents and audience appeal. He accepted his first orchestral booking, “Michael Cavanaugh – The Songs of Billy Joel and More,” which debuted in April 2008 with the Indianapolis Symphony and continues to tour today. In October 2008, he signed with Warner/ADA to distribute his first CD, In Color. In June 2010, Cavanaugh debuted his second symphony show in the Generations of Rock series, titled, “Michael Cavanaugh: The Songs of Elton John and More,” and then debuted his third symphony show, “Singers and Songwriters: the Music of Paul Simon, Neil Diamond and James Taylor,” in 2012. In 2015, he debuted his fourth symphony show, “Rockin’ Christmas with the Pops.” He continues to tour all four symphony productions along with performing shows with his band in performing arts centers and other public venues.
kirill gerstein plays beethoven’s “emperor”
feb 23–24, 2018 Krzysztof KrzysztofUrbański, Music Urbański, MusicDirector Director Jack Everly, Principal Pops Conductor Jack Everly, Principal Pops Conductor Raymond RaymondLeppard, Conductor Leppard, ConductorLaureate Laureate Lilly LillyClassical ClassicalSeries/Program Series/ProgramEleven Seven Friday, February 8 p.m. Saturday, January 6,23, at at 5:30 p.m. Saturday, February 24, at 7 p.m. Hilbert Circle Theatre Hilbert Circle Theatre
NICHOLAS NIKOLAJ ZNAIDER, MCGEGAN, Conductor Conductor | KIRILL | KAREN GERSTEIN, GOMYO, Piano Violin Ludwig van Beethoven Handel (1732–1809) (1770–1827)
Symphony Concerto No.No. 1015 in D E-flat Major Major (“The forClock”) Piano and Orchestra, Op. Adagio 73 (“Emperor”) - Presto Andante Allegro Menuet: AdagioAllegretto un poco moto Vivace Rondo: Allegro ma non troppo
Mozart (1833–1897) Edward Elgar (1857–1934)
Concerto INTERMISSION in A minor— forTwenty Violin, Minutes Cello, and Orchestra, Op. 102 (“Double Concerto”) Symphony Allegro No. 2 in E-flat Major, Op. 63 Andante Allegro vivace e nobilmente Vivace Larghetto non troppo Zach RondoDe Pue, Violin Austin Moderato Huntington, e maestoso Cello
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NIKOLAJ ZNAIDER, Conductor
Nikolaj Znaider performs at the highest level as both conductor and virtuoso violin soloist with the world’s mostdistinguished orchestras. He has been Principal Guest Conductor of the Mariinsky Orchestra Saint Petersburg since 2010, and was previously Principal Guest Conductor of the Swedish Chamber Orchestra. Following a triumphant return to the BBC Proms with the Staatskapelle Dresden and Christian Thielemann, Znaider embarked on a new project during the 2016–17 season: recording all of the Mozart violin concertos, directed from the violin with the London Symphony. He has a particularly strong relationship with the LSO; an orchestra he conducts and performs with as soloist every season. Both as conductor and as soloist, Znaider is interested in deepening his connections with key orchestras where he feels a special bond, working regularly with orchestras such as the Staatskapelle Dresden, Cleveland
Orchestra, New York Philharmonic, Chicago Symphony, Royal Concertgebouw, Detroit Symphony, Montreal Symphony, Washington National Symphony, and Munich Philharmonic orchestras. Znaider’s extensive discography includes the Nielsen Concerto with Alan Gilbert and the New York Philharmonic, Elgar Concerto in B Minor with the late Sir Colin Davis and the Staatskapelle Dresden, award-winning recordings of the Brahms and Korngold concertos with Valery Gergiev and the Vienna Philharmonic, the Beethoven and Mendelssohn concertos with Zubin Mehta and the Israel Philharmonic, the Prokofiev Concerto No. 2 and Glazunov Concerto with Mariss Jansons and the Bavarian Radio Symphony, and the Mendelssohn Concerto on DVD with Riccardo Chailly and the Gewanghaus Orchestra. Znaider has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman. He is passionate about supporting the next generation of musical talent and spent ten years as Founder and Artistic Director of the annual Nordic Music Academy summer school. Nikolaj Znaider plays the “Kreisler” Guarnerius “del Gesu” 1741 on extended loan to him by The Royal Danish Theater through the generosity of the VELUX Foundation and the Knud Højgaard Foundation.
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Serving the Indianapolis Symphony Orchestra for more than 50 years. www.OneAmerica.com 74
KIRILL GERSTEIN, Piano Pianist Kirill Gerstein’s curiosity and versatility has led to a powerful engagement with a wide range of repertoire and styles. From Bach to Adès, his playing is distinguished by its clarity of expression, discerning intelligence and virtuosity. Gerstein’s energetic and imaginative musical personality has rapidly taken him to the top of his profession. An American citizen based in Berlin, Kirill Gerstein’s career is balanced between the U.S. and Europe. Highlights of his 2017–18 season in North America include debuts with the Pittsburgh and National symphonies; re-engagements with the Minnesota Orchestra and the Boston, Chicago, San Francisco, Indianapolis, Houston, Colorado and Oregon symphonies; and a tour with cellist Clemens Hagen with performances in Philadelphia, Toronto and Montreal. Internationally, Gerstein works with the Leipzig Gewandhaus Orchestra in Leipzig and on tour in Paris and Vienna; the BBC Proms in London; and the Czech, Rotterdam, Stockholm and Oslo Philharmonics. Gerstein’s recent North American engagements includes performances with the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, and the St. Louis, Atlanta, Cincinnati, Dallas, Vancouver, and Montreal symphonies. In Europe, Gerstein has played with such prominent European orchestras as the Berlin Philharmonic and the Royal Concertgebouw Orchestra, the Munich and London Philharmonics, Dresden Staatskappelle, Finnish Radio Orchestra, Tonhalle Orchestra in Zurich and the Ochestre National de France.
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Autumn 2017 marked the release of Scriabin’s Piano Concerto in F-sharp minor with the Oslo Philharmonic and Chief Conductor Vasily Petrenko (LAWO Classics), and the recording of Scriabin’s Prometheus: The Poem of Fire with the same forces. Early 2018 brings Gershwin’s Piano Concerto in F and Rhapsody in Blue with the Saint Louis Symphony Orchestra and David Robertson for Myrios classics, joining previous recordings for the label which include Liszt’s Transcendental Études, picked by The New Yorker as one of 2016’s most notable recordings; Tchaikovsky’s Piano Concerto No. 1 in the composer’s own final version from 1879; Imaginary Pictures coupling Mussorgsky’s Pictures at an Exhibition with Schumann’s Carnaval; and two discs with Tabea Zimmerman of sonatas for viola and piano by Brahms, Schubert, Franck, Clarke, and Vieuxtemps. Brought up in the former Soviet Union studying both classical and jazz piano, at 14 Gerstein moved to the U.S. where he was the youngest student to attend Boston’s Berklee College of Music. Shifting his focus to the classical repertoire, he studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Gerstein won the first of a series of prestigious accolades in 2001: First Prize at the 10th Arthur Rubinstein Competition. In 2002, he won a Gilmore Young Artist Award, and in 2010 both an Avery Fisher Career Grant and the Gilmore Artist Award, which provided the funds for him to commission new works from Timothy Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau.
