volume 5

V5 COVER

CHRIS BOTTI

TIME FOR THREE

CELEBRATION OF BCK HISTORY CHELSEA TIPTON, CONDUCTOR

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

Chris Botti with the ISO DeWaart Conducts Beethoven’s “Eroica” Tchaikovsky - Plus: The Labèque Sisters Music of Queen

Note: Ad sizes spec’d were only 0.125” from outer edge, had to Celebration BlacktoHistory Concert reduce ads that don’tofbleed be at least 0.25” from edge. FEBRUARY | VOLUME 5

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THE PROGRAM BOOK Programs 16 February 2, 2017 17 February 3, 4, 2017 29 February 10,11, 2017 32 February 17, 18, 2017 33 February 19, 2017 44 February 23, 2017 45 February 24, 2017 55 February 25, 2017 59 February 28, 2017 Featured Articles 8 Music In My Life 13 ISO Musicians Around Town 14 Inside the Usher Corps 62 Arts in Indy Departments 9 ISO Profile 77 Hilbert Circle Theatre Information Support 63 Endowment 66 Lynn Society 68 Annual Fund 72 Why I Give 73 Tribute Gifts 74 Corporate Sponsors

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2016–2017 Hilbert Circle Theatre Artists 18 John Nelson 19 Stephen Hough 30 Lawrence Loh 31 Chris Botti 34 Edo de Waart 35 Tim McAllister 46 Rossen Milanov 47 Katia and Marielle Labèque 56 Richard Carsey 57 Brody Dolyniuk 60 Chelsea Tipton 61 Maria Sanderson 61 Christopher Wilburn The Indianapolis Symphony Orchestra 6 Musicians of the ISO 7 Board of Directors 75 Indianapolis Symphony Orchestra Association 76 Administration

WELCOME Dear friends, The month of February is a great example of the variety of concerts the ISO offers week after week. Our Classical Series continues with the return of former ISO Music Director John Nelson conducting Rachmaninoff’s Paganini Rhapsody, Edo de Waart conducting Beethoven’s “Eroica,” and the incredible Labéque sisters performing Poulenc’s Concerto for Two Pianos and Orchestra. Chris Botti returns to our stage on Valentine’s weekend as part of our Pops Series. Time for Three will perform the third concert in the Happy Hour series. And the last weekend of February features a tribute to the music of the legendary band Queen. February is also a special month as we present our 33rd Celebration of Black History concert. I am particularly excited to welcome IMPD Officer Christopher Wilburn to our stage for the first time. Not only does Officer Wilburn protect and serve our city every day, but he has an incredible vocal talent he has been able to share at Colts games, in local theater productions, and now at the Hilbert Circle Theatre. If you plan to attend, I encourage you to arrive early, as the ISO’s Metropolitan Youth Orchestra will be performing prior to the concert in our theater lobby. If you’ve enjoyed the depth and variety of our 2016–17 season thus far, then I think you’ll be thrilled to hear about our upcoming 2017–18 season, which we plan to announce at the end of February. If you are a subscriber, then thank you! We hope you plan to renew your subscription this spring. If you’re not a subscriber, we encourage you to consider a season ticket package which provides exceptional benefits including the best savings, best seats, advanced ticket purchasing opportunities for our many special events like IPL Yuletide Celebration, and much more. Whether you’re here for Beethoven or Botti, Rachmaninoff or classic rock, we thank you for continuing to support the Indianapolis Symphony Orchestra. Sincerely,

Gary Ginstling Chief Executive Officer

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

Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith

Second Violin Konstantin Umansky, Principal David Bartolowits, (LOA) 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 Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair Jian-Wen Tong

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Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal

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

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

Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian Stage Quentin L. Quinn, Manager Kenneth Bandy, Technician P. Alan Alford, Technician Steven A. Martin, Technician

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

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

Officers

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

Board of Directors Wendy Adams Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D. John A. Bratt Bryan Brenner Vincent Caponi* Kiamesha Colom Trent Cowles Andrea Davis* Craig Fenneman Gary Ginstling* Peter W. Howard, Ph.D.

Ann Hampton Hunt Phil Kenney* Joseph M. Kessler David Kleiman Liz Kyzr Martha D. Lamkin* Sarah L. Lechleiter Greg Loewen Karen Mangia Scott Martin Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Marc Nichols

Jackie Nytes Michael P. O’Neil* Alice K. Schloss Patrick Sells Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* C. Daniel Yates James C. Zink Sr. Jennifer Zinn *Executive Committee

Board of Trustees John M. Mutz, Chair Robert A. Anker Stephen E. DeVoe Carolyn S. Hardman Kay Koch

Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder Fred E. Schlegel

Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood

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

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MUSIC IN MY LIFE

RICHARD GRAEF, Horn

Richard Graef was born in Minneapolis and grew up in the Chicago area. The son of a flutist with the Chicago Symphony Orchestra, Graef received his B.M. degree from Ithaca College and has studied with John Covert and Gail Williams. Before joining the Indianapolis Symphony Orchestra in 1991, Graef was a member of the Honolulu, Memphis, and Natal symphonies. Graef has also performed with the Cincinnati, Houston, and Lyric Opera Orchestras. As a soloist, Graef has performed with many orchestras including the Chicago Symphony Orchestra and Indianapolis Symphony Orchestra. Graef is also an active chamber and studio musician. He has served on the Orchestra Committee, including several terms as Chair, as well as committees for the Music Director search, touring and musician pensions, as well as the ISO’s education programs. Graef is a previous winner of the ISO’s Patch Leadership Award and Alice Akins Award along with being named an outstanding young alumni from Ithaca College. When not performing great music, he can be found racing sailboats on Eagle Creek Reservoir, The Great Lakes, or the Pacific Ocean. What was your first musical instrument, and how old were you when you started playing? I started playing piano beginning in the second grade and hated it. When I was 10, I started playing the horn and stuck with it. What/Who inspired you to play horn? My parents and all of the great musicians that were around my house when I was young inspired me to become a musician. The horn section of the Chicago Symphony, especially Gail Williams, who was my first horn teacher and also held positions in the Chicago Lyric Opera and the Chicago Symphony. What do you enjoy doing when you are not performing? I love to sail and race sailboats. I race in Indianapolis on Eagle Creek Reservoir and spend many of our free weeks racing larger yachts on Lake Michigan and Lake Erie. I have also raced on the West Coast including the famed Transpac Race from Long Beach to Honolulu. What do you love most about being a part of the ISO family? I truly love the great connections that I have made with my colleagues and our audiences through performances of such a wide array of music. What are you most looking forward to playing on the 16-17 Classical Season? I am most looking forward to playing Mahler’s Symphony No. 1. This is one of the best works for horn. Mahler has the horns not only play bells up but tells them to (Aufstehen) “Stand up” on the last page of the final movement.

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ISO PROFILE

Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before—inside and outside the concert hall. A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three). The ISO’s home—the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916–1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc. Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue is in his ninth season with the ISO, leading the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through appearances on the podium each season. The ISO in 2016–2017 In his sixth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Prokofiev, Mahler and Chopin and is collaborating with renowned soloists André Watts, Hilary Hahn and Dejan Lazić. Maestro Urbański also presents the Music of the Earth festival, a mid-winter festival of musical masterworks inspired by the majesty of our planet. In the Printing Partners Pops Series, Maestro Jack Everly is proud to conduct John Williams’ Indiana Jones: Raiders of the Lost Ark with film and orchestra, Sci-Fi Spectacular, celebrating the 50th anniversary of Star Trek, and Timeless Classics with music legend, Maureen McGovern. Special events this year include the 31st anniversary of the IPL Yuletide Celebration and the 100th anniversary of the Hilbert Circle Theatre.

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INDIANAPOLIS SYMPHONY ORCHESTRA

14TH ANNUAL

MAESTRO OPEN P R E S E N T E D B Y C E N TA U R G A M I N G

JUNE 5, 2017

WOLF RUN GOLF CLUB LAST TIME AT WOLF RUN! The course is scheduled to close in September. Join us for one last round on the legendary links! Register your team early by contacting:

Carol Ann Arnell

[email protected] or 317.262.5225

AT C O N N E R P R A I R I E A M P H I T H E AT R E

DREAMING OF SUMMER YET? 10-ticket value packs are on sale now!

Buy now and receive 10 tickets for the price of 7! BUY NOW AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300 12

MUSICIANS AROUND TOWN

Jennifer Christen, Oboe

Sam Rothstein, Clarinet

Victoria Griswold, Violin

Sarah Boyer, Cello

Diane Evans, Harp

On February 8 at 10:30 a.m., The ISO presents the latest in its Teddy Bear Series, specifically designed for pre-school children: The Garden Symphony. Musicians performing are Jennifer Christen, oboe, Sam Rothstein, clarinet, Victoria Griswold, violin, Sarah Boyer, cello, and Diane Evans, harp. Performances take place at the Central Library downtown and are free to the public. Programs are for children ages 3–6, and preschool classes are welcome. Teddy bears are also welcome! On February 9, Washington State's orchestra will play James Beckel’s (Principal Trombone) The Glass Bead Game. Every Thursday, The Mark Ortwein JazzTet plays at the Fountain Square Brewery from 6:30– 8:30 p.m. Included in the group is Peter Hansen, bass, Crag Hetrick, drums, and Mark Ortwein, saxophone and electric bassoon. There is no cover charge. On Sunday March 5th, The Icarus Ensemble will return to The Jazz Kitchen from 6:30–8 p.m. Made up of current and former ISO Musicians Dean Franke, violin, Peter Hansen, bass, and Mark Ortwein, winds, along with regular ISO extras. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD will be available for sale that evening and is also available on ITunes, CD Baby, Spotify, Rhapsody, Amazon MP3, and other e-retailers. www.thejazzkitchen.com. 5377 N. College, 317-253-4900.

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INSIDE THE USHER CORPS Ushers are Indianapolis Symphony Orchestra ambassadors and an integral part of our success! These volunteers are responsible for providing outstanding customer service to Hilbert Circle Theatre and Marsh Symphony on the Prairie patrons. Read the experience first-hand from two of our dedicated ISO volunteers, Sam and Carol Bixler.

Sam and Carol Bixler are Indianapolis residents. Carol grew up in south Alabama and Sam grew up in Iowa. Sam is an engineer with Eli Lilly & Co. and was previously on the board of Indianapolis Suzuki Academy for many years. He volunteered at Global Gifts, a fair trade store, and with the Warren Central High School Dads for many years. Carol continues to volunteer at Global Gifts and in Warren township schools. Both are active in their church and an important part of our ISO Voluneer family. Have you ever played an instrument? Carol played flute in high school. Sam grew up with classical music and played cello in the family quartet. He still plays occasionally. Both of us play recorders. Do you remember your first experience with the ISO? Yes! We received tickets to the IPL Yuletide Celebration from a friend when we first moved to Indianapolis with a preschooler. We got tickets to the Family Series for a few years. Then we decided that we would make the ISO our “date night” and got the 7-concert subscription package. We had many positive interactions with ushers over the years and thought that “someday” we would like to do that job. In the fall of 2015, we saw in our program books that volunteers were needed for Yuletide ushering. We enjoyed it so much that now we volunteer as often as possible. What has been your favorite experience with the ISO so far? Sam: The Gil Shaham/Jennifer Christen concert was wonderful. Carol: Having patrons remember me from ushering the previous year at Yuletide 2016! Why is volunteering for the ISO important to you? Volunteering for the ISO is a small way for us to support the arts in Indianapolis, which we are happy to do. What would you tell someone that is considering volunteering with the ISO? We appreciate the camaraderie with the house staff and volunteers as well as the interesting patrons. There is never a dull moment, it is truly a wonderful experience.

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THE INDIANAPOLIS SYMPHONY ORCHESTRA’S

2017-2018 SEASON IS SOON TO BE ANNOUNCED What festival is Krzysztof planning? Will Joshua Bell be back? Who is hosting Opening Night Gala? Will the ISO perform more film scores? What is the big season finale?

Find out at IndianapolisSymphony.org on February 27!

Note: Ad sizes spec’d were only 0.125” from outer edge, had to that bleednext to season? be at least 0.25” from edge. Want reduce the lowestads prices to don’t ISO concerts Become an ISO subscriber!

Starting February 27, you can be the first to subscribe to our 2017-18 season. Find out more by visiting IndianapolisSymphony.org, or call 317.639.4300 for details.

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FEB 2

RACHMANINOFF’S PAGANINI RHAPSODY

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Five † Thursday, February 2, 2017, at 11:15 a.m. Hilbert Circle Theatre JOHN NELSON, Conductor STEPHEN HOUGH, Piano Maurice Ravel Le Tombeau de Couperin (1875–1937) Prélude Forlane Menuet Rigaudon Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 (1873–1943) Stephen Hough, Piano Maurice Ravel Suite No. 2 from Daphnis et Chloé (1875–1937) Lever du jour Pantomime Danse générale

† The Coffee Concert is an abbreviated performance. Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. There is no intermission

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

RACHMANINOFF’S PAGANINI RHAPSODY

FEB 3, 4

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Ten Friday, February 3, 2017, at 8 p.m. Saturday, February 4, 2017, at 5:30 p.m. Hilbert Circle Theatre JOHN NELSON, Conductor STEPHEN HOUGH, Piano Maurice Ravel Le Tombeau de Couperin (1875–1937) Prélude Forlane Menuet Rigaudon Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 (1873–1943) Stephen Hough, Piano INTERMISSION - Twent y M i n ute s Ralph Vaughan Williams Fantasia on a Theme by Thomas Tallis (1872–1958) Maurice Ravel Suite No. 2 from Daphnis et Chloé (1875–1937) Lever du jour Pantomime Danse générale Premier Sponsor

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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FEB 2–4

JOHN NELSON, Conductor

The distinguished American conductor, John Nelson, is one of the world’s most versatile and accomplished conductors. He is particularly noted as a great interpreter of large Romantic works, for his performances of opera—in particular the operas of Berlioz—and for his vibrant and stylish performances of Baroque music. Born in Costa Rica of American parents, John Nelson studied at Wheaton (III) College and with Morel at the Juilliard School of Music in New York. John Nelson held the title of Music Director with the Indianapolis Symphony Orchestra from 1976 to 1987 and with the Opera Theatre of St Louis from 1979 to 1988. He was also Music Director of the Caramoor Festival in Katonah, New York from 1983 to 1990. In September 1998, he took up the position of Music Director of the Ensemble Orchestral de Paris, beginning in the 1998–1999 season. John Nelson regularly conducts in virtually all the major cities thoughout the world. In America, he has appeared with such orchestras as the New York Philarmonic Orchestra, Los Angeles Philharmonic Orchestra, Philadelphia Orchestra, Cleveland Orchestra, Boston Symphony Orchestra,

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Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, and San Francisco Symphony Orchestra. In Europe, with all the London orchestras, Dresden Staatskapelle, Leipzig Gewandhaus, Orchestre de Paris, the orchestras of Cologne, Stuttgarter Philharmoniker, Rotterdam Philharmonic Orchestra, Oslo, and Royal Stockholm Philharmonic Orchestra. John Nelson has a particular love of opera and is a frequent visitor to such opera houses as the Chicago Lyric, Metropolitan Opera, and Santa Fe, as well as the opera houses of Rome, Paris, Lyon, and Geneva. His Erato recording of Beatrice and Benedict has won numerous awards in Europe, and in 1994, his DG recording of Georg Frideric Handel’s Semele won a Grammy award in the U.S. Great sacred masterpieces are central to John Nelson’s work, and he is renowned for his interpretations of the great choral works of the repertoire, in particular the J.S. Bach’s Passions and B minor Mass (BWV 232). His commitment to this repertoire and his concern for the lack of 20th century choral works has led him to form Soli Deo Gloria Inc., a non-profit organization which commissions one leading composer per year to write a major sacred work. Recent projects have included the world premiere performance of Paul Schoenfield’s Deborah in Israel. Commissions have been given to Christopher Rouse, George Arasimowicz, Paul Schoenfield, Augusta Read Thomas, and others.

