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HILBERT CIRCLE THEATRE Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor

A Tribute to Alfred Hitchcock: Films + Orchestra Music in Cosmos: The Voyager Golden Record Holst’s The Planets

2015 - 2016 | JANUARY | VOLUME 4

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THE PROGRAM BOOK Programs 17 January 15,16, 2015 22 January 22, 23, 2015 23 January 24, 2015 38 January 29, 30, 2015 39 January 31, 2015 Featured Articles 13 Music In My Life 15 ISO Musicians Around Town 20 Music in the Cosmos: The Voyager Golden Record 36 The Planets 53 Arts in Indy Departments 11 ISO Profile 79 Hilbert Circle Theatre Information Support 54 Endowment 58 Lynn Society 60 Annual Fund 64 Tribute Gifts 65 Why I Give 68 Corporate Sponsors

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2015-2016 Hilbert Circle Theatre Artists 9 Indianapolis Symphony Orchestra 18 Richard Kaufman 24 Krzysztof Urbański 25 Shannon Love 36 Dr. David Wolf 40 Jun Märkl 41 Wolfgang Brendel 42 Women’s Chorus, Indianapolis Symphonic Choir The Indianapolis Symphony Orchestra 9 Musicians of the ISO 10 Board of Directors 69 Indianapolis Symphony Orchestra Association 70 Administration

WELCOME Dear friends – For as long as I can remember, I have been fascinated by science, particularly with the study of space. I imagine how gratifying it could be to explore the universe in an attempt to find the answers to “why.” Sometimes, there might be proof of the eternal mysteries of life, and other times, there might be the great unknown, the question that might never be solved. For that reason, I find there much similarity between science and music! They are fields of endless possibilities. Composers leave us proof of their existence, their musical scores, their writings, and if we are lucky, their interpretations. Other times, we might just have the notes on a page, and it’s up to our own imaginations and curiosity to wonder what it all means. For three weekends, I have the privilege of bringing together my two passions – science and music – to the Hilbert Circle Theatre stage. The ISO’s Cosmos Music Festival presents many classical masterworks in space, about space, and inspired by space. In the first weekend, Music in the Cosmos, the ISO is performing classical masterworks by Mozart, Beethoven and Stravinsky. These pieces of music are on a time capsule inside two Voyager spacecraft right now as they travel outside our solar system! The next weekend, the ISO presents Holst’s The Planets. I then return for the finale on Feb. 5-6 for The Cosmos in Music, when we perform the works featured in one of the most influential films of all time, 2001: A Space Odyssey. The Cosmos Music Festival also includes special pre-concert music by our own ISO musicians, plus presentations, exhibits and special displays in the lobby by our partners at Purdue University and The Children’s Museum of Indianapolis. I hope you will enjoy our cosmic ride. Sincerely,

Krzysztof Urbański Music Director

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‘S 2 0 T H A N N I V E R SA RY PRESENTED BY

The Metropolitan Youth Orchestra (MYO) is a youth and family development program of the Indianapolis Symphony Orchestra. 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. MYO groups always involve children and adults practicing, performing and learning together.

MYO PLAY-A-THON AT COMMUNITY DAY PAST EVENT Sunday, September 27, 2015, 2PM – 5PM Hilbert Circle Theatre 45 Monument Circle

MYO CLASSICAL CONCERT Sunday, January 24, 2016, 3PM Hilbert Circle Theatre 45 Monument Circle Join the MYO as we showcase all of our young people and parents in a memorable classical performance that ends with our stunning, signature finale. *With guests: Philharmonic Orchestra of Indianapolis and the Phillips Music Guild of Indianapolis

MYO 20th ANNIVERSARY CELEBRATION CONCERT

MYO END OF SEASON PICNIC CONCERT

Sunday, April 10, 2016, 3PM Hilbert Circle Theatre 45 Monument Circle

Sunday, May 22, 2016, 3PM Location To Be Announced

Partnering with local jazz musicians and celebrating 20 years of the Metropolitan Youth Orchestra, MYO and friends perform jazz standards and program favorites.

Help us to send off an amazing season and our 20th anniversary as we celebrate Family in the way we do it best – with music, food, and fun.

* ALL MYO CONCERTS AND EVENTS ARE FREE AND OPEN TO THE PUBLIC

For more information visit us on our website or find us on Facebook, Twitter or Instagram: www.indianapolissymphony.org/education/myo

The 32nd annual Celebration of Black History concert with your Indianapolis Symphony Orchestra

FREE CONCERT - RESERVE YOUR TICKETS TODAY! TUESDAY, FEBRUARY 9 t 7:30PM HILBERT CIRCLE THEATRE The ISO’s Celebration of Black History concert is a highlight of the winter season, as we honor the significant impact of African-American culture on symphonic music. This special performance also features 18-year old violinist Adé Williams, the 2012 Junior Division winner of the Sphinx Competition.

Adé Williams PRESENTING SPONSORS:

MEDIA PARTNER: WTLC

www.IndianapolisSymphony.org

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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Dean Franke, Assistant Concertmaster The Wilcox Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey

Sé-Doo Park Jian-Wen Tong

Second Violin Konstantin Umansky, Principal David Bartolowits, Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin

Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Nancy Agres Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal 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

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

Oboe Jennifer Christen, Principal The Frank C. Springer Jr. Chair Sharon Possick-Lange Roger Roe, Assistant Principal English Horn Roger Roe The Ann Hampton Hunt Chair Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair Cathryn Gross The Huffington Chair Samuel Rothstein, Assistant Principal Bass Clarinet Samuel Rothstein Bassoon John Wetherill, Principal Michael Muszynski Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein Horn Robert Danforth, Principal The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Julie Beckel Yager

Jerry Montgomery The Bakken Family Chair Jill Boaz Trumpet The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Acting Principal/ Assistant Principal Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Bass Trombone Jared Rodin, Acting Bass Trombone 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 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.

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BOARD OF DIRECTORS FOUNDED BY FERDINAND SCHAEFER IN 1930 MAINTAINED AND OPERATED BY THE INDIANA SYMPHONY SOCIETY, INC.

OFFICERS VINCENT CAPONI, Chair YVONNE H. SHAHEEN, Vice-Chair GARY GINSTLING, Chief Executive Officer CHARLENE BARNETTE, Secretary MICHAEL BECHER, Treasurer Vincent Caponi, Chair

BOARD OF DIRECTORS Don Altemeyer Sherry Amlung Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D.* John A. Bratt Bryan Brenner* Vincent Caponi* Trent Cowles Andrea Cranfill* Gary Ginstling* Heather Hall Peter Howard, Ph.D.

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

Kay Pashos Alice K. Schloss Natalie Schneider Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Ann Sullivan Marianne Williams Tobias Pete Ward Nick Weber David Wilcox Ralph V. Wilhelm* James C. Zink Sr. Jennifer Zinn

Carolyn S. Hardman Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak

Henry C. Ryder Fred E. Schlegel Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood

*Executive Committee

BOARD OF TRUSTEES John M. Mutz, Chair Mayor Gregory A. Ballard Bob Anker Sen. Dan Coats Stephen E. DeVoe

Mission of the Indianapolis Symphony Orchestra: To inspire, entertain, educate and challenge through innovative programs and symphonic music performed at the highest artistic level.

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ISO PROFILE

Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before — inside and outside the concert hall. A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three). The ISO’s home — the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc. Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue begins his ninth season with the ISO and alongside his trio, Time for Three, leads the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through the beloved Classical Christmas concert in December. The ISO in 2015-2016 In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms, Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax, Dejan Lazić and Garrick Ohlsson. Maestro Urbański also presents a three-week festival, “Out of this World,” with musical themes inspired by space and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini. Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs presented in the communities of Hendricks County and Greater Greenwood. Upcoming special events include the 30th anniversary of IPL Yuletide Celebration and the 20th anniversary celebration of the ISO’s youth and family development program, the Metropolitan Youth Orchestra.

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MUSIC IN MY LIFE Cathryn Gross was born in El Paso, Texas and began the study of the clarinet at age 8. She earned a B.M. degree from the Eastman School of Music and an M.M. from the Indiana University School of Music. Her major teachers have included Eli Eban, James Campbell, Charles Neidich and Alfred Prinz. She has been with the ISO since the 2002-2003 season. What inspired you to play the clarinet? I first heard the clarinet in an orchestra concert on TV in second grade. I had always been fascinated by music, but the sound of the clarinet was unlike anything I had ever heard. On a class field trip, we attended a show at the Rochester Philharmonic, which I will never forget. I loved hearing the orchestra play and there was a particular sound that intrigued me. When they went around to demonstrate the different instruments, I knew clarinet was the one for me. What is your favorite memory with the ISO? My favorite memories with the ISO include playing and performing with great musicians each week and sharing what I love with our patrons. It is always exciting to play a wide variety of concerts and different styles of music; no two concerts are exactly the same. When the audience is captured by the music, it is rewarding. There is an ‘edge of the seat’ feeling and a silent chill in the theater. It is captivating when there are long applauses and you can tell the audience is having a great time. How do you spend your time outside of performing? I am a founding member for the Circle City Winds, which focuses on art leadership training for Indianapolis businesses. I also enjoy teaching, making beaded jewelry, playing with my dogs Ginger and Oliver, and most recently completing a few half marathons. It is so powerful crossing the finish line after setting a goal and training hard to accomplish it. Nothing beats that feeling! What works are you looking forward to playing this year with the ISO? There is a lot to look forward to this season! I’m looking forward to The Rite of Spring because I get to play E-flat Clarinet. I love that piece because it is very fun to play the auxiliary instruments. The Planets is also a very exciting piece. The powerful sound of the orchestra really blows you away! It’s great to have a clarinet soloist in March, Kari Kriikku. I am also looking forward to Shostakovich’s 10th Symphony and Rachmaninoff Piano Concerto No. 2 in March, as well as Beethoven’s 6th Symphony (“Pastorale”) and the Duruflé Requiem in May. Why do you love live music? Live music is real. It is purely spontaneous and in the moment. People are sharing their craft, their truest gifts, and offering them willingly. It is the richest form of people genuinely offering themselves. Without it, we lose a sincere connection to one another.

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ISO MUSICIANS AROUND TOWN Bassoonist Michael Muszynski and Principal Oboe Jennifer Christen will be participating in the third annual Butler University Double Reed Day on January 23, 2016. The event is free with a closing recital at 4 p.m at the Schrott Center for the Arts. The Evansville Philharmonic will be playing Principal Trombone James Beckel’s Concerto for Brass and Orchestra on January 23. On February 23, Beckel’s piece The Glass Bead Game will be played by the University of Kansas band with Paul Popiel conducting. St. Paul’s Music Presents ICARUS, A Jazz Concert at St. Paul’s Episcopal Church, 6050 N. Meridian Street on Sunday January 31, 2016 at 6 p.m. Admission is free and open to the public. The Icarus Ensemble is made up of ISO Musicians Dean Franke, violin, Peter Hansen, bass, and Mark Ortwein, winds, along with regular ISO extras Jon Crabiel, percussion, and Gary Walters, piano. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD is available in the HCT lobby, on iTunes and on CD Baby.

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Ad FRIDAY, FEBRUARY 12, 11AM & 8PM SATURDAY, FEBRUARY 13, 8PM & SUNDAY, FEBRUARY 14, 3PM HILBERT CIRCLE THEATRE JACK EVERLY, CONDUCTOR t TONY DESARE & FRANKIE MORENO,VOCALISTS

Ol’ Blue Eyes gets a special 100th birthday celebration at the Hilbert Circle Theatre as Jack Everly, vocalists Tony DeSare and Frankie Moreno and the Indianapolis Symphony Orchestra pay tribute to one of the best selling and most influential artists ofdall time Frankfrom Sinatra. Note: Ad sizes spec’ were only–0.125” outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge.

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 16

Title Sponsors:

Premier Sponsor: Raymond James & Associates, Inc.

A TRIBUTE TO ALFRED HITCHCOCK: FILMS + ORCHESTRA

JAN 15, 16

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor The Stratford Coffee Pops Series/Program Three † Friday, January 15, 2016, at 11 a.m. Hilbert Circle Theatre Printing Partners Pops Series/Program Four Friday, January 15, 2016, at 8 p.m. Saturday, January 16, 2016, at 8 p.m. Hilbert Circle Theatre RICHARD KAUFMAN, Conductor A Symphonic Night at the Movies — Hitchcock Lyn Murray

To Catch A Thief (1955) Starring: Cary Grant Opening Title and The Cat Escapes

Bernard Herrmann

Vertigo (1958) Starring: James Stewart, Kim Novak Opening titles (Saul Bass) and Rooftop Chase Scene d’amor

Dmitri Tiomkin

Strangers on a Train (1951) Starring: Farley Granger, Robert Walker Opening titles and Feet to the Station The Murder? — The Tennis Match —The Carousel — The End INTERMISSION - Twent y M inutes

Charles Gounod

Funeral March of a Marionette Hitchcock by Himself (Theme from Alfred Hitchcock Presents)

Dmitri Tiomkin

Dial M for Murder (1954) Starring: Ray Milland, Grace Kelly, Robert Cummings Opening titles and A Perfect Marriage The Setup — The Murder The Inspector’s Handbag — A Perfect Ending

Bernard Herrmann

North by Northwest (1959) Starring: Cary Grant, Eva Marie Saint Opening titles (Saul Bass) — Drunk Driving Escape with Me — On Top of Mt. Rushmore

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†

Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Recording or photographing any part of this performance is strictly prohibited.

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JAN 15, 16

RICHARD KAUFMAN, Conductor

Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. The 2015-16 concert season marks Kaufman’s 25th season as Principal Pops Conductor of Pacific Symphony. He also holds the permanent title of Pops Conductor Laureate with the Dallas Symphony, and is in his tenth season with the Chicago Symphony Orchestra concert series, CSO at the Movies. This past May, Kaufman made his conducting debut with the Boston Pops, stepping in on short notice for John Williams. Kaufman regularly appears as a guest conductor with symphony orchestras throughout both the United States and around the world including Cleveland, Atlanta, St. Louis, London, Calgary, Edmonton, Liverpool, the RTE Concert Orchestra in Dublin, Rotterdam, and the Royal Scottish National Orchestra. In addition to conducting “traditional” concert presentations, Kaufman often leads performances of complete film scores in concert, synchronizing the music to the actual film as it is shown on the screen above the orchestra. These legendary film titles include Singin’ in the Rain, The Wizard of Oz, Psycho, Casablanca, The Bride of Frankenstein, and Pirates of the Caribbean, Home Alone, On the Waterfront, and Star Trek. He has also conducted numerous silent films in concert.