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
LUDWIG VAN BEETHOVEN CONCERTO NO. 5 IN E-FLAT MAJOR FOR PIANO AND ORCHESTRA, OP. 73 “EMPEROR” Born: December 16, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria Year Composed: 1809–1811 Length: c. 40 minutes World Premiere: November 28, 1811, Leipzig Last ISO Performance: September 2015 with Krzysztof Urbański conducting Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and timpani
Vienna fell for the second time to Napoleon Bonaparte between May 10 and 13, 1809. The citizens left behind in the city after the nobility fled to their country castles were fearful and panicked. Literally, the war was on Beethoven’s doorstep. The composer found refuge in his brother’s basement, where he continued his work on the Fifth Piano Concerto. Although an evacuation order was ordered on May 12, Beethoven remained in the city. Cannons and bombardment were horrendous and Beethoven covered his ears with pillows to protect his hearing loss. His hatred of Napoleon was strong, and the composer wrote, “It is a pity that I do not understand the art of war as well as I do the art of music. Then, I would conquer him [Napoleon].” The war continued throughout the summer. On July 26, the composer said to his Leipzig publisher, Gottfried Christoph Hartel, “The course of events has attacked me, body and soul . . . . What a destructive, disorderly life I see and hear around me . . . nothing but drums, cannons and human misery in every form.”
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It is phenomenal that Beethoven was able to write anything at all with war engulfing his immediate environs. Once again, we witness his indomitable artistic spirit and commitment. As always, in times of despair, Beethoven escaped this world and turned to his art. The outer world was but a part of his existence; the composer’s greater reality was the discipline of his calling. Sometimes Beethoven mentioned a Latin phrase, which he referred to as his motto: “Nulla dies sine linea” meaning “No day without a line of music.” And he did exactly that. Beethoven cast the Fifth Piano Concerto in E flat, a key that he reserved for a work of stature and import. John N. Burk wrote that this was “music of sweeping and imperious grandeur, unknown to any concerto written up to1812, and beside which the dignity of emperors or archdukes loses all consequence.” Essayist Robert Simpson observed “Whatever the distractions, this concerto must rank among his most unmistakably objective creations.” Opus 73 begins with three huge orchestral chords, each separated by pianistic flourishes from the soloist. Immediately afterward, the orchestra follows with a sweeping theme, followed by several subsidiary subjects. Strings sing the first main theme quietly and are answered immediately by horns. The pianist soon answers, leading us into a rhapsodic world, moving steadily toward the second main idea. A dramatic and complex development follows with both forces taking equal part, thus fusing both performing elements. The recapitulation is traditional, with major themes being restated almost without change. At the point where one would anticipate a cadenza, Beethoven wrote, “Do not play a cadenza, but attack immediately the
following.” The pianist does exactly that, initiating an episode that introduces a stunning coda. The second movement is a gentle, meditative nocturne, focused on a hymn-like melody. Muted violins present the gentle theme followed by piano graceful variations, decorating the tune. Beethoven urged that the movement not be taken too slowly (“un poco piu mosso”) and assigned two large beats per measure rather than four, giving a pulse that has momentum. Cramer’s first edition noted, “This must not drag.” At the close, listen for a soft bassoon passage leading to a single sustained tone. This single note (B) drops a semitone (to B flat), establishing a new possibility for modulation: wherein the piano shapes a new tune, a hint of what is to come. It leads quietly without a break into the rondo finale. From the soothing tranquility, Beethoven launches into a movement of high rhythmic propulsion and linear sweeps. The melody heard at the outset—the hint from the second movement—becomes the basis for an enormous rondo. The aforementioned hint is highly energized, leaping upward in powerful syncopated rhythms, roaring in its statements, separated by dramatic episodes. One of the most interesting moments is the duet for piano and timpani just before the close. Throughout, the music never loses its impetuous, headlong nature, revealing a spontaneous quality that surges to a massive closure, marked by soaring piano scale passages and orchestral flourish. Opus 73 is the largest of the Beethoven piano concerti, and the only one that Beethoven did not introduce himself. The first premiere on November 28, 1811, was in Leipzig, delayed because of the war. Acclaim was immediate. “It is without doubt one of the most original,
imaginative, and difficult of all exiting concertos,” a German critic summarized. Three months later the Viennese premiere (Carl Czerny was the soloist) was not such a success, but the Fifth Piano Concerto has become one of the most challenging, popular, virtuosic, and thrilling concerti in the repertoire. A sixth piano concerto was partially completed and scored in 1815, but nothing ever came of it. As for the sobriquet: there are two versions. One is that Johann Baptist Cramer, Beethoven’s publisher in England added it. The other is that a French general, after hearing the work, commented, “C’est l’empereur.” ____________________________________
EDWARD ELGAR SYMPHONY NO. 2 IN E-FLAT MAJOR, OP. 63
Born: June 2, 1857, Broadheath, United Kingdom Died: February 23, 1934, Worcester, United Kingdom Year Composed: 1911 Length: c. 55 minutes World Premiere: May 24, 1911, London Last ISO Performance: November 1989 conducted by Raymond Leppard Instrumentation: 3 flutes, 3 oboes, 4 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 1 timpani, percussion, and 2 harps
Edward Elgar’s came from a simple background. His father tuned pianos and had a small music shop in Worcester. Elgar was largely self taught as a composer and supported himself as a music teacher in his early years. Things changed radically when he married one of his pupils, Caroline Alice Roberts, in 1889, despite the warnings, scorn, and dislike from her siblings who considered him beneath their family station and suspected his intentions since he was seven years younger. This wealthy upper class family had other ideas for her future. In protest, her immediate family
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LILLY Classical Series
Program Notes
By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair
boycotted the wedding and only her cousin, William Raikes, and his wife attended their small Catholic ceremony. As a wedding gift, Elgar presented Alice with the ineffably beautiful Salut d’Amour, Opus 12.
success from Sir Edward Elgar confirmed that he was worthy of that honor and was superb. Early in 1911, his Second Symphony appeared, and the general reaction was a polar opposite.
The marriage was key to Elgar’s success as a composer. Without Alice’s steady loyalty, encouragement, professional, emotional, and monetary support, his relatively sheltered life would have been massively different, and perhaps unobtainable. Alice adored her husband and she kept a diary of their marriage until her death in 1920. “The care of a genius is enough of a lifework for any woman,” she wrote, and dedicated herself to that task by giving up her own career as a poet. She even ruled music scores for him, and thoughtfully carved out time for him to dedicate himself solely to composition.
This symphony’s premiere was a failure, performed before a sparsely occupied concert hall, and Elgar (who was subject to depression) was the conductor. He was shocked, confused, and emotionally devastated by this response. Looking at the audience, he noted to the concertmaster that “They sit there like a lot of stuffed pigs.”