STEPHEN HOUGH, Piano Stephen Hough is regarded as a renaissance man of his time. Over the course of his career, he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind, which has earned him a multitude of prestigious awards and a longstanding international following. In 2001, Mr. Hough was the first classical performing artist to win a MacArthur Foundation Fellowship. He was awarded Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010, and in January 2014 was made a Commander of the Order of the British Empire by Queen Elizabeth in the New Year’s Honors List. He has appeared with most of the major European and American orchestras and plays recitals regularly in major halls and concert series around the world. Many of Mr. Hough’s catalogue of over 50 albums have garnered international prizes including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone Magazine Awards including ‘Record of the Year’ in 1996 and 2003, and the Gramophone ‘Gold Disc’ Award in 2008, which named his complete Saint-Saens Piano Concertos as the best recording of the past 30 years. His 2012 recording of the complete Chopin Waltzes received the Diapason d’Or de l’Annee, France’s most prestigious recording award.

FEB 2–4

Mr. Hough is also the featured artist in an iPad app about the Liszt Piano Sonata, which includes a fully-filmed performance and was released by the cutting-edge, award-winning company, Touch Press. Published by Josef Weinberger, Mr. Hough has composed works for orchestra, choir, chamber ensemble, and solo piano. His “Mass of Innocence and Experience” and “Missa Mirabilis” were respectively commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Mr. Hough’s own orchestration of “Missa Mirabilis,” which was subsequently performed by the BBC Symphony as part of Mr. Hough’s residency with the orchestra. Mr. Hough has also been commissioned by the musicians of the Berlin Philharmonic, the Gilmore Foundation, London’s National Gallery, Wigmore Hall, Le Musée de Louvre, and Musica Viva Australia among others. A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Tablet, Gramophone and BBC Music Magazine and wrote a blog for The Telegraph for seven years which became one of the most popular and influential forums for cultural discussion and for which he wrote over six hundred articles. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007. Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

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FEB 2–4

Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Le Tombeau de Couperin Maurice Ravel Born March 7, 1875 in Ciboure, Basses-Pyrénées Died December 28, 1937 in Paris, France “The dead are sad enough in their eternal silence.” ­—Maurice Ravel World War I had a transformational effect on Maurice Ravel. At age 39, the dapper, elegant, charming French composer enlisted in the French army in the Thirteenth Artillery Regiment, serving as an ambulance driver and a nurse. (His small stature and physique prevented him from serving in any kind of infantry.) Ghastly scenes of suffering and the loss of friends and his mother during his military service created within him a more serious personality than the “joie de vivre” attitude of his pre-war personality. But his humor was not entirely lost during his service. He named his ambulance Adelaide, and when he wrote letters during that time, he signed them “Chauffeur Ravel.” What had begun as a six part piano suite to celebrate the age of François Couperin found its final publication with a front page (designed by Ravel) featuring a draped funeral urn. Each movement was dedicated to a friend who had died in combat. The title Tombeau (meaning tomb) also references a French musical term from the seventeenth century which meant “memorial.” Traditionally, a tombeau as a tribute work referred only to one person. Le Tombeau de Couperin actually began before the war. Ravel had started the suite in 1914 with the Forlane, writing to Cipa Godebski, “I am transcribing a forlane by Couperin. I will see about getting it danced at the Vatican by Mistinguett and Colette Willy in drag.” (Barbara Kelly: History and Homage.) A forlane is a northern Italian dance. This

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transcription appeared in the fourth Concert Royal in the Spring of 1914. Later that year, Ravel wrote to RolandManuel that he was writing a full French suite based on Baroque models, saying, “No, it isn’t what you think. La Marseillaise will not be in it, but it will have a forlane and a gigue, no tango however.” His piano suite was completed in 1917. In 1919, at the request of his publisher, the composer orchestrated four of the original six movements, omitting the fugue and the toccata. (An orchestral version of the toccata was made by conductor Zoltan Kocsis.) The four movements are Prélude, Forlane (which contains the most direct relationship to Couperin), Menuet, and Rigaudon. This version premiered in Paris on February 28, 1920, performed by the Pasdeloup Orchestra, with Rhené-Baton conducting. Roland Manuel wrote, “This metamorphosis of piano pieces into symphonic works was a game for Ravel, a game played to perfection, so that the transcription outdid the original….It is a work of extreme economy.”(Philip Huscher) The energetic Prélude moves gracefully in perpetual motion, with sixteenth notes grouped in triplets. It was dedicated to the memory of Lieutenant Jacques Charlot. Note the prominent part assigned to the oboe and the winds. The Forlane (forlana) is dedicated to the memory of Lieutenant Gabriel DeLuc. It is based on a Venetian passamezzo, said to have been popular with gondoliers in the seventeenth century. It is cast in 6/8 meter and overall maintains a jolly, sparkling mood. Again, note the prominence of the winds.

Notes The Menuet is dedicated to the memory of Jean Dreyfus, the stepson of one of Ravel’s friends. This section retains the stateliness of the baroque minuet, now colored by touches of melancholy. The concluding, vivacious Rigaudon is dedicated to the brothers Pierre and Pascal Gaudin, who died on the first day of their service on the front in 1914. The dance, in 4 duple meter, originated in Provence in the seventeenth century. It was characterized by hopping steps and became very popular in the French courts. The title Rigaudon has been attributed to the inventor Rigaud, a French dancing master from Marseille. Gerard McBurney, composer and musicologist, has explained the seemingly contradictory combination of the war and the behavior of Ravel’s music saying, “Le Tombeau does not talk directly about the war; it talks about eternal values: it talks about beauty and elegance, the things we want to preserve...in other words, the opposite of war.” The ISO’s last performance of Ravel’s Le Tombeau de Couperin was November 17, 2013, conducted by Carlo Rizzi. Rhapsody on a Theme of Paganini, Op. 43 Sergei Rachmaninoff Born April 1, 1873 in Oneg, Russia Died March 28, 1943 in Beverly Hills, California Nicolo Pagnini (1782–1840) was not only a stellar violinist but also a rock star type performer during his concertizing career which ended in 1834. One of his claims to fame was his astonishing violin technique. He dazzled audiences with various displays not only of virtuosity and pioneering violin techniques (pizzicato with the left as well as the right hand, complicated bowings and fingerings, etc.), but also with strange tricks to mesmerize devoted fans.

FEB 2–4

It was not all talent. He suffered, or perhaps was blessed by, Ehlers Danlos syndrome which gave him extraordinary joint flexibility, allowing him to “twist his wrist in all directions” (Philip Sandblom in Creativity and Disease). For extra showmanship, at one of his concerts, he cut three of the four strings of his violin and continued his concert on a single string, flipping his arm and bow in amazing directions thanks to his special joint flexibility. Some said that his prowess resulted from contact with the devil; some said he even had a cloven foot (again a devil reference). Goethe noted, “In Paganini the demonic can be seen very clearly, and it is this that enables him to produce his marvelous effect. ”The French critic, F. J. Fetis, echoed the sentiment saying, “the extraordinary expression of his face... Together with the sardonic smile appeared to be unmistakable evidences of a Satanic origin.” He was from time to time called Mephistopheles, charlatan, witch’s son, and wizard. Some said he played on strings made from the intestines of one of his deceased lovers. Compounding his stunning musical performances and gossip was his physical image. He usually dressed in black, was delivered to many concerts in a coach drawn by four black horses, was tall and thin, likened to a cadaver, and had exceptionally long arms and fingers (probably resulting from Marfan syndrome) and jet black hair. He was dramatic and seductive on many levels. He cultivated these magical perceptions. Sometimes he tuned his violin a semitone higher to create brilliance, increasing the astonishing effect of his playing. Paganini’s Twenty-four Caprices for Solo Violin became an inspirational magnet for important composers such as Brahms (Opus 35), Schumann (Opus 10 and 3), and Liszt (Six Transcendental Etudes) who were lured to try their hand at piano transcriptions. In 1934, Rachmaninoff was drawn to the well, and

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he selected the twenty-fourth caprice as the basis for a set of variations which many have said is his finest work for piano and orchestra. As a virtuoso pianist, it is more than likely he was acquainted with the precedents. Opus 43 was his last work in this format. Rachmaninoff was also inclusive of elements within Paganini’s life such as his exploitative relationships with women, as well as the scary demonic association. “All the variations which have the Dies Irae theme represent the evil spirit…Paganini himself appears in the theme,” he explained. During the nineteenth century, the somber Dies Irae theme had become not only a “death theme” but an idea which represented the supernatural. The pairing of this element with the zippy Paganini theme iterated at the beginning is a bold and significant combination. Both, however, are part of a full Paganini portrait. Your musical itinerary is as follows: Contrary to traditional variation format which states a theme and variations follow, Rachmaninoff’s introduction begins with an Allegro vivace which starts the variation procedure itself. The theme is broken up into tiny points, punctuated by the pianist. It is a saucy, rhythmically active tune, highly etched with leaps and rests, carving a memorable line. The presentation of the theme is presented next, sung in unison by violins, accompanied by the piano. Variations 2–6 continue the variation idea in its original tempo and energy. Like the Brahms, Rachmaninoff adds ever increasing complexity to the main idea as the variations progress. Variation 7: This interpolates the Dies Irae, Day of Judgment chant which is first stated in the piano as a sustained melody in half notes. The speed is sharply reduced with the introduction of this dark force. Rachmaninoff

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wrote of this inclusion saying that “all the variations which have this liturgical statement represent the evil spirit to whom Paganini sold his soul for ‘perfection in his art and the love of a woman.’” (Letter to Fokine) Variations 8, 9, and 10, “are the development of this evil spirit.” (Rachmaninoff ). The theme becomes more and more overt and forceful. Variation 10 casts the Dies Irae in bold octaves in the middle register from the soloist, marked marcato. Variation 11 marks a sharply changed mood: aggressiveness is gone as the music enters into “the domain of love.” (Rachmaninoff ) String tremolos create a shimmering curtain of sound which is completed by a mysterious passage in the harp. The meter changes to ¾. The piano has improvisatory freedom with light accompaniment. Variation 12: Tempo di Minuetto. The dance “introduces the presence of a woman.” Variation 13: “the conversation between a man and a woman” (Rachmaninoff. The dance-like character of the preceding variation is augmented, but now with a more demonic character. The waltz is marked molto marcato. Sometimes the piano emphasizes the second beat, which now along with the orchestral emphasis on the first beat creates a strong and violent sensation. Variation 14: The waltz meter continues, but the music is heavier and more martial, “like a parade of three-footed soldiers” (Jonathan Kramer) Horns and strings start off the transformation; the texture is thick and chordal. Variation 15: a piano solo of twenty-seven measures, similar to a cadenza. Variations 16, 17, and 18 feature new viewpoints of the main idea, and the tempo slows down for all three. The sixteenth

Notes features solo violin with piano decorations. The 17th starts off with low sounds from the piano which grow directly from the orchestral tremolo at the end of 16. The 18th is a romantic nocturne, based on an inversion of the main theme, which is sung first by the soloist and then by the orchestra. Rachmaninoff called this the “ultimate love episode.” The transformation of the bouncing main theme into a lyrical statement is magical and stunning. For information on how this happens see, Chien Chou “Variation Procedure in Rachmaninoff’s Piano Works” (Ph. D. dissertation, Boston University). Variations 19–20 pay more homage to the violin inspiration with copious pizzicati and elaborate string figuration. In variation 20, the pianist’s hands play in parallel motion and the tempo accelerates in a perpetual motion style. Variation 19: This marks a big change into the highly technical drama of the whole piece. This variation, Rachmaninoff explained “is Paganini’s triumph with his diabolic pizzicato.” String pizzicati are imitated by the piano, often in a high register with snappy articulations. Variations 21–22 are rapidly moving scherzi. “It seems to me that the other personages representing the evil spirit should be drawn as caricatures in their fight for the woman and Paganini’s art. They should also be with violins but even more fantastic and grotesque.” Variation 22 is the longest variation of the entire set: it is divided into three sections, concluding with a cadenza which is introduced by an orchestral crescendo. Variation 23: moves back in 2/4 meter, the original marking for the Paganini theme. Rhythmic contrasts between orchestra and pianist offer not only complexity but growing intensity. Variation 24: provides a massive capstone to

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the entire work. The Dies Irae theme emerges heavily in brass and strings while piano and winds recall prominent features of the subject. A brilliant coda reiterates fragments of the theme, compressing earlier ideas within a massive acceleration. Suddenly and surprisingly there is a drop to an unexpected soft dynamic and two cadential chords from the piano mark the ending. The ISO’s last performance of Rachmaninoff’s Rhapsody on a Theme of Paganini was March, 2014, conducted by Krzysztof Urbański featuring pianist, Anna Vinnitskaya Fantasia on a Theme by Thomas Tallis Ralph Vaughn Williams Born October 12, 1872 in Down Ampnet, Gloucestershire Died August 26, 1958 in London, England The intertwined religion and politics of Tudor England (1485–1603) which included the famous Henry VIII and Queen Elizabeth I among the five monarchs, created a dangerous and turbulent world. For example, The Court of Star Chamber, 1487–1641, could order torture and prison, as well as fines, in secret court sessions with no right of appeal. Henry VIII dissolved over eight hundred monasteries, broke with Papal authority, and transferred church assets to the crown. “Bloody Mary”, Queen Mary I after marrying a Spanish prince, burned three hundred Protestants to death. Queen Elizabeth I, the last of the Tudors, faced many plots against her life, founded England’s first counterintelligence network to ferret out spies on her and her regime, and succeeded in having Mary I executed. The wives of Henry VIII met terrible deaths. Tudor England produced 118 years of domestic mayhem coupled with impressive accomplishments in foreign affairs. The composer Thomas Tallis (c 1505–1585) lived through these remarkable times, and became famous for his sacred choral music

