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

Music from 2001: A Space Odyssey Celebration of Black History Sinatra Centennial Caroline Shaw & Shara Worden Spectrum: The Magic of Motown

2015 - 2016 | FEBRUARY | VOLUME 5

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THE PROGRAM BOOK Programs 17 February 4, 2016 18 February 5, 6, 2016 30 February 7, 2016 31 February 9, 2016 36 February 12-14, 2016 41 February 19, 2016 51 February 26, 27, 2016 Featured Articles 13 Music In My Life 15 ISO Musicians Around Town 16 The Cosmos Music Festival Finale 56 Arts in Indy Departments 11 ISO Profile 71 Hilbert Circle Theatre Information Support 57 Endowment 60 Lynn Society 62 Annual Fund 65 Tribute Gifts 67 Why We Give 68 Corporate Sponsors

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2015-2016 Hilbert Circle Theatre Artists 9 Indianapolis Symphony Orchestra 19 Krzysztof Urbański 32 Austin Huntington 33 Chelsea Tipton II 33 Adé Williams 34 Lonnell “King Ro” Conley 37 Jack Everly 38 Tony Desare 39 Frankie Moreno 39 Liz Callaway 42 Edwin Outwater 43 Caroline Shaw 44 Shara Worden 53 Stuart Chafetz 54 Spectrum 54 Radiance The Indianapolis Symphony Orchestra 9 Musicians of the ISO 10 Board of Directors 69 Indianapolis Symphony Orchestra Association 70 Administration

WELCOME Dear friends – Last month, the ISO’s Cosmos Music Festival lifted off as we presented the first two weeks of celestial-themed music, exhibits and presentations. Now, we enter February with the last weekend of the Cosmos Music Festival on Feb. 5-6. In the finale, Krzysztof Urbański and the Indianapolis Symphony Orchestra are bringing the classical music used in the landmark 1968 film, 2001: A Space Odyssey, back down to Earth – and to our stage. As noted on page 18, director Stanley Kubrick found that, rather than commissioning an original score, masterworks such as Also sprach Zarathustra, On the Beautiful Blue Danube and Atmosphères added the perfect emotional elements to the picture. We couldn’t agree more and are delighted to present them to you – live. February also includes a wide variety of concerts, programs and events at the Hilbert Circle Theatre. The ISO celebrates the impact of African-American culture on symphonic music during our free Celebration of Black History concert on Tuesday, Feb. 9 at 7:30 p.m. Frank Sinatra receives a 100th birthday tribute for Valentine’s Weekend with Jack Everly and the ISO. We welcome back Pulitzer Prize-winning violinist and composer Caroline Shaw and vocalist Shara Worden on Feb. 19, and we conclude the month with the music that defined a generation – the Magic of Motown. Looking ahead, if you are a subscriber (thank you!), look out for our 2016-2017 season announcement materials in your mailbox in early March. If you are not yet a subscriber to the ISO, we hope you will take a look at our exciting 2016-17 season when it is unveiled next month and consider subscribing. As our current subscribers already know, being a part of our subscriber family provides exceptional benefits, including the best savings, the best seats, and advanced ticket purchasing opportunities for special events, like our IPL Yuletide Celebration and more. Whether you are a classical or pops fan, or prefer to mix it up with a variety of concert choices, there is simply nothing like experiencing a live symphony orchestra – week after week! Thank you for being with us and supporting the Indianapolis Symphony Orchestra.

Gary Ginstling Chief Executive Officer

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

Sé-Doo Park Jian-Wen Tong

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

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

Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Nancy Agres Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair

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

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

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

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

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

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

Officers

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

Board of Directors Don Altemeyer Sherry Amlung Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D.* John A. Bratt Bryan Brenner* Vincent Caponi* Trent Cowles Andrea Cranfill* Gary Ginstling* Peter Howard, Ph.D. Ann Hampton Hunt

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

Alice K. Schloss Natalie Schneider Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* James C. Zink Sr. Jennifer Zinn

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

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

*Executive Committee

Board of Trustees John M. Mutz, Chair Bob Anker Sen. Dan Coats Stephen E. DeVoe Carolyn S. Hardman

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

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ISO PROFILE

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

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THE INDIANAPOLIS SYMPHONY ORCHESTRA’S

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MUSIC IN MY LIFE Mark Ortwein grew up in Las Vegas, Nevada. He attended Loyola University in New Orleans for two years majoring in bassoon and jazz saxophone. After transferring to Boston University, Mark received a Bachelor of Music degree in Bassoon Performance, graduating Magna Cum Laude. Mark played for one season with the Las Vegas Symphony Orchestra then joined the United States Air Force Band at March Air Force Base in California as saxophone soloist (and woodwind doubler), and four years later moved to the Air Force Academy where he was the principal bassoonist with the United States Air Force Band of the Rockies for four years. He completed his Master’s Degree from the Cincinnati Conservatory of Music. Mark is a Yamaha Performing Artist on Saxophones and Bassoon. He has been with the ISO since 2002 and currently serves as Assistant Principal Bassoon/ Contrabassoon. Who do you perform with outside of the ISO? I have two jazz quintets currently — The Icarus Ensemble with ISO members Peter Hansen and Dean Franke. We put out a CD last year that has received great reviews. The other is a new group formed with ISO percussionist Craig Hetrick. The HetWein Futet plays a mix of fusion, funk, and latin music. We frequently perform around the city, most recently at the Jazz Kitchen. How do you spend your time when you’re not performing? My wife Carrie and I bought and renovated an old church in Fountain Square and have turned it into a venue as well as live there full time. It’s called Grove Haus (GroveHaus.com) and was voted second in this year’s NUVO Best of Indy “Best All Ages Venue” category. We are booked almost every day now with various shows, yoga classes, dances, parties and weddings. This keeps me busy since I serve as the house manager and head janitor. My wife is a Nurse Practitioner with IU Health Physicians and is the Geriatrics Team Lead NP. She does all the business side of things with Grove Haus too, so both of us put in a lot of work hours per week! I also teach Bassoon and Woodwinds Methods at U of I. I have two children in their 20’s both living out of state now, two step-kids at home, three dogs and a cat. What was your most memorable performance thus far? I was lucky enough to get called by John Williams to play his Alto Saxophone Concerto in 2003 with the Pittsburgh Symphony Orchestra. I have also played on the Jerry Lewis Telethon, MTV, at the Grand Ole Opry and Carnegie Hall. I’ve also toured all over the world with U.S. Air Force Band. I’ve really had some fantastic performing experiences! Tell me an interesting non-musical fact about yourself. My parents are both from Montana, but met in Las Vegas where they were both teachers. My Dad got a job teaching at a college in Africa (Nigeria) for two years and I was born right in the middle of the two years. My mom came back to the U.S. to give birth to me in Montana, then went back and I spent my first year of life in Nigeria. If you could perform anywhere you haven’t performed yet, where would it be? I’d love to play a tour in Europe and Asia.

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ISO MUSICIANS AROUND TOWN James Beckel’s (Principal Trombone) piece The Glass Bead Game will be played by the University of Kansas band on February 23, with conductor Paul Popiel. St. Paul’s Music Presents ICARUS A Jazz Concert at St. Paul’s Episcopal Church, ISO Musicans (left to right): 6050 N. Meridian Street on Dean Franke, violin, Peter Hansen, bass and Amy Kniffen, viola. Sunday February 7th, 2016 at 4 p.m. Admission is free and open to the public. The Icarus Ensemble is made up of ISO Musicians Dean Franke, violin, Peter Hansen, bass, and Mark Ortwein, winds. The ICARUS Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD is available on I-Tunes, CD Baby, in the Hilbert Circle Theatre lobby and from band members. A recital of storytelling to benefit the violin program of Coram Deo Academy is planned for Sunday, February 28, at 3 p.m. The true Alaskan story of how a pod of whales was saved by classical music will be told by Annie McCafferty, cello. Kids of all ages will enjoy the story of Ferdinand the Bull as presented by Jennifer Greenlee, violin and Amy Kniffen, viola/narrator. For more information contact the Coram Deo office at 317 844-4224.

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FEB 4-6

MUSIC FROM 2001: A SPACE ODYSSEY

WEEK 3 The Comos Music Festival Finale — Music from 2001: A Space Odyssey In 1968, Chicago Sun-Times film critic Roger Ebert opined that “two out of three people who will see 2001: A Space Odyssey will assure you that it is too long, or two difficult, or (worst of all) merely science fiction. In fact, it is a beautiful parable about the nature of man. Perhaps it is the nature of man not to wish to know too much about his own nature.” Meanwhile, the New York Times hailed “[2001: A Space Odyssey] is so completely absorbed in its own problems, its use of color and space, its fanatical devotion to science-fiction detail, that it is somewhere between hypnotic and immensely boring.” Indeed, the release of Stanley Kubrick’s landmark film, 2001: A Space Odyssey, polarized audiences and critics. However, there was one universal agreement – the use of classical music in the film. Although Kubrick’s intention was to commission an original score from composer Alex North, he abandoned the idea once he heard the classical recordings used during the editing process. According to Mr. Ebert, this was a crucial decision. “North’s score is a good job of film composition, but would have been wrong for ‘2001’ because, like all scores, it attempts to underline the action–to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals,” Ebert wrote. Forty-eight years later, 2001: A Space Odyssey has been called one of the most influential and yet enigmatic films of all time. It was the top-grossing North American film of 1968, was nominated for four Academy Awards, was selected for preservation in the National Film Registry, and was named the greatest film of all time by The Moving Arts Journal. The classical works by R. Strauss, J. Strauss, Ligeti and Khachaturian enjoyed a renewed (and deserved!) surge in popularity after 1968. The Indianapolis Symphony Orchestra is proud to bring these masterworks down to Earth, once again.

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Additional Activities

Arrive an hour prior to concert time to hear Mr. Dan Dumbacher, former Deputy Assocate Administrator of NASA’s Human Exploration and Operations Mission Directorate, as he discusses his path from an Indianapolis native watching 2001: A Space Odyssey to his career in making the next generation of human spaceflight possible. Enjoy interactive exhibits provided by Space Grant Affiliate groups with Purdue University. Post-concert After Party presented by FORTE, the ISO’s Young Professionals Group, on Friday, February 5.