Both of Elgar’s symphonies were written within the Edwardian period from 1901 to1910, a time that Samuel Hynes described as “a leisurely time when women wore picture hats and did not vote, when the rich were not ashamed to live conspicuously, and the sun really never set on the British flag.” Social class and birthright were status-determining, and London became the financial center of the world. Peace and plenty abounded, in spite of the fact that change was in the air. In 1906 the factionalized Liberals (combining with the Labour Party) came into power with progressive politics and reforms gestating in their ranks. Elgar’s First Symphony, premiering in 1908, was hailed as enormous success, on a par with Beethoven, Mozart, Mendelssohn, Brahms, Dvorak, Mahler, Tchaikovsky, and Schumann. In fact Opus 55 was sometimes called “England’s First Symphony.” In 1904, the composer was knighted, and this musical
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Receptions to subsequent performances were worse. Loyally, Alice wrote, “It seems one of his very greatest works, vast in design and supremely beautiful.” The composer explained, “The spirit of the whole work is intended to be high and pure joy; there are retrospective passages of sadness, but the whole of the sorrow is smoothed out and ennobled in the last movement.” At the top of the keyboard score and at the end of the instrumental score, he quoted the poet Percy Bysshe Shelley from his Last Love Poems (1821) “Rarely, rarely comest thou . . . spirit of delight.” The symphony was dedicated to the memory of King Edward VII, who died in 1910. The first movement is packed with melodies, opening with a soaring optimistic statement: ”The germ of the work is in the opening bars—these in a modified form are heard for the last time in the closing bars of the movement,” Elgar wrote. The motif for the “spirit of delight” is stated in the second measure in a descending figure that will appear throughout the symphony. The first group of themes is grandly rhapsodic; the second group presents lyrical ideas with special attention
to a violin/horn theme and a poignant theme from the cello. In the development section, the music withdraws into a hazy, soft, and foggy world displayed by muted violins. The composer explained this change with another quote from Shelley: “I do but hide under these notes, like embers, every spark of that which has consumed me,” and then in his own words, “[it is] like a sort of malign influence wandering through the summer night in the garden.” And, there was a sub-text: this section was inspired by Alice Stuart-Wortley, with whom he was having a hidden love affair, and he acknowledged her with a theme herein called “Wildflower,” which was his nickname for her. Elgar continued his description, saying, “This entire passage might be a love scene . . . it makes me shiver.” A soft march ensues from trombones and tuba, which rises to a forte before the recapitulation. The second movement, written in Venice, presents an evocation of the grandeur and shadows of St. Mark’s Cathedral in a funeral march. The pace is slow, colored by heavy brass chords. Gradually, the dirge becomes more intense, leading to a flashing climax that subsides into a recall of opening ideas. Toward the end, an oboe sings softly “focusing on a private symbolism behind the music” as the movement closes with the recall of the opening motif now in subdued form, “like a woman dropping a flower on a man’s grave.” Elgar directed, “I want you to imagine a great crowd of silent people watching the passing of a beloved sovereign. Strings, you must play those semiquaver figures of yours like the sigh of an immense crowd. Oboe I want you to play your lament entirely free with all the expression you can get into it. It must sound as if it belonged outside somewhere.” The sad memory was not only of King Edward VII, but of Alfred E. Wodewald, one of Elgar’s dearest friends, who died in 1903.
The third movement, Rondo, was inspired by a different part of Venice, the Piazza San Marco. The music opens with fast-moving filigrees, which move into frenzied delight, almost madness . . . ”like the madness that attends the excess or abuse of passion,” stated Elgar. A central section slows into a thoughtful, cantabile segment that gradually expands into an exciting climax and subsides momentarily before dashing into a full-bodied, rip-roaring conclusion. Elgar likened this to a semi-conscious corpse being trampled by horses that “beat, beat into my scalp and brain with never an end to the stream of passing feet . . . . I thought the dead had peace, but it is not so.” (A vision described by Alfred Lord Tennyson in Maud: A Monodrama, section V, lines 245-247). The fourth movement, marked moderato e maestoso, is corseted in sonata-allegro format. Strong rhythmic control over the opening’s stately first theme offers stark contrast to the frenzy of the Rondo; a sequential bridge via a secondary theme leads to the second theme marked nobilimente. Elgar’s development is complex and busy, featuring thick fugato textures and expansive orchestral coloration. The recaptitulation behaves traditionally with recall of the main themes before an elegant coda marked piu tranquillo gently leads Opus 63 to its peaceful, quiet ending. As time has passed, Opus 63 has gained in musical stature and gained respect not only for the high drama within deep, conflicting passions, but also the exquisite themes, orchestral craftsmanship, and touching presentation of life’s journey. Elgar stated that this symphony described “A pilgrimage of a soul,” although he insisted that it was non-programmatic. In a letter to “the second Alice,” his mistress at the time, the composer confessed, “In this I have shown you my soul.”
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ARTS IN INDY Dance Kaleidoscope It all starts with children—they are the next generations of artists, audiences, and advocates. Dance Kaleidoscope believes in sharing its knowledge and love of dance through a welldeveloped education program. DK dancers teach public dance classes for young children (and adults) in the DK rehearsal studios. Take a look at the list of dance classes we offer at DanceKal.org. Let the wild rumpus begin!
Indianapolis Opera We hope that one of your New Year’s resolutions is to include more arts activities in your life. On Sunday, January 28, we invite you to the Basile Opera Center, 4011 N. Pennsylvania, at 3 p.m. for Indianapolis Opera’s “Chorus in Concert.” Beautiful arias and songs will be sung by our phenomenal Indy Opera chorus members. Please join us March 23–25 for an enchanted evening in the South Pacific with Indy Opera’s musical theatre production. Have a happy, healthy, musical new year! www.indyopera.org
New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprising three orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestra masterworks, both traditional and contemporary. Join us for our midwinter concert on February 11. For more information call 317.912.0547 or visit www.nwyso.org.
Indianapolis Symphonic Choir For the first time in more than 20 years, the Indianapolis Symphonic Choir performs Stravinsky’s Symphony of Psalms. Paired opposite the Ralph Vaughan Williams Dona Nobis Pacem, these 20th century works showcase the Symphonic Choir’s musical versatility and sensitive phrases. Eric Stark conducts this one-nightonly performance on Saturday, February 3, at The Schrott Center on the Butler University campus. Tickets and more information available at indychoir.org.
Indianapolis Children’s Choir Take a trip to Italy as the Indianapolis Children’s Choir presents “A Night in Rome” on March 11 at Hilbert Circle Theatre. These two concerts (Tapestry of Song at 3 p.m. and Voices of Youth at 7 p.m.) will include guest performers from the Indianapolis Opera and Indiana Ballet Conservatory! 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.