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and for “laying the foundations of English church music.” (Encyclopedia Britannica) He was a genius: “Spem in alium” is a forty part motet, written for eight five-part choirs. He raised the quality of England’s sacred music to new heights, not only in tours de force, like the motet, but in beauty, innovation, and dignity. Although remaining a Roman Catholic throughout his lifetime, Tallis wrote for the Protestant faith as well. He served in the Chapel Royal fewer than four monarchs: two Catholic, and two Protestant, each monarch defining “the one true faith.” He was, obviously, remarkably adaptable and clever in avoiding persecution as a member of “the old faith.” Tallis was well liked by Queen Elizabeth I, and in 1575, he and his student, William Byrd were granted an exclusive patent to print and publish music in England: a big entrepreneurial coup for both Tallis and Byrd. There was another bit of luck—the big monasteries were, in Protestant times, transformed to secular cathedrals with large resident choirs. Hence, a big market for sacred music. Vaughn Williams (1872–1958), often called the founder of the nationalist movement in English music of the first half of the twentieth century, was a student of Elizabethan choral music, collected English folksongs, and was intrigued by the old modal tonalities. “His studies of English folksong and interest in the Tudor period [always] fertilized his talent, enabling him to incorporate modal elements (based on folk song and medieval scales) and rhythmic freedom into a musical style at once highly personal and deeply English.” In the composer’s words, the music of the Tudors went “straight to the fountainhead for its inspiration.. inheriting its energy and vitality from the unwritten and unrecorded art of the countryside.” In 1567, Thomas Tallis wrote a hymn in the Phrygian mode for the metrical English Psalter. Three and a half centuries later, Ralph

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Vaughgn Williams, then editor for the English Hymnal for the Anglican Church, selected this for the hymnal, Number 92. Musing on his choice, “I wondered if I was wasting my time. But I know now that two years of close association with some of the best (as well as some of the worst tunes in the world) was a better musical education than any amount of sonatas and fugues.” He also used the theme in his opera Pilgrim’s Progress, and in 1910 when he wrote a one movement work titled Fantasia on a Theme of Thomas Tallis for the Three Choirs Festival at Gloucester Cathedral. He planted the theme within three string bodies: a large string orchestra (titled Orchestra I), a small string orchestra (titled Orchestra II), and a string quartet. These groups participate in producing the theme, in the free variations of the theme, sometimes together and sometimes independently. The premiere was an immediate success, and the London Times reviewed: “Throughout its course one is never quite sure whether one is listening to something very old or very new. The work is wonderful because it seems to lift one into some unknown regions of musical thought and feeling…it cannot be assigned to a time or a school, but it is in full visions which have haunted the seers of all times.” The composer later revised the work in 1913 and 1919. There are six parts: Introduction: slow and stately, moving in quiet chords Statement of the theme: marked largamente First episode Second episode Third episode Fourth episode Restatement: (notice the solo violin’s reprise, climbing slowly to a high tone) Closing: relaxing into an elegant close. The music moves fluently, often changing meters seamlessly, colored by sumptuous crescendi and echoing decrescendi giving

Notes the sense of antiphonal choir placement. At all times gentleness and reverence prevail: espressivo and tranquillo are written frequently in the score. To be sure, Vaughn Williams revived the Tallis hymn, but he also revived English music. Through his leadership and example, a new English musical Renaissance began and flourished; the many years of German musical hegemony was broken. Suite No. 2 from Daphnis et Chloé Maurice Ravel Born March 7, 1875 in Ciboure, Basses-Pyrénées Died December 28, 1937 in Paris, France “There must have been something magical in the air of Europe in the years 1909–1910,” Martin Bookspan declared in his television notes of Dec 31, 1998. He noted that Richard Strauss was working on Der Rosenkavalier, Igor Stravinsky was working on The Firebird, Schoenberg was “shaking up the establishment” with Five Pieces for Orchestra, Puccini was putting the finishing touches on The Girl of the Golden West, and enigmatic sounds were whirring in the head of Jean Sibelius which would become his Fourth Symphony. Musical creativity was alive and well on every front. In 1909, the Russian Ballet swept into Paris, and stunned French audiences with their exciting and colorful ballets. In 1910, Sergei Diaghilev, the enterprising impresario, asked Ravel, then an up-and-coming talent, to write a ballet on the Greek legend of Daphnis and Chloe. In 1912, Ravel completed one of the most ravishingly beautiful scores ever written for the dance which he titled Choreographic Symphony. The love story of Daphnis and Chloe was a classic, dating from the fourth or fifth century A.D. In 1559, a French translation by Amyot appeared, and in 1657 an English version by George Thornley titled “A Most Sweet and

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Pleasant Pastorall Romance for Young Ladies” became very popular. However, the composer did not turn to classical Greece for his approach, explaining “My intention in writing it was to compose a vast musical fresco in which I was anxious less about archaicism than fidelity to the Greece of my dreams, which is that which the French artists at the end of the eighteenth century imagined and painted. The work is constructed symphonically, according to a strict plan of key sequences, out of a small number of themes, the development of which ensures the music’s homogeneity.” This story was based on Fokine’s adaptation of a Longus fable and dedicated to Sergei Diaghilev. When Ravel started his task he ensconced himself in Valvins, at the country home of his good friends, the Godebskis. He became so focused on the project that he did not even notice when the house flooded and the floor buckled! The project required three years. The Bacchanale required a year to complete to his satisfaction. Igor Stravinsky confirmed that the time was well spent, “It is not only Ravel’s best work but one of the most beautiful products in all of French music.” Daphnis et Chloe is set in three tableaux. 1. The ballet opens on Mitylene on the island of Lesbos. A procession of boys and girls enters a meadow on the edge of a sacred grove, dominated by a huge rock in the form of Pan. The music is gentle and nebulous as they offer fruit and floral tributes to the nymphs sculpted in rock. Soon the music organizes itself into a solemn dance. Daphnis and Chloe appear. The action intensifies when Daphnis is challenged into a dance “contest” for Chloe by a goatherd (Dorcon). Dorcon’s music is wild and energetic; Daphnis’s is subtle and graceful, and he wins her affection. Chloe leaves the scene briefly and another young sensual woman tries to win Daphnis’ affection in a seductive

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dance, but he resists. Suddenly, Daphnis hears frightening news—there has been an invasion by pirates, and Chloe has been captured. 2. This section is based in the Pirates Camp. A warlike dance swirls onto the stage and Chloe is brought in and ordered to dance. Just as the Chief Pirate grabs her, a huge shadow of Pan is silhouetted against the mountain top, and the pirates flee. 3. This section returns us to a clearing in the wood. Daphnis is lying in front of the nymphs’ grotto, mourning his loss of Chloe as dawn is breaking. Birds sing and the sound of rushing water is heard as the light gently enters and grows into a luminous dawn. Happily, Daphnis learns that Pan did save Chloe because of the God’s personal memories of his own love for the nymph Syrinx. Upon Chloe’s return Daphnis and Chloe perform a dance representing that love. Then, they fall into each other’s arms and all join in a frenzied, joyful, spectacular Bacchanale. Public reaction to the ballet was cool, as was Diaghilev’s reaction to the music, and the ballet opened and closed in two performances. The critic, Gaston Carraud, viewed the production as one of “deplorable confusion”; Pierre Lalo found Bakst’s conception of Greece unintelligible, and

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Fokine’s choreography “poor” and the music “lacking in rhythm.” Ravel explained the music’s ultimate success: “On the initial performance of a new musical composition, the first impression of the public is generally one of reaction to the more superficial elements of its music…. it is not until years after when the means of expression have finally surrendered all their secrets that the real inner emotion of the music becomes apparent to the listener.” Daphnis et Chloé has often been ranked as the finest ballet France ever produced. In Memoirs of a Ballet Master, Mikhail Fokine wrote “I loved the score from the first time I heard it.” For many of us that is very likely our initial and final reaction as well. Two suites were extracted from the ballet, and these have consistently met with success in the concert hall. The Second Suite consists of three movements played without pause: Lever du Jour (Daybreak), Pantomime (with a beautiful flute solo, referencing Syrinx who had been transformed into a reed pipe), and Danse Generale. The ISO’s last performance of Ravel’s Daphnis et Chloé was June 2014, conducted by Krzysztof Urbański.

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CHRIS BOTTI WITH THE ISO

FEB 10, 11

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Printing Parters Pops Series/Program Five Friday, February 10, 2017, at 8 p.m. Saturday, February 11, 2017, at 8 p.m. Hilbert Circle Theatre LAWRENCE LOH, Conductor CHRIS BOTTI, Trumpet Selections to be announced from the stage.

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FEB 10, 11

LAWRENCE LOH, Conductor

Lawrence Loh is the recently appointed Music Director of Symphoria, founded by former members of the Syracuse Symphony Orchestra. He is also Music Director of the Northeastern Pennsylvania Philharmonic. Additionally, Loh was recently named Artistic Director and Principal Conductor of the Syracuse Opera. In 2015, he concluded a decade-long association with the Pittsburgh Symphony Orchestra when he got promoted from Assistant to Associate and later, Resident Conductor. While in Pittsburgh, Lawrence Loh worked closely with Music Director Manfred Honeck and was also the Music Director of the Pittsburgh Youth Symphony Orchestra.

Prior to Pittsburgh, Lawrence Loh held the positions of Assistant and Associate Conductor of the Dallas Symphony and Associate Conductor of the Colorado Symphony. He was brought to national attention in February 2004 when he stepped in to conduct the Dallas Symphony on short notice for an ailing Charles Dutoit, conducting Stravinsky’s Petrouchka and Berlioz’s Symphonie Fantastique. Lawrence Loh holds degrees from the University of Rochester, Indiana University, and Yale School of Music. He and his wife Jennifer have a son, Charlie, and a daughter, Hilary. Follow him on instagram @conductorlarryloh or twitter @lawrenceloh or visit his website www.lawrenceloh.com

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CHRIS BOTTI, Trumpet Playing with his uniquely expressive sound and soaring musical imagination, trumpeter Chris Botti joins us with his warm, intimate celebration of melodic balladry. Impressions, trumpeter Chris Botti’s new Sony CD, is the latest in a stellar parade of albums—starting with 2004’s When I Fall In Love and continuing with To Love Again, Italia and the CD/DVD Chris Botti In Boston—that have firmly established him as the world’s largest selling jazz instrumentalist. Add to that a Grammy for “Best Pop Instrumental Album” and four number one albums on Billboard’s Jazz Albums listings. Botti seemed destined to become a musician—and even to become the kind of musician he is today—almost from the very beginning. Born in Portland, Oregon, he was encouraged to pursue music by his mother, a concert pianist. His father, who is Italian, taught English and Italian languages, and he took the family to live in Italy for several years, beginning when Botti was in the first grade.

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“I was speaking fluent Italian before we came back,” he recalls. “But, sadly, I’ve forgotten most of it.” He still feels a firm connection with his Italian roots, however, which was evident in the title song he composed with David Foster for the album, Italia. A significant connection took place when Botti was twelve, and he heard Miles Davis play “My Funny Valentine.” The impact it had not only persuaded him to make a life-time commitment to the trumpet, it also launched the affection for melody, space, and balance that have been intrinsic aspects of Botti’s musical vision. After attending Indiana University and studying with the highly regarded jazz educator David Baker, the great trumpet teacher Bill Adam, jazz trumpeter Woody Shaw, and jazz saxophonist George Coleman, he moved to New York in the mid-‘80s. Now a major artist in his own right, performing worldwide, selling more than three million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre. With Impressions and the albums that preceded it, Chris Botti has thoroughly established himself as one of the important, innovative figures of the contemporary music world.

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de WAART CONDUCTS BEETHOVEN’S “EROICA”

FEB 17, 18

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Eleven Friday, February 17, 2017, at 8 p.m. Saturday, February 18, 2017, at 7 p.m. Hilbert Circle Theatre EDO DE WAART, Conductor TIM MCALLISTER, Saxophone Igor Stravinsky Symphonies of Wind Instruments (1882–1971) John Adams Concerto for Saxophone and Orchestra (b. 1947) Animato Molto vivo Tim McAllister, Saxophone INTERMISSION - Twent y M i n ute s Ludwig van Beethoven Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”) (1770–1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto This performance is endowed by the Jean D. Weldon Guest Artist Fund. Premier Sponsor

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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.

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FEB 19

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series Sunday, February 19, 2017, at 3 p.m. The Palladium at the Center for the Performing Arts EDO DE WAART, Conductor TIM MCALLISTER, Saxophone Igor Stravinsky Symphonies of Wind Instruments (1882–1971) John Adams Concerto for Saxophone and Orchestra (b. 1947) Animato Molto vivo Tim McAllister, Saxophone INTERMISSION - Twent y M i n ute s Ludwig van Beethoven Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”) (1770–1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

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FEB 17–19

EDO de WAART, Conductor

Edo de Waart is Music Director of the New Zealand Symphony Orchestra, Music Director of the Milwaukee Symphony Orchestra, and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. He concluded his tenure with the Royal Flemish Philharmonic at the end of the 2015/16 season and took the title of Conductor Laureate. Regular guest conducting appearances include the Chicago Symphony, Los Angeles Philharmonic, and NHK Symphony orchestras as well as the Netherlands Radio Philharmonic Orchestra. This season, he will guest conduct several US orchestras including Cincinnati and San Diego symphonies, Minnesota Orchestra and Washington’s National Symphony Orchestra.

In addition to his existing posts, he was previously Music Director of the San Francisco Symphony, the Minnesota Orchestra, the Hong Kong Philharmonic Orchestra, and Sydney Symphony orchestras and Chief Conductor of De Nederlandse Opera. As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opéra de Bastille, Santa Fe Opera, and The Metropolitan Opera. His most recent appearance at The Met was for performances of Le Nozze di Figaro, and he will work on further projects with them in future seasons. de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1, and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic.