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Kaufman received the 1993 Grammy Award in the category of Best Pop Instrumental Performance. In addition to his two recordings with the London Symphony Orchestra, he has recorded CDs with the Nuremberg Symphony, the New Zealand Symphony Orchestra and the Brandenburg Philharmonic in Berlin. As a violinist, Kaufman performed on numerous film and television scores including Jaws, Close Encounters of the Third Kind, Saturday Night Fever and (in a moment of desperation) Animal House. He has recorded with artists including John Denver, Burt Bacharach, Neil Sedaka, The Carpenters, and Ray Charles. Kaufman has served as music director and conductor for numerous musicals, including a national tour of Sweet Charity starring Juliet Prowse, the first national tours of Company (for Hal Prince), and Two Gentlemen of Verona (for the New York Shakespeare Festival). He has conducted numerous musicals for the Los Angeles and San Francisco Civic Light Operas (for one of these, he was nominated by the San Francisco Theater Critics for Outstanding Music Direction). Born in Los Angeles, Kaufman began violin studies at age 7, played in the Peter Meremblum California Junior Symphony, and was a member of the Young Musicians Foundation Debut Orchestra. He attended the Berkshire Music Festival at Tanglewood in the fellowship program, and earned a B.A. in Music from California State University, Northridge. Kaufman lives in Southern California with his wife, Gayle, a former dancer in film, television, and on Broadway. His daughter, Whitney is a graduate (with honors) from Chapman University in Orange, California, and was a member of the cast of the National Tour of Mamma Mia for 2 and a half years.

THURSDAY, FEBRUARY 25 HAPPY HOUR 5PM CONCERT 6:30PM HILBERT CIRCLE THEATRE

Enjoy pre-concert complimentary food and drink samples from area restaurants and vendors followed by a 60-minute concert featuring Time for Three with the ISO performing the music of Led Zeppelin, Joni Mitchell, Dave Matthews Band, and many more!

BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL 317.639.4300

The Orchestra Moves Vince Lee, Conductor Jaunary 26 | February 16 & 17 | April 5 | May 10, 17 & 18

For students in grades 3-6.

SCARIM MOZART OFFENBACH J. STRAUSS BIZET FILHO BEETHOVEN STRAVINSKY

A Simple Melody Overture to The Marriage of Figaro “Can-Can” from Orpheus in the Underworld On the Beautiful Blue Danube Waltzes “Toreador Song” from Carmen, Act II “Cidade Maravilhosa” Movement I Allegro Con Brio from Symphony No. 5 in C Minor, Op. 67 “Finale” from The Firebird Suite (1919)

INDIANAPOLISSYMPHONY.ORG

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JAN 22, 23

MUSIC IN THE COSMOS: THE VOYAGER GOLDEN RECORD

WEEK 1: Music In The Cosmos — The Voyager Golden Record What is the Voyager Golden Record? In 1977, twin spacecraft Voyager 1 and 2 launched into space carrying a record-shaped time capsule containing 115 photographs, greetings in 55 languages, a 12-minute collection of Earthly sounds and 90 minutes of music – in many different genres. It was NASA’s hope that once the Voyager reached any possible life forms after more than 40,000 years in space, extra-terrestrials would get a glimpse into the sights, sounds, cultures and creative expressions of our humankind. The Music on the Voyager Golden Record There are 27 musical tracks on the Voyager Golden Record representing many different cultures, time periods and genres of music. The pieces in bold are featured for the ISO’s first concert weekend of the Cosmos Festival. 1. Bach, Brandenburg Concerto No. 2 in F. First Movement, Munich Bach Orchestra, Karl Richter, conductor. 2. Java, court gamelan, “Kinds of Flowers,” recorded by Robert Brown. 3. Senegal, percussion, recorded by Charles Duvelle. 4. Zaire, Pygmy girls’ initiation song, recorded by Colin Turnbull. 5. Australia, Aborigine songs, “Morning Star” and “Devil Bird,” recorded by Sandra LeBrun Holmes. 6. Mexico, “El Cascabel,” performed by Lorenzo Barcelata and the Mariachi México. 7. “Johnny B. Goode,” written and performed by Chuck Berry. 8. New Guinea, men’s house song, recorded by Robert MacLennan. 9. Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s Nest,”) performed by Goro Yamaguchi. 10. Bach, “Gavotte en rondeaux” from the Partita No. 3 in E major for Violin, performed by Arthur Grumiaux. 11. Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor. 12. Georgian S.S.R., chorus, “Tchakrulo,” collected by Radio Moscow. 13. Peru, panpipes and drum, collected by Casa de la Cultura, Lima. 14. “Melancholy Blues,” performed by Louis Armstrong and his Hot Seven.

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15. Azerbaijan S.S.R., bagpipes, recorded by Radio Moscow. 16. Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 17. Bach, The Well-Tempered Clavier, Book 2, Prelude and Fugue in C, No.1. Glenn Gould, piano. 18. Beethoven, Fifth Symphony, First Movement, the Philharmonia Orchestra, Otto Klemperer, conductor. 19. Bulgaria, “Izlel je Delyo Hagdutin,” sung by Valya Balkanska. 20. Navajo Indians, Night Chant, recorded by Willard Rhodes. 21. Holborne, Paueans, Galliards, Almains and Other Short Aeirs, “The Fairie Round,” performed by David Munrow and the Early Music Consort of London. 22. Solomon Islands, panpipes, collected by the Solomon Islands Broadcasting Service. 23. Peru, wedding song, recorded by John Cohen. 24. China, ch’in, “Flowing Streams,” performed by Kuan P’ing-hu. 25. India, raga, “Jaat Kahan Ho,” sung by Surshri Kesar Bai Kerkar. 26. “Dark Was the Night,” written and performed by Blind Willie Johnson. 27. Beethoven, String Quartet No. 13 in B flat, Opus 130, Cavatina, performed by Budapest String Quartet.

PRE-CONCERT PERFORMANCES

JAN 22, 23

Pre-concert performances by Members of the Indianapolis Symphony Orchestra MUSIC IN THE COSMOS: THE VOYAGER GOLDEN RECORD Friday, January 22, 2016 - 7 p.m. Saturday, January 23, 2016 - 4:30 p.m. Johann Sebastian Bach (1685-1750)

Prelude and Fugue No. 1 in C Major from the Well-Tempered Clavier, Book 2, BWV 870 Sylvia Scott, Harpsichord

Johann Sebastian Bach

Gavotte en rondeaux from Partita No. 3 in E, BWV 1006 Zachary De Pue, Violin

Ludwig van Beethoven (1770-1827)

Cavatina from String Quartet No. 13, Op. 130 in B-flat Sherry Hong, Peter Vickery, Violin Amy Kniffen, Viola Austin Huntington, Cello

Johann Sebastian Bach

Brandenburg Concerto No. 2, BWV 1047 Allegro - Andante - Allegro assai Philip Palermo, Peter Vickery, Jennifer Greenlee, Violin 1 Mary Anne Dell’Aquila, Victoria Griswold, Lisa Scott, Violin 2 Mike Chen, Terry E. Langdon, Viola Perry Scott, Anne McCafferty, Cello Sylvia Scott, Harpsichord

Additional activities Enjoy interactive exhibits provided by Space Grant Affiliate groups with Purdue University. Check out other tracks from the Golden Record provided by Indy CD and Vinyl.

Thank you to our Cosmos Music Festival partners: The Children’s Museum of Indianapolis, Purdue University, Indy CD and Vinyl, and Sun King Brewery.

Artists and repertoire subject to change.

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JAN 22, 23

MUSIC IN THE COSMOS: THE VOYAGER GOLDEN RECORD

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Seven Friday, January 22, 2016, at 8 p.m. Saturday, January 23, 2016, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor SHANNON LOVE, Soprano Ludwig van Beethoven (1770-1827)

Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Scherzo: Allegro Allegro INTERMISSION - Twent y M inutes

Wolfgang Amadeus Mozart (1756-1791)

“Der Hölle Rache kocht in meinem Herzen” (“Hell’s vengeance boils in my heart”) from Die Zauberflöte (The Magic Flute) Shannon Love, Soprano

Igor Stravinsky (1882-1971)

Le Sacre du printemps (The Rite of Spring) Part I: The Adoration of the Earth Introduction The Augurs of Spring (Dances of the Young Girls) Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage: The Sage Dance of the Earth Part II: The Sacrifice Introduction Mystic Circles of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance

The Mohlman Performance of Classical Music is endowed by Ina M. Mohlman and the late Robert H. Mohlman.

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

TELAMON PALLADIUM SERIES

JAN 24

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series/Program Seven Sunday, January 24, 2016, at 3 p.m. The Center for the Performing Arts (Palladium) KRZYSZTOF URBAŃSKI, Conductor SHANNON LOVE, Soprano Ludwig van Beethoven (1770-1827)

Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Scherzo: Allegro Allegro INTERMISSION - Twent y M inutes

Wolfgang Amadeus Mozart (1756-1791)

“Der Hölle Rache kocht in meinem Herzen” (“Hell’s vengeance boils in my heart”) from Die Zauberflöte (The Magic Flute) Shannon Love, Soprano

Igor Stravinsky (1882-1971)

Le Sacre du printemps (The Rite of Spring) Part I: The Adoration of the Earth Introduction The Augurs of Spring (Dances of the Young Girls) Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage: The Sage Dance of the Earth Part II: The Sacrifice Introduction Mystic Circles of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance Associate Sponsor

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

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KRZYSZTOF URBAŃSKI, Conductor Provence with Thomas Hampson. He also continues as Principal Guest Conductor of the Tokyo Symphony Orchestra.

“That he is no mere flashy wunderkind of the baton was shown by the freshly invigorated playing he drew from the CSO …his keen musical instincts and vigorous way of translating his ideas into orchestral sound that has both shape and meaning” (Chicago Tribune), Krzysztof Urbański enters the fifth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. As Chief Conductor and Artistic Leader of Trondheim Symphony Orchestra, highlights of his five years with the orchestra include two tours (first with concerts in Germany, Austria and Poland and second at the International Chopin Music Festival), and a fully staged production of Carmen as his first foray into opera, which this season he conducts with the Indianapolis Symphony Orchestra. In September 2015, Urbański formally became Principal Guest Conductor of NDR Sinfonieorchester Hamburg and this season he takes them to the Beethoven Easter Festival in Warsaw, Wroclaw, Katowice and Aix-en-

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Following a hugely successful debut with the Münchner Philharmoniker in July 2015, when he conducted Carmina Burana before a capacity crowd of 8,000, Urbański returns to the orchestra in 2015/16 for Lutosławski’s Concerto for Orchestra. His 2014-15 season culminated with him receiving the prestigious Leonard Bernstein Award when he returned to conduct the Schleswig-Holstein Akademie at the Schleswig-Holstein Festival. Notably, he is the first conductor to have ever received the award. In 2015-16 Urbański will conduct the Danish National Symphony Orchestra, Orchestre Philharmonique de Radio France and the Tonhalle-Orchester Zürich. Other recent debuts include Berliner Philharmoniker and Oslo Philharmonic Orchestra. Engagements further ahead include Netherlands Radio Orchestra, returning to the London Symphony Orchestra, Philharmonia Orchestra and Wiener Symphoniker for the annual Beethoven Symphony No. 9 New Year’s concerts. In North America, Urbański debuts with the San Francisco Symphony and The Cleveland Orchestra as well as returning to the Toronto Symphony Orchestra, Los Angeles Philharmonic and Washington’s National Symphony Orchestra. Other recent U.S. debuts have included the New York Philharmonic, Chicago Symphony and Pittsburgh Symphony orchestras.

SHANNON LOVE, Soprano Soprano Shannon Love is a native of the United States, born in Ponca City, Oklahoma. Since her debut on the operatic stage in 2005, she has performed the roles of Violetta Valéry (La Traviata), Queen of the Night (Die Zauberflöte), Lauretta (Gianni Schicchi), Cunegonde (Candide), Fiordiligi (Così fan tutte), Sofia (Il Signor Bruschino), Queen Tye (Akhnaten), and many more. In November of 2013, Shannon was honored to be a participant in the American Voices Festival and Master Class Series at the Kennedy Center in Washington, D.C., hosted by Renée Fleming. The following January, she won first place at the Tulsa district Metropolitan Opera National Council Auditions, going on to take third place at the regional level. Additional

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awards include first place in the Graduate Women division of the Texoma Regional NATS Competition and 1st Place in the National Society of Arts and Letters Bloomington District competition in February of 2015. In 2013, Shannon was hired as a Victoria J. Matrobuono Young Artist with New Jersey Opera, and again as a Des Moines Metro Opera Young Artist for the Summer of 2014. Ms. Love recently appeared as the soprano soloist as a part of The Priest’s US National Tour in Carmel, IN, and will be reprising the role of Violetta in a new production of La Traviata with Arbor Opera Theater in June, 2015. Shannon is an alumna of the Jacobs School of Music at Indiana University, where she received her master’s degree in vocal performance as a Barbara and David Jacobs Fellow. Musical theater experience includes the role of Baby June in Gypsy and the premier role of Jane Cratchit in Lyric Theater Oklahoma’s production of A Country Christmas Carol, created by Ron Kaehler and Albert Evans.