MUSIC FROM 2001: A SPACE ODYSSEY

FEB 4

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Four Thursday, February 4, 2016, at 11:15 a.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor The Cosmos in Music — Music from 2001: A Space Odyssey Johann Strauss Jr. An der schönen blauen Donau, Op. 314 (1825-1899) (On the Beautiful Blue Danube) György Ligeti (1923-2006)

Atmosphères

Aram Khachaturian Gayane’s Adagio from Gayane (1903-1978) Richard Strauss Also sprach Zarathustra, Op. 30 (1864-1949) Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) Von den Hinterweltlern (Of Those in Backwaters) Von der großen Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of Joys and Passions) Das Grablied (The Song of the Grave) Von der Wissenschaft (Of Science and Learning) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer)

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

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FEB 5, 6

MUSIC FROM 2001: A SPACE ODYSSEY

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Nine Friday, February 5, 2016, at 8 p.m. Saturday, February 6, 2016, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor The Cosmos in Music — Music from 2001: A Space Odyssey György Ligeti (1923-2006)

Atmosphères

Aram Khachaturian Gayane’s Adagio from Gayane (1903-1978) Johann Strauss Jr. An der schönen blauen Donau, Op. 314 (1825-1899) (On the Beautiful Blue Danube) INTERMISSION - Twent y M i n ute s Richard Strauss Also sprach Zarathustra, Op. 30 (1864-1949) Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) Von den Hinterweltlern (Of Those in Backwaters) Von der großen Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of Joys and Passions) Das Grablied (The Song of the Grave) Von der Wissenschaft (Of Science and Learning) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer)

This concert is endowed by LDI, Ltd. Premiere Sponsor

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Associate Sponsors

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

KRZYSZTOF URBAŃSKI, Conductor

FEB 4-6

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

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

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

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FEB 4-6 By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Atmosphères György Ligeti Born May 28, 1923 in Târnăveni, Romania Died June 12, 2006 in Vienna, Austria

which would better suit his ideas of transformation. He wanted change to be immediately “A study in motionless” perceptible, and this was not possible using If you have heard the soundtrack to 2001: A electronically generated Space Odyssey, you have heard György Ligeti’s sounds, exclusively. Atmosphères, which was played in its entirety However, he did find during the Stargate segment of the film. As one that certain electronic processes (such as of the foremost avant-garde composers of the manipulation of density) did aid in his goal twentieth century, György Ligeti was a musical of, or his version of, micro polyphony. (Sarah explorer; one of his favorite concepts was Davachi, Aesthetic Appropriation of Electronic micro polyphony (a word Sound Transformations in of his own creation), which Ligeti’s Atmosphères) INTERESTING FACT identifies the idea of sound The creators of 2001 did mass, and “the perceptible Micro polyphony is not ask Ligeti’s permission manifested immediately [and imperceptible] transformation of sound in by the cluster chord, which to use Atmosphères in musical space.” This means opens Atmosphères, and their film. The composer that the music you hear consists of 55 pitches will be comprised of dense spanning four octaves learned of its inclusion sonorities comprised of by strings and when he saw the premiere produced simultaneous sounding soft woodwinds. As sound in Vienna. of different notes crushed clusters overlap, fluctuating in into a single body. The their composition, movement experience is like listening in a strange fog or is generated by dissolving, eradicating, and haze. Clarity is not a goal. adding tones. The musical experience is as if hearing something from afar (which Atmosphères (a part of the genre “sound he successfully also produced in his work mass” compositions) has been considered his Lontano). An especially beautiful shimmering most mature development of the concept sound mass occurs in the 87-voice canon. The of micro polyphony. (Penderecki’s Anaklasis illusory, auditory effect is suspension (stasis), and Xenakis’s Metastasis are other examples but the fact is continual change. In Ligeti’s of sound mass experimentation). In 1988, the words, the experience of micro polyphony composer spoke of his deep fascination with is like “viewing a hanging oriental tapestry, “musical forms that are less process-like and suspended outside of time.” more object-like.” At that time he explained, “Music as frozen time, as an object in an Ligeti’s packed, almost impenetrable score is imaginary space…to hold on to time, to filled with constant instructions on how this suspend its disappearance, to confine it in the sensation is to be manifested. He wrote out present moment, this is my primary goal in detailed parts separately for each member of composition.” (Ligeti, On my Piano Concerto) the orchestra. Some instruments are moving faster than others, some are sliding with To this end, he abandoned electronic music as harmonic glissandi, some are vibrating… a genre in the 1960’s in favor of instruments, traditional melodies and rhythmic controls are

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FEB 4-6 simply gone. Keith Fitch, head of composition at the Cleveland Institute of Music, summarized, “It is radical if you think about it. The conductor can only shape it. There is no way to cue every single person.” Atmosphères was commissioned in 1961 by the Southwest German Radio and premiered on October 22, 1961. The composer noted that after the broadcast (which also included other work apparitions) he finally “became famous.” It was an unforgettable, stunning debut. The ISO’s last performance of Atmosphères was October 1970, conducted by Thomas Briccetti. Gayane’s Adagio From Gayane Aram Khachaturian Born June 6, 1903 in Tbilisi, Georgia Died May 1, 1978 in Moscow, Russia Aram Kachaturian was the most renowned Armenian composer of the twentieth century, and the first composer of Armenian ballet music. Gayane, his second ballet, was reworked from his first ballet titled Happiness, written by Khachaturian in 1941-1942, with revisions (mainly to the plot) in 1952 and 1957. It premiered on December 3, 1942 in Perm, Russia, with the Kirov Ballet and Stalin in attendance. One year later, Khachaturian joined the Communist party, but this did not save him from government punishment, asserting that his music was anti-people and formalist and in 1948, he was put on the Black List. The title refers to the heroine Gayane, who unfortunately is married to Giko, a hopeless drunk, arsonist, and smuggler of public money. Gayane conspires with a Soviet guard to foil her husband’s schemes, is later stabbed by Giko, but survives, and in the end remarries. Although the ballet was only moderately successful, three suites featuring ethnic dances from the second and last act have been alluring and popular, especially the Sabre Dance. Ultimately, Gayane’s Adagio (in the first suite) became well known and popularized through Stanley Kubrick’s sci-fi masterpiece,

2001: A Space Odyssey, produced in 1968. The music set for strings only, opens in lower registers, singing an exquisite melody, which moves slowly and smoothly. In the ballet, the Adagio is intended to give comfort to Gayane, who is anguished by the fact that her husband is not only horrible, but also treasonous. She has, at this point, learned that Giko has plans to set fire to the cotton warehouse (owned by the state) with his friends and to run away. The music has a powerful effect and potent sadness within its quiet dynamics, restraint, and fluidity. The ISO’s last performance of Gayne’s Adagio from Gayane was December 1964, conducted by Arthur Fiedler. On the Beautiful Blue Danube Johann Strauss Born October 25, 1825 in Vienna, Austria Died June 3, 1899 in Vienna, Austria The Viennese waltz, dating from the1800’s, is one of the oldest of ballroom dances. Couples (in closed position) move in a rotary style, clockwise and counter-clockwise, spinning constantly, but never passing one another. Imagine a large wheel; with each spoke holding a spinning pair. The large wheel moves counter-clockwise, as do the individual couples. In the nineteenth century, the dance captivated Vienna and all of Europe, especially in the salons of the aristocracy. “The advent of the waltz in polite society was quite simply the greatest change in dance form and dancing manners that has happened in our history. “ (Belinda Quiry, May I Have the Pleasure) Tempi differed; the Viennese waltz was the fastest in the European settings. The waltz was first danced in Boston in 1834. In England, the position of the couples was suspect. In the early nineteenth century, The London Times reported, “We remarked with pain that the indecent foreign dance called the waltz was introduced at the English court. 23

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PROFESSIONAL ORCHESTRA EXPERIENCE

AND

APPRECIATION NIGHT MARCH 16, 2016 | 7PM VINCE LEE, CONDUCTOR Join us for our third annual Student Appreciation concert! This year’s performance will feature 59 high school musicians from central Indiana involved in the ISO’s Side-by-Side program, performing works by Verdi, Glazunov and Mussorgsky/Ravel. You’re invited to dress casually in your school gear to represent your school! There will also be pre-concert entertainment and food samples from local restaurants.

ALL TICKETS ARE JUST $10! No student ID required!

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

FEB 4-6 It is quite sufficient to cast one’s eyes on the voluptuous intertwining of the limbs and close compressor on the bodies in their dance. We feel it a duty to warn every parent against exposing his daughter to so fatal a contagion.” However, the fun could not be quenched; it was irresistible. Vienna was the generator and hotbed of waltzing and waltzes, and sensual pleasure was rampant and addictive. The iconic waltz On the Beautiful Blue Danube, premiered in 1867 (both in Europe and in New York) as an orchestral piece. The original version was a choral work, written the previous year, with words submitted by the Vienna Men’s Choral Association resident poet, Joseph Weyl. In ten verses it sings of the wondrous river: “giving your blessing to everything. A picture of peace for all time.” Mermaids whisper amid the dancing waves, a boat with lovers travels along, and unity for Vienna is assured by its presence. “The waltz king”, Johann Struass, whose lighthearted music beguiled Vienna throughout the latter part of the nineteenth century, created the music. In this case, he had been commissioned to write something for the Paris exhibition. The waltz became so well known that some called it the unofficial Austrian national anthem. This waltz begins with bustling strings and a romantic horn call (a melodic forecast), a response by winds before the first melody emerges in totality. In total, there are five melodies (in succession) with a beautiful coda. Listen for the einschliefen, one of the most tantalizing features of the waltz performance, a slowing down, or a hesitation of the tempo, and then a re-gliding into the waltz tempo. Per Maestro Raymond Leppard, this is often “greatly affected by orchestras” but actually happened quite naturally in the dance after the left foot moved and the right foot “dragged in a bit later.” The ISO’s last performance of On The Beautiful Blue Danube was May 2013, conducted by David Glover.

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Also Sprach Zarathustra Richard Strauss Born June 11, 1864 in Munich, Germany Died September 13, 1977 in Nether Wallop, Hampshire, England After the romantic philosopher Friedrich Nietzsche (1844-1900) competed his book Zarathustra, he looked at the manuscript and asked prophetically “Where does this Zarathustra really belong? Almost, I think among the symphonies.” The musical answer came, however, in the form of one of Strauss’ most stunning tone poems, Thus Spoke Zarathustra.” Strauss’ poems are among the most engaging and moving works in the orchestral repertoire. Critics have sometimes ridiculed these huge, voluptuous documents, and Debussy went so far as to say that they “provided an hour in an insane asylum.” Strauss indeed went beyond the boundaries: in scope, and in instrumental demands “He writes for the trombone as if it were the piccolo,” one critic observed. For his part, Strauss was undeterred and uncompromising. For proponents, however, the tone poems provide thrilling vehicles into transcendent worlds of emotion and thought, and their very excessiveness creates an experience of sensual delight, intellectual stimulation, and unbridled, imaginative orchestration. “I have found myself in a gradually ever-increasing contradiction between the musical-poetic content that I want to convey and the ternary sonata-form that has come down to us from classical composers. If you want to create a work of art that is unified in its mood and consistent in its structure, and if it is to give the listener a clear and definite impression, then what the author wants to say must have been just as clear and definite in his own mind. This is only possible through a program. I consider it a legitimate artistic method,” Strauss explained. Zarathustra or Zoroaster was an ancient seer, dating from the sixth century B.C. who declaimed a set of pronouncements for man. The goal of these pronouncements was for man to improve himself, and ultimately to

FEB 4-6 become an ubermensch (superman). Strauss was an avid reader of Nietzsche, and he selected eight topics from the eighty-plus sections of Zarathustra, which he used as the body of his tone poem. He used these parts quite freely (some have called it a literary hook) however, and in most cases bears little resemblance to the Nietzsche work. Zarathustra, incidentally, remained unfinished, interrupted by the author’s visit to a mental hospital. Strauss commented in a letter to Otto Florscheim “I did not intend to write philosophical music or portray Nietzsche’s great work musically…I meant rather to convey in music an idea of the evolution of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche’s idea of the superman. The whole symphonic poem is intended as my homage to the genius of Nietzsche…” When the music was published, the score included the opening paragraphs of the book.

