volume 6

JACK EVERLY, PRINCIPAL POPS CONDUCTOR

SIMONE PORTER

SIDE-BY-SIDE

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

An American in Paris Live with Orchestra La Mer Side-By-Side Shostakovich Triumphant Bruckner’s Monumental Seventh Sci-Fi Spectacular! Brahms: A German Requiem Mozart & Salieri

MARCH & APRIL | VOLUME 6

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This is our standing ovation. Today’s ISO performance was rehearsed, well planned and took an incredible amount of talent to bring to life. At Citizens Energy Group, we recognize the dedication required to deliver quality work. We strive to provide excellent customer service and believe that being involved in the community is an ensemble effort.

Bravo on an excellent season!

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THE PROGRAM BOOK Programs 13 March 3–5, 2017 16 March 9, 2017 17 March 10, 2017 19 March 12, 2017 31 March 15, 2017 35 March 18, 2017 44 March 21, 2017 49 March 23, 25, 2017 60 March 30–April 1, 2017 65 April 21, 22, 2017 72 April 27, 2017 73 April 28, 2017 Featured Articles 8 Music In My Life 13 ISO Musicians Around Town 11 Inside the Usher Corps 82 Arts in Indy Departments 9 ISO Profile 97 Hilbert Circle Theatre Information Support 83 Endowment 86 Lynn Society 88 Annual Fund 92 Why I Give 93 Tribute Gifts 94 Corporate Sponsors

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2016–2017 Hilbert Circle Theatre Artists 14 Jack Everly 20 Jun Märkl 21 JenniferJohnston 33 Vince Lee 36 Joshua Weilerstein 37 Renaud Capuçon 52 Matthew Halls 53 Simone Porter 62 Kristen Plumley 63 Jonathan Frakes 66 Krzysztof Urbański 67 Indianapolis Symphonic choir 68 Christina Pier 68 Michael Kelly 75 Dejan Lazić The Indianapolis Symphony Orchestra 6 Musicians of the ISO 7 Board of Directors 95 Indianapolis Symphony Orchestra Association 96 Administration

WELCOME Dear friends, As winter turns into spring, the ISO continues its 2016–17 season with a wide variety of performances for all ages. Our Lilly Classical Series brings Debussy’s La Mer, Shostakovich’s rebellious Fifth Symphony, and Maestro Urbański’s first performances of Brahms’ German Requiem. In addition, we are thrilled to present the world premiere of An American in Paris, screening the film accompanied live by our orchestra, as part of our Printing Partner Pops Series. Pops this month also includes Sci-Fi Spectacular, showcasing music from T.V. and film’s greatest science fiction stories. Spring is also a time where we celebrate our student community. At our Side-by-Side concert, also our Student Appreciation Night, our audience will see talented students from the Indianapolis community share the stage with their professional counterparts for a concert featuring a 100+ piece combined orchestra. If you’re looking for concerts to introduce your younger family members to, I’d highly recommend our next symFUNY Sundays concert, performed with Dance Kaleidoscope, on April 2. There is also our Metropolitan Youth Orchestra concert at the end of April, featuring familiar movie music performed by our young musicians. And our Teddy Bear Series continues at various library locations in Central Indiana throughout the months of March and April. As a reminder, the best way to be the first to hear about our upcoming concerts, secure the best seats, and receive great benefits is to subscribe. I hope you have been able to explore our recently announced 2017–18 season where we’ll welcome performers like Joshua Bell and Audra McDonald, present a Mozart Festival and all five Prokofiev piano concertos, and continue our exploration into film screenings with the Harry Potter series in addition to E.T.: The Extra Terrestrial. There really is something for everyone here at the ISO, and we look forward to providing you — our donors, subscribers, students, teachers, moms, dads, and fans alike — the best symphonic music experience possible. Sincerely,

Gary Ginstling Chief Executive Officer

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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey Second Violin Konstantin Umansky, Principal David Bartolowits, (LOA) Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair Jian-Wen Tong Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant

Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

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

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

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

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

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

Officers

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

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

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

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

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

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

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

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

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MUSIC IN MY LIFE

JENNIFER CHRISTEN, Oboe

Jennifer Christen, a Buffalo, N.Y. native is the Principal Oboist of the Indianapolis Symphony Orchestra. She has performed as Guest Principal Oboe with the Pittsburgh, Detroit, Baltimore, and Milwaukee Symphony Orchestras and as Guest English Horn with the Atlanta Symphony. Ms. Christen studied at the Juilliard School with John Mack, Nathan Hughes, and Elaine Douvas. Before her time in Indianapolis, Ms. Christen spent a year in Miami Beach with the New World Symphony under Music Director Michael Tilson Thomas.

Symphony in Indianapolis.

She has also spent several summers with the Verbier Festival Orchestra in Switzerland, where she met her husband. As a teacher, Ms. Christen has had the pleasure of working with students at the Verbier Music Camp, Indiana University Summer Music Clinic, Indiana University Med Orchestra and with the students of the New World Youth

Tell me about your family. Who do you think you got your musical genes from? I have an identical twin sister who plays the flute and two younger brothers. I think I got my musical genes from my dad, who played the organ for fun. I actually picked the oboe just because my best friend picked it. Talk about fate! What do you enjoy doing when you are not performing? I love to travel and explore new cafés and restaurants with my husband. I also enjoy running - I try to fit in two half marathons and a number of 5ks each year. What is your favorite part about living in Indianapolis? Indianapolis is such a great city! I love being able to live downtown where there is a great balance of calmness and activities. It is exciting to see all the new construction happening downtown! What do you love about being a part of the ISO family? Everyone in the Symphony has been so helpful and kind to me from the moment I stepped foot into the orchestra. This is something unique, and it’s a treasure. The ISO really is a family. If you could perform anywhere, where would it be and why? I don’t really care where we are performing, as long as it is an appreciative audience that we can make a positive impact on. Getting out into the community and playing for people who otherwise wouldn’t have a chance to hear a great orchestra is so important! What are you looking forward to in the Spring Classical Season? I am looking forward to Mahler 1. Mahler has great chamber writing within all of his orchestral works. All of the wind parts are prominent in this piece, so I know we will have fun!

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ISO PROFILE

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

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National Volunteer Week, April 23-29, is a yearly week of recognition for the many, many people who give generously of their time and resources to a huge variety of causes. The Indianapolis Symphony Orchestra would like to highlight our wonderful volunteers for their service. We are forever thankful for our dedicated volunteers who help continue to open the doors to our community. Last year, an incredible 23,000 volunteer hours helped run the ISO. Our sincere and deep thanks to each volunteer that supports the symphony! Join our ISO family by contacting our Volunteer Services Manager, Donna Finney at [email protected] or 317.231.6792

Our Corporate Sponsors have exclusive access to ISO events, and receive the best value in brand exposure and promotion. Take advantage of our Corporate opportunities and make the most out of your business.

CORPORATE ENGAGEMENT OPPORTUNITIES: Corporate Suite Packages Corporate Sponsorships Philanthropic Support Special Events

Interested in learning more about Corporate sponsorship opportunities? Contact Associate Director of Corporate Giving, Melissa Weseli at [email protected] or 317.262.1880.

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

Dustin Phillips was born and raised on the west side of Indianapolis, surrounded by cornfields. His interest in technology led him to obtain an Information Technology Degree from Purdue University. After he graduated last May, Dustin started working full-time at a small consultancy firm in Fishers. He uses volunteering with the ISO as way to immerse himself into the greater Indianapolis community. What motivated you to become an ISO volunteer? I was excited to start volunteering simply because of my love for music. I had previously attended ISO concerts at multiple locations and was thrilled to find a way to promote the orchestra and listen to their concerts for free! I moved to Fishers around the same time the ISO was ready to begin their Marsh Symphony on the Prairie series. Since I lived close, I was excited at the possibility of working most of the concerts — I signed up for nearly all of them. After a full summer of concerts, I was convinced to continue volunteering downtown at the Hilbert Circle Theatre. What has been your favorite experience with the ISO so far? On July 3rd of last year, the ISO was planning to perform their annual Independence Day concert at Conner Prairie. Cold rain had been falling since early afternoon and showed no signs of letting up. So we donned our bright yellow raincoats and headed out in the midst of the rain. Even through the cold and the rain, we were all smiles as we greeted patrons coming in for the show. It was such a memorable evening because it proved that the ISO truly does have the most dedicated volunteers! Why is volunteering for the ISO important to you? I have two main reasons for volunteering with the ISO. First, I deeply value the ISO’s mission to bring quality music and education programs to the community. Indianapolis is extremely fortunate to have a world-class symphony, and I am happy to be a part of the team that helps to keep those programs running smoothly. Second, I care that the patrons that come to the symphony’s performances are treated well and enjoy themselves. Ushers are often the only people on the ISO team with whom most patrons will interact, so it’s important that we show them how happy we are that they are spending their time with us! What would you tell someone that is considering volunteering with the ISO? Volunteering with the ISO is one of the most rewarding experiences you can have. Aside from hearing so many wonderful performances, I have also enjoyed the friendships I have made with other volunteers. You are able to meet people from all walks of life, and you can truly tell they’re excited to be there. Altogether, volunteering here is a fantastic combination of good music and good friends. We would love for you to join our ISO family! 11

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© 2017 Raymond James & Associates, Inc., member New York Stock Exchange/SIPC. Raymond James is a registered trademark of Raymond James Financial, Inc. 17-BR36X-0104 TA 1/17

MUSICIANS AROUND TOWN

Becky Arrensen, Flute

Karen Moratz, Flute

Zachary DePue, Concertmaster

Austin Hungtington, Cello

Philip Palermo, Associate Concertmaster

On March 4, Becky Arrensen, flute, and Karen Moratz, flute, are leading the Greater Indianapolis Flute Club’s Indy Flute Fest 2017 which will be held at the Schrott Center at Butler University. Special guest, William Bennett, who is Moratz’ teacher and inspiration, will be the special guest joining us from London. For more information, visit: http://www.indyflute.org/ indy-flute-fest-2017 March 6, 2017 at 7:30 p.m., The final concert of the season will be presented by The Indianapolis Quartet (Zachary DePue and Austin Hartman, violins; Michael Strauss, viola, violin; Austin Huntington, cello) will open with Haydn’s elegant String Quartet Op. 64 No. 5, “The Lark,” followed Shotakovich’s introverted String Quartet No. 7. After the intermission, the evening will culminate with Schubert’s beloved String Quintet in C major with guest artist and Principal Cellist of the Cleveland Orchestra, Mark Kosower. The performance will be held at the Ruth Lilly Performance Hall at the Christel DeHaan Fine Arts Center. Admission is free. On March 19 at 4:00 p.m., The Sound & Spirit concert series at Northminster Presbyterian Church presents Philip Palermo, Associate Concertmaster, in concert with violinist Austin Hartman and violist Michael Isaac Strauss in a program featuring works by Leclair, Mozart, Bartok, and Dvorak. Admission is free and open to the public. Northminster Presbyterian Church is located at 1660 Kessler Boulevard East Drive in Indianapolis. On March 25 at 10:30 a.m., The ISO presents the latest in its Teddy Bear Series, specifically designed for pre-school children: The Garden Symphony. Musicians performing are Jennifer Christen, oboe, Samuel Rothstein, clarinet, Victoria Griswold, violin, Sarah Boyer, cello, and Diane Evans, harp. Performances take place at the Central Library downtown and are free to the public. Programs are for children ages 3–6, and preschool classes are welcome. Teddy bears are also welcome! Every Thursday, The Mark Ortwein JazzTet plays at the Fountain Square Brewery from 6:30–8:30 p.m. Included in the group is Peter Hansen, bass, Craig Hetrick, drums, and Mark Ortwein, saxophone and electric bassoon. There is no cover charge. Jim Beckel’s (Principal Trombone) pieces will be performed various times thoughout the month. Please visit jimbeckelmusic.com for more information.

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

10-ticket value packs are on sale now!

10 tickets for the price of 6 Use tickets at ANY concert! Offer is valid through April 3.

AN AMERICAN IN PARIS LIVE WITH ORCHESTRA

MAR 3–5

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Pops Series/Program Four † Friday, March 3, 2017 at 11 a.m. Hilbert Circle Theatre Printing Partners Pops Series/Program Six Friday, March 3, 2017, at 8 p.m. Saturday, March 4, 2017, at 8 p.m. Sunday, March 5, 2017, at 3 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor

WORLD PREMIERE An American in Paris Live with Orchestra Premier Sponsor

Film Courtesy of Warner Bros Entertainment Inc. Production Credits: Producer: John Goberman Original orchestrations reconstructed by: John Wilson Technical Supervisor: Pat McGillen Music Preparation: Larry Spivac The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (themes and variations). An American in Paris Live with Orchestra is a production of PGM Productions, Inc. (New York) and appears by arrangements with IMG artists. THE WORLDWIDE COPYRIGHTS IN THE MUSIC OF GEORGE GERSHWIN AND IRA GERSHWIN FOR THIS PRESENTATION ARE LICENSED BY THE GERSHWIN® FAMILY † 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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MAR 3–5

JACK EVERLY, Conductor

Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall, and appears regularly with the Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season.