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NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair SYMPHONY NO. 5 IN C MINOR, OP. 67 LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria It had to be one of the most amazing concerts of all time: December 22, 1808. Beethoven had been given the free use of the Theater-ander-Wien for a concert of his own. The event, lasting some five hours in an unheated theater, offered a marathon parade of new works to an audience that remained spellbound (though tested on a Herculean scale) for the evening of “new music.” The program featured premieres of Beethoven’s Symphony No. 6, followed by the aria Ah! Perfido, two movements from the Mass in C Major, the fourth piano concerto, Symphony No. 5, and the entire Choral Fantasy. An unrehearsed orchestra, a soprano trembling with stage fright and freezing temperatures could not dampen the wonder of the music. Beethoven worked on several works simultaneously, and as it happened, all of these were at the starting gate. It was the fifth symphony that jolted the audience to attention with its shockingly wild drive and tension incorporated in unrelenting vehemence. Reviewers, however, gave relatively short shrift to No. 5. The poet Goethe said that “it is merely astounding, grandiose.” A year later, the romantic novelist E. T. A. Hoffman, in Allgemeine musikalische Zeitung, hoisted the flag and gave his florid viewpoint: “Radiant beams shoot through the deep night of this region, and we become aware of gigantic shadows which, rocking back and forth, close in on us and destroy all within us except the pain of endless longing — a longing in which every pleasure that rose up amid jubilant tones sinks and succumbs. Only through this pain, which, while consuming but not destroying love, hope and joy, tries to burst our breasts with a full voiced general cry from all the passions, do we live on as captivated beholders of the spirits.” The fifth symphony was completed in 1808, although sketches appear as early as 1800 and

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more frequently in the composer’s notebooks between 1804-1806. After completion, Beethoven wrote to his patron, Count Franz von Oppersdorff, “Your symphony is, at last, ready, but in case you do not want it, let me know … I am not well, and I am being treated for an injured finger. Things are going badly with me. The cost is 300 florins and the balance is due.” 1808 was a terrible time for Beethoven. Impending deafness frightened him to the core, the Emperor Napoleon was marching over his homeland, and his brother had married a wretched woman whom he called “Queen of the Night.” Money was short. Music alone made life bearable, and through music, he became a master of his destiny. That journey is reflected in the iconic fifth. And through this, Beethoven comprehensively speaks for and to us all. The opening begins with a thunderclap: the famous four-note motto theme, three quick Gs and a long E flat, proclaimed fortissimo. Momentum generated by the repetition of the first three notes is dramatically halted in an extended fourth tone. The composer holds us breathless and then insistently repeats the three notes on a lower tone and again holds us tight on the fourth. After this unbelievable introduction, Beethoven unleashes a movement unlike any other in his time. From the opening kernel, he developed a symphonic masterpiece, demonstrating a new symphonic principal: the potential of a single gesture to generate an enormous piece. Rhythms are torrential, but the single focus on the motto insists upon that underlying idea. Sometimes the idea screams, sometimes whispers or pants in the depths of the orchestra, but it is unstoppable. A lyrical second theme introduced by French horn is beautiful but overwhelmed by the rage and insistence of

NOTES the opening grip. A turbulent development continues the obsession with the opening motto, not uttered in tight integration. Within a traditional recapitulation, Beethoven stops the action with an expressive oboe cadenza, and then he moves us into a long coda, hammering the motto again and again into our soul. “This is one of the most powerfully integrated movements in all symphonic literature.” (Edward Downes) His second movement, Andante con moto, spins a series of four variations on two main ideas. Violas and cellos first sing a richly declaimed song before clarinets, flute and bassoons chant a sturdier, more assertive idea. Although writing double variations on these two ideas, Beethoven cannot resist allowing rhythmic allusions to the opening cell to persist. The third movement, Allegro, is a scherzo rather than a traditional minuet and trio. Ominously, hushed cellos and basses restlessly stir the first musical ideas before French horns emerge with a strong theme, again referencing the opening idea. Themes spar back and forth. A dramatic pianissimo section, underscored by muttering timpani, charges the atmosphere before an extended crescendo moves directly to the brilliant finale. The fourth movement ratchets up instrumental color by the addition of piccolo, contrabassoon and three trombones. (This was the first time trombones appeared in a symphony orchestra.) A panoply of themes occupies the enlarged canvas and palette. Trombones are invoked to lead the extroverted march-like theme, which sets the stage for the greater dimensions. While the contrabassoon adds depth, the piccolo provides glitter. Within the exuberant mood, Beethoven leads us to his triumphant coda, now stressing the light of C Major for 54 measures. Michael Steinberg has written, “This victory symphony was a new kind of symphony, and Beethoven’s invention here of a path from strife to triumph became a model for symphonic writing to the present day.” The fifth spoke a musical language no one had heard before. Paul Bekker noted, “In Beethoven,

JAN 22-24

a composer arose who completely understood the possibilities of the art. He knew the secret forces of his spiritual kingdom…. He was artist enough to enforce his will.” The musical mission lay far beyond entertainment. We are also provided a window into what was yet to come from the Beethoven sound, as well as his conviction that music was a critical and elevating force for life. “Beethoven broke all the rules and turned out pieces of breathtaking rightness. He had the real goods, the stuff from Heaven, the power to make you feel at the finish: Something is right with the world.” (Leonard Bernstein) The ISO’s last performance of Symphony No. 5 in C Minor, Op. 67 was in March, 2013 conducted by Krzysztof Urbański.

“DER HÖLLE RACHE KOCHT IN MEINEM HERZEN” FROM THE MAGIC FLUTE WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austira Died December 5, 1791 in Vienna, Austria Mozart’s Magic Flute was one of his great triumphs. It is a comic opera, light hearted in its story, spectacular in its jaunty, witty music, delivered in Singspiel style — spoken dialogue and singing, similar to a Broadway show. At the same time, it is full of serious and political messages. The story is a mixture of fun and high ideals, of Masonic philosophy and high jinx, of brotherhood and love affairs, of melodrama and rational philosophy. The composer’s life at this time was anything but happy. Mozart was in dire need of money, was in bad health and his wife was very sick. He needed a hit, and to that commercial end collaborated with the prominent writer, actor, producer, and personal friend, Schikaneder to provide a suitable libretto. This was completed in 1789. Schikaneder was popular, and his “machine comedies”, produced by his “rowdy group of actors” had been very popular throughout Austria and Germany. Slapstick comedy, and heavy special effects were hallmarks of his

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JAN 22-24

NOTES

dramatic fare. The combination with Mozart was dynamite. During its first ten years, The Magic Flute was presented two hundred and thirty-three times in the original theater, and radiated out over Europe. Its American premiere occurred in New York on April 17, 1833. Mozart conducted the Overture’s premiere on September 28, 1791 at the Freihaus Theater auf der Wieden. He also conducted the opera premiere, September 30, 1791. He managed to conduct two successive productions before ill health forced him to take to his bed. The opera ran for 100 performances, and it was said that Mozart held a watch on his sickbed, timing the opera as it unfolded. He died after performance number 67. The story is a mixture of fun and high ideals, of Masonic philosophy and high jinx, of brotherhood and love affairs, of melodrama and serious thought. Within this context Mozart sent his final message of personal conviction and standards of living, which had been confirmed by his membership in the Freemasons, on January 7, 1785, admitted into the Zur Wohltätigkeit Lodge in Vienna. There, he was in familiar company. Other contemporary members of this Lodge were Joseph Haydn, his patron Prince Lichnowsky, his father Leopold, Michael Puchberg and Gottfried van Swieten, two of his most important patrons, Anton Stadler (clarinetist) and Angelo Solimon, a good friend. Mozart strongly identified with and embraced the rationalist and Enlightenment component of Masonic philosophy, represented by the faction known as the Illuminati. One of their dangerous ideas was that those born in low circumstances could share nobility, that nobility automatically accorded to the aristocrats by birth was fraudulent. These were dangerous thoughts, and the government was wary. For several years the political/social stance of Freemasonry and its connection to The Magic Flute was worrisome to the Austrian monarchy, which was anxiously witnessing revolutionary events in France. The opera’s ethical symbolism was overtly provocative. It seemed that

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the characters in the opera were thinly veiled representations for members of the government (the Prince, for example was really Emperor Joseph II.) The Viennese government sought and encouraged any new interpretation of The Magic Flute was which would divert attention from the Masonic content and the implicit treason. In 1794 an important, “interpretation” (pleasing to the government) appeared under the title “The grand opera, The Magic Flute was clearly explained so as to understand its true meaning.” Like the libretto, Mozart’s music was filled with references to Freemasonry starting with a trio of chords, which begins the Overture. The initiation ceremony for a freemason begins with the applicant knocking three times on the door of a Lodge. Reference to the number, three appears constantly throughout the opera — for example, in the opening key of E flat major (three flats) the Three Ladies (attendants to the Queen) the Three Spirits, the tri-partite dissection of the serpent, three couples dominate the plot, three boys announce the three ordeals the lovers Tamino and Pamina must endure before they unite. There are three temples: Wisdom, Reason, and Nature. Connection to Freemason philosophy is unmistakable. The Queen of the Night is Pamina’s mother. In Act II, she sings Der Hölle Rache (The Revenge from Hell) when she discovers that her daughter has converted to her kidnapper’s philosophy and she swears retribution. At this time, she gives her terrified daughter a dagger, and insists that she kill her rival, Sarastro. If Pamina does not kill him, she is subject to possible death and certainly to being disowned and cursed. This aria demands every ounce of control, endurance, and skill from a soprano coloratura. Its vocal range spans more than two octaves. The Queen’s threats are clearly declaimed, interspersed with dazzling, bel canto style vocalizing. Like the Overture, this aria is often separated from the full opera as a stand-alone performance.

NOTES

JAN 22-24

“DER HÖLLE RACHE KOCHT IN MEINEM HERZEN” FROM THE MAGIC FLUTE Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung flammet um mich her! Fühlt nicht durch dich Sarastro Todesschmerzen, so bist du meine Tochter nimmermehr.

The vengeance of hell boils in my heart; Death and despair blaze around me! If not by your [intercession] Sarastro feels the pains of death, Then you will be my daughter nevermore.

Verstossen sei auf ewig, verlassen sei auf ewig, zertrümmert sein auf ewig alle Bande der Natur.

Outcast be forever, Forsaken be forever, Shattered be forever All the bonds of nature

wenn nicht durch dich Sarastro wird erblassen! Hört, hört, hört, Rachegötter, hört, der Mutter Schwur!

If not by your [intercession] Sarastro turns pale [in death]! Hear ye, hear ye, hear ye, gods of vengeance, hear the mother’s oath!

The ISO’s last performance of “Der Hölle Rache kocht in meinem Herzen” was July 2001 conducted by Alfred Savia.

help of archeologist and folklorist Nikolai Roerich (an ex pat living in Paris) to “ensure authenticity.” As the piece developed, he worked closely with Roerich, and during 19121913 the Rite of Spring was referred to as “our child.” The composer was so indebted that he dedicated the score to Roerich. For a while, he viewed his “fantasy” as a possible symphony, but was persuaded by Serge Diaghiler to turn it into a ballet.

LE SACRE DU PRINTEMPS (THE RITE OF SPRING) IGOR STRAVINSKY Born June 18, 1882 in Oranienbaum, Russia Died April 6, 1971 in New York City, NY “We have a duty to music: namely to invent it.” - Igor Stravinsky In 1910, Stravinsky was the toast of Paris. At this time he produced his lush ballet, The Firebird to satisfied, gentile acclaim and more cultural delight. Little did the Parisian world know that simultaneously he was hatching a plan to write a fantasy piece in various episodes describing a violent, ruthless pagan ritual. “In my imagination,” the composer recalled, ”I saw a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence.” In 1911, while in Clarens, Switzerland, he felt ready to jot down the first notes of his Rite. One year earlier, in 1910, he had enlisted the

On May 28, 1913, he changed a few ideas, and the following day, Rite of Spring was produced at the Theatre des Champs Elysees to an astonished audience. In place of the elegance of classical ballet, the dancers gyrated their pelvises; arms and legs were sharply bent. “When the curtain rose on a group of knockkneed pigeon-toed long-braided Lolitas jumping up and down in hideous costumes, the audience went berserk. But the visual shock was nothing compared to the music. The United States premier in 1924 emerged in a concert version, but Stravinsky noted about both premieres that his intention was “to send them all to hell.” Upon hearing the brash, frightening score, the first-time audience dissolved into angry shouts, catcalls, whistles, and fistfights in the

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JAN 22-24

NOTES

aisles degenerated into a riot. Diaghilev raced backstage to turn the lights on and off to calm the attendees but to no avail. On the side, the choreographer Vaslav Nijinsky mounted a chair and screamed step numbers to the dancers who were unable to hear the music. Camille Saint-Säens ran from the theater in a fury. The conductor, Pierre Monteux, who had thought Stravinsky was ”raving mad” stood his ground on the podium “apparently impervious and as nervous as a crocodile. It is still almost incredible to me that he actually brought the orchestra through to the end,” Stravinsky recalled. Monteux anticipated that the music might cause a scandal — he was wrong. It was a revolution. Police were called, and Stravinsky was infuriated. “I have never been that angry. The music was so familiar to me. I loved it and I could not understand why people who had not heard it wanted to protest in advance.” He blamed part of the melee on the dancing itself, and in his autobiography noted “the poor boy (Nijinsky) knew nothing of music and was saddled with a task beyond his capacity.” What was so infuriating? Besides the overt sexuality of the subject and depiction of a primordial world, harmonic dissonance, frenzied rhythmic changes and unpredictable offbeat accents, savage ostinati (repeated patterns) wild dynamics, and distorted, quirky melodies were incoherent. When quoting folk music, the composer added notes or subtracted notes (permutations) without changing the beat, thus bending melodic lines “out of shape.” The entire tonal system of Western music was at risk. George Perle wrote that “the intersecting of inherently non-symmetrical diatonic elements with inherently non-diatonic symmetrical elements seems to be the defining principle of the musical langue of Le Sacre and the source of the unparalleled tension and conflicted energy of the work.” Play-by-Play Description by Stravinsky and Roerich First Part: Adoration of the Earth, the Spring Celebration “It takes place in the hills. The pipers pipe and young men tell fortunes (Augurs of Spring), the

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old woman enters. She knows the mystery of nature and how to predict the future. Young girls with painted faces come in from the river in single file. They dance the Spring Dance. Games start (Dance of Abduction) and the Spring Khorovod (Spring Rounds), the people divide into two groups opposing each other (Ritual of the Rival Tribes). The procession of wise old men (Procession of the Sage) follows. The oldest and wisest interrupts the spring games, which comes to a stop. The people pause, trembling before the great action. The old men bless the earth. The Kiss of the Earth (The Sage) follows and the people dance passionately on the earth, sanctifying it and becoming one with it (Dance of the Earth).” The introduction is based on a Lithuanian folk tune sung by solo bassoon in pungent high register. With the Augurs of Spring, stamping, brutal-beat accents initiate the section, which set everybody on edge. An E major triad with a seventh chord in E-flat on top adds to the chaos. The chord is hammered out in the strings in a stream of eighth notes. An English horn plays an insistent ostinato figure. A Ritual of Abduction (presto) is breathless. Spring Rounds (marked tranquillo) displays melodies of a tight and narrow melodic range, singing over a stream of dissonant parallel chords. The Ritual of the Rival Tribes area offers a four note melody, heard between explosive outbursts of the full orchestra. The scene calms somewhat with the arrival of the wise man and the Procession of the Sage. With the final Dance of the Earth, the concluding section of Part I rises to a frenetic pitch of excitement with tiny fanfare-like figures peppering the horns, wild swirling violins and heavy syncopated chords in brass and winds. The Second Part: The Great Sacrifice (from Stravinsky and Roerich) “At night the virgins hold mysterious games, walking in circles (Mystic Circles of the Young Girls). One of the virgins honors her, the chosen one, with a martial dance (Glorification of the Chosen One). They invoke the ancestors and entrust the chosen one to the old wise men (Ritual Action of the Ancestors). She sacrifices herself in the presence of the old men in the

NOTES great hold dance, the great sacrifice (Sacrificial Dance).”