First movement: Sunrise — Man feels the power of God. But man still longs. He plunges into passion and finds no peace, so he turns toward science, and tries in vain to solve life’s problem in a fugue. Then, agreeable dance tunes sound and he becomes an individual, and his soul soars upward while the world sinks far below him.”

Introduction: Dawn The music begins with low stirrings in the basses, contrabassoon, organ and bass drum. From this darkness sunrise occurs and four trumpets Delivering grandly intone the outstanding “Nature” or “World performances Riddle” theme, a strong in print three-note rising motif (C, G, C.) The orchestral presentation of a Great Spirit follows, and then two horns quote from the Gregorian chant Credo’ I Believe in One God.” A slower section reflects the weakness of mankind and this ultimately grows into a vibrant climax. After the presentation, the movement closes with organ and bass drum holding on after the rest of the orchestra has stopped.

Structurally there is an introduction and eight sections. Some flow directly into each other. The basic themes can be identified as the theme of Nature (C-G-C) heard in the introduction, the Fate Theme (presented by trombones in the third section) and the Theme of Man, introduced in the first section. The first program notes, published before the premier in Frankfurt on November 27, 1896, stated:

Otherworldsmen in this case refers to “backwoodsmen”, a simple people whose simple religious faith is viewed as inadequate and silly in its effort to pleasing God. Del Mar has explained, “Strauss music is an expression of devout fervor, depicting the naïve emotional comfort through belief in a benevolent divinity, however man-inspired.” Muted tremolo celli offer the first theme, which is followed by the “theme of Man in pizzicato statement, followed by a religious type subject, derived from the Gregorian chant Credo in Unum Deum, which 27

FEB 4-6 emerges in the muted horns. In the second section, the organ quotes a Gregorian chant while, simultaneously, the horns re-state the Credo motive statement. A large climax rises and sinks before the next section. Of the Great Yearning – Opening softly with the Theme of Man, the music grows into stunning, intense lyricism. The organ sings a statement from the Magnificat and the horns again state the Credo. A series of rushing figures in the strings, winds and harps leads to the subsequent section. Of Joys and Passions – “All thy passions in the end become virtues…man is something that hath to be surpassed and therefore shalt thou love thy virtues – for you wilt succumb through them, ” Zarathustra commented. Turbulent, twisting figures project the tempestuous emotions associated with joys and yearnings. Two contrasting themes, one coiling around on itself and the other leaping to great heights and then crashing downward provides a dramatic projection of unsettled, boiling emotions. In this section the trombones introduce the Satiety theme. The Dirge – Zarathustra protests lost youth and affirms the triumph of man’s will to survive. As the oboe sings a mournful tune, echoed by an English horn, the sorrowful mood is intensified. Themes from other movements re-appear, sometimes in combination with the theme “Great Yearning”. Of science – The music turns into an intellectual fugal texture (indicating an objective and scientific handling of musical material) thus, the texture correspondents with the title. The subject germinates from the earlier three-note motif from the first section into an expanded subject utilizing all twelve notes of the scale. The Convalescent – The preceding fugal material is revived, compressed and stacked into a tightened structure (stretto technique) which, after a huge climax followed by a stunning silence, unravels into a single voice for solo cello. Twittering winds, piercing trumpet calls, growth of chaos and the ultimate loss of energy create 28

a vivid impression as the solo cello closes the section. The Dance Song – An intoxicating, gypsy-like waltz emerges, built on the moods and styles of Johann Strauss, Jr. Zarathustra sings to the dancing maidens of the capricious nature of wisdom and the caprice of life. A glockenspiel playing along with strings and harps adds a special touch of merriment in a section noting man’s striving for earthly and sensual pleasures. Somnambulist’s Song – A bell marking midnight in twelve strokes opens the concluding section. Steadily, the music moves toward its quiet conclusion, quoting the Satiety motif again, and ending with the famous “unresolved question”: winds repeatedly stating a B major chord in an unresolved harmonic statement. Underneath the basses quietly proclaim in pizzicato articulation a low C, referencing the opening tone. Symbolically, perhaps, the whole cycle could indeed begin again. The combination of C and B symbolically indicate an irreconcilable relationship between man and nature. The ISO’s last performance of Also sprach Zarathustra was September 2008, conducted by Mario Venzago.

INDIANAPOLIS SYMPHONY ORCHESTRA

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MYO CLASSICAL CONCERT ‘S 2 0 T H A N N I V E R SA RY A PROGRAM OF THE INDIANAPOLIS SYMPHONY ORCHESTRA PRESENTED BY

Partnering with local jazz musicians and celebrating 20 years of the Metropolitan Youth Orchestra, MYO and friends perform jazz standards and program favorites. Come and celebrate with the ISO’s MYO!

Sunday, January 24, 2016, 3PM Hilbert Circle Theatre

FREE! *With guests: Philharmonic Orchestra of Indianapolis and the Phillips Music Guild of Indianapolis

Want to learn more? Follow us on social media! Facebook - Metropolitan Youth Orchestra Twitter - @MYO_Indy Visit us online at www.IndianapolisSymphony.org/education/MYO

FEB 7

DUKE ENERGY 317 SERIES

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Duke Energy 317 Series Sunday, February 7, 2016, at 3 p.m. Center Grove High School, Greenwood, IN KRZYSZTOF URBAŃSKI, Conductor AUSTIN HUNTINGTON, Cello (ISO PRINCIPAL) Antonin Dvořák Concerto in B Minor for Cello and Orchestra, Op. 104 (1841-1904) Allegro Adagio ma non troppo Finale: Allegro moderato Austin Huntington, Cello

INTERMISSION - Twenty Minutes

Ludwig van Beethoven Symphony No. 5 in C Minor, Op. 67 (1770-1827) Allegro con brio Andante con moto Scherzo: Allegro Allegro

Associate Sponsor

Additional support provided by:

The Margot L. and Robert S. Eccles Fund, a fund of CICF The Elba L. Gene Portteus Branigisn Foundation.

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Please refer to Maestro Urbański‘s bio on page 19. Length of performance is approximately one hour and forty minutes. Recording or photographing any part of this performance is strictly prohibited.

CELEBRATION OF BLACK HISTORY

FEB 9

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Celebration of Black History Tuesday, February 9, 2016, at 7:30 p.m. Hilbert Circle Theatre CHELSEA TIPTON, II, Conductor ADÉ WILLIAMS, Violin LONNELL “KING RO” CONLEY, Narrator Giuseppe Verdi Overture to La forza del destino (1813-1901) William Grant Still Summerland from “Three Visions” for Violin and Orchestra (1895-1978) Adé Williams, Violin Michael Abels Global Warming Samuel Barber Adagio for Strings (1910-1981) Lonnell “King Ro” Conley, Narrator Maurice Ravel Tzigane for Violin and Orchestra (1875-1937) Adé Williams, Violin Duke Ellington Ellington Portrait (1899-1974) Arr. Tyzik J. Rosamond Johnson Lift Every Voice and Sing (1873-1954) Arr. Hale Smith

Associate Sponsor

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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FEB 9

AUSTIN HUNTINGTON, Principal Cello American orchestra. Previously, Austin served as principal cello in the Colburn Orchestra, Chicago Youth Symphony, Encore Chamber Orchestra, and South Bend Youth Symphony.

Cellist Austin Huntington made his solo orchestral debut at the age of 10 and is the recipient of numerous first and grand prize awards on both the national and international levels. Since his first debut, he has performed as guest soloist with the Indianapolis, Marin, Peninsula, Colburn, Santa Cruz, Kalamazoo, LaPorte, Muncie, South Bend, Idaho State, and Chicago Northwest Symphony Orchestras, the San Jose and Encore Chamber Orchestras, the Chicago and New World Youth Symphonies, and the Fort Wayne Philharmonic. Austin is the first prize winner of the 2012 Irving M. Klein International String Competition, the 2011 Stulberg International String Competition, the 2012 MUSICAAS International String Competition, the 2013 Aspen Music Festival Low Strings Competition, and the 2009 MTNA National String Competition, in addition to winning second place and the audience choice award at the 2013 Schadt National String Competition. At twenty years old, Austin was appointed principal cello of the Indianapolis Symphony Orchestra, currently making him one of the youngest principal musicians in a major

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During the summer, Austin has attended the Aspen Music Festival (on both a New Horizons and Full Orchestral fellowship), the Perlman Music Program, the Castleman Quartet Program, the Academie International de Music de Montpellier, the Meadowmount School of Music, and the Credo Chamber Music Festival. Austin has been invited to perform in masterclass for exceptionally regarded musicians such as Truls Mork, Gary Hoffman, Lynn Harrell, Steven Doane, Ronald Leonard, Richard Aaron, and Robert Nagy, as well as members of the Tokyo, Ebene, Cavani, Vermeer, Juilliard, Cleveland, Guarneri, and Emerson String Quartets. He has also collaborated with artists such as Itzhak Perlman, Edgar Meyer, Robert deMaine, Cynthia Phelps, Jean-Yves Thibaudet, Krzysztof Urbanski, and Augustin Hadelich. Austin is twenty-one years old and a fourthyear Bachelor of Music student at The Colburn School Conservatory of Music in Los Angeles, California, where he studies with Ronald Leonard. His previous teachers include Richard Hirschl, Hans Jorgen Jensen, Paul Katz, Gary Hoffman, David Finckel, Richard Aaron, and Brinton Smith. He plays on a fine Venetian cello made by Carlo Tononi, c. 1725, on generous loan from the Colburn Foundation.

CHELSEA TIPTON, II, Conductor / ADÉ WILLIAMS, Violin

FEB 9

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.

Adé Williams is the first place laureate of the Junior Division of the Sphinx Competition (2012), the Vivaldi Seasons Competition (Cambridge, 2012), the DePaul Concerto Festival for Young Performers (2011), Sejong Cultural Society’s Music Competition (2010, 2009), and numerous other competitions, beginning with the Walgreen’s National Concerto Competition (2005) at age eight. Recent thrills include acceptance to Pacific Music Festival in Sapporo, Japan (2015), a second

solo performance at Carnegie Hall (2014), international soloing in South Africa, England, Switzerland, and Bermuda, and three U.S. tours with Sphinx Virtuosi (2011–2013). Adé’s orchestral debut with the Chicago Sinfonietta (2004) at age six, as that orchestra’s youngest ever soloist, launched a wonderful succession of solo performances.