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TIM MCALLISTER, Saxophone Hailed by The New York Times as a “virtuoso…one of the foremost saxophonists of his generation,” “brilliant” (The Guardian, UK), and “a sterling saxophonist” (The Baltimore Sun), Timothy McAllister is one of today’s premier soloists. He is a member of the renowned PRISM Quartet and a champion of contemporary music credited with dozens of recordings and over 150 premieres of new compositions by eminent and emerging composers worldwide. His rise to international fame came in 2009 with his celebrated work in John Adams’s City Noir, filmed as part of Gustavo Dudamel’s inaugural concert as Music Director of the Los Angeles Philharmonic, and the world premiere of John Adams’s Saxophone Concerto in August 2013 with the Sydney Symphony Orchestra under the baton of the composer in the Sydney Opera House. Subsequent critically-acclaimed U.S. premieres with the Baltimore Symphony Orchestra and St. Louis Symphony followed, along with engagements with the Milwaukee Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Cabrillo Festival

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Orchestra, BBC Symphony Orchestra at the London Proms, Royal Liverpool Philharmonic, and the New World Symphony, among others. McAllister has recently been soloist with the Fort Wayne Philharmonic, Elgin Symphony, Albany Symphony Orchestra, Reno Philharmonic, Boston Modern Orchestra Project, Royal Band of the Belgian Air Force, United States Navy Band, Hong Kong Wind Philharmonia, Tokyo Wind Symphony, Pacific Symphony, and the Nashville Symphony, among others. An in-demand orchestral saxophonist, he has toured in the U.S. and abroad with both the Los Angeles Philharmonic and Chicago Symphony Orchestra, among many others. A renowned teacher of his instrument, he has served as Professor of Saxophone at Northwestern University (IL), a Valade Artist Fellow for the Interlochen Center for the Arts (MI), and is a clinician for the Conn-Selmer and D’Addario companies. In September 2014, he joins the faculty of the University of Michigan School of Music, succeeding his legendary mentor, Donald Sinta. McAllister’s work can be heard on the Nonesuch, Deutsche Grammphon, Naxos, OMM, Stradivarius, Centaur, AUR, Albany, Parma, New Dynamic, Equilibrium, New Focus, and innova record labels.

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FEB 17–19

Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Symphonies of Wind Instruments Igor Stravinsky Born June 18, 1882 in Oranienbaum, Russia Died April 6, 1971 in New York City, New York Two years after the death of Claude Debussy, Stravinsky was asked by La Revue Musicale to write a piece in his memory which would appear in a book including tributes by other composers as well. He was delighted to be asked, and in 1959, he explained that enthusiasm, saying “the musicians of my generation and I myself owe the most to Debussy.” The piece he submitted was the Chorale (arranged for piano solo), which concludes the Symphonies. Stravinsky’s plan was this: “The homage that I intended to pay to the memory of the great musician ought not to be inspired by his musical thought. On the contrary, I desired rather to express myself in a language essentially my own.” His own language, for this purpose, consisted of wind instruments only, in a work which he described in his autobiography, as a piece “not meant ‘to please’ an audience or rouse its passions. I had hoped however, that it would appeal to those in whom a purely musical receptivity outweighed the desire to satisfy emotional cravings.” The title “symphony” referred to the exact meaning of the word—sounding together. Symphonies of Wind Instruments premiered on June 10, 1920 in London at Queen’s Hall with Serge Koussevitsky conducting. The reception was terrible. The audience laughed, complained, and hissed. He certainly achieved his wish to write something that was “not pleasing.” Despite the reaction, he stood up at the conclusion and took a bow, in spite of his later opinion that the premiere constituted an “execution of my Symphonies.” In 1936, Stravinsky was still defensive about the premiere and noted “ I did not, and indeed I could not, count on any immediate success for this work. It lacks all those elements that

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infallibly appeal to the ordinary listener, or to which he is accustomed… it is an austere ritual which is unfolded in terms of short litanies.” In 1947, Stravinsky re-orchestrated the original score, and that is the version on tonight’s concert. In this revision, he substituted flute and clarinet for the original alto flute and basset horn. In the scoring, he reduced the music written for French horn, and increased the parts for oboes, English horn, and contrabassoon. These changes resulted in a reedier and more cutting sound, which had the effect of sharper articulations and more biting, abrupt chords. He also rebarred the work, erasing irregular phrases into regular groupings. Symphonies for Winds emerges in clearly defined segments, each segment comprised of a different set of winds. You will not hear long term fluency and connectivity. His format bounces quickly into contrasting moods and combinations. The content from one segment to another differs, although allusions to previous musical passages occur throughout the work. Sometimes the segments move in blended timbres, offering chord-like passages, and other times individual or paired instruments leap into the spotlight, spun off from the ensemble for a bit of energetic or lyrical freedom. Adding to the instrumental color, Stravinsky frequently invokes a modal style, leaving tonality to be ambiguous. The final chorale coats these jagged features of the main corpus with soothing balm: dynamics remain soft; the pace is steady; the mixing of timbres becomes stabilized. After the foregoing flurry, surprises, quicksilver changes and drama, Stravinsky opted for a starkly serene conclusion. One might have expected a blasting summation, building on the ignition and fuel of the preceding material into a grand fanfare, but his artistic decision is, in its

Notes simplicity and calmness, intensely moving. The ISO’s last performance of Stravinsky’s Symphonies of Wind Instruments was April, 1980, conducted by John Nelson.

Concerto for Saxophone and Orchestra John Adams Born February 15, 1947 in Worcester, Massachusetts “You can’t label me, and I admit that I never think of my music in terms of artistic ‘strategy.’ I would probably prefer…to take a directional path where new elements deliberately transform the language with an obvious logic. I can’t stop myself from making sharp turns, about-faces, and doing forbidden things” —Le Monde, January 28, 1997 John Coolidge Adams is one of America’s premier composers, born in Worcester Massachusetts in 1947, the son of composer Samuel Carl Adams. He began composing at age ten, and received a BA and MA from Harvard University. In 2007, received the Harvard Arts Medal, in 2012, he received an honorary doctorate from the University (Yale followed suit in 2015). He was the first Harvard student allowed to submit a musical composition as a senior honors thesis. The composer is acclaimed worldwide for his operas, orchestral music, chamber music, choral works, electronic compositions, film scores, arrangements, and orchestrations. His many awards include a Pulitzer Prize (2003) five Grammy awards, and four honorary doctorates. During his student time at Harvard, he quipped that “[my] class was a mausoleum where we would sit and count tonerows in Webern.” This training probably influenced some comparisons to serialism and minimalism, although he added more emotion and drama than is usually found in the seminal works of Steve Reich and Phillip Glass. After reading John Cage’s Silence, he felt

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transformed, noting that this work “dropped like time bomb into his psyche.” His expansion on serial techniques and his experimentation with synthesizers offered new vistas. In Robert Schwartz’s Minimalists, Adams compared his position to that of JS Bach, Gustav Mahler, and Johannes Brahms “who were standing at the end of an era and were embracing all of the evolutions that occurred over the previous thirty to fifty years.” Joshua Kosman of the San Francisco Chronicle echoed this thought in the John Adams Earbox, writing “What is important is the inclusion all in one place of some of the most brilliant, inventive and simply beautiful music of the past three decades… The reconciliation of many musical impulses—all genuine, all deeply beloved but newly reinterpreted —is what gives this music it heady, unforgettable charge.” Renaud Machart, staff music critic of Le Monde, described his music as “giving the impression of a rediscovered liberty, of an open door which lets in the fresh air in great gusts.” In July 2013, Mr. Adams wrote the following notes for his Saxophone Concerto for the world premiere at the Sydney Opera House: Composer’s Notes: “My Saxophone Concerto was composed in early 2013, the first work to follow the huge, three-hour oratorio, “The Gospel According to the Other Mary.” One would normally be hard put to draw lines between two such disparate creations. One deals with such matters as crucifixion, raising the dead and the trials of battered women. The other has as its source my life-long exposure to the great jazz saxophonists, from the swing era through the likes of Coltrane, Eric Dolphy, and Wayne Shorter. Nonetheless there are peculiar affinities shared by both works, particularly in the use of modal scales and the way they color the emotional atmosphere of the music. Both works are launched by a series of ascending scales that energetically bounce back and forth among various modal harmonies. American audiences know the saxophone almost exclusively via its use in jazz, soul and pop music. The instances of the saxophone in

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Notes

the classical repertory are rare, and the most famous appearances amount to only a handful of solos in works by Ravel (his “Bolero” and his orchestration of Mussorgsky’s “Pictures at an Exhibition”), by Prokofiev (“Lieutenant Kijé” Suite and “Romeo and Juliet”), Milhaud (“La Création du Monde”) and of course the “Jet Song” solo in Leonard Bernstein’s “West Side Story,” probably one of the most immediately recognizable five-note mottos in all of music. Beyond that, the saxophone appears to be an instrument that classical composers employ occasionally and usually only for ‘special’ effects. It is hard to believe that an instrument that originated in such straight-laced circumstances—it was designed in the mid nineteenth century principally for use in military bands in France and Belgium and was intended to be an extension of the brass family—should have ended up as the transformative vehicle for vernacular music (jazz, rock, blues, and funk) in the twentieth century. Nonetheless, its integration into the world of classical music has been a slow and begrudged one. Having grown up hearing the sound of the saxophone virtually every day—my father had played alto in swing bands during the 1930s and our family record collection was well stocked with albums by the great jazz masters—I never considered the saxophone an alien instrument. My 1987 opera “Nixon in China” is almost immediately recognizable by its sax quartet, which gives the orchestration its special timbre. I followed “Nixon” with another work, “Fearful Symmetries,” that also features a sax quartet in an even more salient role. In 2010 I composed “City Noir,” a jazz-inflected symphony that featured a fiendishly difficult solo part for alto sax, a trope indebted to the wild and skittish styles of the great bebop and post-bop artists such as Charlie Parker, Lennie Tristano and Eric Dolphy. Finding a sax soloist who could play in this style but who was sufficiently trained to be able to sit in the middle of a modern symphony orchestra was a difficult assignment. But fortunately I met Tim McAllister, who is quite likely the reigning master of the classical saxophone, an artist

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who while rigorously trained is also aware of the jazz tradition. When one evening during a dinner conversation Tim mentioned that during high school he had been a champion stunt bicycle rider, I knew that I must compose a concerto for this fearless musician and risk-taker. His exceptional musical personality had been the key ingredient in performances and recordings of “City Noir,” and I felt that I’d only begun to scratch the surface of his capacities with that work.” A composer writing a violin or piano concerto can access a gigantic repository of past models for reference, inspiration or even cautionary models. But there are precious few worthy concertos for saxophone, and the extant ones did not especially speak to me. But I knew many great recordings from the jazz past that could form a basis for my compositional thinking, among them “Focus,” a 1961 album by Stan Getz for tenor sax and an orchestra of harp and strings arranged by Eddie Sauter. Although clearly a “studio” creation, this album featured writing for the strings that referred to Stravinsky, Bartók and Ravel. Another album, “Charlie Parker and Strings,” from 1950, although more conventional in format, nonetheless helped to set a scenario in my mind for the way the alto sax could float and soar above an orchestra. Another album that I’d known since I was a teenager, “New Bottle Old Wine,” with Canonball Adderley and that greatest of all jazz arrangers, Gil Evans, remained in mind throughout the composing of the new concerto as a model to aspire to. Classical saxophonists are normally taught a “French” style of producing a sound with a fast vibrato very much at odds with the looser, grittier style of a jazz player. Needless to say, my preference is for the latter “jazz” style playing, and in the discussions we had during the creation of the piece, I returned over and over to the idea of an “American” sound for Tim to use as his model. Such a change is no small thing for a virtuoso schooled in an entirely different style of playing. It would be like asking a singer used to singing Bach cantatas to cover a Billie Holiday song.

Notes While the concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface. I make constant use of the instrument’s vaunted agility as well as its capacity for a lyrical utterance that is only a short step away from the human voice. The form of the concerto is a familiar one for those who know my orchestral pieces, as I’ve used it in my Violin Concerto, in “City Noir” and in my piano concerto “Century Rolls.” It begins with one long first part combining a fast movement with a slow, lyrical one. This is followed by a shorter second part, a species of funk-rondo with a fast, driving pulse. The concerto lasts roughly thirty-two minutes, making it an unusually expansive statement for an instrument that is still looking for its rightful place in the symphonic repertory. This is the ISO’s debut performance of John Adams’ Saxophone Concerto.

Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”) Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria In 1801, Beethoven wrote in his diary “I am not satisfied with my works up to the present time. From today I mean to take a new road.” This decision was realized in his Third Symphony. Intimations of a new orientation were hinted at in his preceding symphonies but now the revolution became overt. Sir George Grove has explained “The Eroica first shows us the methods which were so completely to revolutionize (symphonic) music—the continuous and organic mode of connecting the second subject with the first, the introduction of episodes into the working-out the extraordinary importance of the coda.” Grove continues to cite more significant innovations: a Funeral March for the second movement, the title of “Scherzo” appearing for the first time in the symphonies

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(a replacement of the standard Minuet) and the rip-roaring Finale, which he calls “a daring romance.” The music’s impact was massive on subsequent composers. Jonathan Kramer has written “Once the ‘Eroica’ existed, no subsequent composer could ignore it. The development of nineteenth-century symphonic music is traceable more to the ‘Eroica’ than to any other single work, and it took composers more than a century to exhaust its implications.” Paul Henry Lang wrote “The ‘Eroica’ is the greatest single step made by an individual composer in the history of the symphony and the history of music in general.” The naming of this symphony as “Eroica” had a twisted and violent history. In 1798, General Bernadotte, Ambassador from France to Vienna, suggested that a symphony should be written to honor Napoleon Bonaparte. Beethoven found the idea a good one at that time. Napoleon seemed to be a harbinger of the future, a passionate champion of the values Beethoven cherished, and an embodiment of revolutionary ideals, a living Prometheus. Beethoven personally identified with the defiance of established mores which Napoleon, at that time represented. In addition, Beethoven was also contemplating a move to Paris, and perhaps he thought that such a work would provide a passport into French elite social circles. With all these issues in mind, Beethoven dedicated the work to the great warrior. A dedication that was shortlived. On May 2, 1804, when Napoleon assumed the title Emperor, Beethoven flew into a rage saying “He is nothing but an ordinary mortal! He will trample all the rights of men under foot to indulge his ambition....” After his screams, Beethoven tore the title page in half and threw it on the ground. Napoleon’s name was thus forever deleted from the original dedication. The dedication evolved into “Sinfonia Eroica, Composed to Celebrate the Memory of a Great Man.” Beethoven’s anger against Napoleon