Mr. Everly is also the Music Director of the IPL Yuletide Celebration, now a 31-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez; Sandi Patty’s Broadway Stories; the soundtrack to Disney’s The Hunchback of Notre Dame; and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne.

As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn, and the broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television.

Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 14 years, and when not on the podium you can find Maestro Everly at home with his family, which includes Max the wonder dog.

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Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Krzysztof Urbański, Conductor

Renée Fleming, Soprano

Joshua Bell, Violin

Austin Huntington, Cello

Joshua Bell, Violin

CLASSICAL AND POPS SEASON HIGHLIGHTS INCLUDE: Opening Night Gala with Renée Fleming Joshua Bell Tchaikovsky’s Fifth E.T. the Extra-Terrestrial: Film + Orchestra Brahms’ Double Concerto with Zach De Pue & Austin Huntington Josh Kaufman & the ISO Mozart Festival: “Mozart’s Last Year” Want the lowest prices to ISO concerts next season? Become an ISO subscriber! Find out more by visiting IndianapolisSymphony.org, or call 317.639.4300 for details. 17

MAR 9

LA MER

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Seven † Thursday, March 9, 2017, at 11:15 a.m. Hilbert Circle Theatre JUN MÄRKL, Conductor Benjamin Britten “Four Sea Interludes” from Peter Grimes, Op. 33a (1913-1976) Dawn: Lento e tranquillo Sunday Morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco Maurice Ravel Une Barque sur l’océan (1875-1937) Claude Debussy La Mer (1862-1918) De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of Wind and the Sea)

Associate Sponsor

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

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

LA MER

MAR 10

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Thirteen Friday, March 10, 2017, at 8 p.m. Hilbert Circle Theatre JUN MÄRKL, Conductor JENNIFER JOHNSTON, Mezzo-Soprano Benjamin Britten “Four Sea Interludes” from Peter Grimes, Op. 33a (1913–1976) Dawn: Lento e tranquillo Sunday Morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco Edward Elgar Sea Pictures, Op. 37 (1857–1934) Sea Slumber Song (Roden Noel) In Haven (Capri) (C. Alice Elgar) Sabbath Morning at Sea (Elizabeth Barrett Browning) Where Corals Lie (Richard Garnett) The Swimmer (Adam Lindsay Gordon) Jennifer Johnston, Mezzo-Soprano INTERMISSION — Twent y M i n ute s Maurice Ravel Une Barque sur l’océan (1875–1937) Claude Debussy La Mer (1862–1918) De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of Wind and the Sea) Premier Sponsor

Associate Sponsor

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

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HIGHLIGHTS INCLUDE: › Deborah Voigt Thursday, April 6 › Evelyn Glennie

with Butler Wind Ensemble

Deborah Voigt

Evelyn Glennie

Saturday, April 8

› Maria Schneider

with Butler Jazz Ensembles

Wednesday, April 19 › Butler Ballet’s Giselle April 21-23

Maria Schneider

Giselle

Tickets and Full Schedule at butlerartsfest.com

For accessibility information or to request disability-related accommodations, 20 butler.edu/event-accommodations. visit

TELAMON PALLADIUM SERIES

MAR 12

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series Sunday, March 12, 2017, at 3 p.m. The Palladium at the Center for the Performing Arts JUN MÄRKL, Conductor JENNIFER JOHNSTON, Mezzo-Soprano Benjamin Britten “Four Sea Interludes” from Peter Grimes, Op. 33a (1913–1976) Dawn: Lento e tranquillo Sunday Morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco Edward Elgar Sea Pictures, Op. 37 (1857–1934) Sea Slumber Song (Roden Noel) In Haven (Capri) (C. Alice Elgar) Sabbath Morning at Sea (Elizabeth Barrett Browning) Where Corals Lie (Richard Garnett) The Swimmer (Adam Lindsay Gordon) Jennifer Johnston, Mezzo-Soprano INTERMISSION - Twent y M i n ute s Maurice Ravel Une Barque sur l’océan (1875-1937) Claude Debussy La Mer (1862-1918) De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of Wind and the Sea)

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

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JUN MÄRKL, Conductor

Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich, and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005–11) and MDR Symphony Orchestra Leipzig (to 2012). Märkl has conducted many times at NHK Symphony Tokyo, Pacific Music Festival Sapporo, and with the Mito Chamber Orchestra. He recently accepted the position of Invited Professor at the Kunitachi School of Music in Tokyo. In January 2015, he conducted the Yomiuri Nippon Symphony Orchestra for the first time. Märkl has been a regular guest at the State Operas of Vienna, Munich and Semper Oper Dresden. He made his Royal Opera House debut with Götterdämmerung in 1996 and

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at the Metropolitan Opera with Il Trovatore in 1998. In 2014, Naxos released two Hosokawa discs recorded by Jun Märkl with Royal Scottish National Orchestra. Whilst in Lyon he made live recordings for Altus of Strauss, Beethoven and Mahler to complement his Naxos discs of Debussy, Ravel, and Messiaen. With MDR Symphony he recorded Brahms symphonies, Schoenberg on Altus, Mendelssohn, and d’Albert for Naxos. He has also recorded the complete Schumann symphonies live with the NHK Symphony on Exton label, Dvořák on Telarc with the Indianapolis Symphony. Born in Munich, his (German) father was a distinguished Concertmaster and his (Japanese) mother a solo pianist. Märkl studied violin, piano, and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986, he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterwards he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken (1991–94) and at the Mannheim Nationaltheater (1994–2000). Jun Märkl last performed with the ISO in January, 2016.

JENNIFER JOHNSTON, Mezzo-Soprano The dramatic mezzo-soprano, Jennifer Johnston was named by both BBC Music Magazine and the Observer as “a rising star.” The Financial Times also named her as the “Face to Watch in Opera”. A former BBC New Generation Artist, she is a graduate of Cambridge University and the Royal College of Music, and is the recipient of numerous awards. She has appeared in opera at the Teatro alla Scala, Salzburg Festival, Bayerische Staatsoper, Festival d’Aix en Provence, Opera de Lille, Beijing Festival, Baltic Sea Festival, Scottish Opera, and Opera North. Her roles include Fricka, Waltraute, Second Norn, Wellgunde, Mrs Grose, Leda, Gaia, Lady de Hautdesert, Jocasta, Hedwige, Lucretia, Margret, Dido, Hänsel, Mrs Noye, Third Lady, Mrs Herring, Mrs Sedley, Giovanna Seymour, and Agrippina. She has performed with many of the world’s greatest orchestras in repertoire spanning the centuries, from Bach’s St Matthew Passion with the Dallas Symphony, and Hong Kong Philharmonic Orchestras, both under Jaap

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Van Zweden, Mahler’s Third Symphony under Franz Welser-Möst and the Cleveland Orchestra, Schumann’s Faustszenen with the Leipzig Gewandhausorchester, and Wiener Symphoniker Orchestras under Daniel Harding. Her extensive discography includes Anthony Payne’s arrangement of Vaughan Williams’ Four Last Songs with the BBC Symphony Orchestra under Martyn Brabbins for Albion Records, which she premiered at the BBC Proms. Jennifer’s engagements in 2016–17 include Mrs. Grose in Britten’s Turn of the Screw in a new production at La Scala (Eschenbach/ Holten), Hedwige in Rossini’s Guillaume Tell at the Bayerische Staatsoper, Wellgunde in Wagner’s Das Rheingold with Sir Mark Elder and the Hallé (to be released on disc). She also appeared as Ghost in Birtwistle’s The Last Supper with Martyn Brabbins and the BBC Scottish Symphony Orchestra, Pasqualita in John Adams’ Dr. Atomic with the BBC Symphony Orchestra, Schumann’s Das Paradies und die Peri, Verdi’s Requiem and Mahler’s Third Symphony with Leonard Slatkin and the Orchestre National de Lyon. This is Jennifer Johnston’s debut performance with the ISO.

Serving Serving the the Indianapolis Indianapolis Symphony Orchestra Symphony Orchestra for for more more than than 45 45 years. years. OneAmerica® is the marketing name for the companies of OneAmerica. OneAmerica® is the marketing name for the companies of OneAmerica. © 2016 OneAmerica Financial Partners, Inc. All rights reserved. © 2016 OneAmerica Financial Partners, Inc. All rights reserved.

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NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair “Four Seas Interludes” from Peter Grimes, Op. 33a Benjamin Britten Born November 22, 1913 in Lowestoft, Suffolk, England Died December 4, 1976 in Aldeburgh,England In 1939, with the Second World War in full swing, Britten and his partner, the tenor Peter Pears, sailed for America and settled in Amityville in Long Island, New York. In 1941, the pair made a trip to California. During that time Britten read a poem by George Crabbe titled The Borough. The small village described therein was not far from where the composer had grown up. Upon reading the poem, the composer reflected, “I suddenly realized where I belonged and what I lacked. I had become without roots.” In 1942, Serge Koussevitsky offered Britten a thousand dollar commission to write an opera in memory of his wife, Natalie. Britten accepted, and chose Crabbe’s poem as his starting point, stating “I believe that it is possible and desirable to develop a kind of British opera that will explore the vital native qualities of the English voice and language.” Thoroughly homesick by this time, Britten and Pears returned to England in March, 1942, settling in Eldeburgh, where he remained for the rest of his life. His opera Peter Grimes grew out of the fateful timing—confluence of poem, commission, Britten’s quest to explore “the vital native qualities of the English voice and language,” and an excellent libretto by Montagu Slater. It became an instant hit when premiered by Sadler’s Wells company in 1945. “Despite its downbeat, unglamorous story, Grimes quickly swept the world’s opera houses.” (Janet Bedell) The New York Times commented; “this is a milestone in modern opera.” The Crabbe poem described a small, dismal

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fishing village on the East Anglican coast. Amid the townfolk was a mysterious, surly, fisherman: Peter Grimes. His first young apprentice (who had been treated like a slave) died at sea during a storm, but the townsfolk always felt that Grimes’ acquittal was incorrect. Murder was in the air and more likely. After acquiring a second apprentice, the townfolk became even more suspicious of Grimes’ activities after seeing bruises on the child’s neck and body. A manhunt for Grimes began, and the child ran from the house, slipping and falling to his death over a cliff. An arrest warrant was immediately issued. It seemed “quite clear” that Grimes had committed yet another murder. Grimes, now mad with the whole experience, launches himself to sea in his boat, never to be seen again. Britten’s rendering of Grimes is far more intense and tragic vis-a vis the protagonist. “A central feeling was that of the individual against the crowd with ironic overtones for my own situation. As a conscientious objector, I was out of it. I couldn’t say I suffered physically, but naturally I experienced tremendous tension. I think it was partly this fleeing, which led me to make Grimes a character of vision and conflict, the tortured idealist that he is, rather than the villain he was in Crabbe.” Four of the interludes written for the opera have been extracted and grouped as Opus 33a. A fifth, standing independently, is listed as 33b (a Passcaglia). The first interlude is titled Dawn. It connects the prologue and the first act. Herein, the sea surges mysteriously in slow moving chords stated by the brass, while high strings and

NOTES flute trace glints of sunlight on the water. Subsidiary themes depicting soaring gulls and the breaking of dawn complete the setting. The second interlude, preceding Act II, is titled Sunday Morning. Britten describes a peaceful Sunday in The Borough. Church bells chime and there are three repetitions of Ellen’s Song; “Glitter of waves and glitter of sunlight”. In the opera, Ellen, the schoolmarm, is one of two people who befriends Grimes and tries to help him. The third interlude Moonlight depicts the Borough at nighttime. “The mood is lonely, brooding, and stark, as if the moon could only emphasize the surrounding blackness.” Soft chords emanate from harp and flutes. The music basically remains motionless, biding time, brooding as if waiting for something horrendous to arrive. The fourth interlude, Storm is a ferocious depiction of the wild storms Britten had witnessed during childhood. “For most of my life,” he recalled, ”I have lived closely in touch with the sea. My parents’ house directly faced the sea and my life as a child was colored by the fierce storms that sometimes drove ships on our coast and ate away whole stretches of neighboring coasts. In writing Peter Grimes, I wanted to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea—difficult though it is to treat such a universal subject in theatrical form.” Britten releases all the stops in his incredible painting of oceanic wrath. At every point, the music gathers increasing force, sweeping away Grimes’ life, displaying the mammoth turbulence and torment within his soul. He also displays the mystical, overwhelming power of the water. A bristling, coiling fugue rises from the orchestra, adding to the boiling and restless patterns before we arrive at a mid -point of calm. The storm quickly reenters, unforgiving, more forceful than ever. In highest volume, the orchestra screams