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.

In 2012, Adé produced her first Adé & Friends benefit concert for a school on Chicago’s south side. Through her second concert, she plans to eliminate child homelessness in the Chicago Public Schools. Adé is a freshman at the Curtis Institute of Music where she studies with Ida Kavafian. She enjoys time with friends and family (especially little brother, cellist Jonathan), ballet, travel, opera, Shakespeare, and driving.

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FEB 9

LONNELL “KING RO” CONLEY, Narrator / TEXT

Lonnell Leon LaPharro Conley, is known to his listening audience as “King Ro”. King Ro has been in the broadcast and music industry all of his adult life. After graduating from high school in Augusta, Georgia, he attended South Carolina State University. King Ro later joined the Fiestas, a Doo-Wop singing group, performing in nightclubs, as they toured throughout the United States. He attended the New York School of Announcing and Speech, where he received his degree in Speech and Drama. King Ro spent a number of years as a renowned Disc Jockey. He later worked for Sue Records and Chess Records, and finally RCA Records as Vice-President for

Artist Relations. Some of his most notable client artists have included The Whispers, Peabo Bryson, Ike and Tina Turner, Muddy Waters, Chuck Berry, Gene “The Duke of Earl” Chandler, Elvis Presley, Kenny Rogers, Willie Nelson and many more. After spending 35 years in the record industry, he retired and came to Indianapolis. He created one of the most listened to radio programs in the city, Blues with a Feeling on WTLC. King Ro also served as Program Director for WTLC 1310 AM for 15 years. King Ro is President and CEO of JOTT Productions. He can be heard as the voice of Eskenazi Hospital Radio advertisements and Jazz City Radio. He also serves as Special Assistant to the President of the Interdenominational Ministers’ Alliance of Indianapolis. King Ro is married to Judge Judie, an Administrative Law Judge and practicing Attorney at Law. They are faithful members of Phillips Temple CME Church, and are grateful for the fellowship of their Church family.

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.

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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.

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UIndy. Artfully done. Join us for great art events! PUBLIC ART IN INDY Jan. 19–Feb. 12. Reception: Jan. 25, 4-6 p.m. UNIVERSITY OF INDIANAPOLIS OPERA THEATRE Dr. Miracle by Georges Bizet A Game of Chance by Seymour Barab Feb. 12–13, 7:30 p.m. FACULTY ARTIST CONCERT SERIES Celebrating the History of Indiana Through Music

THEATRE Dinner Theatre: Out of Order Feb. 19–21 & 25–27 Dinner: 6:45 p.m. Performance: 8 p.m.

UIndy, just 10 minutes from downtown at 1400 East Hanna Avenue, presents more than 100 arts events a year; most are free to the public and many are family-friendly.

317.788.3251 uindy.edu/artsiso

FEB 12-14

SINATRA CENTENNIAL

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor The Stratford Coffee Pops Series/Program Four† Friday, February 12, 2016 at 11 a.m. HIlbert Circle Theatre Printing Partners Pops Series/Program Five Friday, February 12, 2016, at 8 p.m. Saturday, February 13, 2016, at 8 p.m. Sunday, February 14, 2016, at 3 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor TONY DESARE, Vocals and Piano FRANKIE MORENO, LIZ CALLAWAY, Vocalists

Sinatra Tribute

Songs wil be chosen from the following list: New York, New York That’s Life! Night and Day Something’s Got to Give Time After Time It Was a Very Good Year I Have Dreamed Let’s Face the Music and Dance One for My Baby (And One More for the Road) If He Walked Into My Life Luck Be a Lady Overture for High Rollers Me and My Shadow Something Stupid It Had To Be You All of Me Big Spender Frank and the Pack I Gotta Be Me/My Way

Premiere Sponsor

Associate Sponsors

2.12 & 2.13

†

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Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC.

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

JACK EVERLY, Conductor Jack Everly is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 22 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn. The broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television. Everly is also the Music Director of IPL Yuletide Celebration, now a 30-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three

FEB 12-14

of his own orchestrations. Some of his other recordings include In The Presence, featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs. In the past 13 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud 15 year resident of Indianapolis. When not on the podium you can find Maestro Everly at home with his family, which includes Max, the wonder dog.

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FEB 12-14

TONY DESARE, Vocals and Piano

Tony DeSare performs with infectious joy, wry playfulness and robust musicality. Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, The Today Show and his music has been posted by social media celebrity juggernaut, George Takei.

He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, along with several broadcast commercials. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook. His compositions include a wide-range of romantic, funny, and soulful sounds that can be found on his top-selling recordings. DeSare’s forthcoming appearances include the National Symphony Orchestra, Seattle Symphony, Pittsburgh Symphony Orchestra, Arizona Music Festival, The Smith Center in Las Vegas, Indianapolis Symphony Orchestra, The Phoenix Symphony, Naples Philharmonic, Overture Center for the Arts in Madison, WI and the Cincinnati Pops Orchestra. DeSare releases new recordings, videos of standards and new originals every few weeks on his YouTube channel, iTunes and Spotify.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer.

Live Symphony | Film and TV Footage | 40 Foot Wide Screen

F r i . MARCH 18 - 8PM Buy Tickets At 38

FRANKIE MORENO & LIZ CALLAWAY, Vocalists To many, Frankie Moreno has been a staple in their music catalogue for years. To others, he is virtually brand new.

FEB 12-14

Frankie’s performance on ABC’s Dancing With The Stars brought him into America’s living rooms again. He performed his hit “Tangerine Honey.” This led to more televison shows, magazine covers and sold-out concerts including Carnegie Hall, Kennedy Center and Hollywood Bowl. He received an Emmy Nomination for his national TV special Songs at Home, and now has a nation-wide PBS special titled Frankie Moreno In Concert.

Frankie started as a child prodigy pianist and multi-instrumentalist. He was first introduced to American audiences at the age of ten with his debut on CBS’s Star Search. Now, named Las Vegas Headliner of the Year, two times running. Frankie, who is managed by Roc Nation, is currently collaborating on new music with producer, engineer, and guitar legend Pat Thrall (Katy Perry, Christina Aguilera, Beyoncé, Justin Bieber).

Frankie’s last collaboration for Sony Records with world-renowned violinist, Joshua Bell, reached number one on the Billboard Charts in two separate categories. Frankie toured the U.S. with Grammy nominated artist Billy Currington and country superstars Sugarland.

Tony nominee and Emmy winner Liz Callaway made her Broadway debut in Stephen Sondheim’s Merrily We Roll Along. She has gone on to star in Baby (Tony nomination). Miss Saigon, The Look of Love, The Three Musketeers, and for 5 years appeared as Grizabella in Cats. Off-Broadway appearances include The Spitfire Grill (Drama Desk nomination), Marry Me a Little and Brownstone. Other New York appearances include the legendary Follies in Concert at Lincoln Center, A Stephen Sondheim Evening and Hair in Concert. . Liz sang the Academy Award-nominated song “Journey to the Past” in the animated

feature Anastasia,. Other film work includes Jasmine in the two Aladdin sequels, The Swan Princess, and Beauty and the Beast.

Frankie is now commanding audiences everywhere with his contagious music and playful stage antics. He is unquestionably a unique artist and an all around talent who puts his heart and soul into his music.

Her extensive concert and symphony career has included appearances in London, Paris, Iceland, Australia, China, and nearly every major city in the U.S. She performs regularly with her sister Ann Hampton Callaway, as well as composer Stephen Schwartz, and has had the great pleasure of singing with Jimmy Webb, Paul Williams and the legendary Johnny Mathis. Liz has six solo recordings: The Essential Liz Callaway, Passage of Time, The Beat Goes On, The Story Goes On: Liz Callaway On and OffBroadway, Anywhere I Wander: Liz Callaway Sings Frank Loesser, and her Christmas CD Merry and Bright, as well as two CDs with her sister Ann: Sibling Revelry and Boom! Live at Birdland. ww.lizcallaway.com

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CAROLINE SHAW & SHARA WORDEN

FEB 19

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Ten Friday, February 19, 2016, at 8 p.m. Hilbert Circle Theatre EDWIN OUTWATER, Conductor CAROLINE SHAW, Violin SHARA WORDEN, Soprano Jean Sibelius (1865-1957)

The Oceanides, Op. 73

Sarah Kirkland Snider Three Songs from Unremembered (b. 1973) The Guest The Swan The Witch Shara Worden, Soprano

INTERMISSION - Twent y M i n ute s

Caroline Shaw Lo for Violin and Orchestra (ISO Co-commission) (b. 1982) I. II. III. Caroline Shaw, Violin Johannes Brahms Variations on a Theme by Haydn, Op. 56a (1833-1897) Chorale St. Antoni: Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale: Andante This concert is endowed by Roche Diagnostics.

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FEB 19

EDWIN OUTWATER, Conductor

Now launching his ninth season as Music Director of Ontario’s KitchenerWaterloo Symphony (KWS), Edwin Outwater also serves as Director of Summer Concerts at the San Francisco Symphony (SFS) and regularly guest conducts the Chicago and New World Symphonies. An ardent champion of new music and crosscultural and interdisciplinary collaboration, he is a visionary programmer with a gift for bringing context to the concert hall. Equally adept at interpreting canonical masterworks, premiering new commissions, and connecting audiences with repertoire beyond the mainstream, the American conductor is, as San Francisco Classical Voice notes, “headed for a top-tier future.” In 2015-16, which marks the KWS’s 70th anniversary season, Outwater and the orchestra continue their groundbreaking Intersections series celebrating the intimate relationship between music and geometry, collaborating with award-winning Inuit throat singer Tanya Tagaq and premiering Scott Good’s newly commissioned score to silent horror classic The Hands of Orlac. Other KWS highlights include a complete Beethoven concerto cycle with pianist Stewart Goodyear; a world premiere from Owen Pallett; and Die Fledermausin concert. In his second season as Director of Summer Concerts at the SFS, an appointment that extends throughout the year, Outwater leads collaborations with My Brightest Diamond’s Shara Worden and Grammy Award-winners Angelique Kidjo and SFS principal trumpet Mark Inouye, in repertoire ranging from Beethoven and Rachmaninoff to new music by Bryce Dessner, Sarah Kirkland Snider, and David Lang. As the only guest artist invited to curate a second

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consecutive season, Outwater returns to help lead the trailblazing series SoundBox in the SFS’s new nightclub-style performance space. Spanning three continents, his extensive guest-conducting schedule features returns to the Chicago and Tokyo Metropolitan Symphonies, accounts of Pulitzer Prize-winner Caroline Shaw’s new violin concerto with the Indianapolis and North Carolina Symphonies, and a trio of programs with the BBC National Orchestra of Wales (BBCNOW). Outwater’s work in music education and community outreach is justly celebrated. In 2004, his education programs at the SFS received the Leonard Bernstein Award for Excellence in Educational Programming, and his Chinese New Year Program won the MET LIFE award for community outreach. He appears frequently with training orchestras and at music festivals worldwide, including the New World Symphony, Civic Orchestra of Chicago, the National Music Camp of Australia, National Youth Orchestra of New Zealand, Music Academy of the West, National Orchestral Institute, Festival-Institute at Round Top, and New York’s Mannes Conservatory Orchestra. Outwater has served as Music Director of the Santa Barbara Youth Symphony and on the faculties of the University of Tulsa, Idyllwild Arts Academy, and University of California, Santa Barbara. A native of Santa Monica, California, Edwin Outwater graduated cum laude in English literature from Harvard University, where he was music director of the Bach Society Orchestra and the a cappella group Harvard Din and Tonics, and wrote the music for the 145th annual production of the Hasty Pudding Theatricals. He received his master’s in conducting from UC Santa Barbara, where he studied with Heiichiro Ohyama and Paul Polivnick, besides studying music theory and composition with John Stewart, Joel Feigin, and Leonard Stein.