JAN 22-24

contemporary music. A kind of manifesto work…it has not ceased to engender first polemics, then praise, and finally, the necessary clarification.” Aaron Copland, in his 1951 Norton Lecture series at Harvard, considered The Rite of Spring to be “the foremost orchestral achievement of the twentieth century.”

The section begins with an introduction describing the pagan night. In the Mystic Circles of the Young Girls, marked andante con moto, the string choir is divided into thirteen parts. A melancholy folk-like melody migrates among violins, horns and oboes. Conclusion Glorification of the Chosen One During his long lifespan, turns the orchestra into one Stravinsky spoke in many big percussion source. voices. After he moved to Rhythms move amid New York City in 1969, Delivering changing meters: 5/8, Stravinsky explained that outstanding 9/8, 7/8, 4/8. Evocation of he went there “so that the Ancestors comes with he could mutate faster.” performances dramatic crescendi from Philip Glass noted, “he in print timpani and bass drum never stopped inventing coupled with alternate himself.” He was far more simple fanfares from winds than provocateur. By the and brass. The Ritual Action twenties and thirties he of the Ancestors offers a was writing tamed-down pulsating accompaniment, music in neo-classical style, which rises to an using traditional forms such enormous tutti climax, as symphony, fugues, and caped by a swaggering concerti grossi. “Music is theme for four horns incapable of expressing before subsiding anything but itself,” to almost nothing. he trumpeted. He Finally, we come to the was fearless. He germ, which generated was intense. He the whole piece — the was determined. He Sacrifical Dance. Herein, was audacious. Time the victim dances herself Magazine (June 8, to death. As the horror 1998) concluded, unfolds, the rhythms “There is not a control the momentum, composer who lived never releasing the during his time or is unforgiving tension. alive today who (has not been) touched and sometimes transformed by his work.” The Legacy Did Stravinsky merely blow the top off of This is the first time the ISO has performed Le Western music in a momentary manic fit? In Sacre du printemps (The Rite of Spring). his Poetics of Music the composer noted “As for myself, I experience a sort of terror when, at the moment of setting to work…I have the feeling that everything is permissible to me. Will I then have to lose myself in this abyss of freedom?” Pierre Boulez has noted, “The Rite of Spring serves as a point of reference to all who seek to establish the birth certificate of what is called

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JAN 29, 30

THE PLANETS

WEEK 2: THE PLANETS Additional Activities Arrive an hour prior to concert time to hear from The Children’s Museum of Indianapolis’ Scientist-in-Residence, former Astronaut Dr. David Wolf. Check out the live exhibition in the ISO lobby provided by The Children’s Museum of Indianapolis. Enjoy drink samples from Sun King Brewery.

Dr. David Wolf, a 28-year NASA veteran and astronaut, has spent 168 days in space and conducted seven spacewalks over four separate missions including Space Shuttles Columbia, Atlantis, Discovery, and Endeavor as well as the International Space Station, Russian Space Station MIR, and Spacelab. Prior to being selected as an astronaut, he led teams producing medical research instrumentation for spaceflight, including novel state of the art technology for threedimensional tissue engineering. A medical doctor, electrical engineer, and inventor, Wolf has been awarded 17 U.S. patents,

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received the NASA Exceptional Engineering Achievement Medal, and was named the NASA Inventor of the Year. As part of the Medical Sciences Division at the Johnson Space Center in Houston, Wolf was responsible for development of the American Flight Echocardiograph, utilized in space for investigating cardiovascular physiology in microgravity. He served as chief engineer for design of the Space Station Medical Facility as well as the ‘Space Bioreactor,’ a tissue engineering and cancer research biotechnology program. This technology is now utilized on earth for “state of the art” three-dimensional tissue culture. Wolf considers the Hoosier state his home on earth. Born and raised in Indianapolis, he is a graduate of North Central High School, Indiana University (School of Medicine) and Purdue University (School of Engineering). The recipient of awards and special honors from these schools, he has also been granted an honorary doctorate from Indiana University.

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37

JAN 29, 30

THE PLANETS

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Eight Friday, January 29, 2016, at 8 p.m. Saturday, January 30, 2016, at 7 p.m. Hilbert Circle Theatre JUN MÄRKL, Conductor WOLFGANG BRENDEL, Baritone WOMEN’S CHORUS, INDIANAPOLIS SYMPHONIC CHOIR ERIC STARK, Artistic Director Paul Hindemith (1895-1963)

Die Harmonie der Welt Symphony Musica Instrumentalis Musica Humana Musica Mundana INTERMISSION - Twent y M inutes

Richard Wagner (1813-1883)

“O du, mein holder Abendstern” (“Song to the Evening Star”) from Tannhäuser Wolfgang Brendel, Baritone

Gustav Holst (1874-1934)

The Planets, Op. 32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

The performance of a guest artist is endowed by the Jean D. Weldon Guest Artist Fund.

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

DUKE ENERGY 317 SERIES

JAN 31

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Duke Energy 317 Series Sunday, January 31, 2016, at 3 p.m. Avon High School

JUN MÄRKL, Conductor WOLFGANG BRENDEL, Baritone WOMEN’S CHORUS, INDIANAPOLIS SYMPHONIC CHOIR ERIC STARK, Artistic Director Paul Hindemith (1895-1963)

Die Harmonie der Welt Symphony Musica Instrumentalis Musica Humana Musica Mundana INTERMISSION - Twent y M inutes

Richard Wagner (1813-1883)

“O du, mein holder Abendstern” (“Song to the Evening Star”) from Tannhäuser Wolfgang Brendel, Baritone

Gustav Holst (1874-1934)

The Planets, Op. 32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

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JUN MÄRKL, Conductor

Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). For the 14/15 and 15/16 seasons he is Principal Conductor to the Basque National Orchestra and Principal Conductor of Pacific Music Festival (Japan) for 2015. He guests with the world’s leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, Tonhalle Orchester Zürich. In 2012 he was honored by the French Ministry of Culture with the Chevalier de l’Ordre des Arts et des Lettres in recognition of his achievements in Lyon, notably his hugely successful nine-disc Debussy cycle with the orchestra on Naxos. He also toured with the orchestra to Japan and major European halls and festivals such as the Salle Pleyel, Amsterdam Concertgebouw, BBC Proms, Bad Kissingen, Rheingau and Luzern. With MDR he toured to Spain and the Baltics, made regular appearances in the Berlin Konzerthaus and Cologne Philharmonie, and conducted Schumann’s rarely-heard opera Genoveva at the Rotterdam Opera Festival.

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In 2014/15 Märkl returns to the Orchestre National de Lyon and also to the Netherlands Radio Philharmonic, Oslo Philharmonic, Helsinki Philharmonic, Tonkuenstler Vienna and Hamburgische Staatsorchester, all of whom invite him frequently. He is also often invited to several leading North American orchestras, notably Atlanta, Baltimore, Cincinatti, Dallas, Indianapolis and St Louis. In addition, he has conducted many times at NHK Symphony Tokyo, Pacific Music Festival Sapporo and with the Mito Chamber Orchestra, and recently accepted the position of Invited Professor at the Kunitachi School of Music in Tokyo. In January 2015 he conducted the Yomiuri Nippon Symphony Orchestra for the first time. Märkl has been a regular guest at the State Operas of Vienna, Munich and Semper Oper Dresden, and was until 2006 Permanent Conductor of the Bavarian State Opera in Munich. He made his Royal Opera House debut with Götterdämmerung in 1996 and at the Metropolitan Opera with Il Trovatore in 1998, has conducted complete Ring cycles at the Deutsche Oper and at the New National Theatre in Tokyo, and toured to Japan in 2007 with the Semper Oper Dresden (Tannhäuser). Opera projects 2014-15 include Fidelio in Hamburg and in Cincinnatti, Rosenkavalier in Budapest, and Idomeneo in Tokyo. Born in Munich, his (German) father was a distinguished Concertmaster and his (Japanese) mother a solo pianist. Märkl studied violin, piano and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986 he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterwards he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken (1991-94) and at the Mannheim National theater (1994-2000).

WOLFGANG BRENDEL, Baritone Wolfgang Brendel is one of the most sought-after baritones of his generation. Born in Munich, Brendel was handpicked at the age of 16 to attend the Wiesbaden Conservatory of Music. Brendel debuted as Gugliemo in Cosi fan Tutte at the Pfalztheater Kaiserslautern in 1969, where he was discovered by the General Director of the Bavarian State Opera, Dr. Güenther Rennert, and the renowned conductor, Wolfgang Sawallisch, who brought him to perform at the Bayerischestaatsoper in Munich. Since then Brendel has worked with world famous conductors and companies throughout a lauded career that has brought him to perform at major opera houses worldwide. This wealth of experience has contributed to his effectiveness as a teacher and mentor to American and International students alike.

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Before his appointment as Professor of Voice with the Jacobs School of Music, Brendel was a professor of voice at the Munich Hochschule für Musik und Theater. His artistic home for the greater part of his career was the Bayerische Staatsoper in Munich. Brendel established his primacy as the star Munich baritone of his era across an extraordinary range of roles, from Mozart to Verdi to Wagner and beyond. In 1973, he achieved acclaim as Pelléas in a new production by Jean-Pierre Ponelle of Debussy’s Pelléas et Mélisande. He made his Metropolitan Opera debut in 1975 at the age of 27. Brendel has performed on all the major opera stages in Germany and Europe, in Tokyo and in the United States. In 1997, he was awarded the Bundesverdienstkreuz (The Order of Merit of the Federal Republic of Germany). He regularly conducts seminars and master classes in the United States and abroad. Brendel continues to perform opera and lieder.

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WOMEN’S CHORUS, INDIANAPOLIS SYMPHONIC CHOIR

JAN 29-31

Soprano Deborah Anderson Shallen Atkinds Marilyn Baumgardt Alyssa Beck Victoria Bedwell Emily Bertram Laura Brueckmann Emily Christine Carson Michelle Cohen *Cindy Colter

Suzie Dodds Jacqueline Eastman Cassie Garcia Diane Hall Danielle Hartman Anna Hassler Mary Lou Hayden *Ann Hill Karen Jacobs *Kathy Jensen

Jessica Johnson *Patricia K. Johnson Debbie Jones Quay Kester Kendra Kirby Justine Koontz Kennedy Luton Christina Merriott Rebecca Mickelson Kelly Miller

Faith Alexander *Carole S. Arthur Reba Baker *Janice Bilby Suzanna Blahna Katherine Bolinger Kara Bougher Melissa Brown Ann Carlson Ali Darley

*Kathy Dean Kimberly DiCamilla Jodi L. Drake Holly Erickson *Ann M. Gerritsen Dana Goot Jane E. Gosling *Mary Gosling Molly Harris Katie L. Hilton

Janet Hock Laura Howie-Walters Kristin Ingersoll Jan Kennicutt Susan Kniola Katherine T. Landschulz Claudia J. MacRae Lisa Marchal Jaclyn Martin

*Mary Jo Moss Laura Nagle Shari Norris Diana Pannell Erin Quandt Julie Query Joanna Luisi Reinhardt *Micci Richardson Lauren Richmond *Ingrid Rockstrom

Olesya Savinkova Carol Love Selby Stephanie Shaw Crystal Sheward Anna Pranger Sleppy *Deborah Smith Kayla Smith Valerie Stevens Kathy Tackitt Coleen Walker

Pamela Walters *Faedra Weiss Suellen Williams Judith Ann Wilson Mary Jo Wright

Katherine Sinclair Margaret Strodtbeck Gwen Swart *Carol Gossett Thorne Dana L. Voigt Valerie Voigt *Renee Wargel Elaine Weiss Lydia Wells Donna K. White

Dixie L. Williams Terran Williams *Anita Willis Sandy Winter Emily Zoss

Alto

David Duncan, Keyboard Artist

Rose Massela Phyllis McCormack *Rose M. Mullen Yvonne Nichols Kathy Martin-O’Neil Julie L. Paavola Becky Peterson *Judy Roudebush *Marie Schaekel Sydney Schafer

Michael Davis, Assistant Artistic Director

*Denotes a Steffen Singer. The Steffen Singers, named in honor of the Symphonic Choir’s founding conductor Elmer Steffen, are persons who have dedicated 20+ years of their life to the Indianapolis Symphonic Choir as singing members.

The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and dynamic musical institutions and 2015/2016 marks its 79th season. Among the most active symphonic choruses in the nation, this organization reaches in excess of 25,000 persons each season with more than 25 performances and a comprehensive educational/outreach program. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each forty-two-week season. The organization is led by a professional staff and governed by a volunteer Board of Directors. The Symphonic Choir is the choral partner of the Indianapolis Michael Pettry Eric Stark Symphony Orchestra, having been founded in 1937 at the Executive Director Artistic Director Orchestra’s request to perform the great choral/orchestral repertoire. Over the years, this partnership has remained at the very core of the Choir’s existence and exhibits the very best of collaborative ideals — two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. In addition to collaborative performances with the ISO, the Symphonic Choir presents its own performances, educational initiatives and events each season. 2015-2016 marks the 14th season under the artistic direction of Dr. Eric Stark. Upcoming Indianapolis Symphonic Choir performances include December’s Festival of Carols, performed at the Scottish Rite Cathedral and The Palladium at the Center for the Performing Arts, as well as Bach’s St. John Passion at the Christel DeHaan Fine Arts Center.