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the final truth of the stark, unrelenting, and uncaring brutality of fate and nature. The ISO’s last performance of Britten’s “Four Sea Interludes” from Peter Grimes was September, 2008, conducted by Mario Venzago. Sea Pictures, Op. 37 Edward Elgar Born on June 2, 1857 in Broadheath, United Kingdom Died on February 23, 1934 in Worcester, United Kingdom Elgar’s Sea Pictures was written in 1844 for piano and soprano, and in 1898 he was commissioned by the Norwich Festival to “write a piece for a vocal soloist.” Following the success of his Enigma Variations, he crafted Sea Pictures for their request, based on five poems by different authors, each offering a different response to the ocean: its beauty, its temptations, its symbolism, and its dangers. It is the only song cycle which Elgar wrote for voice and orchestra. For the vocal role, he had in mind Dame Clara Ellen Butt, noted for her wide tessitura and booming low notes. Sir Thomas Beecham once noted that “On a clear day you could have heard her across the English Channel!” She sang at the premiere in 1899 at the Norwich Festival, conducted by Elgar, in a dress which represented a mermaid! The first is titled Sea Slumber Song, by Roden Noel, which presents a beautiful setting in a rocking style lullaby (waves softly breaking on the shore) combining with distant waves to come, indicated by soft timpani strokes. The text reads: “Sea birds are asleep The world forgets to weep Sea murmurs her soft slumber song On the shadowy sand

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Of this elfin land…” The poem references the Kynance Cove in Cornwall, which has been described as “one of the most beautiful stretches of coastline in the South West,” surrounded by dark red and green rock. It is now controlled by the National Trust. The second In Haven (Capri) was written by Elgar’s wife, Alice. Capri is referenced by a siciliano rhythm. “The voice sings of the transcendence of love over blind elemental forces.” The text reads: “Closely let me hold thy hand Storms are sweeping sea and land Love alone will stand…” The third poem is by Elizabeth Barett Browning, titled Sabbath Morning at Sea. Elgar changes to a stronger mood herein in which he unleashes his religious fervor and belief in God. A largamente opening leaves sea imagery to shift into a serious mood of devotion. As the verses unfold, the orchestral part surges to strong climaxes and strong emotional expressions as the power of religious conviction is expanded and embraced. Part of the text reads: “He shall assist me to look higher He shall assist me to look higher Where keep the saints, with harp and song An endless Sabbath morning….” The fourth is titled Where Corals Lie by Richard Garnett. The composer shifts to a graceful setting with winds and delicate accompaniment. Notice the harp and string chords, which evoke the shimmering, underwater world. The beauty of this scene, “the land where corals lie,” is in the possible drowning and danger of the deep water on the ocean floor. In part, the text reads:

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“The deeps have music soft and low When winds awake the airy It lures me, lures me on to go And see the land where corals lie” The fifth poem, The Swimmer by Adam Lindsay Gordon, reflects a turbulent sea in which a swimmer recalls happy times with a lost lover, and he imagines being drowned in the thrusting waves. Musical references are made by quotes from the preceding settings, and the profusion of climaxes mark the emotional desperation of the swimmer and power of the sea. At the close, the orchestra recalls the first theme in a gloriously dramatic conclusion. Part of the text reads: “With short, sharp violent lights made vivid To southward far as the sight can roam Only the swirl of the surges livid The seas that climb and the surfs that comb I would ride as never a man has ridden In your sleepy, swirling surges hidden To gulfs forbidden Where no light wearies and no love wanes.” This is the ISO’s first performance of Elgar’s Sea Pictures. Une Barque sur L’Ocean Maurice Ravel Born March 7, 1875 in Ciboure, Basses-Pyrénées Died December 28, 1937 in Paris, France After four failed attempts to win a coveted Prix de Rome from the Paris Conservatoire, Ravel was comforted by an invitation in 1905. His friends, Alfred Edwards, journalist, and his Russian wife and pianist, Misia, invited him to join them on their yacht, Aimée, for a seven-week canal cruise. The couple was well known in Paris, and their apartment on the Rue de Rivoli was a special gathering place for writers, artist, and musicians.That same year, Ravel was also working on his Miroirs suite for piano solo, which included a third piece titled “Une barque surl’océan.” It is quite

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likely that he was influenced in his writing by his observations and feelings generated by the cruise. Ravel wrote; “What music there is in all of this! I mean to make good use of it….” His vision of water was also fed by a little automatic toy, which sat on his piano. Within a glass bell was a little boat on cardboard waves, which would toss the boat about when turning a hand crank. Among his large collection of toys, this was said to be one of his favorites.

overwhelming, dissonant climax. Dynamics are used to illustrate the unpredictability of the ocean: at one point, Ravel writes pp for a single measure, followed by ff, followed by pp, followed by ff—sudden behavioral contrasts. The boat survives the storm in a slower paced section, set within a lower register of the piano, sounding over an ostinato G sharp. A soft recollection of the opening brings Un barque surl’océan to a peaceful closing.

Ravel said; “The title Miroirs (Reflections), five piano pieces composed in 1905, has authorized my critics to consider this collection as being among those works that belong to the Impressionist movement. I do not contradict this at all, if one understands the term by analogy. A rather fleeting analogy, at that, since Impressionism does not seem to have any precise meaning outside the domain of painting. In any case, the word ‘Mirror’ should not lead one to assume that I want to affirm a subjectivist theory of art. A sentence by Shakespeare helped me to formulate a completely opposite position—‘the eye sees not itself/ but by reflection by some other things.’ (Julius Caesar, Act I, Scene 2)”

One year after the piano version, Ravel orchestrated his piece. The only time the orchestral version was performed in the composer’s lifetime, the critic Gaston Carruad of La Liberte noted; “It was like a succession of colors imposed on a drawing barely sketched… the view changes every moment. It is a confusing kaleidoscope and we cannot even tell what kind of weather prevails on the ocean.” This ambiguity is exactly what Ravel intended.

Ravel paints the ocean on a vast canvas, sweeping across enormous areas of the keyboard, reflecting the endless space of the ocean. Throughout, the boat (represented by the theme), rocks and sways on top of or within fluid, expressive textures and changing harmonies. “Une barque surl’océan” was dedicated to his friend, the painter Paul Sordes. ” Water is continually and immediately evidenced by constantly flowing arpeggios, later including tremolos and glissandi, blended by sustained pedals. Adding to the swaying effect is Ravel’s direction for a flexible (souple), rhythm for the theme and the accompaniment.

The orchestral version opens quietly with the theme given to paired flutes, floating atop clarinets and bassoons. They hold a steady chord, while divided strings provide fast 32nd note fast moving passages (undercurrents) which surge and regress. Note also his use of two harps which share rippling glissandi and arpeggios throughout the score. His use of natural and artificial string harmonics also add mystery. Occasionally low tones and heavy brass emerge, adding a fearsome dimension to the power of the water. The ending takes us back to where he began. All is quiet, with a tinkling goodbye (ppp) from the celesta, and the final measure marked s’enteignant (snuffed out). The ISO’s last performance of Un barque surl’océan was February, 2006, conducted by Mario Venzago.

Midpoint, the ocean stirs from its opening serenity into a storm, leading to a huge,

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La Mer Claude Debussy Born August 22,1862 in Saint-Germain-en-Laye, France Died March 25, 1918 in Paris, France Debussy’s love of the sea derived from two sources: his father, a sailor, who told his son beguiling stories of his life on the ocean, and visual arts. The composer’s only “ocean voyages” were the three times (including one very rough crossing) when he went to England via the English Channel. Nonetheless, he wrote to his publisher, Jacques Durand, “the sea is always endless and beautiful. It is really the thing in nature which bests puts you in your place…The sea has been very good to me. She has shown me all her moods. You do not know perhaps that I was intended for the fine career of a sailor and only the chances of life led me away from it…I have an endless store of memories… Music is a free art, boundless as the elements, the wind, the sky, and the sea.” On the cover of the manuscript he placed the drawing titled Hollow of the Wave off Kanagawa by Katsushika Hokusai. For the composer, the sea was a psychological phenomenon. In 1903, he began work on his musical triptych titled La Mer, subtitled “symphonic sketches,” the last of his large scale works. The first section is titled From Dawn to Noon on the Sea. Celli announce the dawn with a soft, rising motif. Muted trumpet and French horn enter with a lovely small theme, which returns in the last movement. Though at rest, the ocean seems unquestionably powerful. Gradually, pairs of flutes and clarinets whip up watery splashes. Celli return to sing a lush, four-part lyric tune. As the sea becomes more animated, melodic fragments appear and disappear quickly. Like the water, all the music is moving. By noontime, light streaks across the water in a climatic brass chorale as the sun travels across the heavens. Erik Satie quipped, “I like the part at quarter to eleven best.”

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Debussy’s second reflection is titled The Play of the Waves. Again, the music begins quietly, but this time the sea works itself into an energetic, capricious scherzo. Waves move quickly within irregular rhythms and fast-moving passages. Winds are featured in this section, and his spectacular writing for them is one of the great hallmarks of the French school. At the close, the sea resumes a mysterious silence. The third section is titled Dialogue of the Wind and Sea. ”A foreboding opening in lower strings promise a storm; orchestral forces become stronger and more ominous. Suddenly an exquisite melody emerges, “as if a mermaid were singing.” Oboe, English horn, and bassoon take their turns at the new tune, references are made to ideas from the first movement, and the water surges to a huge climax announced by the horns. When La Mer premiered on October 15, 1905, it did not find great success. The score was difficult, players complained, the audience hissed, and sexual scandal was in the air. Debussy unwisely appeared with the wife of a Parisian banker who was not only the mistress of Fauré, but was carrying Debussy’s daughter (born two weeks later). Neither she nor Debussy had bothered to obtain divorces, and social criticism was running high. Parisians were itching to punish. Debussy’s music was a secondary matter. Pierre Lalo, reviewer for Le Temps, trashed the work, commenting, “I neither hear nor see nor feel the sea.” Two weeks later, La Mer appeared in London to an enthusiastic response and, as years have passed, the scandal incident abated, La Mer and its evocation of the sea triumphed, still leaving us spellbound. The ISO’s last performance of La Mer was October, 2012, conducted by Krzysztof Urbański.

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MAR 15

SIDE-BY-SIDE ROSTER

First Violin Maris Pilgrim, Concertmaster Bloomington High School South Phillip Hammond Home Schooled Justin Kinchen Park Tudor School Alice Ford Bloomington High School South Angela Li Carmel High School Rose Melton Fishers High School Second Violin Clara Brown, Principal Lawrence North High School Erin Jeffrey Home Schooled Alexander McGrath North Central High School Eric Borum North Central High School Andrew Nguyen Avon High School Ian Haggerty Perry Meridian High School Noah Weiner North Central High School Viola Maeve Whelan, Principal Bloomington High School North Bharat Gummalla Carmel High School Lauren Salmon Carmel High School Alice Yoon Fishers High School Austin Weaver Carmel High School Brynn Kelsey Center Grove High School Luke Sorrell Fishers High School Jonathan Ralstin Zionsville Community High School Cello Lydia Rhea, Principal Indiana Connections Academy Woojin Chung Fishers High School Selin Oh Carmel High School Clare Brennan Perry Meridian High School

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Jennifer Sun Avon High School Bass Samuel Bognanno, Principal Carmel High School Samara Kpedi Lawrence North High School Mark Kincade North Central High School Cameron Ingram Warren Central High School Isaac Hammons Avon High School Flute Katie Riley Avon High School Gayatri Balasubramanian Carmel High School Emily Haynes Greenwood High School Rachael Shaver Home Schooled Oboe Katie Danforth, Principal North Central High School Cameron Smith New Palestine High School Alice Kussow Noblesville High School Clarinet Caleb Boswell, Principal Tipton High School Madison Hodges Center Grove High School Lorin Breen, Bass Clarinet Pike High School Priya Moorthy Park Tudor School Bassoon TJ Vculek Franklin Community High School Mia Nunokawa Center Grove High School Katie Mills, Contrabassoon Bloomington High School North Horn Trent Alexander, Principal Center Grove High School Ana-Elizabeth Cook Center Grove High School