CAROLINE SHAW, Violin Caroline Adelaide Shaw is a New Yorkbased musician appearing in many different guises. Trained primarily as a violinist from an early age in North Carolina, she is a Grammywinning singer in Roomful of Teeth and in 2013 became the youngest ever winner of the Pulitzer Prize for Music, for her enigmatic composition Partita for Eight Voices (also nominated for a Grammy for Best Classical Composition). She made her solo violin debut in 2015 with the Cincinnati Symphony (MusicNOW). She is the inaugural musician in residence at Dumbarton Oaks, and she will be the Composer in Residence through 2016 with Vancouver’s Music on Main. Caroline has also performed with ACME (American Contemporary Music Ensemble), the Trinity Wall Street Choir, Alarm Will Sound, the Mark Morris Dance Group Ensemble, the Knights, Victoire, the Yehudim, and many others. She has appeared incognito as a backup singer or violinist, on Saturday Night Live with Paul McCartney, on Letterman with The National, on the Tonight Show with the Roots. Caroline was virtually unknown as a

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composer before the Pulitzer announcement in 2013, having written only a handful of pieces. While committed to maintaining a busy freelance career as a violinist and singer, performing primarily contemporary classical music, she has taken commissions to create new work for the Carmel Bach Festival, the Cincinnati Symphony, the Guggenheim Museum (FLUX Quartet), The Crossing, and the Brooklyn Youth Chorus. Other personal projects include the development of an evening-length theater work, Ritornello, and a slowly-evolving ambient electronic album. Caroline studied for fifteen years with Suzuki violin pedagogue Joanne Bath before working with Kathleen Winkler at Rice and Syoko Aki at Yale. She is currently a doctoral candidate in composition at Princeton. She has been a Rice Goliard Fellow (busking and fiddling in Sweden) and a Yale Baroque Ensemble fellow, and she was a recipient of the infamous Thomas J. Watson Fellowship, to study historical formal gardens and live out of a backpack for a year. As a teenager many years ago, she spent a life-changing summer playing chamber music at Kinhaven Music School in Vermont, which is probably why she would prefer to perform barefoot whenever possible. Caroline loves the color yellow, avocados, otters, salted chocolate, kayaking, Beethoven Opus 74, Mozart opera, the smell of rosemary, and the sound of a janky mandolin.

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SHARA WORDEN, Soprano

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Shara Worden’s multi faceted career as My Brightest Diamond, which began with an acclaimed independent rock record, has reflected her journey into the world of performing arts. This Is My Hand, her fourth album, marks a confident return to rock music, one informed by her mastery of composition and a new exploration into the electronic. Born in Diamondrich, Arkansas and then raised all around the country, Worden came from a musical family of traveling evangelists. She went on to study operatic voice and then

classical composition after a move to New York City. Shara began issuing recordings as My Brightest Diamond in 2006, following a protean period in the band AwRY, and joining Sufjan Stevens’ Illinoisemakers live ensemble. Asthmatic Kitty Records released her debut album, Bring Me The Workhorse in 2006, A Thousand Sharks’ Teeth in 2008, and 2011’s All Things Will Unwind, which featured songs written for the chamber ensemble music. Highlights include singing in Laurie Anderson’s 2008 show “Homeland,” delivering guest vocals on The Decemberists’ 2009 Hazards of Love album singing and recording for Pulitzer Prize winning composer David Lang and singing in Snider’s Penelope and Unremembered. Shara has also worked with David Byrne, Fat Boy Slim, and Bon Iver.

THREE SONGS FROM UNREMEMBERED 1. The Guest She left our house in the dead of night My sister went to find her  We didn’t know why she left  She’d fled as fast as fire All this time I was asleep  While my sister chased her down I picture them out in the woods  On the other side of town It turns out she was lost and caught  Deep within her dreams  Which guided her out of our house Like Joan called from her wheel But no glory there awaited her No god where she was found  On a patch of snow in a lonely copse On the frozen moonlit ground

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2. The Swan Do you know  The swan in the swamp?  Do you remember  How she screamed? A truck backed up Beyond the road  Where she lay alone  Asleep The twilight had just  Descended  That hour that fools  The eye The night before  I’d seen her there  A girl of snow And ice

The whitened wings  Unfurled  As the wheels  Destroyed her bed The ivory neck Extended Like a finger  For its band She lay there quiet  Against the grass A splayed and shattered  Thing Of red and white Green and gold,  Undone  Embroidery

TEXT / NOTES 3. The Witch I saw the witch out in the woods  As we sang around the fire  Stooped and white, curled and dry  A bone enrobed in briar No one else had seen her there  No one saw her face  Which stared at me, fixedly Grim and unafraid

I left them all to sing their songs By the fire’s dying glow The woods and field enclosing camp Like hands around a throat Back at home I lay awake  Safe behind my door Listening for her muted steps In the shadowed yard below

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And though the time has passed I still see her in those trees  The world is now those darkened woods  The days her eyes on me I was so young, had barely lived  But I recognized the fear  Was what lay waiting, out of view  In all our older years

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair The Oceanides, Op. 73 Jean Sibelius Born December 8, 1865 in Hämeenlinna, Finland Died September 20, 1957 in Jarvenpaa, Finland In 1914, Jean Sibelius came for his first and only time to the United States via the ocean liner Kaiser Wilhelm II. The year before, the Yale professor, Horatio Parker, had commissioned a set of songs for use in American schools. The composer accepted, and he produced not only three songs, but also the tone poem Oceanides. In the United States, he was grandly feted, visited Niagara Falls and the northeast, enjoyed many dinners at Delmonico’s, met George Chadwick, Walter Damrosch, and Olin Downes, and conducted the premiere (of a recent revision of Oceanides) on June 1914, dedicated to Americans Mr. and Mrs. Carl Stoeckel. The reaction was wonderful; Olin Downs wrote that it was “the finest evocation of the sea that has ever been produced in music. [Sibelius] holds himself closer to the coastline of tonality than does Debussy [in La Mer] and suggests by doing so, a picture of limitless and eternal power.” The composer was well read in the Classics, enchanted by ancient Greek myths, gods, and goddesses, and this interest was referenced in Oceanides. Curiously, the title of Opus 73 in his diary used only the Finnish word Aallottaret: “nymphs of the waves.” (This is the title used in

the original Yale version of this work). But the Greek influence was nonetheless active. Sibelius’ tone poem references the many daughters of Oceanus (in Greek mythology, the Titan god of the sea, usually represented with a serpentine fish tail instead of legs) and the many forms of water, which circle the earth. His daughters were conceived with his sister, Tethys, and they became “lesser goddesses” and nymphs of rivers, lakes, spring, rain, etc. Eventually, Oceanus and Tythys divorced, per order of Zeus, because of their high fertility! In fact, the ancient Greek epic poet Hesiod wrote in his Theogony (which in part describes the origins and genealogy of the gods), “There are three thousand graceful-ankled Oceanids (nymphs) widely scattered. They serve the earth and the depths of the waters every-where alike, shining Goddess-children.” (Translation by H.G. Evelyn-White) Also in his work, Oceanus is first described as the river, which encircles the earth, and supports everything on the earth. The tone poem begins quietly, sostenuto assai, with muted timpani and paired flutes in high registers, “playing” on top of the waves. Muted violins sing a jaunty syncopated melody, which will recall throughout. The mood is

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NOTES

light-hearted, congenial, and engaging. Notice the prominence of two harps: these will add extensive coloration throughout Opus 73. Gradually, the depth and power of the ocean is represented mid-point via churning celli, more rumbling timpani, somber winds, shuddering divided violins, and ominous brass (trombones and horns.) An enormous climax moves to the forefront as the ocean swells and surges, revealing its immense power, then relaxes (marked allargando un poco) at the conclusion. This is the ISO’s first performance of The Oceanides. Three Songs from Unremembered Sarah Kirkland Snider Born in 1973 Sarah Kirkland Snider is a young, stellar American composer, dividing her time between New York and Princeton, New Jersey. A passionate supporter of new music, she has received continuous acclaim for her “direct expression and vivid narrative [in] “rapturous music…emblematic of a new generation” (New York Times) and attention to poetic detail. The Philadelphia Inquirer has called her “a potentially significant voice on the American music landscape; Time Out New York stated that she is “among the brightest lights to emerge in recent seasons. She received an M.M. and Artist Diploma from the Yale School of Music and her B.A. from Wesleyan University. Her first album, Penelope released in 2010 was a major hit, receiving the award as Number I, Classical Album of 2010 by Time Out, New York. She is popular, energetic, and immensely talented. Already she has around 5,000 followers on Twitter. On July 7, 2015 she tweeted “See guys, classical music isn’t dead. ”She also serves as a Co-Director of New Amsterdam Records in New York City, which will release Songs from Unremembered on September 9, 2015 with artwork by Nathaniel Bellows. The release will include a CD and a limited addition on white vinyl. As on tonight’s program, the San Francisco Symphony performed Three Songs from Unremembered

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on July 5, 2015 at the Stern Grove Festival with conductor Edwin Outwater, with Shara Worden vocalist. Opera News, 2/27/15 noted: “Worden and Kirkland Snider are an artistic to watch for! On Ms. Snider’s tweets you can also see rehearsals of that performance. Unremembered is a thirteen part song cycle for seven voices and chamber orchestra and electronics, commissioned by Merkin Hall at the Kaufman Center for the Ecstatic Music Festival. These songs are based on ten poems by Nathaniel Bellows (writer, poet, and visual artist), which recalls his childhood in rural Massachusetts, and his visions of the adult world. Reviews of his first publication Why Speak noted, “Bellows is an artist … who is committed to the visual arts and music as he is to the written word. His poems are intensely visual, and the long, daring lines enjamb with an intricate music.” (New York Times, July 22, 2007) In 2013, Ms. Snider added three new songs for the cycle. In an interview on February 27, 2015 Ms. Snider stated: “Nathaniel is an old friend of mine: we met while undergraduates at Middlebury College. … [In this collaboration] I think our work shares a sensibility in terms of its lyricism and attraction to shadowed, elegiac and dramatic narratives…. Songs from Unremembered is about innocence, experience, and the hard-won wisdom that comes with the passing of time.” The song cycle began as a five-song collection Scenes from Unremembered, which Ms. Snider first wrote for the vocal octet Roomful of Teeth. She writes “[this] pastoral is belied by a subtle pathos as a houseguest takes a sudden leave in the middle of the night, a boy makes a shocking discovery on the banks of a river, a girl disappears in the woods behind a ranging farm, a swan meets its artless end-all while the grouse fly and birdsong intones wordlessly through the fields.” On this program you will hear Number 4 The Guest, Number 7 The Swan and Number 8 The Witch. The guest mysteriously disappears amid harmonic discords; the swan is gruesomely