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NOTES

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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair DIE HARMONIE DER WELT SYMPHONY PAUL HINDEMITH Born November 16, 1895 in Hanau, Germany Died December 28, 1963 in Frankfort, Germany Since ancient times, man has speculated about the universe and about music. Sometimes the universe was endowed with musical components, and the two subjects were mixed. Plato wrote about the music of the spheres; Aristotle wrote about Pythagorean harmony. In this case, the music and harmony related somewhat more to mathematics than to sound. But the groundwork was laid for a confluence of the topics. The metaphysical principle that that the sun, moon and planets emit a “hum” was part of the mixing of music and the cosmos — how this was perceived, linked, and considered changed as the centuries moved ahead. In the sixth century, Boethius used Pythagorean ideas as a basis for a five volume work titled Fundamentals of Music. Music, according to Boethius, is comprised of three parts: musica mundane (music of the cosmos), musica humana (unifying body and soul), and musica instrumentalis (music production in singing and instruments). For those interested in deep analysis see Explorations of Universal Order and Beauty in Paul Hindemith’s Die Harmonie der Welt Symphony. Paul Hindemith’s Die Harmonie der Welt Symphony was derived from his five act opera of the same name, which the composer described as “developing passages from the opera.” It premiered January 25, 1951. Curiously, the libretto was not finished until 1956, the music was not complete until August 1957, and the opera finally premiered May 30, 1961 at the Munich Opera Festival with the composer conducting. Hindemith’s opera focused on the life of the German mathematician, astronomer, and philosopher Johannes Kepler. (1571-1630) Kepler’s writings had fascinated Hindemith for

many years, especially his treatise, which was published in 1619; Harmonices mundi (Harmony of the World) and consisted of five chapters. Pythagoras’ teachings on harmony were very influential to Kepler’s thinking — one of the most important was the idea that tonal relationships express not only the laws of sound but have spiritual dimension as well. Additionally, Kepler included his thinking about Die Harmonie der Welt, the sounds planets make while rotating around the sun and the harmonies therein. In this case, harmonia also means, “to fit together.” (See Book III of Kepler’s treatise). It is important to note that Kepler used geometrically generated musical ratios, not those of Pythagoras. The symphony has three movements, each titled from the parts of music as defined by Boethius. In order, these are musica instrumentalis, musica humana, and musica mundana. Hindemith explained, “The three movements are pieces of music from an opera adapted for concert performance. They are about the life and work of Johannes Kepler, the contemporary events that encouraged or hindered him, and the search for the harmony that doubtless rules the Universe.” Musica instrumentalis begins with a huge orchestral statement: timpani and brass open the vast spectacle of the cosmos. This quickly subsides for winds passage singing a mysterious tune while timpani provide substantial thundering and violins bustle. A vast surge occurs before submission to the low winds. A snare drum introduces a sturdy march, which absorbs all orchestral segments, rumbling ahead before violins sing a slow lyrical passage, joined by celli and winds. Suddenly, a perky theme bubbles forth from the piccolo. The music becomes filled with energy, and darkness abates. Alternating

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sections converse as horns and timpani declaim grandeur and mystery. Violins recall their lyrical statement with flute and piccolo, before the March returns for a momentary recall. The ending is dramatic with a ferocious climax. Musica humana begins slowly, ponderously, with violins producing a softly spoken meandering theme colored by occasional brass participation. The mood is contemplative, somewhat questioning, colored by different choirs and instrumental solos summoned to speak independently within the orchestral context. How small, how fragile mankind seems in its place within the cosmos. One climactic point raises the volume, but the flute, which has an extensive solo, dissipates this. The movement ends with violins singing mournfully, wisps of melodies and soft pizzicati create mystery until the music dissolves into the vast silence. Musica mundana opens in the lower regions of the orchestra, speaking slowly with gravitas.

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Gradually, the subdued mood grows into more speculation and questioning, similar to musica humana. Sparkling winds introduce a more energetic section (still sotto voce), which animates violins and timpani into a small march, and stops suddenly for solo flute. Just as suddenly, the music concludes into overwhelming and all enveloping darkness. This is the first time the ISO has performed Die Harmonie Der Welt Symphony.

“O DU, MEIN HOLDER ABENDSTERN” (SONG TO THE EVENING STAR) FROM TANNHÄUSER RICHARD WAGNER Born May 22, 1913 in Leipzig, Germany Died February 13, 1883 in Venice, Italy Tannhäuser was a German minnesinger as well as a poet. It was reported also that he took part in the Crusade of 1228. In his poetry he was most famous for his BuBlied (Poem of Atonement) and it was this hymn, which made him prominent. He died in 1265, but the story

NOTES and myth of his life lived on, especially vivified in the opera by Wagner titled Tannhäuser and the song Contest at the Wartburg. (Wartburg Castle). Originally he intended to call the opera Der Venusberg, but his publisher dissuaded him, citing “objectionable allusions.” What was objectionable? The reflection on morality and sexuality in the score — a matter which Baudelaire identified as “the struggle between two principles of love: flesh and spirit.” For this, many have called the work Wagner’s most controversial opera. Wagner’s three act, fifth opera, Tannhäuser, premiered in Dresden on October 19, 1845. Wagner claimed in A Communication to My Friends that he acted “entirely without reflection in choosing the medieval subject of Tannhäuser, selecting the topic “in a wholly arbitrary manner without critical awareness although he was well aware of Heine’s poem Tannhäuser: A Legend, which had appeared in 1837. Wagner completed his own libretto in 1843, the score in 1844, and the orchestration by 1845. On April 4, 1859 Tannhäuser premiered at the Stadt Theater in New York, the first Wagner opera to be produced in the U.S. In 1861, the opera premiered in Paris, after

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164 rehearsals. However, Parisians were not enthused, and the composer withdrew the production after three performances. The first performance was constantly interrupted, and on the third performance, dog whistles were used in the streets to protest. Wagner left Paris immediately, and forever. He revised with the score for many years after this experience, and only three weeks before he died he told his wife “I still owe the world Tannhäuser.” O du, mein holder Abendstern (Song to the Evening Star) baritone aria comes from the Third Act. In this part, Wolfram (another minnesinger who had defeated Tannhäuser in a singing contest) prays for the evening star to guide his beloved (now deceased) Elisabeth to heaven. Tannhäuser, recently returned from Rome where he failed to receive forgiveness for his sins, collapses and dies by her coffin. Both Tannhäuser and Wolfram loved Elisabeth, but Wolfram insisted throughout that his love was platonic. The ISO’s last performance of O Du, Mein Holder Abendstern (Song to the Evening Star) from Tannhäuser was in March 1954 conducted by Fabien Sevitzky.

“O DU, MEIN HOLDER ABENDSTERN” FROM TANNHÄUSER Wie Todesahnung Dämm rung deckt die Lande, umhüllt das Tal mit schwärzlichem Gewande; der Seele, die nach jenen Höhn verlangt, vor ihrem Flug durch Nacht und Grausen bangt. Da scheinest du, o lieblichster der Sterne, dein Sanftes Licht entsendest du der Ferne; die nächt’ge Dämm rung teilt dein liebeStrahl, und freundlich zeigst du den Weg aus dem Tal.

Like a portent of death, twilight shrouds the earth and envelops the valley in its sable robe; the soul, that yearns for those heights, dreads to take its dark and awful flight. There you shine, o fairest of the stars, and shed your gentle light from afar; your friendly beam penetrates the twilight gloom and points the way out from the valley.

O du, mein holder Abendstern, wohl grüsst’ ich immer dich so gern: vom Herzen, das sie nie verriet, grüsse sie, wenn sie vorbei dir zieht, wenn sie entschwebt dem Tal der Erden, ein sel’ger Engel dort zu werden!

O my fair evening star, I always gladly greeted thee: from a heart that never betrayed its faith, greet her when she passes, when she soars above this earthly valley to become a blessed angel in Heaven!

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THE PLANETS. OP. 32 GUSTAV HOLST Born Sept 21, 1874 in Cheltenham Died May 25, 1934 in London, England In 1913, Gustav Holst visited Majorca. While there he became acquainted with astrology, which became a lifelong interest. He wrote to a friend:

by astrology, and in private parties liked to give “astrological readings” and casting horoscopes for his friends. He stands in a long continuum of philosophers, musicians, scientists, and artists who have pondered the mysteries of the cosmos and man’s relationship to it.

Holst characterizes The Planets as follows: The first planet, Mars, the Bringer of War, was “As a rule, I only study things which suggest completed in August 1914. The entire Suite music to me….recently I became acquainted was completed in 1917. Its aggressive, wild with astrology and the character of each nature marches in with an insistent (ostinato) planet suggested logs to me, and I have 5/4 rhythm proclaimed by the strings playing been studying astrology fairly closely.” col legno battato, with the wood of the Imogen Holst, the composer’s bow on a single tone. The daughter, recalled that Alan Planets is known to have a Leo’s What is a Horoscope was low atmospheric pressure, one of her father’s favorite which creates turbulent, Listen for the repeated books. In the book, Leo vast windstorms. Horns violin and glockenspiel described the planets, giving and brass fanfares add to each a small description, figures near the beginning the military aspects of the and expanding upon the planet’s characterization, of the movement as astrological significance of and the movement is filled they imitate the winged with gigantic climaxes as each. The Planets, Holst’s most popular work, reflect the scene violently depicts messenger’s telegraph. his characterization of the battles, rage, and produces planets,with the exception of a triumphal march. D The earth and Pluto (which flat and C tonalities are had not yet been discovered.) sometimes combined to give an edgy polytonality. One of the highlights is the solo Central to astrological thought is the accorded to the euphonium. The movement power of divination, forecasting, and closes with heavy brass and percussion. fateful determination via the character and placement of the planets, following the Conductor Sir Adrian Boult remembered; “I maxim “as above, so below.” Today many well remember (Holst) saying the he wanted call it a pseudoscience because of its nonthe stupidity of war to stand out…I say empirical basis, putting far more reliance on definitely that rushing Mars is not putting its the science of astronomy, which developed stupidity first.” (Interview with Trevor Harvey from astrological inquiries. Stephen Hawking, in 1974) a British theoretical physicist, cosmologist, and professor of mathematics at Cambridge Venus, the Bringer of Peace, arrives via a solo University, stated that “Most scientist horn with a small theme answered by soft don’t believe in astrology because it is not flutes. A second theme is sung by solo violin. consistent with our theories that have been Everything is at peace, colored “by delicate tested by experiment.” However, the allure orchestral pastels”, oscillating chords from of astrology has continued despite such flutes and harps, and the sweet sound of the debunking, and it continues to draw us into tinkling celesta. its system and mystery. Holst was very taken

MERCURY

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NOTES Mercury, the winged messenger, was the last planet to be composed. The planet via solo violin scurries about amid fast orchestral figurations and light, darting gestures from muted violins. Holst considered this movement to reflect the “process of human thought.”

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took from Leo’s book in which the planet is described a “subtle and mysterious”, occupying at that time the far edges of the solar system. Holst marks it to be played ‘sempre pp throughout’, calling for the sound to be softly evoked by cymbals played with felt sticks and the timpani with wooden one. Basically, there is no real melody or reliable rhythm to hang on to. Rippling harp figuration and high-pitched violins create an atmosphere of enormous distance to the planet. At midpoint, a female chorus sings a wordless song, from offstage, “beckoning as it recedes into the infinite unknown.” (Paul Serotsky) Holst indicated that the door to the chorus be silently closed at the ending.

Jupiter, the Bringer of Jollity, arrives with blaring horns. The music continually rejoices and dances, possibly influenced by Holst’s interest in English folk dances. In the central section, the strings sing a stately tune (sometimes extracted for a patriotic hymn titled “I vow to thee my country, an event which displeased the composer) before closing in a flashing coda. The abundance of happiness and good will is Close your eyes when you palpable throughout.

NEPTUNE

hear the invisible choir

Holst was amazed and even dismayed by the worldwide success of The Planets, and a one point commented, “Every artist ought to pray that he may not be a success.”

Saturn, the Bringer of Old and transport yourself Age, was Holst’s favorite into the coldness and movement. The music begins with a restless expansiveness of space. portrayal of the beginning of human life (26 measures An Addendum: of sharp syncopated chords,) Pluto was discovered in continuing into a march-like 1930, four years before section for middle age, and finally arriving at Holst’s death, but he never wrote a part for a dirge-like melody depicting the ravages of it. The British composer Colin Matthews later old age. Subsequently, however, the music composed Pluto, the Renewer to “round out assumes a resigned serenity, a peaceful the set”, connecting his contribution to the maturity, which is one of the experiences of final bars of Neptune, changing a few bars of old age as well. Holst commented, “Saturn Neptune for the connection. Mr. Matthews not only brings physical decay but also a explained: “When Kent Nagano asked me vision of fulfillment.” to add Pluto to The Planets I had mixed feelings. To begin with, The Planets is a very The magician Uranus arrives with a four satisfying whole, and one, which makes note spell, a musical representation of perfect musical sense. Neptune ends the work Holst’s name, declaimed by the brass. The in a way wholly appropriate for Holst — an music opens with spooky chords, colored enigmatic composer, always likely to avoid by unstable major/minor tonalities. Holst the grand gesture if he could do something churns the orchestra through high drama unpredictable instead. How could I begin and turbulence, including a manic dance. The again, after the music has completely faded close is quiet and sinister. away as if into outer space? And, even though Pluto was discovered four years before Holst’s Neptune, the Mystic, offers a chilling death in 1934, I am certain that he never once conclusion. This is the only title that Holst thought to write an additional movement (he

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was in any case decidedly ambivalent about the work’s huge popularity). In addition, the matter of Pluto’s status as a planet has for some time been in doubt — it may well be reclassified (together with its tiny satellite Charon) as no more than an asteroid, thrown way out of the main asteroid belt between Mars and Jupiter, or ‘captured’ by the sun’s gravitational field.…The only possible way to carry on from where Neptune leaves off is not to make a break at all, and so Pluto begins before Neptune has quite faded, necessitating a slight change to the ending. The movement soon took on an identity of its own, following a path, which I seemed to be simply allowing to proceed as it would: in the process I came perhaps closer to Holst than I had expected, although at no point did I think to write pastiche. At the end the music disappears, almost as if Neptune had been quietly continuing in the background. Pluto is dedicated to the memory of Holst’s daughter Imogen, with whom I worked for many years until her death in 1984, and who

I suspect would have been both amused and dismayed by this venture.” “Mr. Matthews’ Pluto takes as its starting point solar winds, and the music is full of swift, swirling passages. It ends quietly.” Pluto has since been de-classified as a “full status” planet in 2006, receiving the new status of “dwarf planet” and given the number 134340. The ISO’s last performance of The Planets was in March 2012 conducted by Krzysztof Urbański.

Don’t miss the final weekend of the Cosmos Music Festival on Feb. 5 and 6, when the ISO performs the classical masterpieces from one of the most influential movies of our time, 2001: A Space Odyssey.

make the arts happen Show your support for the arts the next time you purchase or renew your license plate! Photos courtesy of Music for All

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ARTS IN INDY Dance Kaleidoscope Dance Kaleidoscope presents Voices of a Generation: The Folk/ Rock Generation, February 25 through March 6 at IRT. This all new dance concert celebrates the freedom of expression, empowerment and upheaval in 1960’s America. Music will include Simon and Garfunkel, Joni Mitchell and more. Tickets at DanceKal.org or 635-5252.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) for a pair of very special concerts as we continue our 30th anniversary season. On March 13 at Hilbert Circle Theatre, Voices of Youth (7PM) and Tapestry of Song (3PM) will be an nostalgic journey through past ICC tours — across the country and the world. The choirs will sing selections from these past voyages, and ICC alumni will share their favorite memories of traveling with the ICC and spreading music across the globe. To buy tickets, go to icchoir. org/30tix. The ICC’s music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or make a financial donation, call 317.940.9640.