Berkley Weyer Franklin Central High School Elise Klinestiver Brebeuf Jesuit Preparatory School Audrey Freeman Western High School Natalie Haynes Greenwood High School Trumpet Leilani Spurlock, Principal Pike High School Branden Haynie Lawrence North High School Seth Goot Carmel High School Kevin Kwon Hamilton Southeastern High School Trombone Andrew Danforth, Principal North Central High School Jonathon Tebbe Tipton High School James Bay Avon High School Tuba Iko-ojo Agada, Principal Carmel High School Timpani/Percussion Aaron Soforenko Hamilton Southeastern High School Kellie McGrew Lawrence Central High School Blake Roach Center Grove High School Erin Hardman Lawrence North High School Michael Ellis Fishers High School Harp Olivia Overpeck Home Schooled Lindsey Schwomeyer North Central High School

SIDE-BY-SIDE

MAR 15

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Side-by-Side Wednesday, March 15, 2017, at 7 p.m. Hilbert Circle Theatre VINCE LEE, Conductor LYDIA RHEA, Cello Sergei Rachmaninoff Adagio from Symphony No. 2 in E Minor, Op. 27 (1873–1943) Antonín Dvořák Allegro from Concerto in B Minor for Cello and Orchestra, Op. 104 (1841–1904) Lydia Rhea, Cello INTERMISSION - Twent y M i n ute s Gustav Mahler Symphony No. 1 in D Major (“Titan”) (1860–1911) Langsam. Schleppend Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

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

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VINCE LEE, Conductor Vince Lee is currently the Associate Conductor with the Indianapolis Symphony Orchestra. He previously served on the cover conducting staff of the Philadelphia Orchestra and as the conductor of the AZLO Orchestra (NYC). In 2013, he joined the Union City Orchestra (NJ) as its Music Director. From 2008–2011, Lee served as the assistant conductor of the Cincinnati Symphony Orchestra and the Cincinnati May Festival. In 2007, he made his Carnegie Hall debut with the New York Youth Symphony. As a guest conductor, he has appeared with numerous

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ensembles including the Toledo Symphony, Opera Theatre of St. Louis, the Aspen Music Festival, and the Cincinnati Ballet. As a champion of modern compositions, he has premiered more than 200 works to date. Lee earned his Master of Music in Orchestral Conducting from the Jacobs School of Music at Indiana University. During his time at IU, he premiered more than 50 works by student performers, conducted 17 orchestral concerts, and served as assistant conductor for the IU New Music Ensemble, Opera Theater and Ballet. Lee earned his Diploma in Orchestral Conducting at The Juilliard School, under the direction of James DePriest. At Juilliard, he was appointed Musical Director for the MAP orchestra (a Juilliard faculty position) and served as Principal Pianist for the Juilliard Orchestras for three years.

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Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Fourteen Saturday, March 18, 2017, at 5:30 p.m. Hilbert Circle Theatre JOSHUA WEILERSTEIN, Conductor RENAUD CAPUÇON, Violin John Adams Short Ride in a Fast Machine (b. 1947) Leonard Bernstein Serenade after Plato’s “Symposium” (1918–1990) Phaedras: Pausanias (Lento - Allegro) Aristophanes (Allegretto) Eryximachus, the doctor (Presto) Agathon (Adagio) Socrates: Alcibiades (Molto tenuto - Allegro molto vivace) Renaud Capuçon, Violin INTERMISSION - Twent y M i n ute s Dmitri Shostakovich Symphony No. 5 in D Minor, Op. 47 (1906–1975) Moderato Allegretto Largo Allegro non troppo

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

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JOSHUA WEILERSTEIN, Conductor

Joshua Weilerstein is Artistic Director Designate of the Orchestre de Chambre de Lausanne. He began his tenure with the orchestra in the 2015/16 season. With a repertoire ranging from Gesualdo to Rouse, he is committed to opening up the traditional classical repertoire to new audiences, enlivening and broadening concert-going and creating a natural dialogue between musicians and their public. In 2014–15 he made his debut with the Mahler Chamber Orchestra in a program of Brahms/Pärt/Bartok/Ligeti, the Deutsches Sinfonie-Orchester Berlin, the symphony orchestras of Dallas, Detroit, and Grand Rapids, Los Angeles Chamber Orchestra, National Arts Center Orchestra (Ottawa), NHK Symphony (Tokyo), and the Orchestre Philharmonique de Radio France. He also returned to the BBC Symphony Orchestra, where he made his Barbican debut in a program of Lutoslawski’s Concerto for Orchestra and the UK premiere of Christopher Rouse’s Prospero’s Rooms. In addition to return engagements with the BBC Symphony Orchestra, Danish National Symphony Orchestra, Oslo Philharmonic, Vancouver Symphony, the Florida Orchestra, and his alma mater the New England Conservatory, among others, he also took the Orchestre Philharmonique de Luxembourg on a seven-city tour of Germany. Born into a musical family, Weilerstein’s career was launched when he won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in

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Copenhagen. He then completed a threeyear appointment as Assistant Conductor of the New York Philharmonic, which concluded in the 13–14 season. Joshua Weilerstein believes fundamentally in the importance and value of music education. Wherever the opportunity arises, he engages directly with his audience speaking from the stage or in pre/postconcert discussions. During his time as the Assistant Conductor with the New York Philharmonic, he was heavily involved in Young People’s Concerts, and also served as Concertmaster of Discovery Ensemble, a Boston-based chamber orchestra dedicated to presenting classical music to inner-city schools in Boston. He also established a close link with the Orquesta Sinfónica Simón Bolívar (a product of the famed El Sistema music program in Venezuela) as the ensemble’s first non-Venezuelan guest violinist while still in his teens, and then as conductor in 2010 and 2012. Joshua Weilerstein is always excited to hear from musicians and audiences alike. He is accessible on social media for conversation about the future of classical music, programming, and the experience of concert-going. Joshua Weilerstein’s most recent appearance with the ISO was July, 2010.

RENAUD CAPUÇON, Violin Born in Chambéry in 1976, Renaud Capuçon began his studies at the Conservatoire National Supérieur de Musique de Paris at the age of fourteen, winning numerous awards during his five years there. Following this, Capuçon moved to Berlin to study with Thomas Brandis and Isaac Stern, where he was awarded the Prize of the Berlin Academy of Arts. In 1997, Capuçon was invited by Claudio Abbado to become concertmaster of the Gustav Mahler Jugendorchester, which he led for three summers, working with conductors such as Pierre Boulez, Seiji Ozawa, Daniel Barenboim, Franz WelserMoest, and Claudio Abbado. Since this time, Capuçon has established himself as a soloist at the very highest level. He has played concerti with orchestras such as the Berlin Philharmonic under Haitink and Robertson, the Boston Symphony under Dohnanyi, the Orchestre de Paris under Eschenbach and the Simon Bolivar orchestra under Dudamel. Capuçon also tours extensively as a solo recitalist and will perform complete cycles of the Beethoven violin sonatas with pianist Frank Braley around the world during the coming seasons.

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Upcoming concerto engagements for Capucon include concerts with the London Symphony Orchestra with Harding, City of Birmingham Symphony with Morlot, Philadelphia Orchestra with Bychkov, Chicago Symphony with Nezet-Seguin and Chamber Orchestra of Europe with Haitink. Capuçon has a great commitment to performing chamber music and has worked with Argerich, Barenboim, Bronfman, Grimaud, Kovacevich, Pires, Pletnev, Repin, Bashmet and Mørk, as well as with his brother and regular collaborator cellist, Gautier Capuçon. These collaborations have taken him to the festivals of Edinburgh, London (Mostly Mozart), Berlin, Lucerne, Verbier, Aix-en-Provence, Roque d’Anthéron, San Sebastian, Stresa, Tanglewood, and many others. Capuçon records exclusively for Virgin Classics. His most recent recording was of Beethoven Sonatas for violin and piano with Frank Braley. He also recorded the Beethoven and Korngold concertos with the Rotterdam Philharmonic and Yannick Nezet-Seguin. Since 2007, Renaud Capucon has been an Ambassador for the Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values. Renaud Capuçon plays the Guarneri del Gesù “Panette” (1737) that belonged to Isaac Stern, bought for him by the Banca Svizzera Italiana (BSI). This is Renaud Capuçon’s debut performance with the ISO.

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NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Short Ride in a Fast Machine John Adams Born February 15, 1947 in Worcester, Massachusetts “I enjoy being an American….” ­ —John Adams, May 1, 2010 When asked what is the essential thing that differentiates American music from all others, John Adams stated, “The one thing is the incessant pulsation.” Based on this, Short Ride in a Fast Machine is quintessential. He explained his title, asking, “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?” He further explained on Fresh Air, that “The image that I had while composing this piece was a ride that I once took in a sports car. A relative of mine had bought a Ferrari, and he asked me late one night to take a ride in it and we went out onto the highway….it was an absolutely terrifying experience to be in a car driven by somebody who wasn’t really a skilled driver.” The Ferrari sports car specs state that it could go from zero to 100 miles per hour in 15.9 seconds. With this experience in mind, in 1986 he wrote a fanfare for a large symphony orchestra… a “bright, happy piece of music,” which is “very difficult to play but quite a bit of fun.” Short Ride in a Fast Machine was composed for the Pittsburgh Symphony as the curtain raiser for a summer festival, “Great Woods.” One of the most powerful early influences on the composer was a style called minimalism, and this work has often been called a “triumph of minimalism.” Minimalism embraces consonant harmonies, motoric rhythms, repetitive melodic motifs and patterns. In contrast to “pure” minimalism, Mr. Adams’ music moves forward, stimulated in its momentum by other 20th century inflections, references to the past in rich harmonies, lyrical sweeps, and his desire to attain “sustained resonance.” Moving away from highly

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dissonant sounds, Mr. Adams chooses a more consonant route in what he calls his “diatonic conversion.” “This made me realize the resonant power of consonance. There is such a lack of resonance in atonal music with all the upper partials clashing against each other. The composers that mean the most to me are those whose music is music of sustained resonance,” he explained. Michael Steinberg in the John Adams Reader wrote that [Short Ride in a Fast Machine used] “a harmonic language with an emphasis on consonance unlike anything in Western art music in the last five hundred years.” The five minute ride begins with a solo woodblock beating a rhythm (pulse) in quarter notes, while the orchestra via clarinets and synthesizers launches the ride in the second measure marked “delirando.” Gradually, the opening pulse finds conflict with other pulsations emanating from the orchestra, which creates a chaotic, competitive atmosphere. For example, almost immediately four trumpets compete with the woodblock contrasting pulsations which distract from a clear ostinato foundation. This mixture results in an effect of perpetual motion, compounded by the lack of cadences until the end. The persistence of the woodblock, holding onto its own ideas, against countercurrents from other parts of the orchestra, is “almost sadistic,” according to the composer. “Metrical Issues in John Adams Short Ride in a Fast Machine” by Stanley Kleppinger, University of Nebraska is a fine source for more detail about the intricacy of the pulse combinations in this work. A second compelling element is his use of a large orchestra and instrumental color. The expanded standard symphony orchestra also includes xylophone, crotales, glockenspiel,

NOTES sizzle cymbal, suspended cymbal, tambourine, large tam-tam, and synthesizers. Dynamics are loud; the pace is frenzied; the ride is indeed delirando: a Spanish adjective, an imaginative experience filled with “incoherent sensations and without connections.” The ISO’s last performance of John Adam’s Short Ride in a Fast Machine was March, 2008, conducted by Mario Venzago. Serenade after Plato’s Symposium Leonard Bernstein Born on August 25, 1918 in Lawrence, Massachusetts Died on October 14, 1990 in New York, New York “I feel, love, need, and respect people above all else … I believe in man’s unconscious, the deep spring from which comes his power to communicate and to love … all art’s a combination of these powers.” —Leonard Bernstein In 1972, Leonard Bernstein returned to his alma mater, when he was invited by Harvard University to teach as the Charles Eliot Norton professor of Poetry for the academic year, which in his case extended in the fall semester of 1973. In that time, he delivered a series of six lectures on music (compiled in The Unanswered Question, published in 1976). He tackled the topic with zeal, extended musical examples, and scholarship:.The lectures were titled: Musical Phonology Musical Syntax Musical Semantics The Delights and Dangers of Ambiguity The Twentieth Century Crisis The Poetry of the Earth His lectures were received with acclaim and controversy, but undeniably launched the composer into academic prominence. YouTube offers the entire series should you wish to listen. They vary in length, from one to three hours.