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was enduring. When he heard of a later Napoleonic victory he declared “It is a pity that I do not understand the art of war as well as I do the art of music. Then I would conquer him!” The “new road” Beethoven contemplated in his music begins at once when the first movement plunges headlong into the substance of the music, eliminating a customary introduction. Two sharp staccato chords roar from the orchestra, followed by the first rocking theme, outlining the E-flat triad. Its simplicity is momentary; quickly the theme coils into increasing tension through tight repetitions, seeking a resolution from its first strange landing point on a C sharp. Our sense of tonal security is immediately at risk. Additional agitation is added when syncopated accents interrupt a lush cello melody. Only small respites are granted as the music insists on its turbulent course, shrieking with large discords before the huge development section. Emotions run high; many modulations occur; Beethoven is fearless, confident of his vision. In 1801, he had told friends about his hearing loss; he moved to Heiligenstadt to escape the summer heat, and while there, in the fall of 1802 he wrote his Heiligenstadt Testament. Herein he confessed the toll his hearing loss was taking on him, his helplessness with doctors, his flirtation with suicide. “Only my art held me back. It seemed to me impossible to leave the world until I had produced what was within me.” The turmoil within the Eroica reflects those life experiences which he endured. This was his state of mind as he turned to write the Third symphony. A huge development section lasts for 250 measures (the size of entire single first movements of certain classical symphonies). It continues the exposition’s behavior of harmonic shocks and rhythmic syncopations. A recapitulation (hinted at by a horn in another key before beginning proper in the violins) not only repeats the exposition but introduces even more ideas and more harmonic adventures. To many contemporaries the traditional symphonic

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form seemed to be growing wildly out of control, but Beethoven was relentless. Finally, a massive coda (140 measures) brings the first movement to a close. The second movement is titled “Funeral March.” Heroic grief is held in tight control. “There is no pessimistic whining; no luxury of self-pity. It is an epic lamentation over heroes slain in the defense of everyone’s freedom.” (Edward Downes) The march begins in the violins. An oboe repeats the theme, and a melancholy tune emerges again from the strings. A trio led by oboe and flute prepares us for the stunning conclusion: a giant, dense fugue built on the march theme. Its third movement is marked Scherzo: allegro vivace. The music is bursting with optimism, energy, and certain madness. The trio offers extensive opportunities for three French horns to take the spotlight. Then the madness is revived, ending in a small coda, which leads quickly into the last movement. The fourth movement Finale: allegro molto continues the liveliness of the preceding music. But it also marks new ground. Michael Steinberg has observed “A final and startling newness in the ‘Eroica’ is the way the center of gravity is shifted from the first movement to the last.” First and second violins pluck a soft angular tune which later is combined with the presentation of Beethoven’s “Prometheus” theme. (This theme had been used three times previously by the composer; in a group of contradances, in the finale of the ballet, and in the “Eroica Piano Variations.”) In the final movement, variations are exquisitely crafted on this theme ending with a tight fugato (imitative passage). The music rushes powerfully to its close, a series of heavy, crunching and affirming chords. The newness of Eroica was baffling to early audiences, especially at the premiere on April 7, 1805 at Theater an der Wien. “I’ll pay another kreuzer if the thing will only stop,” a gallery wit called out on that night. A contemporary critic noted Beethoven’s “undesirable originality...” and concluded that

Notes the new symphony was “unendurable to the mere music-lover.” Others felt that the work “lost itself in lawlessness.” It cannot be denied that Beethoven succeeded in giving his audiences a giant shock. To many it seemed bizarre and rather frightening. It was twice as long as his proceeding symphonies. There was to be no turning back for the composer.

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symphonies, he was asked by his friend and poet Christoff Kuffner which symphony was his favorite and he answered simply and without hesitation, “The Eroica.” The ISO’s last performance of Beethoven’s Symphony No. 3 “Eroica” was on March 21st, 2014, conducted by Mario Venzago.

The Third Symphony always remained dear to Beethoven. After completing eight

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TCHAIKOVSKY — PLUS: THE LABÉQUE SISTERS

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Six Thursday, February 23, 2017, at 11:15 a.m. Hilbert Circle Theatre ROSSEN MILANOV, Conductor KATIA & MARIELLE LABÈQUE, Pianists Francis Poulenc Concerto in D Minor for Two Pianos and Orchestra (1899–1963) Allegro ma non troppo Larghetto Finale: Allegro molto Katia & Marielle Labèque, Pianists Piotr Ilyich Tchaikovsky Symphony No. 2 in C Minor, Op. 17 (“Little Russian”) (1840–1893) Andante sostenuto – Allegro vivo Andantino marziale, quasi moderato Scherzo Finale: Moderato assai – Presto

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

TCHAIKOVSKY — PLUS: THE LABÉQUE SISTERS

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Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Twelve Friday, February 24, 2017, at 8 p.m. Hilbert Circle Theatre ROSSEN MILANOV, Conductor KATIA & MARIELLE LABÈQUE, Pianists Toru Takemitsu A Flock Descends into the Pentagonal Garden (1930–96) Francis Poulenc Concerto in D Minor for Two Pianos and Orchestra (1899–1963) Allegro ma non troppo Larghetto Finale: Allegro molto Katia & Marielle Labèque, Pianists INTERMISSION - Twent y M i n ute s Piotr Ilyich Tchaikovsky Symphony No. 2 in C Minor, Op. 17 (“Little Russian”) (1840–1893) Andante sostenuto - Allegro vivo Andantino marziale, quasi moderato Scherzo Finale: Moderato assai - Presto This performance is endowed anonymously. Premier Sponsor

Associate Sponsor

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

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ROSSEN MILANOV, Conductor

Respected and admired by audiences and musicians alike, Rossen Milanov is currently the Music Director of the Columbus Symphony Orchestra and recently completed his second season with the Chautauqua Symphony Orchestra to enthusiastic acclaim. He is also the Music Director of the Princeton Symphony and the Orquesta Sinfónica del Principado de Asturias (OSPA) in Spain. The 2016/17 Columbus season builds upon many of the innovative ideas that were introduced in his first season—thematic festivals, enrichment programs, integrated experiences, and collaborations with other local cultural institutions. In Princeton, he is continuing the tradition of adventurous programming and collaborating with violinist Leila Josefowicz, clarinetist David Krakauer, and composers Saad Haddad and Zhou Tian. In Spain, he will conduct the Spanish premiere of Tchaikovsky’s Mazeppa with the Oviedo Opera and the gala concert of the “Princess of Asturias” awards with OSPA. Upcoming performances include Tchaikovsky’s critically acclaimed Alexei Ratmansky revival of Swan Lake in Paris with La Scala Ballet and in Zurich with the Zurich Opera. Maestro Milanov will be collaborating with the American Composer’s Orchestra in New York; the Slovenian Radio and TV Orchestra in Ljubljana; Nigel Kennedy at Barbican Centre in London; the American Composers Orchestra in New York City; the Malaysian Philharmonic; Indianapolis Symphony Orchestra and the Civic Orchestra in Chicago.

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His recent season highlights include appearances with the Colorado, Detroit, Milwaukee, Vancouver, Fort Worth, Aalborg, and Latvian National Symphony Orchestras; National Symphony Orchestra at the Kennedy Center, Toronto Symphony Orchestra, Zurich Opera, Hyogo Performing Arts Center Orchestra, and his Link Up education projects with Carnegie Hall with the Orchestra of St. Luke’s. He also appeared with Opera Oviedo in Spain, Hungarian National Orchestra, Orchestre Philharmonique de Strasbourg, New York City Ballet, Pacific Symphony, and the Curtis Symphony Orchestra in Verizon Hall in Philadelphia. Mr. Milanov has collaborated with some of the world’s preeminent artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff, and André Watts. During his eleven-year tenure with The Philadelphia Orchestra, Milanov conducted more than 200 performances, as Associate Conductor and as Artistic Director of the Orchestra’s summer home at The Mann Center for the Performing Arts. In 2015, he completed a 15-year tenure as Music Director of the nationally recognized training orchestra Symphony in C in New Jersey. His passion for new music has resulted in numerous world premieres of works by composers such as Richard Danielpour, Nicolas Maw, and Gabriel Prokofiev, among others. Rossen Milanov studied conducting at the Curtis Institute of Music and the Juilliard School, where he received the Bruno Walter Memorial Scholarship. A passionate chef, he often dedicates his culinary talents to various charities.

KATIA & MARIELLE LABÉQUE, Pianists Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Their musical ambitions started at an early age and they rose to international fame with their contemporary rendition of Gershwin’s Rhapsody in Blue (one of the first gold records in classical music) and have since developed a stunning career with performances worldwide. They are regular guests with the most prestigious orchestras such as the Berlin Philharmonic, Bayerischer Rundfunk, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Leipzig Gewandhaus, London Symphony, London Philharmonic, Los Angeles Philharmonic, Filarmonia della Scala, Philadelphia Orchestra, Dresden Staatskapelle, Royal Concertgebouw Amsterdam and Vienna Philharmonic. Katia and Marielle have had the privilege of working with many composers including Thomas Adès, Louis Andriessen, Luciano Berio, Pierre Boulez, Philip Glass, Osvaldo Golijov, György Ligeti and Olivier Messiaen. On the 26th May 2015 Katia and Marielle gave in Los Angeles at Walt Disney Hall the world premiere of Philip Glass’s new Concerto (written for them) together with Los Angeles

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Philharmonic Orchestra under the direction of Gustavo Dudamel. A new concerto by Bryce Dessner, written specially for the piano duo, will be ready in 2018. In May 2015 the show Love Stories with the new piece Star-Cross’d Lovers by David Chalmin was premiered at the Paris Philharmonie. This original composition for two pianos, electric guitar and drums is based on the Shakespearean drama Romeo and Juliet. The choreography for 7 dancers is created by world-renowned break-dancer Yaman Okur (Madonna, Cirque du Soleil). The show was also presented in Paris in June 2016 at Chatelet, and the European tour will last until October 2016. A record audience of more then 100.000 attended the Vienna Summer Night Concert 2016 in Schönbrunn (now available on CD and DVD by Sony), where Katia and Marielle played with the Vienna Philharmonic under the baton of Semyon Bychkov. More then 1,5 Milliard viewer followed the event worldwide on the TV. Their new record with Deutsche Grammophon dedicated to Stravinsky’s “ Rite of Spring” and Debussy’s “Epigraphes Antiques” was released in November 2016. At the same time the biography “Une vie à quatre mains” by Renaud Machart was published by Buchet-Chastel.

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Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair A Flock Descends into the Pentagonal Garden Toru Takemitsu Born October 8, 1930, Tokyo, Japan Died February 20, 1996, Minato, Tokyo, Japan Toru Takemitsu (1930–1996) grew up in a period in which Japan was not only influenced by western music, but cultivating “parallel music cultures.” Alison Tokita in Bi-musicality in modern Japanese culture noted that the mixture of Western music with traditional Japanese music, particularly between the wars, resulted in a new style in which eventually both sources were sufficiently blended to produce a new age of Japanese music. This happened not only in the 1960’s with the high impact of Western rock musicians and music, but also in serious art music. She explains that “...Western music was effectively ‘translated’ into Japanese culture.” The momentary ban on Western music during World War II (except, of course, Tokyo Rose) could not stop the powerful artistic influence of the Occident. The appetite for western pop, jazz, and classical music became insatiable. Takemitsu was largely self–taught, and he continually listened to western music during his formative years. When he worked for the U.S. Armed forces during the U.S. occupation of Japan, he listened regularly to the U.S. Armed Forces network. As the years passed, he was deeply influenced by Debussy, Messiaen, Berg, and John Cage. In fact, Takemitsu has credited John Cage with teaching him “to recognize the value of my own tradition.” After a period of resisting Japanese music and culture (he had been unhappily conscripted into the Japanese army), he later embraced both, and became an important part of the Japanese musical avant-garde, influenced by composers such as Stockhausen, Schoenberg, and Lukas Foss. At one point, he wrote “When I decided to become a composer, I wanted to compose Western music. At that period, quite definitely because of the war, everything Japanese was to me hateful.”

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Later, with increasing maturity, he wrote: “There is no doubt...the various countries and cultures of the world have begun a journey toward the geographic and historic unity of all peoples…The old and new exist within me with equal weight.” And, he managed to blend differing musical cultures without incongruity. For example, in “A Flock Descends on the Pentagonal Garden” he extensively uses the pentatonic scale (called the yo scale in Japanese.) The title reflects the ancient Japanese love and respect for gardens and their influence. One of the basic rules of Japanese gardens is the use of 3, 5 (such as a pentagon) and 7, in the basic layout. The composer’s obituary in the New York Times reflected his successful syntheses. It was titled “Toru Takemitsu, 65, introspective composer whose music evokes East and West is Dead.” He had composed prolifically throughout his lifetime, in serious music, film scores, pop music, vocal music, chamber music, guitar, piano and “was the first Japanese composer fully recognized in the west, and remained the guiding light for many of the younger generation.” “A Flock Descends into the Pentagonal Garden” (1977) was commissioned by the San Francisco Symphony orchestra, and premiered on November 30 of that year. Takemitsu wrote “I love gardens. They do not reject people. There one can walk freely, pause to view the entire garden, or gaze at a single tree, plant, rock, and sand snow: changes, constant changes.” His music reflects “walking freely,” taking pauses, taking time to relax into the moment and into the sound. Nothing is hurried, nothing is highly structured, rhythms are neither aggressive nor controlling. The composer explained that the work arose from a dream, which may have been connected to a photograph he had

Notes seen earlier in the day of the artist Marcel Duchamps, who had cut his hair in the ‘form of a star-shaped garden’. Takemitsu described the work as a “shifting panorama of scenes in which the main motif - introduced by the oboe and representing the so-called “Flock”— descends into the harmonious tone-field called the ‘Pentagonal Garden’, created mainly on the strings.” The work consists of a single movement, moving through varying sections. Continuing with the idea of the number “5”, each section can have only five transpositions. Notice the silences and random nature of the work (two of Cage’s influences) and controlled passion. Melodies are expressed, but exist in small parts, never intruding on the overall construct. The music begins thoughtfully and quietly as you enter the musical garden. Orchestral coloration is delicately painted, instrumental timbres are clear, and crescendi are short-lived. The respectful mood is relaxed and contemplative throughout: perfect order, a small scale, serenity, quietness, and freedom from the bustle of the world evoke the reflective traditional artistic purpose of a garden as defined in the Sakuteiki, an Essay on Garden Making written by Tachibana Toshitsuna (in the Kamakura period,1185-1333) and continuing into the present. The ISO’s last performance of A Flock Descends into the Pentagonal Garden was on May, 1982, conducted by Kazuyoshi Akiyama.