Indianapolis Symphonic Choir Sing with one of the nation’s most respected choruses! The Indianapolis Symphonic Choir will audition new singers in February to be a part of the second-half of this performance season. The Choir is comprised of 200 singers under the direction of Eric Stark and rehearses weekly for 3 hours from September to June. Reaching audiences numbering over 25,000 persons annually, the Choir is the choral partner of the ISO but remains a separate non-profit arts institution founded in 1937. For more information about the 2015/2016 season and auditions, visit indychoir.org or call (317) 940-9057.

New World Youth Orchestras The New World Youth Orchestras continues its 34th season with a mid-winter concert on February 21 at the Hilbert Circle Theatre. This concert will feature Shostakovich’s mighty Fifth Symphony, as well as the Junior Winner of our annual Young Artist Competition. The New World Youth Orchestras’ mission is to develop the musical talent and nurture the personal growth of young people in Indianapolis and central Indiana through the rehearsal and performance of orchestra masterworks, both traditional and contemporary. For more information please visit www.nwyso.org. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

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ENDOWMENT Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund. Endowed Orchestra Chairs THE FORD-WEST CONCERTMASTER CHAIR Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster THE MEDITCH ASSISTANT CONCERTMASTER CHAIR Endowed by Juliette, Dimitri, Marian and Boris Meditch THE WILCOX ASSISTANT CONCERTMASTER CHAIR Endowed by David E. and Eleanor T. Wilcox Dean Franke, Assistant Concertmaster THE TAUREL ASSISTANT PRINCIPAL SECOND VIOLIN CHAIR Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal Second Violin THE DICK DENNIS FIFTH CHAIR Endowed in memory of Richard F. Dennis by Carol Richardson Dennis This Second Violin Section Chair is Seated Using Revolving Seating THE JANE AND FRED SCHLEGEL PRINCIPAL VIOLA CHAIR Endowed by Jane and Fred Schlegel THE ASSISTANT PRINCIPAL CELLO CHAIR Endowed anonymously THE RANDALL L. TOBIAS CELLO CHAIR Endowed by Randall L. Tobias THE DR. AND MRS. ROBERT L. RUDESILL CELLO CHAIR Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello THE SIDNEY AND KATHY TAUREL PRINCIPAL FLUTE CHAIR Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute THE JANET F. AND DR. RICHARD E. BARB PICCOLO CHAIR Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo THE FRANK C. SPRINGER JR. PRINCIPAL OBOE CHAIR Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe

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THE ANN HAMPTON HUNT ENGLISH HORN CHAIR Endowed by Ann Hampton Hunt Roger Roe, English Horn THE ROBERT H. MOHLMAN PRINCIPAL CLARINET CHAIR Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet THE HUFFINGTON ASSISTANT PRINCIPAL CLARINET CHAIR Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet THE ROBERT L. MANN AND FAMILY PRINCIPAL HORN CHAIR Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn THE BAKKEN FAMILY HORN CHAIR Endowed by a gift from Dawn, Ruth and Darrell Bakken Jerry Montgomery, Horn THE W. BROOKS AND WANDA Y. FORTUNE PRINCIPAL TRUMPET CHAIR Endowed by W. Brooks and Wanda Y. Fortune THE DR. AND MRS. CHARLES E. TEST TROMBONE CHAIR Endowed by Dr. and Mrs. Charles E. Test THE THOMAS N. AKINS PRINCIPAL TIMPANI CHAIR Endowed anonymously Jack Brennan, Principal Timpani THE WALTER MYERS JR. PRINCIPAL HARP CHAIR Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp THE DOROTHY MUNGER PRINCIPAL KEYBOARD CHAIR Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra Endowed Performances THE FRANCIS W. AND FLORENCE GOODRICH DUNN ANNUAL CLASSICAL SERIES OPENING CONCERTS Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor”

ENDOWMENT THE PERFORMANCE OF CLASSICAL MUSIC INCLUDING MAJOR LITURGICAL AND CHORAL MUSIC Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen October 9-10, 2015 – Beethoven’s Missa solemnis FRANK AND IRVING SPRINGER PIANO PERFORMANCE Endowed by Frank C. Springer Jr. November 6-7, 2015 – Brahms’ Piano Concerto No. 1 THE PAUL FAMILY PERFORMANCE OF CLASSICAL MUSIC Endowed by Dorit, Gerald, Eloise and Alison Paul November 13-14, 2015 – Brahms’ Piano Concerto No. 2

THE FRANK E. MCKINNEY, JR. GUEST CONDUCTOR CHAIR Endowed by Marianne Williams Tobias April 15-16, 2016 – André Watts THE MRS. EARL B. BARNES MEMORIAL FUND IN SUPPORT OF A GUEST ARTIST Endowed Anonymously May 7, 2016 – The Legendary Menahem Pressler THE DENNIS T. HOLLINGS PERFORMANCE OF CLASSICAL MUSIC Endowed by the Dennis T. Hollings Fund May 20-21, 2016 – Beethoven’s “Pastoral”

YULETIDE CELEBRATION OPENING PERFORMANCE Endowed by Marianne Williams Tobias First Performance December 2015

THE WILLIAM L. AND JANE H. FORTUNE GUEST CONDUCTOR CHAIR Endowed by Mr. and Mrs. William L. Fortune June 3-4, 2016 – Garrick Ohlsson

YULETIDE CELEBRATION CLOSING PERFORMANCE Endowed by Marianne Williams Tobias Last performance December 2015

THE BISHOP FAMILY HOLLIDAY PARK CONCERT Endowed by the Mrs. Irving M. Fauvre Fund Summer 2016

THE MOHLMAN PERFORMANCE OF CLASSICAL MUSIC Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring

THE PERFORMANCE OF A SUMMER SERIES CONCERT Endowed by Mrs. William P. Cooling Summer 2016 – Marsh Symphony on the Prairie

THE PERFORMANCE OF A GUEST ARTIST Endowed by the Jean D. Weldon Guest Artist fund January 29-30, 2016 – The Planets THE PERFORMANCE OF NEW MUSIC Endowed by LDI, Ltd. February 5-6, 2016 – Music from 2001: A Space Odyssey THE PERFORMANCE OF A YOUNG PROFESSIONAL ARTIST Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara Worden THE PAUL AND ROSEANN PITZ PERFORMANCE OF CLASSICAL MUSIC Endowed by the Paul and Roseann Pitz Fund March 4 - 5, 2016 – Rachmaninoff ’s Second Piano Concerto THE PERFORMANCE OF ISO PRINCIPAL CHAIR MUSICIANS Endowed by the Eugene B. Hibbs Fund March 11-12, 2016 – Don Quixote THE MARILYN K. GLICK YOUNG COMPOSER’S SHOWCASE Endowed by Mr. and Mrs. Eugene B. Glick March 18, 2016 – Nielsen’s “Inextinguishable” Symphony

SPECIAL ENDOWMENTS HILBERT CIRCLE THEATRE Endowed by Stephen and Tomisue Hilbert THE TOBIAS GREEN ROOM Endowed by Randall L. Tobias THE MAESTRO SOCIETY August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias THE MARIANNE WILLIAMS TOBIAS PROGRAM ANNOTATOR CHAIR Endowed anonymously Marianne Williams Tobias, Program Annotator ARTIST IN RESIDENCE ENDOWMENT Endowed in memory of Hortense and Marvin Lasky

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ENDOWMENT THE PAUL E. AND MARTHA K. SCHMIDT CONDUCTING STUDY FELLOWSHIP Endowed by Paul E. and Martha K. Schmidt

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

THE MICHAEL BEN AND ILLENE KOMISAROW MAURER YOUNG MUSICIANS CONTEST Endowed by Michael Ben and Illene Komisarow Maurer

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

THE INSTRUMENT PETTING ZOO Endowed by Dr. and Mrs. Gordon E. Mallett

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

THE INDIANA SERIES Endowed by Mr. and Mrs. J. Irwin Miller THE INDIANAPOLIS SYMPHONY ORCHESTRA VICE PRESIDENT OF EDUCATION Endowed by Mr. and Mrs. William L. Fortune THE MARILYN K. GLICK YOUNG COMPOSER’S SHOWCASE Endowed by Mr. and Mrs. Eugene B. Glick THE ISO PRE-SCHOOL MUSIC EDUCATION PROGRAMS Underwritten by Friends of Ava Button THE SARAH MCFARLAND ENDOWMENT Endowed by the Sarah McFarland Fund THE PITZ LEADERSHIP AWARD Endowed by the Paul and Roseann Pitz Fund THE INSTALLATION AND MAINTENANCE OF A THEATRE PIPE ORGAN Endowed by the Sally Reahard Fund 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

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 GRAND LOBBY Endowed by Marianne Williams Tobias

THE MUSIC LIBRARY OFFICE Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré

THE BOX OFFICE LOBBY Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991

THE ISO ASSOCIATION OFFICE Endowed by Peggy & Byron Myers

SECOND FLOOR LOBBY Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune

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Wow! Excellence

Admiration

Dedication

110

Devotion

Well done

Appreciation

% Bravo Respect

Impressed

Barnes & Thornburg is proud to support the Indianapolis Symphony Orchestra. Your commitment to the arts has left us speechless.

Inspiration

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Applause Detail Awesome

Uncommon Value

ATLANTA CHICAGO DALLAS DELAWARE INDIANA LOS ANGELES MICHIGAN MINNEAPOLIS OHIO WASHINGTON, D.C. btlaw.com

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LYNN SOCIETY The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity. Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.713.3342. Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell* Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett

David & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Gail H. Hall 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 Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Alice* & Kirk McKinney Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch William F. Murphy, CPA John & Carolyn Mutz

Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley Dr. & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (15) *Deceased

THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Mrs. Raymond A. Basso Miss Helen F. Bernheisel Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak

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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 Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn

LYNN SOCIETY 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 Martha Means Mr. & Mrs. J. Irwin Miller Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter

Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn Miss Sally Reahard Mr. Vernley R. Rehnstrom Peter C. & Dr. Jeanette P. Reilly Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr.

Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White Clara M. Wilmeth Ms. Mary Wratten Mildred R. Young Wilma K. Young Steven J. Zellman Karl & Barbara Zimmer Anonymous (5)

REMEMBERING THE ISO IN YOUR WILL It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

YOUR LEGACY MATTERS Remembering the ISO in your will impacts the music we share for generations to come. No amount is too small to make a difference.

Contact Casey Chell, Director of Major Gifts, with questions about or [email protected]. The Lynn Society at 59

ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of November 16, 2015. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. Cathy Springer-Brown Phyllis & Gary Schahet $100,000 AND ABOVE Anonymous Michael & Mary Ann Browning Jeff & Cassandra Short Anonymous Anthem Blue Cross and Blue Shield Mr. & Mrs. Walter P. Bruen, Jr. Christopher A. Slapak & Michael J. Ms. Christel DeHaan Arthur Jordan Foundation Mike & Pat Byers Robertson Mr. Jim S. Irsay Barnes & Thornburg LLP Ms. Jane Conley Mr. Kevin D. Taylor B. M. “Marti” Ripberger BMO Harris Bank Dexter & Rosemary Cooley Roberta & Bill Witchger Yvonne H. Shaheen Budweiser Zink Distributing Co, LLC Stephen & Andrea Cranfill Dr. Christian Wolf & Elaine Randall & Deborah Tobias Chase David & Consuelo Davis Holden-Wolf The Clowes Fund Jack Everly & Ty A. Johnson Jim & Rita Zink Delaware Community Foundation Ms. Carol J. Feeney Anonymous Duke Energy Dr. & Mrs. Richard W. Garrett Arts Council of Indianapolis and the Erie Insurance Michael & Beth Gastineau ADL Charitable Trust City of Indianapolis ExactTarget Gary Ginstling & Marta Lederer Buckingham Foundation Inc. The Christel DeHaan Family Indiana Arts Commission Mr. & Mrs. Larry Glasscock Citizens Energy Group Foundation MacAllister Machinery Company, Inc. Charles & Susan Golden CNO Financial Group Efroymson Family Fund National Endowment for the Arts Mr. & Mrs. Thomas W. & Mary Community Health Network Eli Lilly and Company Navient P. Grein Dorsey Foundation The Herbert Simon Family Foundation Nicholas H. Noyes Jr. Memorial Steve L. Hamilton & Keith O. Dow AgroSciences Indianapolis Power & Light Company Foundation Norwalk Elba L. & Gene Portteus Branigin Indianapolis Symphony Orchestra Printing Partners Richard & Elizabeth Holmes Foundation Inc. Association R.B. Annis Educational Foundation Mr. & Mrs. W. Seymour Holt The Glick Family Foundation Lilly Endowment, Inc. Raymond James & Associates, Inc. Dr. Sharon Hoog The Frenzel Family Charitable Lead The Margot L. and Robert S. Eccles Roche Diagnostics Peter & Emily Howard Trust Fund, a fund of CICF Scott A. Jones Foundation Dr. Ann H. Hunt Hendricks County Community Marsh Supermarkets, LLC. St.Vincent Health Dr. and Mrs. Ronald Iacocca Foundation Nina Mason Pulliam Charitable Trust Telamon Corporation Dr. & Mrs. Raymond V. Ingham Indiana Members Credit Union Ruth Lilly Philanthropic Foundation The Martin D. & Mary J. Walker Carlyn Johnson The Indiana Rail Road Company Charitable Foundation Kimra Kidd Indiana University Health Partners FOUNDERS’ SOCIETY, MUSIC DIRECTOR Drs. Sandra & Charles Kinsella Industrial Dielectrics Holdings ($50,000+) FOUNDERS’ SOCIETY, FIRST CHAIR Ned & Wendy Kirby Ann and Gordon Getty Foundation Rollin & Cheri Dick ($10,000-$19,999) Mrs. James L. Kittle, Sr. and the League of American Kay F. Koch Anonymous (2) David H. Kleiman Orchestras Sarah & John Lechleiter The Honorable & Mrs. Alex M. Azar II Don & Jen Knebel OneAmerica Financial Partners, Inc. Ann M. & Chris Stack Mr. & Mrs. Robert Bader Dr. & Mrs. Eugene P. Kroeff Ricker’s Marianne Williams Tobias Charlene & Joe Barnette James E. & Patricia J. LaCrosse Ronald McDonald House Charities of Richard D. Wood Mr. & Mrs. Barry J. Bentley Nancy Lilly Central Indiana and McDonald’s of Maestro Raymond Leppard & Dr. John Dr. Richard E. Lindseth Central Indiana C. Bloom Greg & Alexandra Loewen Shaheen Family Foundation The Glick Fund, a fund of Central Bryan & Elaine Brenner Dr. & Mrs. Carlos Lopez Terry Lee Hyundai Indiana Community Foundation Dr. & Mrs. Thomas A. Broadie Ms. Karen Mangia & Mr. Thom Tobias Family Foundation Vincent & Robyn Caponi England FOUNDERS’ SOCIETY, CONCERTMASTER Mr. & Mrs. Daniel P. Carmichael Mr. & Mrs. Morris Maurer FOUNDERS’ SOCIETY ($20,000-$49,999) Mr. & Mrs. James M. Cornelius ($5,000-$9,999) Stacy A. Maurer Christina Bodurow Mr. Daniel Corrigan Anonymous (7) Mr. & Mrs. Bruce McCaw Trent & Amy Cowles Fred & Priscilla Crawford Mr. & Mrs. Jeffrey M. Adams Robert H. McKinney Ann Dettwiler Mr. & Mrs. James E. Dora Thomas N. Akins Virginia Melin Phil & Colleen Kenney Erin & Scott Dorsey Teresa & Don Altemeyer Mr. & Mrs. Dayton Molendorp Dr. & Mrs. E. Henry Lamkin, Jr. Mr. & Mrs. John Fazli Bob & Pat Anker Ellie, Weber & Emaline Morse Mr. & Mrs. Eli Lilly II Craig & Mary Fenneman Mr. Aasif Bade Jerry & Anne Moss Dr. Gordon & Carole Mallett Don & Carolyn Hardman Drs. Douglas & Deborah Balogh John & Carolyn Mutz Mrs. F. Bruce Peck, Jr. Allan & Kathy Hubbard Ms. Sarah Barney Mr. & Mrs. Charles J. O’Drobinak Dr. Kenneth & Mrs. Debra Renkens Bob & Rhonda Kaspar Dr. & Mrs. John E. Batchelder Michael P. & Leanne M. O’Neil Mr. David Rodgers Joseph & Kathy Kessler Mr. & Mrs. Michael Becher Holly & John Pantzer Robert & Alice Schloss Timothy J. & Cindy Konich Suzanne B. Blakeman Kay Pashos & Neal Steinbart Dr. & Mrs. Eugene Van Hove Dr. Gwen & Mr. Robert Krivi Charles & Joyce Boxman Mr. & Mrs. Thomas J. Pence Martin & Mary Walker Drs. W.H. & K.T. Landschulz Mr. & Mrs. John Bratt Donald & Karen Perez David & Eleanor Wilcox Mr. E. Kirk McKinney, Jr. Donald & Barbara Broadlick Bart Peterson Kathy & Ralph Wilhelm Karen Mersereau & Dr. Michael Helms Charles W. Brown Zeb & Barbara Portanova Mrs. Nancy Ann Morris Mr. Richard F. Brown & Mrs Mary Frances Rubly Walt & Mary Prouty