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Although the lectures stretched over many weeks, the examination of a single topic was similar to Plato’s investigations of various topics in symposia…a meeting(s) to discuss a particular subject. The Greek symposium literally meant “drinking together,” and they were attended by men only. Bernstein’s choice of the original title “Symposium” clearly added a classical pedigree and reference to his musical work, which was completed August 7, 1954. He conducted the first performance on September 12 of that year. Bernstein noted to his biographer Humphrey Burton; “I was dissuaded from that title because people said it sounded so academic. I now [1986] regret that. I wish I had retained the title so people would know what it is based on... it is seven after dinner speeches at a banquet… it is really a love piece.” Additionally, he noted “the music, like Plato’s dialogue, is a series of related statements in praise of love…the relatedness [of the movements] relies on a system whereby each movement evolves out of the elements of the preceding one…” Hence, a continuation and development of a single topic. Plato’s Symposium (dated 385–370) is a text which describes a gathering (symposium) in which the matter of love is praised and examined in dramatic dialogue format through speeches given by the participants. It was a stunning group; the seven men were: Aristophanes (comic playwright), Agathon (the host and poet), Phaedrus (Athenian aristocrat), Pausanias (legal expert), Eryximachus (physician), Socrates (Plato’s mentor and philosopher, who provides the final summation), and Alcibiades (orator and general). Bernstein explained; “[My] music, like the dialogue is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at a banquet.” On August 8, 1954, the day after completing his score, Bernstein wrote the following descriptions for each movement as a

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NOTES

suggested series of “guideposts” for the listener: I. Phaedrus; Pausanias (Lento; Allegro marcato): Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. Pausanias continues by describing the duality of the lover as compared with the beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato. II. Aristophanes (Allegretto): Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm. III. Eryximachus the doctor (Presto): The physician speaks of bodily harmony as a scientific model for the workings of lovepatterns. This is an extremely short fugatoscherzo, born of a blend of mystery and humor. IV. Agathon (Adagio): Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. This movement is a simple three-part song. 
 V. Socrates—Alcibiades (Molto tenuto; Allegro molto vivace): Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a daemon is Socrates’ image for the profundity of love; and his seniority adds to the feeling of didactic soberness in an otherwise pleasant and convivial after-dinner discussion. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather

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the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party. Special Bernstein relationships to Indiana University: In 2009, Indiana University’s Jacobs Schools of Music received the contents of the Composer’s Fairfield Connecticut composing studio. At that time, his son stated: “My father’s artistic and educational connection with Indiana University was very strong. He adored the institution (he first visited IU in 1970) and became close to the Dean {Charles Webb}, its faculty and, of course, its students. My sisters, Jamie and Nina, join me in celebrating the continuation of this relationship by literally bringing together two of the places in which he was happiest working. We cannot imagine a more fitting home for this exciting new representation.” The current dean, Gwyn Richards noted; “It is thrilling to know that the link with Indiana continues and is strengthened through this remarkable gesture.” In 1987, the composer established the Leonard Bernstein Scholarship at the Jacobs School of Music, which is awarded to two music students every year. The ISO’s last performance of Bernstein’s Serenade after Plato’s Symposium was February, 2003, conducted by Jo Ann Falletta, featuring violinist Robert McDuffie. Symphony No. 5 in D Minor, Op. 47 Dimitri Shostakovich Born September 25, 1906 in Saint Petersburg, Russia Died August 9, 1975 in Moscow, Russia Among his fifteen symphonies, written between 1925 and 1971, Shostakovich’s Fifth has often been deemed the most popular. It was obsequiously titled “A Soviet Artist’s Response to Just Criticism,” acknowledging government criticism in Pravda, in which his music was characterized as “Chaos instead of Music.” Stalin had walked out of a performance of his opera Lady Macbeth

NOTES of Mtsensk and was furious. The article was menacing: “The inspiring quality of good music is [herein] sacrificed in favor of pettybourgeois formalist celebration with pretense at originality by cheap clowning. This game may end badly.” The composer took this seriously. To save himself, he withdrew his introspective Fourth Symphony from its premiere (not to be heard until 1961) and produced a carefully contrived symphony in 1937 to please the Kremlin. Because he had already experienced government disapproval in 1930, with his satirical opera, The Nose, and more government disapproval in 1936 via the review in Pravda, the composer was keenly aware of non-compliance with explicit government rules and taste. Did he really write the apology? Was he truly contrite? Probably not. Within this score there are hidden messages and scornful parodies of Soviet leadership, well disguised in a dramatic thriller. For example, many have noted that the march is sinister and mocking, and the waltz is ironic and bitter. Number 5 was written quickly, and completed on July 29, 1937. He later wrote that his Fifth Symphony was about “the suffering of man, and all-conquering optimism. I wanted to convey in the Symphony how, through a series of tragic conflicts of great turmoil, optimism asserts itself as a world view.” Why did the Soviet government assume artistic power? What did they dislike in former musical traditions? Among the many reforms in Russia during the eighteenth century, during the reigns of Peter I, the Empresses Elisabeth, and Catherine, the importation of western music was popular and inspirational to Russian composers. By the nineteenth century, these influences grew, blending into the Russian national style, fertilizing ideas and orchestration from western sources which produced triumphs in romantic masterpieces. In the early twentieth century, Russian composers contributed to international avant-garde experimentation,

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and they continued to make their mark on the world stage. Then came the Stalinist regime in the 1930’s and music became controlled by the state, dictating content and format, cleansing art music from westernization, complexity, and intellectualism. Music became a propaganda mechanism, a powerful force for emotional, intellectual, political, and social influence. Adherence to “Soviet Realism” as defined and sanctioned by the state in 1932 was mandated in the arts, and those who did not comply suffered expulsion, prison, and possibly death. This time, the sole purpose of the serious music composer was to exalt the state, serve the state, enchant the working class, and most of all to produce accessible, tuneful, thrilling music. Levon Hakobian wrote that “the stillborn art of Socialist Realism was favored by the communist government and intended to serve the ideological necessities of the regime.” They wanted cheerful, ascending melodies, perhaps some folk music tossed in, and lively marches. Anything less, was sabotage. All the rest was “decadent bourgeois art.” Homo sovieticus was going to be a new kind of human being, and those who practiced the tenets of Soviet Realism were, in Stalin’s words, “engineers of souls.” This was the brutal artistic environment in which Shostakovich (1906–1975) lived and worked when writing his Fifth Symphony. The symphony was considered an immediate success; Shostakovich was momentarily “in the clear” from attack, and he was reinstated as a composer of the people. In the controversial Testimony, a collection of Shostakovich’s memoirs by Solomon Volkov, the composer is quoted, saying “the rejoicing [in the Fifth symphony] is forced, created under threat… It is as if someone were beating you with a stick and saying “Your business is rejoicing, your business is rejoicing…” The ISO’s most recent performance of Shostakovich’s Symphony No. 5 was inSeptember 2011, conducted by Krzysztof Urbański.

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MAR 21

DISCOVERY CONCERTS

For more than 75 years, children from throughout Indiana have participated in the Indianapolis Symphony Orchestra’s Discovery Concerts. The tradition of providing outstanding education concerts for elementary school students continues this year when Associate Conductor, Vince Lee, leads the ISO in 12 performances of the 2017 program, Music in 3D: Featuring Dance Kaleidoscope. Paired with specially prepared comprehensive educational materials and teacher workshops, the Discovery Concerts are a fun, creative way to introduce the great orchestral repertoire to elementary school children.

2016–2017 Discovery Concerts — March 21, 28 | May 9, 10, 11, 16 VINCE LEE, Conductor DANCE KALEIDOSCOPE DAVID HOCHOY, Artistic Director Maurice Ravel (1875–1937)

“Laideronnette, Empress of the Pagodas” from the Mother Goose Suite

Pyotr Ilyich Tchaikovsky (1840–1893)

Romeo and Juliet Overture-Fantasy

Johann Strauss II (1825–1899)

Tritsch Tratsch Polka, Op. 214

Johann Sebastian Bach (1685–1750)

Suite No. 3 in D Major, “Air on the G String”

Johannes Brahms (1833–1897)

Hungarian Dance No. 12 in D Minor

Sergei Prokofiev (1891–1953)

“Montagues and Capulets” from Romeo and Juliet

Maurice Ravel (1875–1937)

“The Fairy Garden” from the Mother Goose Suite

Antonín Dvořák (1841–1904)

Slavonic Dance No. 8 in G Minor

Leonard Bernstein (1918–1990) Arr. Peress

“Mambo” from West Side Story

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DISCOVERY CONCERTS

MAR 21

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Please refer to Conductor, Vince Lee’s bio on page 33.

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MENDELSSOHN VIOLIN CONCERTO

MAR 23, 25

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Fifteen Thursday, March 23, 2017, at 8 p.m. ­— Second Presbyterian Church Saturday, March 25, 2017, at 7 p.m. — Hilbert Circle Theatre MATTHEW HALLS, Conductor SIMONE PORTER, Violin Felix Mendelssohn Concerto in E Minor for Violin and Orchestra, Op. 64 (1809–1847) Allegro molto appassionato Andante Allegretto non troppo - Allegro molto vivace Simone Porter, Violin INTERMISSION - Twent y M i n ute s Anton Bruckner Symphony No. 7 in E Major (1824–1896) Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell Finale: Bewegt, doch nicht schnell

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MATTHEW HALLS, Conductor

The word “versatile” is an apt description for British conductor, Matthew Halls. He first became a prominent keyboard player and early music conductor. But Halls is now better known for his dynamic and intelligent work with major symphony orchestras and opera companies — for his probing and vibrant interpretations of music of all periods. This season marks his fourth year as Artistic Director of the Oregon Bach Festival, succeeding founding director Helmuth Rilling. Halls opened the 2016 festival with one of Bach’s most celebrated works, the Mass in B Minor, performed for the first time in the festival’s history on period instruments. Alongside works by Haydn, Schubert, and Mendelssohn, the festival also saw Halls conduct the world premiere of Sir James MacMillan’s A European Requiem before closing the festival with another great choral work, Brahms’ German Requiem. The Berwick Academy for Historically Informed Performance, launched under his leadership in 2015, provides a national training program for advanced students and now forms an integral part of the festival. In 2016–17 Halls’ North American appearances include his New York debut at the Lincoln Center’s Mostly Mozart Festival in a performance with Joshua Bell. He returns to the Lincoln Center later in the season, leading the Mozarteumorchester Salzburg as part of their United States tour. Other North American appearances include the Cleveland Orchestra; Milwaukee,

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Indianapolis, and Cincinnati Symphonies; Calgary Philharmonic; and residencies at the Universities of Oregon and Maryland. In the opera house, Halls’ repertoire covers Renaissance, Baroque, and Classical works, but also extends to later works, with a particular focus on Britten. His debut performances of Handel’s Rinaldo with Central City Opera Colorado were so well received that he was re-invited to conduct productions of Handel’s Amadigi and Puccini’s Madama Butterfly. His associations with both the Netherlands Opera and Bayerische Staatsoper have included productions of Verdi’s Luisa Miller, Britten’s Peter Grimes and Bellini’s Norma. Other appearances have included the Handelfestspiele Halle and the Salzburg Landestheater. In spring 2014 he led Handel’s Ariodante at the Aalto-Musiktheater Essen and he returned last season to conduct Puccini’s Madama Butterfly. Halls is represented on disc with Handel’s Parnasso in Festa, winner of the Stanley Sadie Handel Recording Prize, released by Hyperion. On Linn Records, he has recorded a set of four Bach Harpsichord Concertos conducted from the keyboard, which Gramophone welcomed as “joyful and invigorating”, and Bach’s Easter and Ascension oratorios, as well as awardwinning discs of Purcell’s Sonatas in Three and Four Parts. Matthew Halls was educated at Oxford University and subsequently taught at the university for five years. Passionately committed to education and working with young musicians, he regularly teaches at summer schools and courses. Matthew Halls’ most recent appearance with the ISO was in April 2016.

SIMONE PORTER, Violin

MAR 23, 25

Violinist Simone Porter has been recognized as an emerging artist of impassioned energy, musical integrity, and vibrant sound. After performing last season with Gustavo Dudamel and the Los Angeles Philharmonic the LA Times declared Ms. Porter “on the cusp of a major career”. Elsewhere, her performances have been described as “bold” (Seattle Times) and “virtuosic” (London Times), and at 19 years of age, Ms. Porter has already appeared with the New York Philharmonic, the Philadelphia Orchestra, Houston Symphony, and Los Angeles Philharmonic, and with renowned conductors including Yannick Nezet-Seguin, Nicolas McGegan, Ludovic Morlot, and Donald Runnicles. Ms. Porter made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra at age 13.

Lincoln Center’s Mostly Mozart Festival, return engagements to both the Aspen Festival with Nicolas McGegan, and Grand Teton Festival with Donald Runnicles. The 2016–2017 season includes Ms. Porter’s debuts with the San Diego Symphony and Charles Dutoit, the Pittsburgh Symphony, and the New York Youth Symphony at Carnegie Hall.