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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 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 Riley Giampaolo, Trombone 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
THE SIDNEY AND KATHY TAUREL PRINCIPAL FLUTE CHAIR Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute
ENDOWED PERFORMANCES CLASSICAL SEASON OPENING CONCERTS Endowed by Francis W. and Florence Goodrich Dunn September 29–30, 2017
THE JANET F. AND DR. RICHARD E. BARB PICCOLO CHAIR Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo
THE PAUL FAMILY PERFORMANCE OF CLASSICAL MUSIC Endowed by Dorit, Gerald, Eloise, and Alison Paul October 6–7, 2017
THE FRANK C. SPRINGER JR. PRINCIPAL OBOE CHAIR Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe
THE WILLIAM L. AND JANE H. FORTUNE GUEST CONDUCTOR CHAIR Endowed by Mr. and Mrs. William L. Fortune October 13, 2017
THE ANN HAMPTON HUNT ENGLISH HORN CHAIR Endowed by Ann Hampton Hunt Roger Roe, English Horn
THE FRANK E. MCKINNEY, JR. GUEST CONDUCTOR CHAIR Endowed by Marianne Williams Tobias November 10–11, 2017
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ENDOWMENT FRANK AND IRVING SPRINGER PIANO PERFORMANCE Endowed by Frank C. Springer Jr. November 17–18, 2017 IPL YULETIDE CELEBRATION OPENING NIGHT PERFORMANCE Endowed by Marianne Williams Tobias December 2017—Opening Night IPL YULETIDE CELEBRATION CLOSING PERFORMANCE Endowed by Marianne Williams Tobias December 2017—Closing Night THE PERFORMANCE OF ISO PRINCIPAL CHAIR MUSICIANS Endowed by the Eugene B. Hibbs Fund January 6, 2018 THE MOHLMAN PERFORMANCE OF CLASSICAL MUSIC Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 26–27, 2018 THE PERFORMANCE OF A GUEST ARTIST Endowed by the Jean D. Weldon Guest Artist Fund February 2–3, 2018 THE MRS. EARL B. BARNES MEMORIAL FUND IN SUPPORT OF A GUEST ARTIST Endowed Anonymously February 23, 2018 THE FRANK E. MCKINNEY, JR. GUEST CONDUCTOR CHAIR Endowed by Marianne Williams Tobias March 2, 2018 THE PERFORMANCE OF NEW MUSIC Endowed by LDI, Ltd. March 17, 2018 THE PAUL AND ROSEANN PITZ PERFORMANCE OF CLASSICAL MUSIC Endowed by the Paul and Roseann Pitz Fund April 6, 2018 THE DENNIS T. HOLLINGS PERFORMANCE OF CLASSICAL MUSIC Endowed by the Dennis T. Hollings Fund April 28, 2018 THE PERFORMANCE OF A YOUNG PROFESSIONAL ARTIST Endowed by Roche Diagnostics May 4, 2018 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 June 1–2, 2018 THE PERFORMANCE OF A SUMMER SERIES CONCERT Endowed by Mrs. William P. Cooling Summer 2018 SPECIAL ENDOWMENTS HILBERT CIRCLE THEATRE Endowed by Stephen and Tomisue Hilbert
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THE TOBIAS GREEN ROOM Endowed by Randall L. Tobias THE MAESTRO SOCIETY August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias THE MARIANNE WILLIAMS TOBIAS PROGRAM ANNOTATOR CHAIR Endowed anonymously Marianne Williams Tobias, Program Annotator ARTIST-IN-RESIDENCE ENDOWMENT Endowed in memory of Hortense and Marvin Lasky THE PAUL E. AND MARTHA K. SCHMIDT CONDUCTING STUDY FELLOWSHIP Endowed by Paul E. and Martha K. Schmidt THE MICHAEL BEN AND ILLENE KOMISAROW MAURER YOUNG MUSICIANS CONTEST Endowed by Michael Ben and Illene Komisarow Maurer THE INSTRUMENT PETTING ZOO Endowed by Dr. and Mrs. Gordon E. Mallett THE INDIANA SERIES Endowed by Mr. and Mrs. J. Irwin Miller THE INDIANAPOLIS SYMPHONY ORCHESTRA VICE PRESIDENT OF EDUCATION Endowed by Mr. and Mrs. William L. Fortune THE MARILYN K. GLICK YOUNG COMPOSER’S SHOWCASE Endowed by Mr. and Mrs. Eugene B. Glick THE ISO PRE-SCHOOL MUSIC EDUCATION PROGRAMS Underwritten by the Tobias Family Foundation 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 THE J.K. FAMILY FOUNDATION WORDS ON MUSIC Endowed by Marianne Williams Tobias, President, J.K. Family Foundation THE OUTER LOBBY Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984
ENDOWMENT THE GRAND LOBBY Endowed by Marianne Williams Tobias THE BOX OFFICE LOBBY Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991 SECOND FLOOR LOBBY Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune ORCHESTRA BOX C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen ORCHESTRA BOX C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof ORCHESTRA BOX C3 This Orchestra Box Endowed by Herschel and Angela Porter ORCHESTRA BOX C4 This Orchestra Box Endowed by E. Andrew Steffen
ORCHESTRA BOX C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle THE 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 SPECIAL ACKNOWLEDGEMENTS PERFORMANCE OF THE WURLITZER PIPE ORGAN Generously underwritten by David and Eleanor Wilcox THE NEW STEINWAY CONCERT GRAND PIANO Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley THE MUSIC LIBRARY OFFICE Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré THE ISO ASSOCIATION OFFICE Endowed by Peggy & Byron Myers
Helping you recover body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee problems. They will offer you professional support and direction toward resolving the problem. Services offered include:
• Identification/Evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources such as legal services, physicians, financial counseling and more
if your company is interested in receiving more information about our program, please call 317.338.4900 or 1.800.544.9412. st.vincent.org
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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 Marilyn K. Fourman
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. John A. Mainella & Michael Pettry 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 Clayton C. Miller
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 David Rodgers 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 Dr. John E. Batchelder Miss Helen F. Bernheisel Florence Bien Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall
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Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak Edgar L. Conn 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
LYNN SOCIETY 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 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 Mrs. Joseph D. Pierce 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 George T. & Olive Rhodes Mary Ann Roman 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, Vice President of Development, with questions about The Lynn Society at 317.713.3342 or
[email protected].