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ANNUAL FUND Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. Fred Ruebeck Margaret Cole Russell & Steve Russell Mr. & Mrs. William N. Salin Ms. Natalie Schneider Perry & Lisa Scott William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Michael & Carol Stayton Mr. & Mrs. Frank D. Walker Pete & Lena Ward Margaret Watanabe Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Hsiu-Chiung Yang & Marian Mosior Sara & Michael Zeckel John & Linda Zimmermann Jennifer & Michael Zinn Ann & Gordon Getty Foundation Barefoot Wine The Barrington of Carmel BKD Bose McKinney & Evans LLP Care Institute Group, Inc. Charles W. Brown Foundation City of Carmel Cornelius Family Foundation, Inc. Deloitte & Touche LLP DMC Holdings, Inc. Faegre Baker Daniels FedEx Corporation Franklin Symphonic Council, Inc. Hoover Family Foundation Huntington Bank Indiana Space Grant Consortium James O. & Alice F. Cole Foundation Lacy Foundation The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF Macy’s McCaw Family Foundation Meridian Dermatology Merrill Lynch MusicCrossroads NextGear Capital Regions Bank The Rock Island Refining Foundation Skiles Detrude Vectren Corporation Winners Circle CONDUCTOR’S CIRCLE ($2,500-$4,999) Anonymous (4) Mr. James Adams Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Trudy W. Banta Dr. & Mrs. Richard Barb Kenneth & Patricia Burow Dr. & Mrs. John T. Callaghan Elizabeth A. Chamberlin Nancy Christy Dave & Christie Crockett

Fred & Alice Croner Robert Crouse & Anne Werry James J. & Barbara Curtis Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneed & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Ms. Phyllis Dye Turner Mrs. Marian Elliott Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Lou Gerig David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Bert & Martha Gorman Jim & Roberta Graham Christian & June Gries Mr. & Mrs. James Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Clarena Huffington Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear Mr. & Mrs. John C. Jenkins & Family Dr. & Mrs. C. Conrad Johnston Mr. & Mrs. John Jokantas Daniel H. Joseph Dr. Louis N. Jungheim & Dr. Thalia Nicas Dr. and Mrs. John E. Kalsbeck Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Mr. & Mrs. Joseph C. Lanning Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Andrew J Macht Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Mr. & Mrs. Robert B. McNamara Susanah M. Mead Boris E. Meditch Pete & Cindy Method Flip & Cindy Miller Milton & Margaret Miller Jim & Jackie Morris Dr. & Mrs. Daniel H. Mowrey Peggy & Byron Myers Mr. & Mrs. Guido Neels Cindy Nichols Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Jack & Katie Patterson Eloise Paul & Bill Lee Mel & Joan Perelman Carol Phillips Myrta J. Pulliam Dr. & Mrs. George F. Rapp

Richard & Betty Lou Reasoner Jasmine Reese Mary Ann Dalton Rickert Dr. Merrill Ritter Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Mr. & Mrs. Todd K. Rutledge James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Marlyne Sexton Drs. Lei Shen and Soomin Park Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Dr. Mike Simmons Dick & Susan Simon Joanne & Gerald Solomon Dee & Tom Spencer Drs. Pamela Steed & Peter Furno Sydney L. Steele Jim & Cheryl Strain Drs. Randall & Bonnie Strate James Sweeney Norm & Dawn Tabler Dr. & Mrs. Reed Tarwater Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Dr. James & Linda Trippi Ms. Cathy Turner Martha Anne Varnes Joe and Sue Vertin Jane & Hugh Watson Dr. & Mrs. William Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman The Ackerman Foundation Chubb Group of Insurance Companies DB Engineering LLC Enflora Flowers for Business Ernst & Young LLP Fifth Third Bank Firestone Building Products and Industrial Products First Person Hoosier Park at Anderson Ice Miller LLP Indiana American Water Co., Inc. Indiana Farm Bureau Insurance Indiana Spine Group ITT Technical Institutes J M Smith Foundation Jungclaus-Campbell Co., Inc. Dr. Michael J. Helms, DPM The National Bank of Indianapolis RBC Wealth Management SEI Investments The Shaw-Burckhardt-Brenner Foundation Sheila Fortune Foundation Skyline Club, Indianapolis Smoke Free Indy The Stratford Symphony at Sunset Group, Inc UnitedHealthcare Western Reserve Partners, LLC

Witham Health Services PRESIDENT’S CLUB ($1,500-$2,499) Anonymous (6) Dr. & Mrs. Wayne Ambrous Joan Baker Nicholas Barbaro & Sue Ellen Scheppke Mary Ruth Barnard Frank & Katrina Basile James & Lynda Beckel Ms. Susan Bever Jay & Julie Bishop Mr. Benjamin & Mrs. Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Dr. & Mrs. W. C. Bonifield Terry & Robert L. Bowen Mr. C. Harvey Bradley Jr. Alice Brown & Randy Trowbridge Gordon & Celia Bruder Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. Bert Curry Mr. Douglas Davies Mr. & Mrs. Gregory C. Davis Manuel & Sally Debono Julie & David DeWitt Dennis K. Dickos, M.D. Mr. & Mrs. Erold R. Diller Mr. & Mrs. Robert M. Donovan Mr. & Mrs. Dan Dumbauld Miss E. Frances Eickhoff Dr. Thomas & Paula Elam Andrew & Irene Engel Kristi Espiritu John N. & Julia Luros-Failey Gracia & Jim Floyd Dr. Norm & Adrienne Fogle Dr. & Mrs. Mark Foglesong Dick & Brenda Freije Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith John & Chichi Guy Bob Hallam Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Mr. & Mrs. Jerome T. Henning Mr. & Mrs. Gerald V. Hinchman Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Holly & Scott Johnson Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn Dana & Marc Katz Donn & Dot Kaupke James & Jennifer Kelley Mr. Charles E. Kendall Patricia Kilbury Larry & Rose Kleiman Mr. Doug Klitzke Dr. Elisabeth Krug Mr. & Mrs. George Kyle Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Cindy & Rick Leffler Mr. & Mrs. Allan Litz

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ANNUAL FUND Mr. & Mrs. Ralph E. Lundgren John & Ingrid Mail Jon D. Marhenke, M.D. Linda & Carter Mathews Dr. & Mrs. Ronald Maus Ann & John McGrath Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Jim Miller Mr. & Mrs. Robert E. Miller Mrs. Ina Mohlman Eric Moy Elizabeth & William Murphy Mr. & Mrs. Daniel Mytelka Tim & Nancy Nagler Timothy S. Needler Mr. Carl & Dr. Loui Lord Nelson Tom & Nancy Newlin Mr. & Mrs. John S. Null Jackie Nytes Mrs. Martha O’Connor Dorit & Gerald Paul Allen H. Pekar Mr. Lee & Mrs. Patricia Perkinson Beverley & Bill Pitts Lois & John Pless Sue & David Powers Christine & Ken Price Scott & Susan Putney Patricia L. Ragan Mark & Susan Ridlen Mr. & Mrs. Randall Riggs Mr. & Mrs. Byron Robinson Gordon & Patsy Roe Parker & Sarah Ross Dr. & Mrs. Randall G. Rowland Mr. John Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Jerry & Rosie Semler Randall & Amy Shepard Mr. & Mrs. Jeff Smithburn Mr. & Mrs. Larry Speer Rita & Larry Steinberg Ed & Barbara Steward R. H. Temple Mrs. David Thiel Jerry & Linda Toomer Stephen L. Tracy Dr. James & Linda Trippi John & Kathy Vahle Joe & Diane Vande Bosche Scott & Sue Webber Courtenay & Emily Weldon Emily A. West Mrs. Phyllis West Mrs. Mary Whalin Mrs. Lucy Wick Ken & Wendy Yerkes Josephine Yu Batt Family Foundation Conrad Indianapolis Endowment Development Services Gracia E. Johnson Foundation The Indianapolis Recorder The Jenn Foundation Mallor Grodner LLP Marni McKinney Foundation

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McKinney Family Foundation Mike Watkins Real Estate Group Inc NTN Driveshaft Paul Family Foundation, Inc. The Penrod Society The Toomer Family Foundation Van Riper Woodard Family Foundation SYMPHONY CLUB ($1,000-$1,499) Anonymous (7) Kate & Dan Appel Mr. Gregory & Mrs. Kimberly Arnott Mr. & Mrs. Bradford H. Arthur Mr. & Mrs. John S. Ayre Ms. Cindy Bailey Mrs. Taylor L. Baker Terry & Patricia Balko Meaghan Banks Clay & Karen Barnes Dean Barnhard Ms. Susan Bates Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Eric & Elaine Bedel Dr. & Mrs. Steven C. Beering Mr. & Mrs. Henry B. Blackwell Kirk & Sharon Boller -- Bottom-Line Performance Inc Rev. James R. Bonke Mrs. Jeanne Book Erv & Priscilla Boschmann Mr. & Mrs. R. Robert Brafford Christine & Robert Broughton Terri Bruksch Mrs. Alva Buchholtz Randall & Ann Burgess Lorene M. Burkhart Celeste & Derrick Burks Helen Burnett Donald W. Buttrey Ms. Katharine Carr Mr. & Mrs. E. M. Cavalier Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis Mr. Douglas B. Day Dr. & Mrs. Frank Deane Diantha V. DeGraw Mr. & Mrs. Joseph E. DeGroff Constance C. Earle Dr. Carmel Egan & Mr. Gerard Carthy Mr. & Mrs. Thomas J. Eggers Ms. Linda A. Erickson David & Julie Eskenazi Sherry Faris Dr. & Mrs. Harvey Feigenbaum Linda Felton David & Ann Frick Mr. & Mrs. James F. Gallagher Mr. & Mrs. Raymond Gibson Marianne Glick Dr. Lawrence I. Goldblatt Thomas & Nancy Grembowicz Mrs. C. Perry Griffith Mr. & Mrs. Peter Grossman Jerry & Kathleen Hacker Dr. & Mrs. Jim Hamby Kenneth & Barbara Hamilton Mr. & Mrs. Lucius O. Hamilton

Velda Hamman Ms. Lisa Heid Mr. & Mrs. Eugene E. Henn Mike & Noel Heymann Mrs. Sue Hirschman C. Jane Hodge Mrs. Ginny Hodowal Mrs. Jill Hoyle Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ethan & Joyce Jackson David L. Johnson & Anne Nobles Mr. & Mrs. Richard Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. Jerald W. King Richard & Roxanne Kovacs Barry Kroot Terrence & Jodi Kunstek Mr. Eric Everett Leiter Dr. Erik L.Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Mr. & Mrs. John D. Long Lowell & Penelope Lumley Carey Lykins Mr. Kevin Malley & Mr. Ronald Nobles Mike & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Dr. & Mrs. Douglas R. Maxwell Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Dorothy J. McIver Alan & Ann McKenzie Mr. & Mrs. James Miller Dr. Bruce & Mrs. Stefany Mitlak Lucina B. Moxley Jack & Judy Myers Carolyn and Blake Lee Neubauer Mr. & Mrs. David L. Nickels Paul Nordby Lara Noren Thomas & Stacy O’Leary Michael & Lorelee Palmetier Mrs. Karen L. Parrish Sally & Jay Peacock James & Raymond Luther-Pfeil Gayle L. Phillips Larry & Nancy Pugh Roger & Anna Radue Jo & Chris Rathbun Bob & Carol Reynolds, Barnes & Thornburg Mr. Robert F. & Mrs. Mary L. Rice Jean & Lamar Richcreek The Riggs Family William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Bill & Gail Rodecker Mr. Gilva F. Sallee Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele

Roger & Barbara Schmenner Paul & Martha Schmidt David & Kitty Sedgley Jonathon & Donna Sedgwick John Seest Mr. & Mrs. Henry E. Sleeth Marian Small Nancy C. & James W. Smith Christy & Jeffery Soldatis Dennis Sponsel Betty & Alan Stanford T.S. Sun Richard & Lois Surber Nela Swinehart & Lonn Bayha Steven & Robin Tames Mr. John Tan Phillip A. Terry Mr. & Mrs. Robert Thomas The Throm Family Douglas L. Tillman Barbara S. Tully Jim & Leah Turner Lynn C. Tyler Constance Van Valer, M.D. Don & Coleen Walker Dr. Kevin Waltz & Rhonda Fox Waltz Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Charles Warren Nick and Maureen Weber J. Anne Werry L. Alan & Elizabeth Whaley Mr. & Mrs. Frederic Wiese, Jr. Forrest Williamson Mr. & Mrs. Meredith L. Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Jim & Karen Wolf Mrs. Edna Woodard Turner & Diann Woodard Mrs. Irene Yacko Diana & Dan Yates Mary Ann & Gene Zink Sue & John Zinser Anonymous The Ruth E. Stilwell Endowment Fund, a fund of CICF Blankenship Vocational Services Cavalier Family Foundation Cole Hardwood, Inc. Dayton Foundation Donovan CPA The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Gracie Communications Gregory & Appel Insurance The Humke Foundation, Inc. Indiana First Lady’s Charitable Foundation, Inc. Indiana Utility Shareholders Association Milestone Ventures Inc Psi Iota Xi, Iota Tau RSE Realty, Inc Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey Straubinger Flutes

ANNUAL FUND VIRTUOSO ($750-$999) Anonymous (4) Michael D. Bartley Mark & Ann Bear Mr. & Mrs. Robert Berger Mr. & Mrs. George Boguslawski Mr. & Mrs. Fred Boso Casey Chell Kevin M. Clements Dan & Laura Conder Mr. James & Mrs. June Conine Terry & Debbie Cottingham Daryl, Sherry & Kevin Cox Norman Dean Jessica R. Di Santo Jack & Connie Douglas Judith Erickson Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dr. Matt Gardlik Ms. Dorothy Gitlin Dr. Gerald & Dr. Jean Godfrey Mr. Ray E. Gotshall & Ms. Lillian K. Fox John & Mary Ann Grogan Ms. Lauren Guidotti Mr. & Mrs. Alan Hamilton

Mr. & Mrs. Chris Hanley Mr. & Mrs. Thomas G. Harvey, Jr. Mr. Ronald N. Hermeling Abigail W. Hohmann Larry & Marianne Jacobi Catherine Jones Mr. William A. & Mrs. Elizabeth M. Kerr Dr. & Mrs. Jerry L. Kight Robert & Cindy Kirkpatrick Dr. Yukiko Kitagawa Steve & Sharon Klusman Col. A. D. Kneessy Howard & Sarah Knight Mr. Richard & Mrs. Gwen Knipstein Ms. Katherine Kovac Mr. Robbie Kusz Rev. Richard & Mrs. Nancy Lewer Dennis & Karen Licht Mr. & Mrs. Donald R. MacPherson Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Dennis & Anne McCafferty Mr. & Mrs. Ralph McCormick Lawren Mills Mr. Bill Moreau Dr. Kathy Moreira

Graham Denby Morey Dr. and Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Dr. Donald and Mary Jean Orander Muriel Patterson Marvin C. & Anne K. Perry Marian Pettengill John Mainella & Michael Pettry Janeann Pitz Scott A. Reef Diane Richardson Ms. Judy Schaefer Saundra & Tuck Schulhof Carson & Carla Shadowen Michael & Priscilla Shaw Dr. & Mrs. Robert K. Silbert Peter & Chris Smithhisler Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Ms. Sarah Studzinski Claudia V. Swhier Mrs. Maggie Tatter Ms. Sheree Toney Paul & Gretchen Watson Mr. & Mrs. Clark Williamson Miss Gretchen Wolfram Dr. & Mrs. Steve Young

CONTRIBUTED GOODS AND SERVICES ($5,000 AND ABOVE) Carol & Ken Bandy Blue & Co, LLC Buckingham Foundation Inc. Conrad Indianapolis Enflora Flowers for Business Lynch, Incorporated mitsch design NUVO Newsweekly Printing Partners WTTS

YOUR TICKET TO INDY’S MOST

DYNAMIC

ARTS ORGANIZATION! SPONSORED BY:

GET CONNECTED, MIX ’N’ MINGLE, REAP THE REWARDS! 63

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 22, 2015 – November 16, 2015. Memorial Gifts In Memory of Mr. A. LeRoy Baker Mrs. Wanda Baker

In Memory of Dr. Kathryn Vanderwater-Piercy in support of MYO The Chamber of Commerce Building Corporation Peggy & Jack Colby Joe Cross Richard and Linda Hite Jennifer Horns and Al Herms Barry & Carol Leiter Mr. & Mrs. Scott Lutocka Rick and Karen Piercy

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:    

’ 7RS\bW¿QObW]\3dOZcObW]\]T^`]PZS[a       ’ AV]`bbS`[Q]c\aSZW\U ’ 3RcQObW]\OZe]`YaV]^aaS[W\O`a         ’ "V]c`Q`WaWa^V]\SZW\S ’ @STS``OZab]]bVS``Sa]c`QSaacQVOaZSUOZaS`dWQSa  ^VgaWQWO\a¿\O\QWOZQ]c\aSZW\UO\R[]`S

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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CHRISTOPHER SLAPAK

WHY I GIVE

Christopher Slapak and Michael Robertson, both doctors, made a dual-career move to Indianapolis about 20 years ago. Concerned they would miss the rich cultural environment of Boston, they were pleasantly surprised to find the Indianapolis Symphony Orchestra. Christopher has served on the ISO Board of Directors for most of the past decade. Have you always lived in Indianapolis? Christopher Slapak and Michael Robertson, I grew up in the greater Cleveland area. I met my Photo courtesy of Marianne Williams Tobias lifetime partner/spouse in Chicago where we spent seven years during medical training. Prior to moving to Indianapolis, we lived in Boston for about 10 years. Do you remember when you first heard classical music? I remember my junior high orchestra played Brahms’ First Symphony — probably not a good idea as I am sure we played it terribly! The first concert I attended was with my future spouse. The Chicago Symphony Orchestra had a student series that we got our first year in Chicago. It was a remarkable experience for a student to go to Orchestra Hall and hear the CSO perform. What was the first ISO concert you ever attended? When we moved to Indianapolis in 1996 we got tickets to individual concerts, the following season we became season subscribers to the classical series, which we have kept ever since. What has been your favorite musical experience with the ISO so far? Raymond Leppard used to program thematic mid-winter and spring festivals (which I am delighted to see ISO returning to this year). In the spring of 2000, in a series of three backto-back concerts, Raymond explored the Mozart piano concertos with three very different pianists: Emile Naoumoff, Howard Shelly, and Imogen Cooper. The concerts were spectacular. It is impossible to describe the transcendental nature of these performances and how emotionally impactful they were. I think of them and am still moved to this day. Who are your favorite composers? We listen to the full repertoire of the classical music literature — from medieval/renaissance music, to music composed within the past few years. However, we tend to favor the so-called First Viennese School: Haydn, Mozart, Beethoven, and Schubert. How is your life better with music? Classical music is a passion in our lives. We listen to classical music every single day, it is particularly appropriate when we are just home from work and trying to unwind from the stresses of the work day. What led you to donate to the ISO? Why is it important to you? The ISO is the most important performing arts organization in the state of Indiana. It has greatly enhanced our quality of life for the past 20 years that we have lived in Indianapolis. I am proud to have been asked to be on the Board of Directors for most of the past decade.

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TICKETS ARE JUST $10 FOR STUDENTS & TEACHERS!

WE

One ticket per valid ID.

ST STUDENTS UDENTS ELEMENTARY. MIDDLE SCHOOL. HIGH SCHOOL. COLLEGE.

PICTURES AT AN EXHIBITION March 6 - 7PM

Join us for our third annual Student & Teacher Appreciation concert! This year’s performance will feature the ISO’s Side-by-Side program, which pairs high school musicians alongside professional musicians, performing works by Verdi, Glazunov and Mussorgsky/Ravel.

TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL THE BOX OFFICE AT 317.639.4300

INDIANAPOLIS

SYMPHONY ORCHESTRA

ACCESS To ISO Patrons

CORPORATE SPONSORSHIPS

Complimentary use of the Wood Room Complimentary tickets and VIP Parking passes

PROMOTION Logo on lobby signage Company name and logo in Program Book Name recognition from the stage On-site Sampling and Display tables

COMMUNITY Provide employees with volunteer opportunities Associate your brand with an Indianapolis cultural gem

FOR MORE INFORMATION, CONTACT: Danielle Dennis, Corporate Relations Manager 317.231.6723 | [email protected]

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CONFERENCES | ENTERTAINMENT | CORPORATE MEETINGS GRADUATIONS l WEDDINGS

For more information visit IndianapolisSymphony.org or call 317.231.6798.

Looking to get in involved with Indiana’s largest performing performin arts organization? We are looking for volunteers to W join us during oour performances! Ben Folds with the ISO

TO GET INVOLVED VISIT: IndianapolisSymphony.org/Volunteer or contact Donna Finney 317.231.6792 [email protected]. 67

CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact the Director of Development at 317.262.1880.

btlaw.com

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ISO ASSOCIATION SHERRY AMLUNG / President WENDY ADAMS / President Elect NELA SWINEHEART / Treasurer RITA MARTIN / Recording Secretary CINDY OHLROGGE / Assistant Treasurer ROBERTA GRAHAM / Corresponding Secretary CONNIE MENKE / Immediate Past President

BOARD MEMBERS, CITY GROUP & STATE UNITS J. Dara Amlung Mary Kay Anthony Janet Barb Charlene Barnette Susan Beckett Peg Brummit Joannie Burgett Faye Crabtree Nancy Christy E. J. Choe Marty Davis Rebecca Davis Ruth Durbin – VP Carol Edgar

Glenda Griffin Karen Harding Pat Hoeffken Ruth Hudson Kay Kinder – VP Meme Kramer Mable Lewis – VP Pat McCormick – VP Gail McDermott-Bowler Ann McKenzie Sue Meyer Dorothy Miller Peg Myers – VP Laura Nelson

Leslie Nelson Davine Nolcox Sharon Paskins Joyce Peterson Jan Pierce – VP Kimberly Potosnak Barbara Ralph Mary Richards Carol Rohrbaugh-Mote Cheryl Rosenfeld Helena Rudolf Sondra Scaggs Betty Sisco Susan Smithburn – VP

Sarah Stoel Peg Strodtbeck Linda Sykes – VP Marge Vogel Joanna Weiler Mary Ellen Weitekamp Esther Weaver Mary Whalin Dorothy White Eleanor Wilcox Jackie Williams Margie Zaring

Lou Ramey Martha Anne Varnes Marian Meditch Margaret Hansen Kahn Kitty Baker Ann Strong Jean Quinn Anna White

Helen Rudesill Sue Maine Dagnia Kleinops Illene Maurer Nancy Christy Karen Davis Peggy Myers Katie Patterson

Dawn Fazli Janet Barb Patricia A. Quinn Charlene Barnette Pam Hicks Connie Menke

PAST PRESIDENTS Alma Ayres Jo Latham Sarah Goodman Josephine Madden Marion Fotheringham Florence Curle Margie Tomlinson Jessie Burns

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ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Orchestra Operations K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Operations and Facilities Joanne Bennett, Director of Operations Bethany Davis, Facilities Coordinator Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration Zack French, Director of Artistic Planning Gregg Gleasner, Artistic Advisor Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Pops & Presentations Coordinator DEVELOPMENT Holly C. Johnson, Vice President Megan Meyer, Executive Assistant to the Vice President Casey Chell, Director of Development Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and Foundation Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Danielle Dennis, Corporate Relations Manager Sally Meyer, Foundation and Grants Manager Cindy McHone, Gift Processing Manager Brian Oakley, Individual Giving Manager Caily Wolma Lee, Individual Giving Associate Eric Salazar, ISO Association Assistant

MARKETING & COMMUNICATIONS Sarah Ross, Director of Marketing Anja Hoover, Associate Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Marci Taylor, Graphic Designer Communications Jessica Di Santo, Director of Communications Leila Viera, Publications Manager Lauren King, Digital Communications Specialist Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Andrew Lay Senior Customer Care Representative Anita Blackwell Mary Ferguson Crystal Black Nick Neukom Erika Fowler Janine Knuutila Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Linda Noble, Associate Director, Education Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Education Program Coordinator FINANCE Steve L. Hamilton, Vice President Adam White, Controller Candi Berry, Staff Accountant Teaka Vest, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist

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HILBERT CIRCLE THEATRE INFORMATION Welcome to the Hilbert Circle Theatre, home of the Indianapolis Symphony Orchestra. We are delighted you are with us and hope you enjoy the performance. Box Office For questions about parking, tickets, subscriber benefits and will call, visit our Box Office at the main entrance to the theater (off of Monument Circle) or the satellite Box Office at the east entrance (off Scioto Street). Coat Checks and Restrooms Coat checks are located on the main floor and on the Oval Promenade on the second floor. The second floor can be reached by staircases on the east and west end of the theater or elevators near the main entrance. Accessible restrooms are located on both floors. Emergency In the event of an emergency, please use the nearest exit (marked by lighted signs). This is your shortest route out of the theater. Ushers For questions about Hilbert Circle Theatre accessibility, first aid and lost and found, please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.

Subscriber Hotline If you are a subscriber and have any ticketing needs, please call the Subscriber Hotline at 317.236.2040, or email the ISO at subscriber@ IndianapolisSymphony.org. This dedicated hotline is staffed during normal business hours by our Customer Care Representatives. You may also leave a message after hours, and a representative will respond promptly. Beyond the Concert Attend The J. K. Family Foundation Words on Music one hour before every Lilly Classical Series concert to hear from conductors and musicians performing that evening. Grab a drink and mingle with friends and ISO musicians after select evening concerts during Reverb. Also, join us for a behind-the-scenes discussion with special guests during First Mondays at the ISO. For information, please email firstmondays@IndianapolisSymphony. org.

Parking Garage Attached to Hilbert Circle Theatre Express Parking Garage is open on the west side of Pennsylvania Street between Market and Washington Streets. A canopy connects the garage to the Hilbert Circle Theatre lobby, giving you a close and convenient parking option. For evening concerts, pay on your way in to save the time and trouble of waiting in line after the concert. For our Coffee Concert patrons, parking is limited; therefore, we recommend garages at the Circle Centre Mall.

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at [email protected]!

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Oxford proudly supports the Indianapolis Symphony Orchestra.

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CHICAGO ) CINCINNATI ) GRAND RAPIDS ) INDIANAPOLIS ) TWIN CITIES 317.843.5678 ) WWW.OFGLTD.COM/ISO