NOTES run over, (note the pulsating, heartbeat-like chords); and the witch emerges as a vision glimpsed by the author sitting by a campfire. Listen herein for the rhythmic syncopations, and imaginative coloration from guitar and celesta. Throughout these songs, the music is vividly evocative, at times frightening, richly orchestrated, and haunting as the composer “explores and manipulates the idea of childhood memories made hazy over time.” (Chelsea Huber, 4/24/2015) Ms. Snider will be collaborating again with Nathaniel Bellows on a new work. On July 8, 2015, she tweeted “ I will be writing a Mass with NH Bellows on endangered animals. A Requiem for the not-yet-gone.” Mr. Bellows tweeted on July 9, 2015“ Psyched to have another inspiring writing/musical collaboration with the great Snider.” This Mass is part of Mass Reimaginings curated by Daniel Felsenfeld commissioned by Trinity Wall Street. This is the ISO’s first performance of Songs from Unremembered. Lo for Violin and Orchestra Caroline Shaw Born in 1982 “Yeah, I am a composer. I’m also a lot of other things, a lot of other nouns. So I feel like if there was going to be one noun that was used, it doesn’t seem like the right one. It’s just a matter of taxonomy the way things are categorized. It wasn’t necessarily a reaction to not wanting to relinquish the control, because — come on — we’re all a little bit obsessive. Musician just encapsulates what I am a little better, I think.” -Caroline Shaw, Feb 9, 2015 In 2013, when the ISO joined with New Amsterdam recordings in New York for a two year residency, some of the works by Son Lux were presented, which had been arranged by Caroline Shaw, William Britelle, and Daniel Wohl. At the opening of the Sydney and Louis Eskenazi Hospital, Caroline Shaw’s vocal piece From Rivers was featured with the Indianapolis

FEB 19

Children’s Choir. It is a pleasure to hear from her again in her new Lo for Violin and Orchestra on this concert. The concerto was co-commissioned by the ISO. Caroline Shaw, singer, violinist, and composer, burst into public view when she was the youngest recipient to win a Pulitzer Prize for Music in 2013 with Partita for Eight Voices, written for the vocal ensemble Roomful of Teeth. A glimpse at this work can be a preview of her imaginative, unique style, which emerges in in the Lo for Violin and Orchestra. It is her first orchestral work. In a review “The Strange, Beautiful Music that Won the Pulitzer this year” Bryan Lowder noted, “Caroline Shaw eschews stuffiness for a more millennial-friendly dialect. Indications like “mixy”, “floaty head voice” and “plainchantish improve on these two pitches loosely guide the singers through the score-thingy.” As in the Lo for Violin and Orchestra, she references the past. Herein she weaves and evokes a seamless tapestry of baroque references, (her suite opens with an allemande, and continues with a sarabande, courante, and passacaglia) connected to modern geometrical instruction art, specifically “Wall Drawing 305” of Sol LeWitt. Although she can be considered avantgarde, she preserves and values elements from musical history. In this regard, she weaves masterful relationships between modern thinking and the past, allowing the past not only to be “quoted” but also to be operational within the musical context. And, she can be shocking. The courante, for example, “describes” angel sex. Herein, the music glides easily between plainchant, faux electronic timbres, “whispers, grunts, croaks, sighs, gasps” and the spoken word, successfully following one of her guidelines: to write as if “silk shoes [were] gliding over marble mosaic.” She has achieved powerful, modern communication in the ever-intriguing relationship between sound, language, extramusical inspiration, and music making. In this, she is spellbinding. This is the effect of her new Lo for Violin and Orchestra, which premiered on March 16, 2015, the composer as soloist,

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NOTES

in a collaborative concert with the Cincinnati Symphony and MusicNOW. Acquiescing to her desire to be identified as a musician, it is also fair to say that her compositions have become inevitably and intrinsically a part of her musical persona. However, Ms. Shaw states, “ I don’t call it a concerto. It’s a piece for a lot of players and I’m going to play the violin…. The solo part is just vaguely written out, only the parts that they really need. A lot is left open, and some parts I’m actually going to play with the first violins the way you would with a Mozart, where you have the option of playing the tutti parts. You know, I didn’t think that I would ever write for orchestra. But I’m glad to have had the opportunity.” As Partita for Eight Voices was linked to the past, so also is her two movement Lo for Violin and Orchestra. Mary Ellyn Hutton reviewing that performance quoted Ms. Shaw: “Lo is laced with gestures to my favorite music” she stated. The two-movement concerto opens with the violin singing solo, merging with the orchestra both improvisationally and with written melodic fragments. Orchestral color is beautifully and uniquely scored, including a brass chorale combined with pounding drum, for example, in one of the sound blocks. Throughout, the soloist remains in the limelight, departing and entering throughout the work, which also includes a delicate cadenza. Its rhythmic changes are particularly fascinating, and these occur frequently yet are never disrupting to the fluidity of her concept. Again, as in the Partita for Eight Voices, she has created a musical experience, which is not only unique but also intensely moving and engaging. This is the first time the ISO has performed Shaw’s Lo for Violin and Orchestra. The piece is co-comissioned by the FSO, the North Carolina Symphony, the Princeton Symphony, and the Cincinnati Symphony.

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Variations on a Theme by Haydn, Opus 56a Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria When Brahms was forty he decided to write a set of variations (one version for orchestra and one version for two pianos), based on one of Haydn’s wind Divertimenti, called a “Feldpartitai”. The composer’s selection for the foundational subject was “Choral St. Antoni.” Some have questioned the authenticity of Haydn’s authorship of the choral work, and in 1951 the noted scholar H.C Robbins Landon proclaimed in the Saturday Review of Literature that “the Feldpartita used by Brahms is spurious…not one note was by Haydn. One of his students perhaps Pleyel, was the real author.” Regardless of authorship, Brahms was taken by the tune and its irregular structure, built on five rather than the usual four measures in length. This became the basic theme for his eight variations with a concluding passacaglia and finale. Jonathan Kramer wrote that the orchestral version of the Variations on a Theme by Haydn is unique because it is “apparently the first set of independent (not part of a larger work) variations ever composed by anyone for orchestra.” After the success of his Variations (for orchestra), Brahms finally felt equipped and ready to write for the orchestral medium. This confidence marked a fertile redirection in his career. Opus 56 is structured as follows: Opening presentation of the main theme (in oboes and bassoons), which is divided in two parts and repeated. The orchestration echoes that of the Haydn Feldpartita. Variation I (Poco più animato) is a fluid setting with violins weaving polyrhythmic tracery over strongly marked chords. Variation II (Più Vivace) steps up the pace and focuses on the dotted rhythm of the foundational theme. Clarinets and bassoons in sixths high.

NOTES Variation III (con moto), a long melodic line flowing in sixteenth notes and eighth notes is featured providing a smooth version of the original tune. Oboes and bassoons converse above a passage in double octaves for lower strings.

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Variation VIII (Presto non troppo) Piccolo, clarinet and bassoons enter delicately on top of muted strings to daintily recall the main idea. The sweetness and delicacy of this variation is a dramatic foil for the weighty, majestic finale.

Variation VI (Vivace) is a bright march marked by hunting style fanfares.

Finale (Andante) — Brahms concludes the Variations with a massive passacaglia using the five measure section of the theme for its repeating feature. The foundation is repeated twelve times. (This old form was one of Brahms’ favorites, which he used also in his Fourth Symphony). The music begins with a hymn-like statement derived from the Haydn choral, which grows steadily in complexity. Contrapuntal lines swirl above the basic thought, wind into a powerful elaboration, and burst into a roaring climax with fortissimo brass stating the theme over rushing scales in winds and strings.

Variation VII (Grazioso) sings in a lilting siciliano style. Flutes and violas provide a unique pairing.

The ISO’s last performance of Variations on a Theme by Haydn was April 2008, conducted by Rossen Milanov.

Variation IV (Andante con moto) is cast in a poetic minor mode. The warmth of the solo French horn and oboes singing in octaves over supportive violas reflects a wistful, almost sentimental treatment. Variation V (Vivace), the major mode returns in a scherzo-like 6/8 meter. The music dances in a light-hearted, care free mood with winds paired in thirds.

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317 SERIES

The 317 Series brings ISO concerts to communities in Hendricks and Johnson Counties!

HENDRICKS COUNTY

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PICTURES AT AN EXHIBITION SUNDAY, APRIL 3, 2016 • 3PM HANS GRAF, CONDUCTOR HENDRICKS REGIONAL HEALTH PERFORMING ARTS CENTER AT AVON HIGH SCHOOL

JOHNSON COUNTY

BEETHOVEN’S FIFTH SYMPHONY

SPANISH PASSION FEATURING DON QUIXOTE

SUNDAY, FEBRUARY 7, 2016 • 3PM KRZYSZTOF URBAŃSKI, CONDUCTOR AUSTIN HUNTINGTON, ISO PRINCIPAL CELLO

THURSDAY, MARCH 10, 2016 • 8PM ANDREY BOREYKO, CONDUCTOR MARK KOSOWER, CELLO

CENTER GROVE HIGH SCHOOL

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THE ISO AT MALLOW RUN WINERY THURSDAY, JULY 7, 2016 • 8PM

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THE MAGIC OF MOTOWN

FEB DATE 26, 27

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor The Stratford Coffee Pops Series/Program Five† Friday, February 26, 2016, at 11 a.m. Hilbert Circle Theatre Printing Partners Pops Series/Program Six Friday, February 26, 2016, at 8 p.m. Saturday, February 27, 2016, at 8 p.m. Hilbert Circle Theatre STUART CHAFETZ, Conductor SPECTRUM, Vocalists RADIANCE, Vocalists

The Magic of Motown

Selections to be announced from the stage.

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† The Coffee Concert is an abbreviated performance. Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. There is no intermission. Recording or photographing any part of this performance is strictly prohibited.