Concerto in D Minor for Two Pianos and Orchestra Francis Poulenc Born January 7, 1899 in Paris, France Died January 30, 1963 in Paris, France “Above all, let not a composer seek to be in the mode. If you are not a la mode today you may not be out of the mode tomorrow.” -Francis Poulenc Francis Poulenc (1899–1963) was a combination of differing personalities: a

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devout, spiritual Catholic on the one hand; an unabated bon vivant on the other. Ned Rorem in Poulenc a Memoir noted that “He was deeply devout and uncontrollably sensual…” These two sides were reflected in his extensive repertoire: deeply serious religious music and flippant, witty, charming tunes embedded in many genres. The composer described himself, saying “I was born in Paris on 7 January 1899 and I studied piano under Vines and composition mostly from books because I was feared being influenced by a teacher. [He allowed himself only one lesson with Ravel!] I read a lot of music and greatly pondered musical aesthetics. My four favorite composers, my only masters are Bach, Mozart, Satie and Stravinsky. I don’t like Beethoven at all. I loathe Wagner. In general I am very eclectic, but while acknowledging that influence is a necessary thing, I hate those artists who dwell in the wake of the masters. Now, a crucial point. I am not a cubist musician, even less a futurist, and of course, not an Impressionist. I am a musician without a label.” (“In Praise of Poulenc”: Fred Flaxman, WFMT 2002) Poulenc dedicated his Concerto for Two Pianos to Winnaretta Singer, Princesse Edmond de Polignac, who was the twentieth child of Isaac Singer, inventor of the Singer sewing machine. Although born in Yonkers, New York, she grew up in Paris, and eventually presided over an influential salon, some say the most important avant-garde music salon in Paris between the wars. Poulenc (and the other members of Les Six) was a frequent visitor: along with Faure, Stravinsky, de Falla, Satie, Widor, Nadia Boulanger, Milhaud, Debussy, and many more. It was the crème de la crème. The social and musical power and presence of her salon as well as extraordinary life are well told in Music’s Modern Muse by Sylvia Kahan. Regarding his presence in Les Six, Stewart Gordon in A History of Keyboard Literature, noted “Poulenc was the most consistent in developing and sustaining a style of directness, simplicity, clarity, and the inclusion

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Notes

of influences from popular music. Poulenc’s music is, in fact, so filled with tuneful, obvious melodies and music-hall clichés that the temptation is ever present to dismiss his work as lacking seriousness of purpose. A remarkable alchemy emerges, however, through Poulenc’s deft use of modulation to create freshness, his ability to craft mundane material into charming gestures, and his penchant for surprising the listener with passages of heartfelt sensitivity.” These elements will be abundantly present in this concerto. In 1932, the Princesse commissioned his Concerto for Two Pianos, planning that the soloists would be Poulenc and the pianist Jacque Fevrier. The composer completed the work in three months in that summer, announcing “You will see for yourself what an enormous step forward it is from my previous work and that I am really entering my great period.” After the Venetian premier on September 5, 1932, Poulenc summarized “I must testify without any modesty at all that the first performance was flawless…It was a smashing success, for the work is gay and uncomplicated.” There are three movements. “Gay and direct”, a description Poulenc often used for his music, describes the first movement, marked Allegro ma non troppo. The pianists are linked in an intricate relationship, a continuous dialogue, filled with references to popular Parisian tunes, and overall joie de vivre. His knowledge of the piano’s capability is remarkable, and pianistic virtuosity is dazzling. The music moves quickly, dramatically, and is endlessly delightful. The coda is especially interesting, with evocations of the Balinese gamelan which the composer first heard at the 1931 Colonial Exposition. The second movement becomes more serious, written in a Neoclassical style referencing Poulenc’s unending devotion and admiration for Mozart. “In the Larghetto of this concerto, I allowed myself for the first theme to return to Mozart, for I cherish the melodic line and

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I prefer Mozart to all other musicians. If the movement begins alla Mozart, it quickly veers at the entrance of the second piano toward a style that was standard for me at that time.” The finale opens with percussion snaps before unleashing the pianists into a display of toccata-like business which becomes mixed with sentimental romantic interludes. There is a delightful irrationality in this movement as he catapults from his fun frenzy to emotional lyricism and back again into unadulterated entertainment. The orchestra is reined in, clearly subservient to the pianos or following their leadership. Poulenc once summed up his concerto as “blithely bravura” and he was right. It has also been transcribed for two pianos and four hands. The ISO’s last performance of Poulenc’s Concerto for Two Pianos was September 7, 1997, performed by Misha and Cipa Dichter. Symphony No. 2 in C Minor, Op. 17 (“Little Russian”) Piotr Ilyich Tchaikovsky Born May 7, 1840 in Votkinsky, Russia Died November 6, 1893 in St. Petersburg, Russia Tchaikovsky was visiting his sister in Kamianka in Ukraine (known as Little Russia during the tsarist period) in the summer of 1872 when he began work on his Second Symphony. Influenced by Glinka’s use of folksongs in Kamarinskaya, which he considered to be fundamental to Russian symphonic music, and folksongs he heard in that region, he inserted three into movements one, two, and four of Opus 17. In order, these are “Down the Mother Volga” “Spin o My Spinner”, and “The Crane.” Noting this, the sobriquet “Little Russian” was coined by his friend and music critic Nikolay Kashkin. Never again would he quote folksongs as extensively as he did in this work. Although the premier was a success on February 7, 1873, Tchaikovsky decided to revise the symphony in 1879, noting that “I am not completely satisfied with the first three

Notes movements….[I intend] to turn this immature and mediocre symphony into a good one.” The new version appeared in 1881, and like the first, was acclaimed. The first movement opens with “Down the Mother Volga” sung by solo horn and echoed by bassoon. The poet Sergey Ysenin noted that this music embraces the joy and despair of the Russian character. In part, the lyrics read: Down the Volga, Mother Volga Over the wide sheet of water, There arises a thunderstorm, a huge thunderstorm. Nothing is to be seen on the waves There is only a small black ship… The enormous river Volga, coursing 2,294 miles, has had deep symbolic meaning in Russian history. It has provided fertile soil in its extensive valleys, a navigable means of transportation throughout hundreds of years, sometimes described in Russian folklore as “mother, mistress, comrade, and beloved companion.” “Volga, Volga, you are our pride” is noted in the famous Volga boatman song. The reverential folksong moves slowly and gently in the introduction. At first, Tchaikovsky keeps the formal integrity of the theme, repeating it with ever increasing complexity of accompaniment and instrumental expansion. When the Allegro section emerges, he utilizes Western techniques of symphonic development by fragmenting the idea into its smaller components which are shared by different parts of the orchestra, particularly the oboe, clarinets and bassoon before being advanced to the strings. At the close, the entire folksong, now reassembled, is stated in the solo horn and bassoon for a reflective, quiet conclusion.

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Tchaikovsky’s second movement features two contrasting ideas derived from a bridal march written for his 1869 opera Undina (which never materialized.) Although the composer used different themes from that score, he eventually destroyed the music. “Spin o My Spinner” emerges in an embedded rondo before the march returns at the close. The third movement gains energy and agitation, only momentarily stopped by a small trio. The music sounds folk-like, but there is no exact quotation. The powerful last movement features the folksong “The Crane” (Zhuravel), sung frequently by Tchaikovsky’s butler in the Ukraine. The second title for this folksong was “Let the Crane soar.” A brief fanfare opens the scene before “the Crane” is displayed and developed by variations. The folktune shares the spotlight with a secondary lyrical string melody, especially in the development section, before a splendid dramatic conclusion. This movement was significantly shortened (by 150 bars) in the 1879 revision, a cut which had featured more extensive development and grandeur for the (soaring) Crane. At first, Tchaikovsky called the entire symphony “the Crane” but later erased the idea. Because of its nationalistic colorations, he dedicated Opus 17 to the Moscow branch of the Russian Musical Society. The ISO’s last performance of Tchaikovsky’s Second Symphony “Little Russian” was May 30th, 2009, conducted by Carlo Rizzi.

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AN AMERICAN IN PARIS

LIVE WITH ORCHESTRA

FRIDAY, MARCH 3, 11AM & 8PM, SATURDAY, MARCH 4, 8PM & SUNDAY, MARCH 5, 3PM Hilbert Circle Theatre JACK EVERLY, CONDUCTOR Evoking the sights and spirit of Paris in the early 1950s, the 1951 film stars Gene Kelly as a former American GI who falls in love with Parisian Leslie Caron. Weaving the romantic storylines together are the iconic songs of George and Ira Gershwin, including: “Embraceable You,”“Nice Work If You Can Get It,” “I Got Rhythm,”“’S Wonderful,” and “Love is Here to Stay.”

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MUSIC OF QUEEN

FEB 25

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Specials Saturday, February 25, 2017, at 8 p.m. Hilbert Circle Theatre RICHARD CARSEY, Conductor BRODY DOLYNIUK, Soloist Selections to be announced from the stage.

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

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RICHARD CARSEY, Conductor

Richard Carsey is a conductor, pianist and actor. In 2014– 15, he toured the U.S. as Music Director of Cameron Mackintosh’s new production of The Phantom of the Opera. Other national tours include the Broadway revival of La Cage Aux Follies with George Hamilton and the new musical Little House on the Prairie, featuring Melissa Gilbert. Internationally, he has performed as pianist and conductor in such exotic locales as Lima, Athens, Islamabad, and Kuwait. On Broadway, he was the Music Supervisor of The House of Blue Leaves with Ben Stiller, and Musical Director for A Minister’s Wife at Lincoln Center Theater. He has a long association with the Skylight Opera Theatre in Milwaukee, WI as Principal Conductor

and for nine seasons was Artistic Director. Highlights of his tenure include the world premiere and television broadcast of Richard Wargo’s opera Ballymore; PBS broadcast of The Mikado; and the world premiere of the opera The Rivivals by Kirke Mechem. As an actor he has appeared in 2 Pianos 2 Hands at many regional theaters including Dallas Theater Center, Actor’s Theater of Louisville, The Globe (Saskatchewan), Laguna Beach Playhouse, and Hartford Stage (Connecticut Critic’s Circle Award). Other acting highlights include The Boys in the Band (Harold), Twelfth Night (Malvolio), and Old Wicked Songs (Mashkin). For six seasons , he was the Principal Pops Conductor of the Racine Symphony and has conducted Syracuse Opera, Sheboygan Symphony, and Lyric Opera Cleveland. Recently he was Keyboard and Cover Conductor for the Radio City Christmas Spectacular at Radio City Music Hall in New York City.

ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEME TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDD SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOO HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHO COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY| |MIDDLE MIDDLESCHOOL SCHOOL||HIGH HIGHSCHOOL SCHOOL||COLLEGE COLLEGE |ELEMENTARY |ELEMENTARY || MIDDLE MIDDLE SCHOOL SCHOOL || HIGH ELEMENTARY HIGH SCHOOL SCHOOL || COLLEGE COLLEGE|ELEME |ELEME TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY We’re setting our goals high! TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY || MIDDLESCHOOL SCHOOL| |HIGH HIGHSCHOOL SCHOOL||COLLEGE COLLEGE|ELEMENTARY | ELEMENTARY| |MIDDLE MIDDLE SCHOOL HIGH SCHOOL COLLEGE |ELEMENTARY MIDDL ThisStudent year, wetickets want entertain 10,000 students aretoavailable forover ISO concerts at theat || MIDD MIDDLE SCHOOL ||HIGH SCHOOL ||most COLLEGE |ELEMENTARY our performances. From Beethoven to Broadway and SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOO SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOLHilbert | HIGHCircle SCHOOL |ELEMENTARY MIDDLE SCHOO Theatre!| COLLEGE From Beethoven to Broadway|and even our popular Happy Hours, student tickets are HIGH SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE even our popular Happy|ELEMENTARY Hours, studentfor tickets are justSCHOOL $10! | HIGH available for|ELEMENTARY most performances onlySCHOOL $10! SCHOOL | COLLEGE | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE | HIGH SCHOO SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOO COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEG COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | MIDDLE SCHOOL | HIGH SCHOOL | COLLE CALL THE|ELEMENTARY BOX OFFICE AT 317.639.4300 | ELEMENTARY | MIDDLE TICKETS SCHOOLAT|INDIANAPOLISSYMPHONY.ORG HIGH SCHOOL | COLLEGEOR | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE | 56 ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEME TARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY |

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BRODY DOLYNIUK, Soloist Brody Dolyniuk remembers mimicking voices even as a child, listening to old records and tapes. He is a gifted, self-taught musician, capable of playing several instruments, with a particular knack for capturing the voices and mannerisms of classic characters from music, TV, and movies. His first professional gigs were at piano bars in several U.S. cities, where he learned to charm audiences and expand his musical repertoire. With a longing to perform the music of the many rock bands that inspired him, Brody assembled Yellow Brick Road,

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unquestionably Las Vegas’ most successful classic rock band. Since 1997, YBR has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top40-style lounge acts. Along the way, Brody has made numerous radio and television appearances and earned a spot in the finals of two national singing competitions. He even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy, and special effects. In 2007, Brody lent his vocal talents by singing several tracks on the mega-hit video game Guitar Hero III: Legends of Rock, and has already done several more for the new Konami game Rock Revolution. As a devout classic rock/Queen fan, Brody’s enthusiasm, vocal ability, and on-stage energy were the perfect fit for The Music of Queen.

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CELEBRATION OF BLACK HISTORY

FEB DATE 28

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Celebration of Black History Tuesday, February 28, 2017, at 7:30 p.m. Hilbert Circle Theatre CHELSEA TIPTON, II, Conductor MARIA SANDERSON, Violin CHRISTOPHER WILBURN, Tenor Dmitri Shostakovich Festive Overture, Op. 96 (1906–1975) Arr. Morton Gould Sometimes I Feel Like a Motherless Child Wolfgang Amadeus Mozart Concerto No. 4 in D Major for Violin and Orchestra, K. 218 (1756–1791) Allegro J. Rosamond Johnson Ride On, King Jesus (1873–1954) Arr. Henry Panion Giuseppe Verdi (1813–1901)

“Ah, si ben mio; coll’ esere” from Il Trovatore

Arr. Jeff Tyzik

Amazing Grace



William Grant Still Scherzo (Animato) from Afro-American Symphony (1895–1978) Claude-Michel Schönberg “Bring Him Home” from Les Miserables (b. 1944) Christopher Wilburn, Tenor Arr. Bob Krogstad William Levi Dawson Negro Folk Symphony O, Le’me Shine Like a Morning Star J. Rosamond Johnson Lift Every Voice and Sing (1873–1954) Arr. Hale Smith

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

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CHELSEA TIPTON, II, Conductor / MARIA SANDERSON, Violin

American conductor Chelsea Tipton, II has won over audiences and critics alike with his vibrant musicality, accessibility, versatility and extraordinary commitment to Arts education. Tipton is now celebrating his seventh season as Music Director of the Symphony of Southeast Texas in Beaumont. He was recently appointed Principal Pops Conductor of the New Haven Symphony beginning in the 2014-15 Season. The Atlanta Symphony Orchestra also recognized Tipton with their first annual Aspire Award in October of 2013. This award identifies accomplished professional musicians who are African American or Latino who also demonstrate a tremendous commitment to community

and inclusiveness. The Neches River Festival in Beaumont also honored Tipton with the Citizen of the Year April of 2014 and in October of 2014 he was honored to receive the Community Spotlight Award from Capital One Bank for community leadership. Tipton has appeared with numerous major orchestras in the United States, including the Cleveland Orchestra, Chicago Symphony, Detroit Symphony, Pittsburgh Symphony, Houston Symphony, Orchestra Sinfonica Siciliana (Palermo and Dohnanyi Symphony Orchestra (Budapest). Tipton earned a Master of Music degree in orchestral conducting from Northern Illinois University and a Bachelor of Music in Clarinet Performance from the Eastman School of Music, with additional studies at the University of Cincinnati College-Conservatory of Music, The Conductors Retreat at Medomak, the Pierre Monteux School for Conductors in Hancock, Maine and the Baltimore Chamber Orchestra Conductor’s Workshop under Markand Thakar.