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ANNUAL FUND The Indianapolis Symphony Orchestra depends on contributed income for about 36 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 November 4, 2017. 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 Christel DeHaan B. M. “Marti” Ripberger Yvonne H. Shaheen Marianne Williams 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 Indianapolis Symphony Orchestra Association The Kroger Co. Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF FOUNDERS’ SOCIETY, MUSIC DIRECTOR ($50,000+) Anonymous Phil & Colleen Kenney Kay F. Koch Sarah & John Lechleiter Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Richard D. Wood The Glick Fund, a fund of Central Indiana Community Foundation Nicholas H. Noyes Jr. Memorial Foundation Printing Partners Ruth Lilly Philanthropic Foundation FOUNDERS’ SOCIETY, CONCERTMASTER ($20,000-$49,999) Mr. & Mrs. Michael Becher Christina Bodurow Mr. & Mrs. Daniel P. Carmichael Mr. & Mrs. Trent Cowles Rollin & Cheri Dick Dawn M. Fazli James E. & Patricia J. LaCrosse Dr. & Mrs. E. Henry Lamkin, Jr. Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Mrs. Robert L. Rudesill Christopher A. Slapak & Michael J. Robertson Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker
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David & Eleanor Wilcox Kathy & Ralph Wilhelm Roberta & Bill Witchger Anonymous Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase The Clowes Fund Community Health Network Foundation Duke Energy Ice Miller Indiana Arts Commission Johnson County Community Foundation, Inc. National Endowment for the Arts OneAmerica Financial Partners, Inc. R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics Salesforce Scott A. Jones Foundation Shaheen Family Foundation St.Vincent Health Telamon Corporation Terry Lee Genesis & Terry Lee Hyundai The Martin D. & Mary J. Walker Charitable Foundation Tobias Family Foundation FOUNDERS’ SOCIETY, FIRST CHAIR ($10,000-$19,999) The Honorable & Mrs. Alex M. Azar II Mr. & Mrs. Robert Bader Charlene & Joe Barnette Ms. Sarah Barney Mr. & Mrs. Barry J. Bentley Suzanne B. Blakeman Charles & Joyce Boxman Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Vincent & Robyn Caponi Mr. Daniel Corrigan Craig & Mary Fenneman Don & Carolyn Hardman Mr. Kent Hawryluk Dr. Sharon Hoog Emily & Peter Howard Allan & Kathy Hubbard Ms. Harriet Ivey & Dr. Richard Brashear Bob & Rhonda Kaspar
Joseph & Kathy Kessler Ned & Wendy Kirby Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff Drs. W.H. & K.T. Landschulz Ms. Karen Mangia Mr. & Mrs. Bruce McCaw The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Mel & Joan Perelman Walt & Mary Prouty Mary Frances Rubly & Jerry Hummer Fred & Bev Ruebeck Mr. & Mrs. William N. Salin Phyllis & Gary Schahet Jeff & Cassandra Short Mr. & Mrs. Richard Skiles Mr. Kevin D. Taylor Mr. & Mrs. Daniel O. Weisman Sara & Mike Zeckel Jim & Rita Zink
Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana Vectren Corporation
FOUNDERS’ SOCIETY ($5,000-$9,999) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Mr. & Mrs. Michael Alley Bob & Pat Anker Deborah & Douglas Balogh Trudy W. Banta Maestro Raymond Leppard & Dr. John C. Bloom Terry & Robert L Bowen Mr. & Mrs. John Bratt Donald & Barbara Broadlick Charles W. Brown Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Ms. Jane Conley Dexter & Rosemary Cooley Mr. & Mrs. James M. Cornelius Andrea Davis David & Consuelo Davis ADL Charitable Trust Erin & Scott Dorsey Ann & Gordon Getty Foundation Jack Everly & Ty A. Johnson Anthem Blue Cross and George R. Flexman Blue Shield Russell Fortune III Buckingham Foundation Inc. Dr. & Mrs. Richard W. Garrett Care Institute Group, Inc. Gary Ginstling & Marta The Indianapolis Foundation, Lederer a CICF Affiliate Larry C. & Lee A. Glasscock City of Carmel Charles & Susan Golden CNO Financial Group Jim & Roberta Graham Community Health Network Mr. & Mrs. Thomas W. Grein Dow AgroSciences John & Chichi Guy Elba L. & Gene Portteus Branigin Steve L. Hamilton & Foundation Inc. Keith O. Norwalk Erie Insurance Richard & Elizabeth Holmes The Glick Family Foundation Mr. & Mrs. W. Seymour Holt Fenneman Family Foundation Dr. Ann H. Hunt Fifth Third Bank Dr. & Mrs. Ronald Iacocca The Frenzel Family Charitable Dr. & Mrs. Raymond V. Lead Trust Ingham Huntington Bank James O. & Alice F. Cole Indiana Members Credit Union Foundation The Indiana Rail Road Company Carlyn Johnson Indiana University Health Partners Mrs. Joan D. Kahn Industrial Dielectrics Holdings Mr. James Kastner Indianapolis Symphony Orchestra Kimra Kidd & Thomas Association South Group Buehner Anonymous Fund of Central Drs. Sandra & Charles Indiana Community Foundation Kinsella Market District Mrs. James L. Kittle, Sr. David H. Kleiman & Susan Jacobs
ANNUAL FUND Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mr. & Mrs. Morris Maurer John & Doris McCullough Boris E. Meditch Virginia Melin Jim Miller Mr. & Mrs. Dayton Molendorp Ellie, Weber & Emaline Morse Jerry & Anne Moss Dr. & Mrs. Daniel H. Mowrey John & Carolyn Mutz / Lumina Foundation Marc Nichols & Jamie Collins Jackie Nytes Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Kay Pashos & Neal Steinbart Jack & Katie Patterson Donald & Karen Perez Bart Peterson Scott & Susan Putney Steve & Margaret Russell Maribeth & Al Smith Susanne & Jack Sogard Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Ann M. & Chris Stack Dr. Pamela Steed & Dr. Peter Furno Mr. & Mrs. John Thornburgh Margaret Watanabe David P. Whitman & Donna L. Reynolds Mrs. Lucy Wick Lynn & Andy Wiesman Jacquie & Fred Winters Dr Christian Wolf & Elaine Holden-Wolf John & Linda Zimmermann Jennifer & Michael Zinn
PNC Regions Bank JK Family Fund, A Donor Advised Fund of Renaissance Charitable Foundation Salin Bank & Trust Van Riper Woodard Family Foundation WGU Indiana Witham Health Services