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STUART CHAFETZ, Conductor Stuart Chafetz is a conductor with a dynamic podium demeanor and a refined sense of audience engagement. Increasingly in demand with orchestras across the continent, this season Chafetz will be on the podium in Chicago, Naples, Phoenix, Houston, Atlanta, Seattle, Milwaukee, Detroit, Cincinnati, Hawaii, Jacksonville, Dallas, Louisiana and others. Previous conducting appearances include the orchestras of Buffalo, San Francisco, Toronto, Calgary, Edmonton, Florida, Indianapolis, Baltimore, Jacksonville, Kansas City, Louisiana, Naples, New Mexico, San Francisco Ballet and Virginia. He’s had the privilege to work with renowned artists such as Chris Botti, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson,

WE

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

Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist. When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.

$10

STUDENT TICKETS

VALID FOR THE FOLLOWING SERIES • LILLY CLASSICAL

• PRINTING PARTNERS POPS

• STELLA ARTOIS HAPPY HOUR AT THE SYMPHONY

• DOW AGROSCIENCES SYMFUNY SUNDAYS

• THE STRATFORD COFFEE POPS

• COFFEE CLASSICAL

TICKETS AT INDIANAPOLISSYMPHONY.ORG 317.639.4300

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FEB 26, 27

SPECTRUM & RADIANCE, Vocalists

Webster defines Spectrum as a “series of radiations arranged in regular order” or a “continuous sequence or wide range”. This could not be a more appropriate description of the group Spectrum, which draws upon the talent of four radiant voices and diverse personalities to form a first class vocal quartet. After spending six stellar years recreating the sound and style of the Four Tops in Las Vegas’ multi-million dollar production shows American Superstars and Legends In Concert, the group has developed the versatility to credibly cover the music of groups from the Platters to the Temptations to Boyz 2 Men. Spectrum’s credentials include starring in major production shows, on the Las Vegas Strip and internationally, appearances on numerous television shows including the Today Show; motion pictures, starring roles

Radiance, a talented vocal quartet formed specifically to pay tribute to the music of the Supremes, Martha & the Vandellas, the Marvelettes and the other female artists from that amazing musical era has performed throughout the United States and are standouts in their home base, The Entertainment Capital of the World, Las Vegas. The ladies of Radiance consist of some of the finest that Las Vegas has to offer. The members of the group from left to right are Wendy Edmead, Marque´ Munday, Vivian Ross and Crystal Robinson. Together they provide an array of talent that never leaves the audience wanting, unless it’s wanting more! Each brings her years of experience

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in equity theater, special appearances at professional sporting events; performing with artists such as Tony Bennett, the Temptations, Blue Magic, Little Richard, the late Marty Robbins, the Platters, Frankie Lymon’s Teenagers, Doc Severenson and Fat Larry’s Band. The members of Spectrum consist of master recording artist Darryl Grant of Oakland, California, Chicago-born musician and versatile entertainer Pierre Jovan, David Prescott the silky-smooth, soaring-voiced first tenor from Rochester, New York and lastly, singer, actor and group founder Cushney Roberts. Let’s just say this is a group of wellmannered, college-educated, world-traveled veterans of the entertainment business, who will entertain you!

to the stage, having performed in major theatrical productions in virtually every showroom on the Vegas Strip as well as in various national and international Motown tribute tours. Some of the many songs in their repertoire include Come See About Me, Dancing In The Streets, Stop In The Name Of Love, Please Mr. Postman, You Keep Me Hanging On, and When Will I See You Again. The costuming, the choreography, the harmonies, the energy and excitement are second to none and make for a spectacular show transforming your audience back to an era of music that formed a major cornerstone in American music of the 60’s and 70’s.

CONFERENCES | ENTERTAINMENT | CORPORATE MEETINGS GRADUATIONS l WEDDINGS

For more information visit IndianapolisSymphony.org or call 317.231.6798.

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

ARTS IN INDY Dance Kaleidoscope Dance Kaleidoscope presents Voices of a Generation: The Folk/ Rock Revolution, February 25 - March 6 on the Upperstage at IRT. The show features new choreography to songs from 1960s singers, including Simon and Garfunkel, Joni Mitchell and Bob Dylan. Get tickets at DanceKal.org or 317.635.5252.

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

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

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

To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

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

The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet The Robert L. Mann and Family Principal Horn Chair Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth and Darrell Bakken Jerry Montgomery, Horn The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test The Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra Endowed Performances The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor”

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ENDOWMENT The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen October 9-10, 2015 – Beethoven’s Missa solemnis Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 6-7, 2015 – Brahms’ Piano Concerto No. 1 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise and Alison Paul November 13-14, 2015 – Brahms’ Piano Concerto No. 2

The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias April 15-16, 2016 – André Watts The Mrs. Earl B. Barnes Memorial Fund in Support of a Guest Artist Endowed Anonymously May 7, 2016 – The Legendary Menahem Pressler The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 20-21, 2016 – Beethoven’s “Pastoral”

Yuletide Celebration Opening Performance Endowed by Marianne Williams Tobias First Performance December 2015

The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 3-4, 2016 – Garrick Ohlsson

Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias Last performance December 2015

The Bishop Family Holliday Park Concert Endowed by the Mrs. Irving M. Fauvre Fund Summer 2016

The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring

The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2016 – Marsh Symphony on the Prairie

The performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist fund January 29-30, 2016 – The Planets The Performance of New Music Endowed by LDI, Ltd. February 5-6, 2016 – Music from 2001: A Space Odyssey The Performance of a Young Professional Artist Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara Worden The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund March 4 - 5, 2016 – Rachmaninoff’s Second Piano Concerto The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund March 11-12, 2016 – Don Quixote The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick March 18, 2016 – Nielsen’s “Inextinguishable” Symphony

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

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 Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett

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

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

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

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

Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn

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

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

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

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

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

Contact Casey Chell, Director of Development, with questions about or [email protected]. The Lynn Society at 61

ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of December 14, 2015. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. Mrs. Nancy Ann Morris Mr. & Mrs. John Bratt $100,000 and Above Anonymous Walt & Mary Prouty Donald & Barbara Broadlick Anonymous Ann and Gordon Getty Foundation Phyllis & Gary Schahet Charles W. Brown Ms. Christel DeHaan and the League of American Patrick & Sarah Sells Mr. Richard F. Brown & Mrs. Mr. Jim S. Irsay Orchestras Marlyne Sexton Cathy Springer-Brown B. M. “Marti” Ripberger Anthem Blue Cross and Blue Shield Jeff & Cassandra Short Michael & Mary Ann Browning Yvonne H. Shaheen Arthur Jordan Foundation Christopher A. Slapak & Michael J. Mr. & Mrs. Walter P. Bruen, Jr. Randall & Deborah Tobias Barnes & Thornburg LLP Robertson Mike & Pat Byers BMO Harris Bank Mr. Kevin D. Taylor Ms. Jane Conley Budweiser Zink Distributing Co, LLC Roberta & Bill Witchger Dexter & Rosemary Cooley Anonymous The Clowes Fund Dr. Christian Wolf & Elaine Stephen & Andrea Cranfill Arts Council of Indianapolis and the Delaware Community Foundation Holden-Wolf David & Consuelo Davis City of Indianapolis Duke Energy Jim & Rita Zink Jack Everly & Ty A. Johnson The Christel DeHaan Family Erie Insurance Ms. Carol J. Feeney Foundation ExactTarget Dr. & Mrs. Richard W. Garrett Efroymson Family Fund Indiana Arts Commission ADL Charitable Trust Michael & Beth Gastineau Eli Lilly and Company Chase Buckingham Foundation Inc. Gary Ginstling & Marta Lederer The Herbert Simon Family Foundation MacAllister Machinery Company, Inc. Citizens Energy Group Mr. & Mrs. Larry Glasscock Indianapolis Power & Light Company National Endowment for the Arts CNO Financial Group Charles & Susan Golden Indianapolis Symphony Orchestra Navient Community Health Network Mr. & Mrs. Thomas W. & Mary Association Nicholas H. Noyes Jr. Memorial Dorsey Foundation P. Grein Lilly Endowment, Inc. Foundation Dow AgroSciences Steve L. Hamilton & Keith O. The Margot L. and Robert S. Eccles R.B. Annis Educational Foundation Elba L. & Gene Portteus Branigin Norwalk Fund, a fund of CICF Raymond James & Associates, Inc. Foundation Inc. Richard & Elizabeth Holmes Marsh Supermarkets, LLC. Roche Diagnostics The Glick Family Foundation Mr. & Mrs. W. Seymour Holt Nina Mason Pulliam Charitable Trust Scott A. Jones Foundation The Frenzel Family Charitable Lead Dr. Sharon Hoog Ruth Lilly Philanthropic Foundation St.Vincent Health Trust Peter & Emily Howard Telamon Corporation Hendricks County Community Dr. Ann H. Hunt Founders’ Society, Music Director The Martin D. & Mary J. Walker Foundation — Deedee Daniel, Dr. and Mrs. Ronald Iacocca ($50,000+) Charitable Foundation Opportunity Fund Dr. & Mrs. Raymond V. Ingham Rollin & Cheri Dick Indiana Members Credit Union Carlyn Johnson Kay F. Koch Founders’ Society, First Chair The Indiana Rail Road Company Kimra Kidd Sarah & John Lechleiter ($10,000-$19,999) Indiana University Health Partners Drs. Sandra & Charles Kinsella Ann M. & Chris Stack Anonymous (2) Industrial Dielectrics Holdings Ned & Wendy Kirby Marianne Williams Tobias The Honorable & Mrs. Alex M. Azar II Junior League of Indianapolis Mrs. James L. Kittle, Sr. Richard D. Wood Mr. & Mrs. Robert Bader OneAmerica Financial Partners, Inc. David H. Kleiman Charlene & Joe Barnette Ricker’s Don & Jen Knebel Mr. & Mrs. Barry J. Bentley Ronald McDonald House Charities of Dr. & Mrs. Eugene P. Kroeff The Glick Fund, a fund of Central Maestro Raymond Leppard & Dr. John Central Indiana and McDonald’s of James E. & Patricia J. LaCrosse Indiana Community Foundation C. Bloom Central Indiana Nancy Lilly Printing Partners Bryan & Elaine Brenner Shaheen Family Foundation Dr. Richard E. Lindseth Dr. & Mrs. Thomas A. Broadie Terry Lee Hyundai Greg & Alexandra Loewen Founders’ Society, Concertmaster Vincent & Robyn Caponi Tobias Family Foundation Dr. & Mrs. Carlos Lopez ($20,000-$49,999) Mr. & Mrs. Daniel P. Carmichael Ms. Karen Mangia & Mr. Thom Christina Bodurow Mr. & Mrs. James M. Cornelius England Trent & Amy Cowles Founders’ Society Mr. Daniel Corrigan Mr. & Mrs. Morris Maurer Ann Dettwiler ($5,000-$9,999) Fred & Priscilla Crawford Stacy A. Maurer Phil & Colleen Kenney Anonymous (7) Mr. & Mrs. James E. Dora Mr. & Mrs. Bruce McCaw Dr. & Mrs. E. Henry Lamkin, Jr. Mr. & Mrs. Jeffrey M. Adams Erin & Scott Dorsey Robert H. McKinney Mr. & Mrs. Eli Lilly II Thomas N. Akins Mr. & Mrs. John Fazli Virginia Melin Dr. Gordon & Carole Mallett Teresa & Don Altemeyer Craig & Mary Fenneman Mr. & Mrs. Dayton Molendorp Mrs. F. Bruce Peck, Jr. Bob & Pat Anker Don & Carolyn Hardman Ellie, Weber & Emaline Morse Dr. Kenneth & Mrs. Debra Renkens Mr. Aasif Bade Allan & Kathy Hubbard Jerry & Anne Moss Mr. David Rodgers Drs. Douglas & Deborah Balogh Bob & Rhonda Kaspar John & Carolyn Mutz Robert & Alice Schloss Trudy W. Banta Joseph & Kathy Kessler Mr. & Mrs. Charles J. O’Drobinak Dr. & Mrs. Eugene Van Hove Ms. Sarah Barney Timothy J. & Cindy Konich Michael P. & Leanne M. O’Neil Martin & Mary Walker Dr. & Mrs. John E. Batchelder Dr. Gwen & Mr. Robert Krivi Holly & John Pantzer David & Eleanor Wilcox Mr. & Mrs. Michael Becher Drs. W.H. & K.T. Landschulz Kay Pashos & Neal Steinbart Kathy & Ralph Wilhelm Suzanne B. Blakeman Mr. E. Kirk McKinney, Jr. Mr. & Mrs. Thomas J. Pence Charles & Joyce Boxman Karen Mersereau & Dr. Michael Helms