Maria Sanderson has attended Indiana University’s String Academy for nine years and is presently a member of the String Academy Violin Virtuosi. She studies with Mimi Zweig, and has frequently performed in solo and ensemble recitals at IU. Maria was Concertmaster for the last two years of SA Chamber Orchestra and Assistant Concertmaster for Indianapolis Symphony’s Side by Side Program. She has performed in masterclasses with Midori, Vadim Repin, Joshua Bell, and many others. Her solo work includes performances with the Moscow Ballet, the IU String Academy Chamber Orchestra, the SE Missouri State University Orchestra, the Bloomington Symphony Orchestra, and twice with the Sphinx Symphony Orchestra. This spring Maria toured Argentina for three weeks with the IU Violin Virtuosi; she performed as soloist at each concert and also led many pieces. She toured the U.S. this fall for six weeks with the Sphinx Virtuosi. She also performed this winter with the Fresno Youth Orchestra, the South Bend Symphony Orchestra, and the New World Symphony Orchestra in Miami. Maria was recently First Place winner of the Rising Star Competition, the Bloomington Symphony Competition, and the Sphinx Competition.

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CHRISTOPHER WILBURN, Tenor / Text

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Sergeant (Sgt.) Christopher Wilburn, member of the Indianapolis Metropolitan Police Department (IMPD), and winner of the Eugene Ferguson Award of Excellence, completed his Master of Music Degree at Boston University School of Fine Arts.

Leadership Development Coordinator, Operations Officer, and Mentor. Although he is very comfortable in his role as a police officer he still finds time to develop his musical talents. Sgt. Wilburn most recently performed the role of Jean Val-Jean in Les Misérable during his off-duty time in 2014 and can often be found leading Sunday morning worship for area churches.

Sgt. Wilburn has been with IMPD since 2006. He currently works in operations on the North West district after serving as Public Information Officer (PIO) for three years. Sgt. Wilburn was responsible for the creation of the current recruiting and branding material for the IMPD. Additionally, he assisted in developing the IMPD Leadership Academy for members of the IMPD and other law enforcement agencies across central Indiana. However, his favorite job duty is playing pick-up games of soccer with children on his district.

He is a former member of the prestigious Santa Fe Opera Apprentice program, won three consecutive summer ensemble positions at the Opera Theater of St. Louis, and appeared in many concerts and orchestras, most noticeably with the Newbury Port Orchestra (MA), the Hendersonville Orchestra (GA), Boston University Orchestra (MA), and the Commonwealth Orchestra (MA), among others.

His professional accomplishments include, PIO, IMPD Lead Recruiter, Career and

Sgt. Wilburn is a professionally trained opera singer, actor, and has performed the role of Stage Manager in the world premiere Our Town at Indiana University and the Accuser in the world premiere of Bright Sheng’s Madame Mao appearing with The Santa Fe Opera.

Sgt. Wilburn strives to develop young officers and seeks to improve the quality of life for citizens of Indianapolis. He thanks God for this special opportunity today.

LIFT EVERY VOICE AND SING Lift every voice and sing Till earth and heaven ring Ring with the harmonies of Liberty; let our rejoicing rise, high as the list’ning skies, let it resound loud as the rolling sea sing a song full of faith that the dark past has tought us, sing a song full of the hope that the present has brought us; facing the rising sun of our new day begun, let us march on till victory is won.

God of our weary years, God of our silent tears, thou who has brought us thus far on the way; thou who has by thy might, led us into the light, keep us forever in the path, we pray lest our feet stray frm the places, our God, where we met thee, least our hearts, drunk with the wine of the world, we forget thee, shadowed beneath the hand, may we forever stand, tru to our God, Tru to our native land. 61

ARTS IN INDY Indy Fringe

Calder, The Musical will be playing at Indy Fringe January 27– February 12, 2017. Calder, The Musical celebrates the life of American artist Alexander “Sandy” Calder, the inventor of the mobile. An uplifting homage, the original musical brings Calder’s art to life and captures his essence through a whimsical theatrical experience of drama, music, dance, and visual art. Ninety minutes of intimate theater in the IndyFringe Basile Theatre. For show times and tickets, visit www.indyfringe.org, or call 317.522.8099.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) on March 12 for Tapestry of Song and Voices of Youth—two concerts that will transform the Hilbert Circle Theatre stage into a 1940s dance hall! These fun-filled performances will harken back to the era of swing and big band music. Not to be missed! The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org, or call 317.940.9640.

Indianapolis Symphonic Choir The Indianapolis Symphonic Choir performs Mendelssohn’s oratorio Elijah in a one-night-only performance on Friday, March 17 at The Palladium in Carmel. Celebrating its 80th Anniversary Season, the 200-voice Symphonic Choir presents what has been called one of “the greatest choral works ever.” Artistic Director Eric Stark—celebrating his 15th season with the choral institution—conducts the Symphonic Choir, Indianapolis Chamber Orchestra, and Indianapolis Children’s Choir in a performance not to be missed. Tickets begin at just $15 and are available by calling 317.843.3800 or online at www.indychoir.org.

New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Join us for our next concert at the Hilbert Circle Theatre, February 12 at 5:00 pm, featuring RimskyKorsakov’s Scheherazade. For more information please visit www.nwyso.org. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

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ENDOWMENT Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund. Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian and Boris Meditch Peter Vickery, Assistant Concertmaster The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox Dean Franke, Assistant Concertmaster The Taurel Assistant Principal Second Violin Chair Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal Second Violin The Dick Dennis Fifth Chair Endowed in memory of Richard F. Dennis by Carol Richardson Dennis This Second Violin Section Chair is Seated Using Revolving Seating The Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel The Assistant Principal Cello Chair Endowed anonymously The Randall L. Tobias Cello Chair Endowed by Randall L. Tobias Ingrid Fischer-Bellman, Cello The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello The Sidney and Kathy Taurel Principal Flute Chair Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo

The Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet The Robert L. Mann and Family Principal Horn Chair Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth and Darrell Bakken Jerry Montgomery, Horn The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune Conrad Jones, Principal Trumpet The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test The Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra

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ENDOWMENT Endowed Performances The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias September 30 and October 1, 2016 — André Watts

April 21-22, 2017 — Brahm’s Requiem

The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund October 7-8, 2016 — Hilary Hahn

The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 5, 2017 — Rachmaninoff

The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 4-5, 2016 — Gil Shaham and Jennifer Christen Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 12, 2016 — Jan Lisiecki Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias December 2016 — Opening Night Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 2016 — Closing Night

The Performance of New Music Endowed by LDI, Ltd. April 28, 2017 — Mozart and Salieri

The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 2–3, 2017 — Bertrand Chamayou The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund June 9–10, 2017 — Carmina Burana The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2017 — Marsh Symphony on the Prairie The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick

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

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert

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

The Tobias Green Room Endowed by Randall L. Tobias

The Performance of a Young Professional Artist Endowed by Roche Diagnostics January 27–28, 2017 — Zach De Pue The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund February 17–18, 2017 — Tim McAllister The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously February 24, 2017 – Katia and Marielle Labèque The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen

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The Maestro Society August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist in Residence Endowment Endowed in memory of Hortense and Marvin Lasky

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

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

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

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

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

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

The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by Friends of Ava Button The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund 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 The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991

Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984 First Monday Music Club Endowed anonymously Stage Terrace Seating Endowed anonymously Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers

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

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

Marilyn K. Fourman Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett David* & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch

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

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

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Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune

Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Gail H. & Robert H. Hall Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn Mr. David A. Jacobs Frances M. Johnson

LYNN SOCIETY Mr. E. Patrick Kane Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure Sarah Forney McFarland Mrs. Judd R. McKay Alice & Kirk McKinney Martha Means Mr. & Mrs. J. Irwin Miller Robert H. & Ina Mohlman Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter Frieda Nyhart

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

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

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

“

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

”

- Rollie and Cheri Dick

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

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ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of December 1, 2016. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.

$100,000 and Above Anonymous Ms. Christel DeHaan Kay F. Koch Sarah & John Lechleiter B. M. “Marti” Ripberger Yvonne H. Shaheen Marianne Williams Tobias Randall & Deborah Tobias Anonymous Arts Council of Indianapolis and the City of Indianapolis The Christel DeHaan Family Foundation Efroymson Family Fund Eli Lilly and Company Indianapolis Power & Light Company Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF Marsh Supermarkets, LLC. Founders’ Society, Music Director ($50,000+) Anonymous Mr. & Mrs. Michael Becher Rollin & Cheri Dick Phil & Colleen Kenney Ann M. & Chris Stack Richard D. Wood Nicholas H. Noyes Jr. Memorial Foundation The Rock Island Refining Foundation Ruth Lilly Philanthropic Foundation Founders’ Society, Concertmaster ($20,000-$49,999) Christina Bodurow Trent & Amy Cowles Dawn M. Fazli Mr. Kent Hawryluk Dr. & Mrs. E. Henry Lamkin, Jr. Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Dr. Jeffrey Vanderwater-Piercy Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Christopher A. Slapak & Michael J. Robertson Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox

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Anonymous Anthem Blue Cross and Blue Shield Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase The Clowes Fund Community Health Network Foundation Duke Energy The Glick Fund, a fund of Central Indiana Community Foundation Ice Miller Indiana Arts Commission Ann and Gordon Getty Foundation and the League of American Orchestras MacAllister Machinery Company, Inc. National Endowment for the Arts OneAmerica Financial Partners, Inc. Printing Partners R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics SalesForce Scott A. Jones Foundation St.Vincent Health Telamon Corporation Terry Lee Hyundai The Martin D. & Mary J. Walker Charitable Foundation Founders’ Society, First Chair ($10,000-$19,999) Anonymous (2) The Honorable & Mrs. Alex M. Azar II Mr. & Mrs. Robert Bader Charlene & Joe Barnette Mr. & Mrs. Barry J. Bentley Maestro Raymond Leppard & Dr. John C. Bloom Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Vincent & Robyn Caponi Mr. & Mrs. Daniel P. Carmichael Mr. Daniel Corrigan Mr. & Mrs. James E. Dora Craig & Mary Fenneman Don & Carolyn Hardman Emily & Peter Howard Allan & Kathy Hubbard Bob & Rhonda Kaspar Joseph & Kathy Kessler

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

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

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

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

Dr. & Mrs. John E. Kalsbeck Donn & Dot Kaupke James & Jennifer Kelley Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Larry & Rose Kleiman Dr. Gwen & Mr. Robert Krivi Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Malcolm & Joyce Mallette Mary & Charles Matsumoto Dr. & Mrs. Ronald Maus The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Susanah M. Mead Flip & Cindy Miller Jim Miller Milton & Margaret Miller Jim & Jackie Morris Elizabeth & William Murphy F. Timothy & Nancy Nagler Timothy S. Needler Marc A. Nichols & James E. Collins Jackie Nytes Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jack & Katie Patterson Eloise Paul & Bill Lee Ray and Jim Luther-Pfeil David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Myrta J. Pulliam Jo & Chris Rathbun Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. Todd K. Rutledge Mr. Gilva F. Sallee James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Armen & Marie-Claude Shanafelt Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Dee & Tom Spencer Michael & Carol Stayton Sydney L. Steele Drs. Randall & Bonnie Strate James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Ms. Cathy Turner Martha Anne Varnes Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman

500 Festival, Inc. Community Health Network South Region DB Engineering LLC Donovan CPAs & Advisors Firestone Building Products and Industrial Products First Person Franklin Symphonic Council, Inc. Harlan Family Foundation Hoosier Park at Anderson Horace Mann Indiana American Water Co., Inc. Indiana Farm Bureau Insurance The Indianapolis Recorder The Indy Star Indy Eleven InterDesign Indianapolis Symphony Orchestra Association South Group ITT Technical Institutes J M Smith Foundation Mays Chemical Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc Milhaus Development RBC Wealth Management Ricker’s Salin Bank & Trust St. Richard’s Episcopal School The Stratford Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (4) Dr. & Mrs. Wayne Ambrous Nicholas Barbaro & Sue Ellen Scheppke Mr. Todd Barrett Spencer & Marcia Bavender Jay & Julie Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Kirk & Sharon Boller -- Bottom Line Performance Inc Dr. & Mrs. W. C. Bonifield Ms. Marsha Bragg Matt & Janette Brown Gordon & Celia Bruder Dr. Mark Overhage & Dr. Mary Brunner Mrs. Alva Buchholtz Kenneth & Patricia Burow Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. James M. Cornelius Dave & Christie Crockett Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Dennis K. Dickos, M.D. Patty Donnelly & Rob Pozzebon Mr. & Mrs. Robert M. Donovan Miss E. Frances Eickhoff Andrew & Irene Engel John N. & Julia Luros Failey

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ANNUAL FUND Jim & Gracia Floyd Dr. Norm & Adrienne Fogle Dick & Brenda Freije Marianne Glick Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Robert Gregory Ms. Julie Griffith Kenneth & Barbara Hamilton Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Ms. Lisa Heid Gregory Henneke & Martha O’Connor Mr. & Mrs. Gerald V. Hinchman Abigail W. Hohmann Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Mrs. Joan D. Kahn Dana & Marc Katz Mr. Charles E. Kendall Patricia Kilbury Mr. Doug Klitzke Col. A. D. Kneessy Tim, Amy & Matthew Konrad Dr. Elisabeth Krug Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Mr. & Mrs. Allan Litz Deborah & Joe Loughrey John & Ingrid Mail Mr. Kevin Malley & Mr. Ronald Nobles Jon D. Marhenke, M.D. Dr. & Mrs. Douglas R. Maxwell Scott & Tiffany McCorkle Mr. & Mrs. Robert B. McNamara Mr. & Mrs. Russell Mobley Teresa Morton Nyhart Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Sarah Myer Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Guido Neels Tom & Nancy Newlin Mr. & Mrs. John S. Null Thomas & Stacy O’Leary Bill & Jamie Parrish Allen H. Pekar Beverley & Bill Pitts Barbara Poulsen Christine & Ken Price Scott & Susan Putney Dr. & Mrs. George F. Rapp Mr. Alan & Mrs. Deborah Rasper Mr. & Mrs. Randall Riggs Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. & Mrs. John F. Schaefer Paul & Martha Schmidt John Seest Jerry & Rosie Semler Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Christy & Jeffery Soldatis Drs. Pamela Steed & Peter Furno