CONDUCTOR’S CIRCLE ($2,500-$4,999) Anonymous (2) James Adams Dr. Albert Allen & Ms. Kathryn Maeglin J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Mary Clare & George Broadbent Dr. & Mrs. John T. Callaghan Elizabeth A. Chamberlin Nancy Christy James J. & Barbara Curtis Joanne Meyer Davis Manuel & Sally Debono Rick & Jody Dennerline Steve & Mary DeVoe Kerry Dinneen & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Dr. & Mrs. Thomas Elam Mr. & Mrs. Neil Ellerbrook Dorothy Schultz Englehart Ms. Carol J. Feeney Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. Mark Foglesong Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Barefoot Wine Michael & Beth Gastineau The Barrington of Carmel Cora A. Gibson Bose McKinney & Evans LLP Mr. & Mrs. Alexander Chubb Group of Insurance Goloschokin Companies Dr. & Mrs. Christian Gries Cornelius Family Foundation, Inc. Bob Hallam Deloitte & Touche LLP James & Paula Hancock DMC Holdings, Inc. Nancy J. Harrison Dorsey Foundation Mr. Henry Havel & Faegre Baker Daniels Ms. Mary Stickelmeyer Garmong Construction Bill & Nancy Hunt Haddad Foundation Marsha A. Hutchins Honda Larry & Annette Hutchison Howard K. Johnson Fund, a fund of Mr. & Mrs. John C. Jenkins The Indianapolis Foundation & Family The Indy Star Dr. & Mrs. C. Conrad Johnston Jungclaus-Campbell Co., Inc. Daniel H. Joseph & Liu Li The Julia L. and Andre B. Lacy Dr. Louis N Jungheim & Dr. Thalia Charitable Fund, a fund of CICF I. Nicas M/I Homes Mrs. John E. Kalsbeck MacAllister Machinery Company, Donn & Dot Kaupke Inc. James & Jennifer Kelley Macy’s Mr & Mrs. David Kelly Mallor Grodner LLP Mr. Charles E. Kendall Merrill Lynch Mr. & Mrs. Michael J. Kenniff SHC – Senior Home Companions Peg Kimberlin MusicCrossroads Larry & Rose Kleiman The National Bank of Indianapolis Don & Jen Knebel NextGear Capital Dr. Gwen & Mr. Robert Krivi
Dr. Elisabeth Krug Andrew & Lynn Lewis Nancy Lilly Mr. & Mrs. Allan Litz Jim & Sarah Lootens Ralph & Nancy Lundgren Mary & Charles Matsumoto Dr. & Mrs. Douglas R. Maxwell Flip & Cindy Miller Milton & Margaret Miller Elizabeth & William Murphy Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Eloise Paul & Bill Lee Dorit & Gerald Paul Matthew & Christine Phillips Myrta J. Pulliam Dr. & Mrs. George F. Rapp Mr. & Mrs. Thomas Roberts Mrs. John R. Roesch Nancy Ray Ross Mr. Gilva F Sallee & Ms. Wanda L Shafer Mrs. Lisa M. Sapp Dr. & Mrs. John F. Schaefer James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Marlyne Sexton Armen & Marie-Claude Shanafelt Drs. Lei Shen & Soomin Park Eric Siemers & Peggy Edwards Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Dee & Tom Spencer Sydney L. Steele Drs. Randall & Bonnie Strate Richard & Lois Surber James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Jeffrey & Benita Thomasson Jerry & Linda Toomer Dr. James & Linda Trippi Ms. Cathy Turner Joe & Sue Vertin Don & Coleen Walker Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken Mr. & Mrs. Clark Williamson James & Joyce Winner Terence & Margaret Yen 500 Festival, Inc. Bright Sheet Metal Co., Inc. CharBlue Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom CSO Architects, Inc. Donovan CPAs & Advisors First Person Harlan Family Foundation Heritage Group Indiana American Water Co., Inc. The Indianapolis Recorder Indy Eleven
Indy Podiatry InterDesign Milhaus Development Park Tudor School Paul Family Foundation, Inc. David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Salin Foundation St. Richard’s Episcopal School The Toomer Family Foundation Universal Windows Direct Western Reserve Partners, LLC PRESIDENT’S CLUB ($1,500-$2,499) Anonymous (4) Dr. & Mrs. Wayne Ambrous Kate & Dan Appel Nicholas Barbaro & Sue Ellen Scheppke Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Mark K. Bear Mr. & Mrs. Laurens Beyland Jay & Julie Bishop Carole & Sam Bixler Mr. & Mrs. Jesse L. Bobbitt Kirk & Sharon Boller -Bottom-Line Performance Inc Gordon & Celia Bruder Kenneth & Patricia Burow Mr. & Mrs. John Campbell Dr. David & Judith Chadwick Mr. & Mrs. Albert Chen Mr. & Mrs. Randall Christie John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Dave & Christie Crockett Cummings Family Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Ann & Kenneth Dee Dennis K. Dickos, M.D. Mr. & Mrs. Erold R. Diller Mr. & Mrs. Robert M. Donovan Dr. & Mrs. Christopher Eddy Miss E. Frances Eickhoff Robert & Joy Elzer Andrew & Irene Engel John N. & Julia Luros Failey Michael & Ardith Fleetwood Dr. Norm & Adrienne Fogle Dick & Brenda Freije Mr. & Mrs. Raymond Gibson Steven M. Giovangelo & Gerald J. Bedard Drs. Jean & Gerald Godfrey Dr. Lawrence I. Goldblatt Leonard & Rikki Goldstein Mr. Ray E. Gotshall Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith Dr. Kathleen Hacker & Jerry Hacker Fred & Alice Hecker Mike & Noel Heymann Mr. & Mrs. Gerald V. Hinchman Mr. Gerald R. Jenn
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ANNUAL FUND Mr. & Mrs. Richard Johnson Dr. & Mrs. Philip E. Johnston Dana & Marc Katz Mr. Doug Klitzke Col. A. D. Kneessy Tim, Amy & Matthew Konrad Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Cindy & Rick Leffler Dennis & Karen Licht Deborah & Joe Loughrey Mr. Kevin Malley & Mr. Ronald Nobles Michael & Jill Margetts Jon D. Marhenke, M.D. Mr. & Mrs. Ken Matsumoto Elaine M. Mattson Ann & John McGrath Alan & Ann McKenzie Mr. & Mrs. Robert B. McNamara Susanah M. Mead Dr. & Mrs. David Miller Mr. & Mrs. Robert E. Miller Dr. & Mrs. Phillip G. Mosbaugh Sarah Myer Peggy & Byron Myers F. Timothy & Nancy Nagler Bob & Dale Nagy Mr. & Mrs. Guido Neels Mr. & Mrs. John S. Null Thomas & Stacy O’Leary Allen H. Pekar Pat Perkinson Marian Pettengill Beverley & Bill Pitts Barbara Poulsen Jeff & Clare Quinn Mr. Alan & Mrs. Deborah Rasper Jean & Lamar Richcreek Mark & Susan Ridlen Mr. & Mrs. Randall Riggs Dr. Merrill Ritter N. Clay & Amy Robbins Joseph & Leanna Roberts Mr. & Mrs. Byron Robinson Dr. & Mrs. Randall G. Rowland Col. & Mrs. Cecil Salter Dave & Marcia Sapp Roger & Barbara Schmenner Jerry & Rosie Semler Carson Shadowen Michael & Priscilla Shaw William & Faye Sigman Nancy C. & James W. Smith The Sneed Family Steven A. Spaulding & Jennifer C. Hendrian Judy A. Springmire Rita & Larry Steinberg Ed & Barbara Steward Mrs. Lynn Stocksill Jim & Cheryl Strain T.S. Sun Dr. Hadrian Szpurka & Dr. Anna Jankowska Stephen L. Tracy Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Dr. Pantila Vanichakarn & Dr. Daniel Bateman Don & Coleen Walker