In June 2016, Simone Porter was featured at the American Film Institute’s Lifetime Achievement Award: A Tribute to John Williams in a solo performance of music from “Schindler’s List” with Maestro Gustavo Dudamel and members of the American Youth Symphony; this featured program was broadcast nationally on the TNT Network. Summer 2016 also brought her debut at

Simone Porter plays on a 1745 J.B. Guadagnini violin on generous loan from The Mandell Collection of Southern California.

The recipient of numerous honors and awards, Ms. Porter is a 2011 Davidson Fellow Laureate, an award given by the Davidson Institute for Talent Development, which carries a $50,000 scholarship to further her musical education. In 2009, she was presented as an Emerging Young Artist by the Seattle Chamber Music Society. Raised in Seattle, Washington, Ms. Porter studied with Margaret Pressley as a recipient of the Dorothy Richard Starling Scholarship, and was then admitted into the studio of the renowned pedagogue Robert Lipsett, with whom she presently studies at the Colburn Conservatory of Music in Los Angeles. Summer studies have included the Aspen Music Festival for seven years, Indiana University’s Summer String Academy, and the Schlern International Music Festival in Italy.

This is Simone Porter’s debut performance with the ISO.

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MAR 23, 25

NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Concerto in E Minor for Violin and Orchestra, Op. 64 Felix Mendelssohn Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig, Germany Mendelssohn’s Violin Concerto stemmed from a deep friendship and collaboration with the esteemed violinist Ferdinand David. It was the first “in a distinguished series of violin concertos written by pianist-composers with the assistance of eminent violinsts.” In this case, the composer and violinist knew each other well, initially meeting at age fifteen (while David was concertizing throughout Germany), and the two kept up a close relationship throughout their lives. In 1835, shortly after his appointment as Music Director of the Leipzig Gewandhaus Orchestra, Mendelssohn secured the concertmaster’s post for David. Three years later, in July 1938, Mendelssohn wrote to him saying “It is nice of you to press me for a violin concerto. I have the liveliest desire to write one for you and, if I have a few propitious days, I will bring you something…. I would like to compose a violin concerto for next winter. One in E minor keeps running through my head and the opening gives me no peace.” By 1939, Mendelssohn was frustrated and reported; “this task is not an easy one. You ask that it should be brilliant, and how can anyone like me do this? The whole of the first solo is to be for the E string.” With David’s help, the concerto was eventually completed in 1844. David was responsible both for the cadenza and for giving frequent advice regarding technical matters through the compositional process. Sadly, Mendelssohn was too ill to attend the successful premiere on March 13, 1845 (he would be dead in a year and a half ) and Opus 64 was conducted by Niels W. Gade with David as the soloist.

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From the beginning of the collaboration, David and Mendelssohn had agreed that this concerto should not be a vehicle for empty showmanship. With this guideline, the outcome was a serious, exquisite, elegant essay in the romantic concerto genre, ultimately ranking among the finest violin concerti written in the nineteenth century. Louis Biancolli assessed; “In classical poise, melodic suavity and refined romantic feeling, it is an epitome of Mendelssohn’s style. Finesse, cultivated taste, and an unerring sense of the appropriate (are) among its chief attributes.” Perhaps David anticipated this when he said to the composer while the work was gestating“ This is going to be something great! There is plenty of music for violin and orchestra, but there has only been one big, truly great concerto (Beethoven) and now there will be two!” “I am not competing with Beethoven,” Mendelssohn replied. The Mendelssohn concerto, completed seven years after its concept was first mentioned, bore no resemblance to the Beethoven work. Its three movements are played without pause. This concerto discards the usual orchestral introductory exposition, beginning instead with orchestral “accompaniment” style, thereby creating a sense of expectation. The violin soloist obliges quickly with a soaring, restless melody, intensifying as it rises. Completing its statement, the soloist moves to a lower register, and remains in the background, as the second theme murmurs from flutes and clarinets. Mendelssohn’s development provides a structural surprise. In this section, the composer moves a written cadenza from its traditional place at the end of the first movement to a new location at the end of the development. The

NOTES recapitulation enters from the orchestra with the soloist continuing an arpeggiated figure derived from the cadenza. The soloist is clearly collaborating at this point with the orchestra rather than seizing the stage, revealing one of the concerto’s features of interlocking partnership between the two forces. A solo bassoon, holding one note from a cadential chord bridges this movement into the second. The middle section, an Andante in C major, offers a tender theme sung by the soloist as its main subject. A middle section spins a minor tune over bustling 32nd notes providing significant contrast to the opening calm. The third section recalls the opening theme, refreshed by new accompaniment. Fourteen bars of transitional material bridge to the concluding section. A tiny introduction and brass fanfare opens the brilliant finale. The soloist answers with lightly scampering arpeggios. A bright main theme from the soloist dances over fairylike accompaniment from the orchestra. Echoes of Midsummer Night’s Dream are everywhere. Changing this delicate mood, the orchestra asserts a strong second theme, which steadily loses its initial weight, gains flexibility, and finally runs off in a playful mood. The soloist provides a lyrical theme in the development section leading to continued collaboration with the orchestra until a dazzling conclusion. The ISO’s most recent performance of the Mendelssohn Violin Concerto was in May 2015 featuring violinist Arabella Steinbacher. and conductor Jun Märkl. Symphony No. 7 in E Major Anton Bruckner Born September 4, 1824 in Ansfelden, Austria Died October 11, 1896 in Vienna, Austria Compositional fame came late to Anton Bruckner, and it was not until his sixties that

MAR 23, 25

he was truly appreciated as a composer. Throughout his lifetime, he had often been considered a social joke: a boor who spoke with a countrified accent, presented a consistently disheveled in appearance with baggy pants and sagging jackets, had a terrible time with women (there were nine marriage proposals, none accepted), drank heavily (Pilsner beer) and lived in an apartment which cleaning women often refused to clean up. For years, his loving sister “Nani” did most of the cleaning. August Stradal recalled visiting one of Bruckner’s’ apartments and he reported; “in the middle of the first room there was a very old Boesendorfer grand piano, and its white keys could scarcely be distinguished from its black keys as a consequence of dust and snuff. “ He had only two books: the Bible and a biography of Napoleon which he reread constantly. Manuscripts of his symphonies and masses lay mixed with newspaper articles and correspondence. The composer was a devout Catholic, mired in fanatical Catholicism, encapsulated in psychological isolation and his fascination with death. Sadly, Bruckner wrote;s “I always sit poor and forsaken and deeply melancholy in my little room.” (Bruckner and Mahler, JM Dent) His only constant companions were his music, his organ, and his religion. To some, the composer was also a professional joke, writing strange, meandering, indulgent music which was incomprehensible. The nine symphonies lay at the heart of his instrumental compositions. He revised numbers 1–6 endlessly and compulsively, “always hoping that his own conceptions would be favored by posterity” not the many versions with cuts and changes added by well meaning friends. Or so-called “experts.” Extensive promotion by Mahler and Furtwängler was critical in securing his symphonies’ eventual credit and acclaim. During Bruckner’s lifetime, the prominent Viennese critic Arthur Hanslick was a constant

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MAR 23, 25

NOTES

burr under the saddle, with vitriolic pen handy, at all times ready to humiliate and criticize anything Bruckner wrote. Some of Hanslick’s favorite adjectives for Bruckner’s music were “decayed, naïve, insane, inflated, and unnatural.” Music that resembled Wagner always set Hanslick into a frenzy. Bruckner was an easy mark. However: Buckner was not about to change. “They want me to write differently. Certainly I could do, but I must not. God has given me, of all people, this talent. It is to Him that I must give account” (quoted in A. Giollerich,. Anton Bruckner) In his sixties, he worked on his Seventh Symphony between 1881–1883, and was not so susceptible to the opinions of others—he finally had confidence. Number Seven was only revised once, in 1885. For Bruckner, Wagner was a second deity. His expansive thinking, vision, and colorful, gigantic musical structures were deeply influential, if not controlling models. David Ewen explained that Bruckner sought to “carry over into his symphonic writing some of the grandeur, sublimity, symbolism epical designs of the Wagnerian music drama.” When Bruckner finally met his idol in 1873 in Bayreuth (an event celebrating Bruckner’s Third Symphony), Wagner was amused at this adulation and coaxed the simple but talented musikant into a wildly drunken state. Bruckner was so drunk that he forgot which symphony was being honored and had to ask for clarification about the repertoire being honored! The Seventh Symphony premiered in Leipzig on December 30, 1884, conducted by Arthur Nikisch who insisted (after hearing a piano version); “from this moment, I regard it as my duty to work for Bruckner’s recognition.” Symphony Seven was destined for a Viennese premiere shortly thereafter, but the composer asked that this plan be withdrawn or at least deferred, “because of the influential critics (like Hanslick), who would be likely to damage my dawning success.” The Leipzig performance had been great, and the following premiere in Munich, March 10 1885, was fantastic.

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This acclaim constituted a major turning point in his career. The Seventh totally turned his previous sorry fate around, casting him, at last onto the international stage. Vienna finally heard the work on March 21, 1886, where Bruckner’s premonitions proved correct. Hanslick wrote, “the music is antipathetic to me and appears to be exaggerated, sick, and perverted.” Gustav Dompke (another critic) added, “We recoil with horror before this rotting odor which rushes into our nostrils from the disharmonies of this decomposing counterpoint.” Audiences around the world, including those in Vienna, did not agree with the spiteful opinions, and the symphony became a decided, unassailable triumph. Jonathan Kramer summarized: “Bruckner’s special world of slow moving intensity, overpowering climaxes, and intimate lyricism nowhere found a more coherent or beautiful statement than in the Seventh Symphony.” The Seventh Symphony is built on a huge scale, requiring approximately 70 minutes for its presentation. In the first movement, there are three themes presented: the first by celli and solo horn (said to have come to him in a dream in which the Kapellmeister of Linz told him, “with this theme you will make your fortune.”) It begins quietly and moves for 21 measures through two octaves into a high register and then is repeated by winds and strings. Approximately two minutes are required for this presentation (Jonathan Kramer). A second lyrical subject played by oboe and clarinet, supported by brass chords, is also ascending, and moves to a large fortissimo. The third subject, prefaced by brass climaxes, is a peasant-style dance (presented softly) displayed by winds and strings and travels a descending course. A large development begins quietly with a clarinet inversion of the opening idea, and statements of the other two. This area restlessly takes the themes through many modulations before finally arriving at the last section. The recapitulation recalls the

NOTES opening ideas and leads to a enormous coda for fifty-three measures. The Adagio, which was played at Bruckner’s funeral, is a mournful elegy to Wagner. In a letter of January 1883 Bruckner wrote, “One day I came home and felt very sad. The thought had crossed my mind that before long the Master would die, and just then the C sharp minor theme of the Adagio came to me.” Wagner was dead a month later. The first section presents a Wagner tuba quartet in a serious chorale in a minor key presenting the first idea. Expanding the depth of the brass timbre, the Wagner tuba has a conical bore (like a horn) and a horn mouthpiece and rotary valves yielding a warm mellow tone. For this work, Bruckner added two pairs of Wagner tubas: tenor tubas in B-flat, two bass tubas in F, and a contrabass tuba. A contrasting theme emerges in triple meter. After these introductions, strings move into the spotlight steadily moving upward and building to an enormous climax. Eventually, another enormous climax occurs in C major, capped by cymbals, triangle and a roll of the drums. (An addition by Nikisch who told the composer that this idea “delights us wildly.”) The close is quiet and resigned. The Scherzo, composed first, is vast and stunning. For this, Bruckner provides a heavy boot style peasant dance. First, a trumpet

MAR 23, 25

presents a jolly idea which Bruckner called “the crowing of a cock” over an ostinato rhythm in the strings. This is answered by clarinet. From this point forward, the trumpet leads the band. Momentum is steady, until there is a complete astonishing stop, prefacing a lyrical trio of long held notes, which is to be played gesangvoll (songful.) Timpani lurk in the background, intoning the fanfare rhythm from the opening. The first section is repeated at the close. The finale opens with several important ideas: a distinguished dotted motif coming from the violins, a main theme similar to the opening, and a chorale style theme (far simpler) again coming from the strings. Sonata-allegro format is used, once again proving its elasticity, to embrace multiple climaxes and a huge drama. At the end, a truncated version of the symphony’s first theme returns before an assertive, and optimistic conclusion ends the work in a blaze of E major. Bruckner, in high spirits, at last supported by a dedicated fan club, immediately began working on the Eighth Symphony which would emerge in three years. Like Beethoven, he would eventually produce nine symphonies, the last completed in 1896. The ISO’s last performance of Bruckner’s Symphony No. 7 was March, 2006, conducted by Mario Venzago.