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Rita & Larry Steinberg Ed & Barbara Steward Jim & Cheryl Strain Richard & Lois Surber Sidney Taurel Stephen L. Tracy Dr. James & Linda Trippi Randall Trowbridge & Alice Brown Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Don & Coleen Walker Courtenay & Emily Weldon Mrs. Mary Whalin Mrs. Lucy Wick Ken & Wendy Yerkes Josephine A. Yu The Ackerman Foundation Batt Family Foundation Conrad Indianapolis Cornelius Family Foundation, Inc. CSO Architects, Inc. F.A. Wilhelm Construction Co. Gracia E. Johnson Foundation The Jenn Foundation Joanne W. Orr Charitable Fund The Penrod Society Pointer Management Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (5) Mr. Eric Adolph & Ms. Teresa Beam Kate & Dan Appel Mr. Wilbur L. Appel, Jr. Joan Baker Mrs. Taylor L. Baker Terry & Patricia Balko Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Mr. & Mrs. Laurens Beyland Jeffrey Stant & Mary Bookwalter Erv & Priscilla Boschmann Douglas & Angela Braly Tiffany & William Browne, Jr. Terri Bruksch Mr. James & Mrs. Joan Burgett Lorene M. Burkhart Celeste & Derrick Burks Pam & Jack Burks Helen Burnett Donald W. Buttrey Mr. & Mrs. E. M. Cavalier Betty Chapple Casey Chell & Daniel Duarte Ray & Lisa Childers Mr. & Mrs. Randall Christie Dan & Laura Conder Mrs. Mary C. Crean Mr. Douglas Davies Joanne Meyer Davis Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Norman Dean Dr. & Mrs. Frank Deane Dr. Tom & Pat DeCoster

Julie & David DeWitt Mr. & Mrs. Dan Dumbauld Stephen Dutton Joe & Florie Eaton Mr. & Mrs. Thomas J. Eggers David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum Linda Felton Ann & David Frick Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. James F. Gallagher Paul & Beth Gaylo Mr. & Mrs. Raymond Gibson Mr. Scott & Ms. Amy Goldsmith Mr. & Mrs. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Mr. & Mrs. Berl J. Grant Thomas & Nancy Grembowicz Peter Grossman & Pauline Spiegel Jim Gutting Jerry & Kathleen Hacker Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Mr. & Mrs. Eugene E. Henn Dr. Stephen & Susan Henson Mr. Ronald N. Hermeling William & Patricia Hirsch C. Jane Hodge Mrs. Ginny Hodowal Brenda S. Horn Mrs. Jill Hoyle Ms. Lysiane Huber Clarena Huffington Meredith & Kathleen Hull Carolyn Humke Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson Larry & Marianne Jacobi David L. Johnson & Anne Nobles Catherine Jones Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Mr. & Mrs. Robert P. Kassing Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. & Mrs. Daniel E Klausner David H. Kleiman Steve & Sharon Klusman Richard & Roxanne Kovacs Terrence & Jodi Kunstek Dr. Matthew Landman Gene & Carolyn Lausch Cindy & Rick Leffler Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Grace Long Lowell & Penelope Lumley Ralph & Nancy Lundgren Carey Lykins Mr. Greg Malone Michael & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Elaine M. Mattson

Dr. Rose Mays Carson & Betsy McCaw Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Myron J. McKee Alan & Ann McKenzie Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. James Miller Mr. & Mrs. Robert E. Miller James E. LeGrand & William A. Nichols Mr. Bill Moreau Jerry & Anne Moss Ann & Jim Murtlow Peggy & Byron Myers Mr. Reid Nagle Don Nead & Caryl Matthews Paul Nordby Lara Noren Linda Pence Pat Perkinson Marian Pettengill Mr. Matthew & Mrs. Christine Phillips Gayle L. Phillips Lois Pless Larry & Nancy Pugh Mrs. Nancy Quest Roger & Anna Radue Patricia L. Ragan Richard & Betty Lou Reasoner Barb and Tom Reed Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg Rick Rezek Mrs. Mary L. Rice Jean & Lamar Richcreek Mark & Susan Ridlen William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Mrs. Lisa M. Sapp Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Dr. Richard Schevitz & Ms. Rosemary Ervin Roger & Barbara Schmenner Ms. Silvana Schuster Carson & Carla Shadowen Mr. & Mrs. Henry E. Sleeth Mrs. Marian Small Maribeth & Al Smith Nancy C. & James W. Smith Mr. Peter & Mrs. Chris Smithhisler The Sneed Family Loren Snyder Judy A. Springmire Barb Stang Brian & Martha Steinkamp Ms. Shelley Stiner Mrs. Lynn Stocksill Mr. Bill & Mrs. Linda Strickland T.S. Sun Nela Swinehart & Lonn Bayha

ANNUAL FUND Mr. John Tan Phillip A. Terry Mr. Mark Thompson Douglas L. Tillman Jerry & Linda Toomer Mrs. Clara Trapp Bob & Sue True Barbara S. Tully Kenneth L. Turchi Ms. Phyllis Dye Turner Constance Van Valer, M.D. Mr. & Mrs. Bradley Warnecke Paul & Gretchen Watson Scott & Sue Webber Frank & Sandy Weddle Mrs. Phyllis West L. Alan & Elizabeth Whaley Meg Williams & Nicole Collins Forrest Williamson Mr. & Mrs. Meredith L. Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Mrs. Edna Woodard Turner & Diann Woodard Diana & Dan Yates Mrs. Teresa P. Youngen Mr. & Mrs. Leslie R. Zimmerman Cavalier Family Foundation Cole Hardwood, Inc. Douglas & Angela Braly Family Foundation ASA Concierge Psychological Services, LLC

Gregory & Appel Insurance The Humke Foundation, Inc. Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Marni McKinney Foundation O’Ryan Law Firm Psi Iota Xi, Iota Tau RSE Realty, Inc The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey SBC Wealth Management The Toomer Family Foundation Virtuoso ($750-$999) Anonymous (6) John & Reita Bertsch Mr. & Mrs. Borissov Mr. & Mrs. Fred Boso Christine & Robert Broughton Dr. David & Judith Chadwick Mr. & Mrs. Tom Cooper Daryl, Sherry & Kevin Cox Patrick and Jennifer Cross Jessica R. Di Santo Jack & Connie Douglas Constance C. Earle Dr. & Mrs. Christopher Eddy Brian & Sara Eldridge Mr. & Mrs. Ardith Fleetwood Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dona & Catherine Gatlin

Drs. Jean & Gerald Godfrey Brian & Claudia Grant John & Mary Ann Grogan Susan C. Guba Ms. Lauren Guidotti Dan & Vicky Hancock Mr. & Mrs. Thomas G. Harvey, Jr. Mr. & Mrs. Jerome T. Henning Mike & Noel Heymann Jack & Ruth Hoover Mr. & Mrs. David Jensen Robert & Cindy Kirkpatrick Mr. Richard & Mrs. Gwen Knipstein Robbie & Emily Kusz Mrs. Carl Lesher Dennis & Karen Licht Mr. Joseph Lime Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Mr. & Mrs. Ralph McCormick Earl Miller & Ek-Leng Chua-Miller John & Tara Morse Dr. & Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Brian Oakley Dr. John A. & Cinda Overman Anne K. Perry & Marvin C. Perry, II John Mainella & Michael Pettry Janeann M. Pitz & Reinhard Pollach The Prible Family

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

"I couldn't be happier here. My apartment is comfortable, the staff are wonderful, there are many things to do and I've met a lot of new friends." -Don Boyle

11050 Presbyterian Drive Indianapolis, IN 46236 westminstervillage.com Call Margaret at 317-826-6072

©2016, Westminster Village North, Inc., all rights reserved.

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WHY WE GIVE MICHAEL & JOEL O’BRIEN

Corporate Sponsor, Printing Partners Printing Partners gives to the Symphony because it’s good for business. Having a world-class symphony is essential to being a first-class city. The opportunity to attend Symphony performances is appreciated by our employees and proves to be an excellent form of client entertainment. We also give to support the educational outreach the Symphony provides. Through its SymFUNy Sundays performances, young audiences develop an understanding and appreciation of a wide range of music. If you want to join Printing Partners as a supporter of the ISO, contact the Development Office at 317.229.7076.

Matthew Halls, Conductor | Simone Porter, Violin

The Los Angeles Times, after referring to her as a “future star,” wrote, “Let’s strike the word ‘future.’ She sounds ready. Now.” At 20 years old, Simone Porter makes her debut with the ISO, performing Mendelssohn’s beloved Violin Concerto followed by Bruckner’s Seventh Symphony. Second Presbyterian Church is located at 7700 N. Meridian Street.

Buy tickets at Indianpolissymphony.org, or call 317.639.4300

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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 November 14, 2016–December 1, 2016.

Memorial Gifts In Memory of William B. Clark Ann Calkins Alex Crippen May A Lorance

In Memory of Dr. Robert Rudesill Kathleen Custer Dennis and Anne McCafferty Virginia Melin Mr. Eric & Mrs. Deborah Stoll Roberta & Bill Witchger

In Memory of Mr. Timothy Hall Mrs. Diane Hall In Memory of H J Ross Ms. Casey Ross

Burana Thursday, June 8, 7:30PM Friday, June 9, 8PM Saturday, June 10, 7PM hilbert circle theatre

Sunday, June 11, 3PM The Palladium

It is both sacred and profane. It is of romantic love and carnal desire. The ISO, Indianapolis Symphonic Choir, and the Indianapolis Children’s Choir, under Krzysztof Urbański, perform Carl Orff ’s ecstatic Carmina Burana. If you have never heard it live, in concert, prepare for a stunning experience. TITLE SPONSORS:

PREMIER SPONSOR:

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

btlaw.com

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ASSOC ATION

JOIN US

IN WHAT WE DO...

PEOPLE WITH A PASSION FOR MUSIC

THE MET R O POLITAN YO UT H O RC HE ST RA

ORCHE STRA A & B SOLO RECITALS

S U N DAY, F E B R UA RY 1 9 & S U N DAY, F E B R UA RY 2 6 The Broadway United Methodist Church Sanctuary

SYMPH ONY IN COLOR

Symphony in Color is an annual enrichment program of the ISOA which offers a unique blending of symphonic music and visual arts for Indiana School Children, grades 1-6. The ISOA is looking for Volunteers for this event! IMPORTANT DATES: Contest week and judging - February 6-8, 2017 Hilbert Circle Theatre Exhibit - February 25-March 27, 2017 Call the ISOA office at 317.231.6726 for more information

M EET V I N C E LEE

THE ISO’S ASSOCIATE CONDUCTOR

P R E S E N T S T H E L E T U S E N T E RTA I N YO U EVENT OF THE YEAR

save the date

W ED NESDAY, F EBR UA RY 8 , 1 1 : 0 0 AM Meet and greet the dynamic personality behind ISO’s Discovery Concerts. These concerts educate, entertain, enlighten and engage Indiana’s school children in grades 3-6.

april 23, 2017 Join us at The Willows on Westfield for a fabulous evening of Dinner, Dancing and an incredible Auction.

All proceeds will support the ISO's Metropolitan Youth Orchestra. F O R M O R E I N F O R M AT I O N C A L L T H E I S O O F F I C E AT 3 1 7. 2 3 1 .67 2 6 SPONSORED BY:

HERE’S HOW

TO BECOME A MEMBER OF ISOA... Please contact us at 317.231.6726 or [email protected]

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ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Philomena Duffy, Operations Coordinator Orchestra Operations K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Operations and Facilities Joanne Bennett, Director of Operations Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration Katie McGuiness, Director of Artistic Planning Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Pops & Presentations Coordinator DEVELOPMENT Megan Meyer, Executive Assistant to the Vice President Casey Chell, Director of Development Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and Foundation Giving Melissa Weseli, Associate Director of Corporate Giving Sally Meyer Chapman, Associate Director of Foundation Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Allison Gehl, Gift Officer Cindy McHone, Gift Processing Manager Caily Wolma Lee, Individual Giving Associate Beckie Kern, Development Assistant Tom McTamney, Gift Processing Associate Catherine Lockhart, Corporate Relations Associate

MARKETING & COMMUNICATIONS Sarah Myer, Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Mary Ferguson, Audience Development Manager Marci Taylor, Graphic Designer Communications Leila Viera, Publications Manager Lauren King, Digital Marketing and Communications Manager Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Anita Blackwell Janine Knuutila Crystal Black Nick Neukom Carolyn Kupchik McKenzie Witherell Kim McManus Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager FINANCE Steve L. Hamilton, Vice President of Finance and Chief Financial Officer Adam White, Controller Teaka Vest, Staff Accountant Jennifer Morrell, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist

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

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

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

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

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DISCOVERINGAMERICA’SNEXTGREATPIANISTS

AMERICAN PIANISTS AWARDS FINAL PREMIERE SERIES CONCERT SUNDAYƒFEBRUARY…†|ˆ‰ˆŠPM Indiana History Center’s Basile Theater Finalist Alex Beyer will perform a solo recital followed by

Beethoven’s Piano Concerto No. 2 with the

Indianapolis Chamber Orchestra ALLFIVEFINALISTSRETURNTOINDIANAPOLISAPRILˆ-ŽFORDISCOVERYWEEKANDTHE GALAFINALSWITHTHEINDIANAPOLISSYMPHONYORCHESTRAATHILBERTCIRCLETHEATRE’ GETTICKETS!

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WWWAMERICANPIANISTSORG

IPL Ad A CURRENT OF MORE THAN POWER AND LIGHT Since 1926, it’s been the people of IPL driving the power that keeps Indianapolis going. Helping you manage your account in the way that suits your lifestyle best. Even powering the city through volunteer efforts in many of the same communities and organizations as you. Because the real power behind IPL, is real people. IPLpower.com/RealPeople

Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge. This advertisement paid for by IPL shareholders, not our customers.

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Oxford proudly supports the Indianapolis Symphony Orchestra.

Oxford is independent and unbiased — and always will be. We are committed to providing families generational estate planning advice and institutions forward-thinking investment strategies.

CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES

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317.843.5678 ✦ WWW.OFGLTD.COM/ISO