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Courtenay & Emily Weldon Mrs. Mary Whalin Dr. Forrest Williamson Bob & Debbie Wingerter Ken & Wendy Yerkes Josephine A. Yu Mr. & Mrs. Leslie R. Zimmerman Mary Ann & Gene Zink Sue & John Zinser The Ackerman Foundation Batt Family Foundation Bingham Greenebaum Doll LLP BKD Conrad Indianapolis International Entertainment Bureau J. Solotken & Company, Inc. The Jenn Foundation Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation The Penrod Society Pointer Management SYMPHONY CLUB ($1,000-$1,499) Anonymous (7) Mr. Norris Allen Mr. & Mrs. Roy & Jan Applegate Mr. & Mrs. Bradford H. Arthur Laura Walker & Vernon Back Mrs. Taylor L. Baker Terry & Patricia Balko Mr. Konrad Banaszak Linden & Allison Barber Mr. Todd Barrett Ms. Susan Bates David Bellman & Ingrid Fischer-Bellman Mr. Michael L. Blankenship Erv & Priscilla Boschmann Charles & Cary Boswell Ms. Marsha Bragg Douglas & Angela Braly Dr. Harry D. Brickley Matt & Janette Brown Terri Bruksch Lorene M. Burkhart Celeste & Derrick Burks Mr. & Mrs. E. M. Cavalier Casey Chell & Daniel Duarte Mr. & Mrs. Douglas Church Dan & Laura Conder The Corcoran Family Mr. & Mrs. Larry Cranfill Mrs. Mary C. Crean Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Dr. & Mrs. Frank Deane Ann Dettwiler Patty Donnelly & Robert Pozzebon Jeff & Ifen Donovan Mr. & Mrs. Dan Dumbauld Mrs. Nancy Dunn Ms. Phyllis Dye Turner Mr. & Mrs. Thomas J. Eggers Dr. & Mrs. William J. Ehlhardt David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum
Linda Felton Dean & Beth Flaris Gracia & Jim Floyd Dr. & Mrs. Bruce Frank Ted & Lorrie Freeman Ann S. & David R. Frick Ms. Susan Fucik Mr. & Mrs. James F. Gallagher Dr. Karen & Thomas Gallagher Mr. Jerome Gassen & Ms. Nicole Weaver Dorothea & Philip Genetos Mr. & Mrs. Jerry Gershman Marianne Glick Thomas & Nancy Grembowicz Peter Grossman & Pauline Spiegel Drs. Andrea & Paul Halverson Dr. James & Mrs. Pat Hamby Kenneth & Barbara Hamilton Mr. & Mrs. Richard A. Harrison Mr. & Mrs. Hayes Ms. Lisa Heid Mr. & Mrs. Eugene E. Henn Dr. David K. & Clarice F. Hennon Dr. & Mrs. Stephen Henson Mr. Ronald N. Hermeling William & Patricia Hirsch Mrs. Sue Hirschman C. Jane Hodge Ms. Ginny Hodowal & Mr. J. Douglas Madeley Jack & Ruth Hoover Clarena Huffington Drs. Meredith & Kathleen Hull Carolyn Humke Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson Larry & Marianne Jacobi Patrick & Barbara James Mr. & Mrs. David Jensen Sue Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Freddie & Anne Kelvin Richard & Susan Kent Mrs. Norma King Mr. & Mrs. Daniel E Klausner Steve & Sharon Klusman Richard & Roxanne Kovacs Terrence & Jodi Kunstek Mr. Jeffrey S Lahr Jonathan & Lisa LeCrone Mrs. Carl Lesher Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Grace Long Tim & Betty Lonis Lowell & Penelope Lumley Alex & Bridget MacAllister Mr. & Mrs. Donald R. MacPherson Ms. Barbara E. Mallett Mary Lynn Mancinelli Benton & Sandi Marks James R. & Rita E. Martin Ms. Marilyn Martin Stacy A. Maurer Michael & Patricia McCrory Craig & Kathleen McGaughey
Mr. & Mrs. Thomas McGinley Myron J. McKee Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Mr. Allen & Mrs. Deborah Miller Earl Miller & Ek-Leng Chua-Miller Dr. William A. Mirola Dr. & Mrs. Patrick J. Murphy Ann & Jim Murtlow Jack & Judy Myers Don Nead & Caryl Matthews Timothy S. Needler David & Diane Nesbitt Lara Noren Shirley L. Paddock & Greg Riffe Rev. Barb & Mr. Fred Parker Mrs. Karen L. Parrish Linda Pence Gayle L. Phillips Lois Pless George & Christine Plews Christine & Ken Price Larry & Nancy Pugh Roger & Anna Radue Patricia L. Ragan Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg MaryAnn Ridder William R. & Gloria Riggs Mr. Larry Roan Peggy L. Robinson Mrs. Richard H. Rowland Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Ms. Silvana Schuster John Seest Dr. & Mrs. William Segar Donald L. & Deborah Farmer Smith Lyman A & Corbalou A Snyder Family Fund/Johnson County Community Foundation Mary Solada Christy & Jeffery Soldatis Mr. & Mrs. Richard Spaulding Betty & Alan Stanford Barb Stang Betty Stilwell Mr. Eric Bretzman & Dr. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Nela Swinehart & Lonn Bayha Mr. John Tan Gene & Rosie Tanner M. C. Tanner Kirk & Jo Taylor Phillip A. Terry The Throm Family Douglas L. Tillman Kenneth L. Turchi Jim & Leah Turner Lawrence & Bernice Ulrich Gareth M Vaughn Mark Wagner Mrs. Phyllis West L. Alan & Elizabeth Whaley Meg Williams Mr. & Mrs. Meredith L. Wilson Mr. & Mrs. Robert Witt Turner & Diann Woodard
ANNUAL FUND Mrs. Irene Yacko Diana & Dan Yates Anonymous The Ruth E. Stilwell Endowment Fund, a fund of CICF The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Gracia E. Johnson Foundation Gregory & Appel Insurance The Humke Foundation, Inc. Marni McKinney Foundation Monarch Beverage Company The Blake Lee & Carolyn Lytle Neubauer Charitable Fund, a fund of the Legacy Fund Ricker Oil Company, Inc RSE Realty, Inc Taylar Development VIRTUOSO ($750-$999) Anonymous (5) Dr. & Mrs. Bill Allen Mr. Wilbur L. Appel, Jr. Dale & Barb Benson John & Reita Bertsch Justin Bird
Mr. & Mrs. Borissov Stephanie Boughton Christine & Robert Broughton Sandra L. Burns John & Janeen Burrows Catherine Clements & Jay Barbus Kevin Clements Mr. & Mrs. Tom Cooper Audrey E. Corne RN, EdD Patrick & Jennifer Cross Ken & Kitty Decker Mr. & Mrs. Frank Delisle Col. Frank T. Dillard, Sr. Daniel & Virginia Dolezal Nola Gentry & Ned Derhammer Mr. Scott & Ms. Amy Goldsmith Brian & Claudia Grant John & Mary Ann Grogan Susan C. Guba Mr. & Mrs. Thomas G. Harvey Jr. Mary Hauser Mr. & Mrs. Jerome T. Henning Hannah & Ben Huddleston Patrick F. Jessee Walter G. Justus Mr. Richard & Mrs. Gwen Knipstein Craig & Kathy Leafgreen
Dr. Erik L. Lindseth Reverend Dr. Joan Malick Jeffrey & Christine Marks John & Kay Mastarone Dennis & Anne McCafferty Mrs. Sandy McLean Mr. & Mrs. Robert Medsker Ms. Kathleen Munsch Dr. John A. & Cinda Overman Sally & Jay Peacock Anne K. Perry & Marvin C. Perry, II Michael Pettry & John Mainella Dr. & Mrs. David Porter Brian & Sabine Quick Mr. Bernard Reed Charlie & Zoey & Luci Roth Edward & Janet Ryan Mr. Henry A. Ryan Mr. & Mrs. Robert Rynard Mr. & Mrs. Jeffrey Schmahl Saundra & Tuck Schulhof Dr. & Mrs. Robert K. Silbert Linda Sturges Greg & Linda Sykes Mrs. Maggie Tatter Rachel Tomasik Ms. Jane Tomlin
Lance & Laura Trexler Mr. Charles Warren Paul & Gretchen Watson Mr. & Mrs. Dale Weiler Ray & Lucinda Wilson Thomas & Elizabeth Wright Richard E. Ziegler F.A. Wilhelm Construction Co. Hendricks County Community Foundation James O. & Alice F. Cole Foundation CONTRIBUTED GOODS AND SERVICES ($5,000 AND ABOVE) Thomas N. Akins Barefoot Wine Blue & Co., LLC DCG: Digital Color Graphics Enflora Flowers for Business The Indy Star Kinetico Quality Water Systems Printing Partners Second Helpings Mr. & Ms. Jian-Wen Tong
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 11, 2017, to November 14, 2017.