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INDIANAPOLIS SYMPHONY ORCHESTRA

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Matthias Pintscher, Conductor Kelley O'Connor, Mezzo Soprano

Sunday, June 11, 3PM

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International Violin Competition of Indianapolis 2016-2017 Laureate Series

Photo by Denis R. Kelly Jr.

April 25, 2017 Svetlin Roussev, 1998 Laureate Chih-Yi Chen, Piano

March 21, 2017 Tessa Lark, 2014 Silver Medalist Peter Klimo, 2014 Silver Medalist Franz Liszt International Piano Competition

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SCI FI SPECTACULAR!

MAR 30–APR 1

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Pops Series/Program Five Friday, March 31, 2017, at 11 a.m. † Printing Partners Pops Series/Program Seven Friday, March 31, 2017, at 8 p.m. Saturday, April 1, 2017, at 8 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor KRISTEN PLUMLEY, Vocalist JONATHAN FRAKES, Narrator SCI-FI-ETTES, Chorus John Williams

“Main Title” from Star Wars

John Williams

“Adventures on Earth” from E.T., the Extra-Terrestrial

John Barry Somewhere in Time John Williams

“Superman March” from Superman

Arr. Calvin Custer Star Trek Through the Years INTERMISSION - Twent y M i n ute s Richard Strauss

Theme from 2001: A Space Odyssey

John Williams

Excerpts from Close Encounters of the Third Kind

Michael Giacchino Star Trek Bernard Herrmann The Day the Earth Stood Still Outer Space Radar Gort Klaatu Farewell Finale

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SCI FI SPECTACULAR!

MAR 30–APR 1

John Williams

“Duel of the Fates” from Star Wars: The Phantom Menace

John Williams

“The Throne Room”and “End Title” from Star Wars Suite

Laura Glover — Lighting Design Katie Angel — Cosplay Coordinator Lasers are provided by Kozmic Lazer Show. Lobby entertainment provided by 501st Legion. Alex King — Droid Engineer Greg Sanders — Choral Director

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

Please refer to Maestro Everly’s bio on page 14. Recording or photographing any part of this performance is strictly prohibited.

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MAR 30–APR 1

KRISTEN PLUMLEY, Vocalist

Connecticut native Kristen Plumley has performed with many opera companies throughout the country, including New York City Opera (Barbarina in Le Nozze di Figaro), Virginia Opera (Norina in Don Pasquale and Zerlina in Don Giovanni), Chautauqua Opera (Sophie in Werther), Lyric Opera of Cleveland (Despina in Così fan Tutte), Amarillo Opera (Musetta in La Bohème), Greensboro Opera (Adina in L’Elisir d’Amore and Gilda in Rigoletto), Opera Festival of New Jersey (Nannetta in Falstaff and Amor in Orfeo ed Euridice, Boheme Opera (NJ) (Adele in Die Fledermaus), L’Opéra Français de New York (the Sultan of Egypt in Glück’s Les Pelerins de la Mecque), Opera Memphis (Yum-Yum in The Mikado), and Nevada Opera (Josephine in H.M.S. Pinafore).

Basically Bernstein with Opera Tampa, and An Evening of Gilbert and Sullivan with the symphony orchestras of St. Louis, Richmond, Memphis, and Minnesota. Her favorite concert is An Evening of Sci-Fi Favorites (music from science fiction movies and television shows, hosted by George Takei and conducted by Maestro Jack Everly), which she has performed with the Cleveland, Indianapolis, Seattle, Baltimore, Edmonton, and Ottawa Symphonies, among others. In 2011, Kristen performed in the North American premiere of Handel’s first opera, Almira, with operamission in New York. She lives in northern New Jersey with her husband and their nine-year-old twins. Please visit Kristen’s website, www. kristenplumley.com.

On the concert stage Kristen has performed a broad spectrum of works, including Mozart’s Coronation Mass and Haydn’s Mass in Time of War at Carnegie Hall, Mozart’s Mass in C minor, Elgar’s For the Fallen, Bach’s Coffee Cantata, and Respighi’s Laud to the Nativity,

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JONATHAN FRAKES, Narrator Actor, author, and accomplished director, Jonathan Frakes is a man of many hats. Perhaps best known to Star Trek fans as Commander William T. Riker on the seventh season and three motion pictures in the Star Trek: The Next Generation franchise, Frakes has carved out a distinctive niche for himself as a versatile talent in Hollywood. Following several guest appearances on television series such as Fantasy Island, Charlie’s Angels, Days of Our Linves and Eight is Enough early on his career, Frakes landed the role of Commander Riker on the long running television series, Star Trek: The Next Generation. As second in command to Patrick Stewart’s Captain Jean-Luc Picard, Frakes’ portrayal of William Riker lead the Starship Enterprise through seven seasons and three films. His characterization endeared Riker to fans young and old, making him one of

MAR 30–APR 1

the most beloved characters in the Star Trek pantheon. In addition to live action, Jonathan Frakes has also lent his voice to animated projects, including the favorite Disney animated series Gargoyles as the character David Xanatos and Adventure Time. Frakes’ also landed appearances in Matt Groening’s Futurama and Seth McFarlane’s Family Guy, playing versions of himself on each series. Jonathan Frakes holds a unique distinction among Star Trek actors being one of only two regulars to appear on four different television series, from Star Trek: The Next Generation to Star Trek Enterprise. Beyond acting, Frakes is also a veteran director, having helmed several episodes of Star Trek: The Next Generation and the feature films Star Trek: First Contact and Star Trek: Insurrection. Jonathan Frakes. Frakes can currently be heard as the narrator on the animated series Marvel’s Guardians of the Galaxy as well as voices on Future-Worm! and Miles from Tomorrowland.

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BRAHMS’ REQUIEM

APR 21, 22

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Sixteen Friday, April 21, 2017, at 8 p.m. Saturday, April 22, 2017, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor CHRISTINA PIER, Soprano MICHAEL KELLY, Baritone INDIANAPOLIS SYMPHONIC CHOIR ERIC STARK, Artistic Director Johannes Brahms Ein deutsches Requiem, Op. 45 (A German Requiem) (1833-1897) Chorus: Selig sind, die da Leid tragen (Blessed are they that mourn) Chorus: Denn alles Fleisch es ist wie Gras (For all flesh is as grass) Baritone Solo and Chorus: Herr, lehre doch mich (Lord, teach me) Chorus: Wie lieblich sind deine Wohnungen (How lovely is Thy dwelling place Soprano Solo and Chorus: Ihr habt nun Traurigkeit (Ye now are sorrowful) Baritone Solo and Chorus: Denn wir haben hie keine bleibende Statt ( For here we have no continuing place) Chorus: Selig sind die Toten (Blessed are the departed) Christina Pier, Soprano

Michael Kelly, Baritone Indianapolis Symphonic Choir

This concert is endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen Premier Sponsor

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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APR 21, 22

KRZYSZTOF URBAŃSKI, Conductor

“That he is no mere flashy wunderkind of the baton was shown by the freshly invigorated playing he drew from the CSO …his keen musical instincts and vigorous way of translating his ideas into orchestral sound that has both shape and meaning,” stated the Chicago Tribune when describing conductor Krzysztof Urbański who, in September 2016, entered the sixth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. In his final season as Chief Conductor and Artistic Leader of Trondheim Symfoniorkester, Urbański leads the orchestra in performances of Stravinsky’s The Rite of Spring, Bartók’s Concerto for Orchestra, Brahms’ Requiem and concludes his successful tenure with Mahler’s Symphony No.1. Previous highlights include two tours (first with concerts in Germany, Austria, and Poland and second at the International Chopin Music Festival), and a fully-staged production of Carmen as his first foray into opera. In September 2015, Urbański formally became Principal Guest Conductor of NDR Elbphilharmonie Orchester, and this season, in addition to concerts in Hamburg, they tour Japan with soloists Alice Sara Ott and Sayaka Shoji.

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Alongside his performances in Hamburg, this season sees the release of two discs recorded with NDR Elbphilharmonie Orchester: Dvořák’s Symphony No.9 for Outhere and Chopin small pieces for piano and orchestra with Jan Lisiecki for Deutsche Grammophon. Also soon to be released is Martinu’s Cello Concerto No.1 recorded for Sony with the Berliner Philharmoniker and Sol Gabetta. In addition, his discography includes “holly excellent renderings” (Gramophone) of Lutosławski works for Alpha Classics with NDR Elbphilharmonie Orchester. In 2016–17, Urbański’s European season includes his debut with the Netherlands Radio Philharmonic Orchestra and reinvitations to Rotterdam Philharmonic Orchestra, Tonkünstlerorchester, Philharmonia Orchestra, Münchner Philharmoniker, and Wiener Symphoniker for their annual Beethoven Symphony No.9 New Year concerts. Past debuts include Berliner Philharmoniker, London Symphony, and Oslo Philharmonic orchestras. In North America, Urbański returns to the Toronto Symphony Orchestra, Los Angeles Philharmonic, and Washington’s National Symphony Orchestra. His recent U.S. debuts include The Cleveland Orchestra, New York Philharmonic, and Chicago and San Francisco Symphony orchestras. In June 2015, Urbański received the prestigious Leonard Bernstein Award when he returned to conduct the Schleswig-Holstein Akademie at the Schleswig-Holstein Festival. Notably, he is the first conductor to have ever received this award.

INDIANAPOLIS SYMPHONIC CHOIR

APR 21, 22

Soprano Molly Abrams Deborah E. Anderson Juliana P. Anthony Shallen Atkins Marilyn Baumgardt Victoria Bedwell Laura Brueckmann Emily Christine Carson Emily Cline Michelle Cohen Cindy Colter Suzie Dodds

Isabella Ferrari Bronwen Fetters Kia Frank Amanda Guieb Deborah Mongold-Habing Diane Hall Bethany Hansen Danielle Hartman Anna Hassler Ann Hill Karen Jacobs

Kathy L. Jensen Jessica Johnson Patricia K. Johnson Debbie Jones Quay Kester Kendra Kirby Heather Lapham Kuhn Brianne Lindsay Kennedy Luton Christina Merriott Rebecca Mickelson Mary Jo Moss

Faith Alexander Gretchen Andsager Carole S. Arthur Reba Baker Deana Beecher Janice Bilby Katherine Bolinger Kara Bougher Melissa Brown Marie Butz Ann Carlson Ali Darley Kathy Dean

Rachel DeMuth Kimberly DiCamilla Holly Erickson Ann M. Gerritsen Dana Goot Mary Gosling Jane E. Gosling Ruth Smith Green Molly DuMontelle Harris Katie L. Hilton Janet Hock Laura Howie-Walters Kristin Ingersoll

Julia Keller-Welter Jan Kennicutt Susan Kniola Beth Kurth Katherine T. Landschultz Mary Leslie Suzanne Lodato Claudia J. MacRae Rachel Malinsky Lisa Marchal Jaclyn Martin Mujinga Rose Massela Phyllis McCormack

Brad Arthur Christopher Borm John A. Brewer Jordan Brewer Joe Brown Christopher Brush Robert C. Campbell John Champley

Terion Cooper Dr. Michael Davis David Doty Robbie Foote Loran Hill Alexander Lalov Donald Mains, Jr. Brandon Miller

Tom Nichols Cameron Oehler Eric Oehler Ian Paul Oehler Richard Perry Daniel Rains David Rose Roland Schaffer

Benjamin P. Anthony Joshua Ashbaugh Jeffrey Bick Robert Bolyard Jeffrey Bower Wes Colter Scott Curry K. Allen Davis

Brett Deery Daniel Dixon Franklin R. Drumwright Nate Foley Charles Gardner Dale E. Gwin Dennis Hardi Redmond P. Hogan

Tim Hoover Doug Johnson Phillip E. Johnston Ian Justiniano Lee Kingery Nicholas Kohne Timothy S. Kroeker Bennett C. Laguzza, PhD

Laura Nagle Kasey Marie Needham Emily Nickels Shari Norris Diana Pannell Erin Quandt Julie Query Joanna Luisi Reinhardt Micci Richardson Lauren Richmond Ingrid E. Rockstrom Jennfer Ryan

Olesya Savinkova Stephanie Shaw Anna Pranger Sleppy Deborah Smith Valerie Stevens Kathy Tackitt Coleen Walker Pamela Walters Faedra Weiss Suellen Williams Judith Ann Wilson Mary Jo Wright

Rose M. Mullen Yvonne Nichols Kathy Martin O’Neil Julie L. Paavola Becky Peterson Judy Roudebush Sydney Schafer Carol Love Selby Katherine Sinclair Margaret Strodtbeck Gwen Swart Diane Syrcle Carol Gossett Thorne

Dana L. Voigt Valerie Voigt Leeann H. Vrabel Renee Wargel Elaine Weiss Lydia Wells Donna K. White Terran Williams Dixie L. Williams Anita Willis Sandy Winter Emily Zoss

DavidMichael Schuster Nate Shadday Lucas Shafer Craig Alan Slaughter Karl E. Snider Larry Stout Paul E. Swanson Gregg A. Sweeney

James R. Toombs Daniel Scott Watson Tommy Wells Barrie Zimmerman

Jon E. Lewis Mark Lund Rodney Martin Bob Massie Greg McGowan Bill Paraskevas Patrick Pauloski James Anthony Plenty

David Rosenfield Charles Schafer Dennis Tackitt Richard Thorne James Whelan Tom Woo

Alto

Tenors

Basses

The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and dynamic musical institution and 2016-2017 marks its 80th Anniversary season. Among the most active symphonic choruses in the nation, this organization reaches in excess of 25,000 persons each season with more than 25 performances and a comprehensive educational/outreach program. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each fortytwo-week season. The organization is led by a professional staff and Michael Pettry, Eric Stark, governed by a volunteer Board of Directors. Executive Director Artistic Director The Symphonic Choir is the choral partner of the Indianapolis Symphony Orchestra, having been founded in 1937 at the Orchestra’s request to perform the great choral-orchestral repertoire. Over the years, the partnership between the Orchestra and the Choir has remained at the core of our existence. This partnership exhibits the very best of collaborative ideals—two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. Beyond performances with the Orchestra, the Symphonic Choir also produces a complete season of performances and educational initiatives. 2016-2017 marks the 15th season under the artistic direction of Dr. Eric Stark. In October 2016, the Choir released its first CD on the Naxos label—a recording from the premiere performance of Zabur—and performed at the storied Carnegie Hall to great acclaim. For more information about the Indianapolis Symphonic Choir, visit indychoir.org and follow us on Facebook and Twitter at @IndyChoir.