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

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

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

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

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

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Batt Family Foundation Conrad Indianapolis Endowment Development Services Gracia E. Johnson Foundation The Indianapolis Recorder The Jenn Foundation Mallor Grodner LLP Marni McKinney Foundation McKinney Family Foundation NTN Driveshaft Paul Family Foundation, Inc. The Penrod Society The Toomer Family Foundation Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (8) Kate & Dan Appel Mr. Gregory & Mrs. Kimberly Arnott Mr. & Mrs. Bradford H. Arthur Mr. & Mrs. John S. Ayre Ms. Cindy Bailey Mrs. Taylor L. Baker Terry & Patricia Balko Meaghan Banks Clay & Karen Barnes Dean Barnhard Ms. Susan Bates Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Eric & Elaine Bedel Dr. & Mrs. Steven C. Beering Mr. & Mrs. Henry B. Blackwell Kirk & Sharon Boller -- Bottom-Line Performance Inc Rev. James R. Bonke Mrs. Jeanne Book Erv & Priscilla Boschmann Mr. & Mrs. R. Robert Brafford Christine & Robert Broughton Terri Bruksch Mrs. Alva Buchholtz Randall & Ann Burgess Lorene M. Burkhart Celeste & Derrick Burks Helen Burnett Donald W. Buttrey Ms. Katharine Carr Mr. & Mrs. E. M. Cavalier Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis Mr. Douglas B. Day Dr. & Mrs. Frank Deane Diantha V. DeGraw Mr. & Mrs. Joseph E. DeGroff Constance C. Earle Dr. Carmel Egan & Mr. Gerard Carthy Mr. & Mrs. Thomas J. Eggers Ms. Linda A. Erickson David & Julie Eskenazi Sherry Faris Dr. & Mrs. Harvey Feigenbaum Linda Felton David & Ann Frick Mr. & Mrs. James F. Gallagher Mr. & Mrs. Raymond Gibson Marianne Glick Dr. Lawrence I. Goldblatt

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

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

ANNUAL FUND Psi Iota Xi, Iota Tau RSE Realty, Inc Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey Straubinger Flutes Virtuoso ($750-$999) Anonymous (3) Michael D. Bartley Mark & Ann Bear Mr. & Mrs. Robert Berger Mr. & Mrs. George Boguslawski Mr. & Mrs. Fred Boso Casey Chell Kevin M. Clements Dan & Laura Conder Mr. James & Mrs. June Conine Terry & Debbie Cottingham Daryl, Sherry & Kevin Cox Norman Dean Jessica R. Di Santo Jack & Connie Douglas Judith Erickson Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher

Dr. Matt Gardlik Ms. Dorothy Gitlin Dr. Gerald & Dr. Jean Godfrey Mr. Ray E. Gotshall & Ms. Lillian K. Fox John & Mary Ann Grogan Ms. Lauren Guidotti Mr. & Mrs. Alan Hamilton Mr. & Mrs. Chris Hanley Mr. & Mrs. Thomas G. Harvey, Jr. Mr. Ronald N. Hermeling Abigail W. Hohmann Larry & Marianne Jacobi Catherine Jones Mr. William A. & Mrs. Elizabeth M. Kerr Dr. & Mrs. Jerry L. Kight Robert & Cindy Kirkpatrick Dr. Yukiko Kitagawa Steve & Sharon Klusman Col. A. D. Kneessy Howard & Sarah Knight Mr. Richard & Mrs. Gwen Knipstein Mr. & Mrs. Tim Konrad Ms. Katherine Kovac Mr. Robbie Kusz Rev. Richard & Mrs. Nancy Lewer Dennis & Karen Licht

Mr. & Mrs. Donald R. MacPherson Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Dennis & Anne McCafferty Mr. & Mrs. Ralph McCormick Lawren Mills Anonymous Mr. Bill Moreau Dr. Kathy Moreira Graham Denby Morey Dr. and Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Dr. Donald and Mary Jean Orander Muriel Patterson Marvin C. & Anne K. Perry Marian Pettengill John Mainella & Michael Pettry Janeann Pitz Scott A. Reef Diane Richardson Ms. Judy Schaefer Saundra & Tuck Schulhof Dr. & Mrs. William Segar Carson & Carla Shadowen Dr. & Mrs. Robert K. Silbert Peter & Chris Smithhisler

Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Ms. Sarah Studzinski Claudia V. Swhier Mrs. Maggie Tatter Ms. Sheree Toney Paul & Gretchen Watson Mr. & Mrs. Clark Williamson Miss Gretchen Wolfram Dr. & Mrs. Steve Young Contributed Goods and Services ($5,000 and Above) Carol & Ken Bandy Blue & Co, LLC Buckingham Foundation Inc. Conrad Indianapolis Enflora Flowers for Business Lynch, Incorporated mitsch design NUVO Newsweekly Printing Partners WTTS

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 17, 2015 – December 15, 2015. Honor Gifts In Honor of Christopher Slapak and Michael Robertson Anonymous Anonymous

In Honor of Maestro Raymond Leppard Dinah and Jerry Montgomery Marsha & Gregory Brown Kathleen Custer

Memorial Gifts In Memory of Carole Allen Mr. Norris Allen In Memory of Paul H. Spear Marti Philips

In Memory of Dr. Kathryn Vanderwater-Piercy and in support of MYO Rebecca and James Piercy James and Ursula Piercy

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Helping you recover body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee problems. They will offer you professional support and direction toward resolving the problem. Services offered include:

• Identification/Evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources such as legal services, physicians, financial counseling and more

if your company is interested in receiving more information about our program, please call 317.338.4900 or 1.800.544.9412.

st.vincent.org

YOUR TICKET TO INDY’S MOST

DYNAMIC

ARTS ORGANIZATION! SPONSORED BY:

GET CONNECTED, MIX ’N’ MINGLE, REAP THE REWARDS! 66

DICK AND BONNIE GARRETT

WHY WE GIVE

Having lived in Indiana nearly all their lives, Dick and Bonnie Garrett have had a decades-long passion for and dedication to the ISO. While also enjoying traditional classical music, Dick and Bonnie subscribe to the Printing Partners Pops Series and throughly enjoy the energy of the audience. Have you always lived in Indianapolis? Bonnie: I was born and raised in Indianapolis. I attended Shortridge High School and Butler University. Dick: I was born in Princeton, Indiana. I met Bonnie in 1963 and graduated from Northwestern in 1967. I joined Eli Lilly in 1968 and we settled in the north east corner of Indy. So, essentially we have always lived in Indy – 48 years is very close to always. Did you ever play an instrument? If so, tell us about that experience. Bonnie: I took piano lessons and still play from time to time. Dick: I have never played an instrument and for good reason, no rhythm and no talent. What was the first ISO concert you ever attended? For our second date, in March of 1963 we attended our first ISO concert. We can’t remember the music because we were already so much in love! What has been your favorite musical experience with the ISO so far? There have been many great memories from several fantastic evenings. One highlight is the opening night gala from the current season. That was a first class event – the concert and the meal, to the dancing. We love to attend the Printing Partner Pops Series and particularly like to sing from the audience. How is your life better with music? Often when listening to a concert we think about how blessed the world is to have such outstanding entertainment. Music uplifts, and inspires while it entertains – so much history flows out of the music, years of enjoyment by millions of people around the world. It is a part of our joy of living, our inner soul. Life would be dramatically changed without music What concerts do you recommend for new patrons to the ISO? The Printing Partners Pops Series series is great for beginners – enough of a classical flair with great individual performers performing fun, light music. It would be a good place for someone uncertain of his or her tastes to get started. Why is an orchestra important to a community? There is a segment of our population that considers high quality music as an essential ingredient of their quality of life (we’re in that group). The orchestra is an ambassador in the community to elevate the lives of folks who may never set foot in the Hilbert Theatre. The orchestra is a strong supporter to the Youth Orchestra, one of the better options to get the communities’ youth educated about music. There is a lot of evidence from around the world that music performance can dramatically change the lives of children – we are delighted with this effort and have supported it financially. What led you to donate to the ISO? Why is that important to you? Besides our church the symphony is next in line. Both groups play a big role in elevating the quality of life. It would break our hearts to lose the symphony. Dick often attends annual meetings just to be sure all is well. A couple of years ago we dipped very close to crashing but thanks to community givers all turned out well. The symphony is in our trust and we hope they don’t get the money anytime soon!

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

btlaw.com

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ASSOC ATION PEOPLE WITH PASSION FOR MUSIC

Symphony in Color • Art Contest for Elementary School Students • Students Create Art Based On Classical Music • Winning Art exhibited at Hilbert Circle Theatre and Indiana State Museum If you are interested in receiving information about Symphony in Color or the Michael Ben & Illene Komisarow Maurer Young Musicians Contest contact the ISO Association oﬃce 317.231.6726 [email protected]

Michael Ben & Illene Komisarow Maurer Young Musicians Contest

Finals Concert Open to Public! March 13, 2016 at 2PM at the Christel Dehaan Performing Arts Center • Music Competition for High School Students • $2,500 First Prize

Daniel Hallett, 2015 Winner

• Past Winners include Peter Vickery, ISO’s Assistant Concertmaster & Austin Huntington, ISO’s New Principal Cello

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

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

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

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

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

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

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