Honor Gifts In Honor of Mr. Michael Dale Mrs. Jean Dale
WE
STUDEN TS
In Honor of Samuel Rothstein Lori Rothstein
Student tickets are available for most ISO concerts at the
$10
STUDENT Hilbert Circle Theatre! FromTICKETS Beethoven to Broadway and
From tostudent Broadway, even ourstudent populaBeethoven r Happy Hours, tickets are just $10! tickets are available for most performances for only $10!
For more information, call the ISO Box Office at 317.639.4300, or visit IndianapolisSymphony.org 89
WHY WE GIVE
TERRY AND MARGARET YEN What has been your favorite musical experience with the ISO so far? Our favorite musical experiences are when we go to a performance where the music is familiar, and is played with an interpretation that resonates with us. We also like hearing new music that opens a new horizon. How is your life better with music? Our life is better with music because it enriches and nourishes our souls.
What would you tell someone who is considering becoming a subscriber to the ISO? Buying a ticket to an ISO concert is an investment that you will never regret! Why is an orchestra important to a community? It contributes to the cultural life of the community. The ISO plays beautiful music by talented musicians. They are the musical foundation of the community as they also play in various other music groups such as chamber music, etc. Many of them teach young people who become future musicians and guide them to build their discipline that will benefit whatever career they would pursue. What led you to donate to the ISO? Why is that important to you? We have lived in Indiana for 52 years and we love music. Donating to the ISO is part of our effort to support the community who have been so good to us and our family.
DREAMING OF SUMMER YET?
10-TICKET VALUE PACKS NOW ON SALE!
$205 THROUGH APRIL 8 THAT’S $20.50 PER TICKET!
BUY NOW AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300 90
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.
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ADMINISTRATION EXECUTIVE OFFICE Steve L. Hamilton, Interim Chief Executive Officer Laura Irmer, Assistant to the CEO OPERATIONS Danny Beckley, Vice President and General Manager David Armstrong, Director of Audience Services Amy Sheaffer, Director of Operations Kalyn Smith, House Manager Donna Finney, Volunteer Services Manager Philomena Duffy, Manager of General Operations & Facilities Frances Heavrin, Event Coordinator Orchestra Personnel K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Artistic Administration Katie McGuinness, Director of Artistic Planning Hannah Reffett, Manager of Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Manager of Guest Artist & Pops Coordination DEVELOPMENT Casey Chell, Vice President 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 Sally Meyer Chapman, Associate Director of Foundation Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Allison Gehl, Gift Officer Beckie Kern, Development Assistant Tom McTamney, Gift Processing Associate Catherine Lockhart, Corporate Relations Associate Tori Ramsay, Individual Giving Associate
MARKETING & COMMUNICATIONS Sarah Myer, Vice President of Marketing Jennifer Welch, Art Director Joshua Shuck, Director of Sales Mary Ferguson, Audience Development Manager Bennett Sanders, Graphic Designer Communications Kristin Cutler, Director of Communications Jen Huber, Communications Content Manager Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Elizabeth Watts, Senior Customer Care Representative Anita Blackwell Erin Demo Erin Jeffrey Janine Knuutila Kamille Manning Nick Neukom 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, Metropolitan Youth Orchestra Founder and Artistic Director Emeritus, ISO Community Ambassador Ruth Wolff, Director, ISO Learning Community Krystle Ford, Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager Andrea Fjelde, Learning Community Coordinator 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, Vice President of Human Resources Melissa Sanders, Human Resources Generalist & Wellness Advocate
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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 classical music experts 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 and to reserve tickets, 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 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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KRZYSZTOF URBAŃSKI ARTISTIC INITIATIVES FUND Heralded as one of the classical music world’s most remarkable stars, Krzysztof Urbański continues his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. A greatly respected conductor in Europe, Asia, and the United States, Maestro Urbański has recently appeared at many of the world’s top Orchestras, including Berliner Philharmoniker, Chicago Symphony Orchestra, San Francisco Symphony, and New York Philharmonic. Maestro Urbański’s artistic vision shapes the ISO’s flagship concert series and special classical presentations, and we are fortunate to have him as an incomparable guide for the ISO’s artistic mission. The Krzysztof Urbański Artistic Initiatives Fund is a unique opportunity for donors to support Maestro Urbański’s classical programming and special initiatives. Supporters of this Fund include: Anonymous Charlene & Joe Barnette Ms. Sarah Barney Mr. & Mrs. Trent Cowles Dr. Sharon Hoog James E. & Patricia J. LaCrosse
F. Timothy & Nancy Nagler Dorit & Gerald Paul Scott & Susan Putney Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss David & Eleanor Wilcox
JACK EVERLY ARTISTIC INITIATIVES FUND The Indianapolis Symphony Orchestra boasts some of the most exciting symphonic pops programming in the country, as Principal Pops Conductor Jack Everly continues to surprise and delight audiences with his innovative presentations year after year. Everly’s work has garnered acclaim throughout North America, where he serves as the principal pops conductor for four major orchestras, including our own. The Jack Everly Artistic Initiatives Fund is a unique opportunity for donors to support Everly’s innovative artistic vision for the ISO’s pops programming and special presentations. Supporters of this Fund include: Anonymous (2) Deborah & Douglas Balogh Mr. and Mrs. Michael Becher Mr. & Mrs. Rollin M. Dick Wayne & Deborah Johnson Steve L. Hamilton & Keith O. Norwalk Mr. & Mrs. David Malson Stacy A. Maurer Dr. & Mrs. George F. Rapp
Mr. & Mrs. William H. Salin Yvonne H. Shaheen Mr. & Mrs. Richard Skiles Dr. Pamela Steed and Dr. Peter Furno Don & Coleen Walker Martin & Mary Walker David & Eleanor Wilcox Barrie & Margaret Zimmerman
All gifts to the Krzysztof Urbański and Jack Everly Artistic Initiatives Funds can be payable over a five-year period and can be made in multiple installments each year. Each gift listed above was made above and beyond each donor’s contribution to the Indianapolis Symphony Orchestra’s Annual Fund. This listing reflects the gifts received as of December 13, 2017
To pledge support for these special funds, please contact:
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Rita Steinberg, Senior Major Gift Officer
[email protected] 317.231.6764
Allison Gehl, Gift Officer
[email protected] 317.231.6781
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