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APR 21, 22

CHRISTINA PIER, Soprano / MICHAEL KELLY, Baritone American soprano Christina Pier has been hailed by Opera News for her “big, gleaming soprano, and impressive coloratura,” and has received great critical and audience acclaim for her work on opera and concert stages. A 2003 Grand Finals Winner of the Metropolitan Opera National Council Auditions, Ms. Pier’s opera engagements include the title role in Ariadne auf Naxos with Virginia Opera; Donna Anna in Don Giovanni with Santa Fe Opera, Sarasota Opera, Nashville Opera, and Eugene Opera; Pamina in Die Zauberflöte with Florida Grand Opera; the Countess in Le Nozze di Figaro with Minnesota Opera; Marguerite in Faust with Eugene Opera and Florida Grand Opera; and Micaëla with the Princeton Festival and Florida Grand Opera.

Ms. Pier is the recipient of numerous prestigious awards including the George London Foundation Award, Sullivan Musical Foundation Award, two Charles A. Lynam Awards, and two Palm Beach Opera Competition Awards. Originally from Flagstaff, AZ, Ms. Pier received a B.M .and M.M. in voice at Indiana University where she studied with Virginia Zeani. She is currently an Artist in Residence at Catawba College, and a Guest Lecturer at University of North Carolina, Charlotte. This is Christina Pier’s debut performance with the ISO. Baritone Michael Kelly is an accomplished artist whose insightful interpretations, silken voice, and expressive use of language have garnered him comparison to such icons of song repertoire as Matthias Goerne and Gérard Souzay. Mr. Kelly’s concert appearances have included Nielsen’s Symphony No. 3 with the Cleveland Orchestra/Herbert Blomstedt, Schumann’s Pilgrimage of the Rose with the Houston Symphony/Andrés Orozco-Estrada, Monteverdi’s Combattimento di Tancredi e Clorinda with Ars Lyrica, Carmina Burana with the Kansas City Symphony/Nicholas McGegan, the premiere of an oratorio by David del Tredici with the Detroit Symphony Orchestra and Leonard Slatkin, Messiah with the St. Paul Chamber Orchestra conducted by Jonathan Cohen, Duruflé Requiem at Lincoln Center’s Alice Tully Hall, as well as solo recitals at the Saint Louis Art Museum and New York’s Trinity Church, Satie’s Socrate and St. Ignatius in Thomson’s Four Saints in Three Acts with the Mark Morris Dance Group, Mr. Kelly’s wide-ranging musical curiosity led him to co-found SongFusion, an ensemble dedicated to collaboration between singers and instrumentalists, dancers, actors, and visual artists. Mr. Kelly has won prizes in several prominent competitions, including first prizes in 2013’s Poulenc Competition and 2011’s Joy in Singing. He is a graduate of the Eastman School of Music and Juilliard, and was a member of the Opernstudio at Opernhaus Zurich. This is Michael Kelly’s debut performance with the ISO.

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APR 21, 22 By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Ein deutsches Requiem, Op. 45 (A German Requiem) Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria “As for the title, I must admit I should like to leave out the word ‘German’ and refer instead to ‘Humanity.” —Johannes Brahms The breadth of Opus 45 embraces all of us, and the universality of this requiem moves far beyond nationality or a specific religion. The title German Requiem referred specifically to the language. In no part does Brahms use the words Jesus or Christ in the original translation. This requiem, as contrasted to the Catholic mass for the dead, presents no doctrine, Instead it offers hope and solace without suggest judgment or terror. He first mentioned the idea of the German Requiem in correspondence to Clara Schumann in 1865. Between 1857–1868, Brahms worked in part on elements which would appear in the Requiem. Many standard interpretations say that this was a deeply personal response to the death experience: that of Robert Schumann (1856) and his mother (1865). Others have said it was in part a reaction to the deaths incurred in the Franco-Prussian War. In 1866, the composer worked with increasing intensity, and by August he had completed parts 1,2,3,4, and 6. Part 5 was written in 1867–68. Originally there were six movements in the first version, premiering in 1868 at the Bremen Cathedral on Good Friday. The fifth movement—a tribute to his mother’s memory—was inserted shortly thereafter, and was heard as part of the German Requiem in Leipzig, February, 1869. Brahms used selections from both the Old and New Testaments of the Lutheran Bible and Apocrypha. His message remains

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theistic, but not specifically Christian. He never went to church, although was obviously well acquainted with the Lutheran Bible. When criticized for this behavior, the composer responded, “Nonetheless, I do have my faith.” Movements 1–3 address the mourning process and experience. 1. Matthew 5:4: Opening Chorus; “Blessed are They that Mourn.” The music is serene and calm, conveying resignation to the situation. There are no violins, piccolo, or clarinets, thus considerably darkening the orchestral palette. 2. I Peter: 1:24: “All is flesh is as the Grass.” This is a funeral march over timpanic throbbing in triplets. An interlude “Now therefore be patient” offers respite (winds) , and the march returns before a tranquil conclusion. Also included are quotes from James 5:7, Peter I:25, and Isaiah 35:10. 3. Psalm 39 4–7: “Lord Make us to Know Mine End” and the Wisdom of Solomon, 3:2. This request for guidance includes a powerful fugue. It opens with a baritone solo in dialogue with the chorus. 4. Psalm 84: 1, 2, and 4 :“How Lovely is They Dwelling Place.” This text offers a meditation on the beauties of heaven and eternal life. It is possibly the most cherished section of the entire work, and is the shortest movement in the Requiem. 5. John 16:22 :“Ye now are sorrowful.” This section opens with a tender orchestral prelude and concludes on a note of exaltation. Rosa Newmarch observed

APR 21, 22 “The music is logically linked up with the opening chorus by the reappearance of its basic theme and the codas of the first and last movements with the peaceful and conciliatory tones of the harp. Softly fading triplet figures are identical.” Texts herein also used are from John 16:22, Isaiah 66:13, and Ecclesiastes 51:35.

(“the work was too academic”) and dogmatic criticism as well. Catholic and Protestant responses were predictably different, but by 1900 there was a meeting of the minds throughout Germany and the Requiem sailed forward steadily on international waters into the twentieth century, finding its place in the concert hall rather than the church. In 1950, Schoenberg wrote a powerful essay of support titled “Brahms the Progressive” which gave the Requiem a significant boost and ongoing popular momentum.

6. Corinthians 15:51, 52, 54, and 55: “Behold I show you a mystery, we shall not all sleep, but we shall be changed, in the moment, in the twinkling of an eye… and the dead shall be raised incorruptible, and we shall be changed….” Also, texts from Hebrews 13:14 are included at the beginning. This reads “For here we have no continuing city, but we seek one to come.” 7. Revelation 14:13: “Blessed are the dead which die in the Lord henceforth. Yea, says the Spirit, that they may rest from their labors and their works do follow them.” At the beginning, the chorus sings slowly above a gently moving orchestra. This steady pace speaks securely to the ultimate promise of eternal peace: notice the angelic high voices of the sopranos. Brahms brings us calmly and quietly to a comforting close. Those whom we have lost are safe and in a beautiful place.

Opus 45 was Brahms’ largest work in any medium. Steven Ledbetter concluded, “Here for the first time, Brahms not only established himself as a mature composer in the eyes of his contemporaries, but also wrote one of those special choral works that singers return to with as much delight as audiences, a unique masterpiece of technique and affect expressing the universal longings of mankind.” The ISO’s most recent performance of Brahms’ German Requiem was November, 2012, conducted by John Nelson, featuring Soprano Aga Mikolag and Baritone Nathan Berg.

Early reactions were divided: those who loved and acclaimed the Requiem, and heavy vitriolic criticism by Hanslick and Wagner

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MOZART & SALIERI

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Eight † Thursday, April 27, 2017, at 11:15 a.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor DEJAN LAZIĆ , Piano Antonio Salieri Sinfonia in D (La Veneziana) (1750–1825) Allegro assai Andantino grazioso Presto Wolfgang Amadeus Mozart Concerto No. 21 in C Major for Piano and Orchestra, K. 467 (1756–1791) Allegro maestoso Andante Allegro vivace assai Dejan Lazić, Piano Wolfgang Amadeus Mozart Symphony No. 25 in G Minor, K. 183 (1756–1791) Allegro con brio Andante Menuetto Allegro

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

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Please refer to Maestro Urbański’s bio on page 66. Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited.

MOZART & SALIERI

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Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Seventeen Friday, April 28, 2017, at 8 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor DEJAN LAZIĆ , Piano Wolfgang Amadeus Mozart Symphony No. 25 in G Minor, K. 183 (1756–1791) Allegro con brio Andante Menuetto Allegro Antonio Salieri Sinfonia in D (La Veneziana) (1750–1825) Allegro assai Andantino grazioso Presto INTERMISSION - Twent y M i n ute s Wolfgang Amadeus Mozart Concerto No. 21 in C Major for Piano and Orchestra, K. 467 (1756–1791) Allegro maestoso Andante Allegro vivace assai Dejan Lazić, Piano Dejan Lazic Mozart and Salieri (b. 1977) This concert is endowed by LDI, Ltd. Premier Sponsor

Associate Sponsor

Cadenzas by Dejan Lazic. Please refer to Maestro Urbański’s bio on page 66. Length of performance is approximately one hour and forty minutes. Recording or photographing any part of this performance is strictly prohibited.

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DEJAN LAZIĆ, Piano Dejan Lazić’s fresh interpretations of the repertoire have established him as one of the most unique and unusual soloists of his generation. He appears with such orchestras as the Budapest Festival Orchestra, City of Birmingham Symphony Orchestra, NDR Sinfonieorchester Hamburg, Netherlands Philharmonic, Rotterdam Philharmonic, Helsinki Philharmonic, Swedish Radio Symphony, Danish National Symphony, Chicago Symphony, Atlanta Symphony, and the Australian, Netherlands, and Basel Chamber Orchestras. Lazic enjoys a significant following in the Far East appearing with NHK Symphony, Yomiuri Nippon, Sapporo Symphony, Seoul Philharmonic, and Hong Kong Philharmonic, amongst others. He has built close collaborations with some of today’s most sought after conductors including Giovanni Antonini, Iván Fischer, Andris Nelsons, Robert Spano, John Storgårds, and Krzysztof Urbański. The 2016–17 season began with Lazić’s debut with Boston Symphony at Tanglewood Music Festival, under Andris Nelsons. Return engagements include Konzerthausorchester Berlin and a European tour with Budapest Festival Orchestra under Iván Fischer. The collaboration with BFO will also take him to the Far East where he gives four concerts in China. With Channel Classics he has released a dozen recordings, including his critically acclaimed “Liaisons” series; the latest of which couples together C.P.E. Bach and Britten. His live recording of Rachmaninov’s Piano Concerto No. 2 with London Philharmonic

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Orchestra/Kirill Petrenko received the prestigious German Echo Klassik Award. A recording of the Beethoven Triple Concerto was also released to critical acclaim, for Sony Music. Lazić’s next release will be a solo recital disc of works by Franz Liszt, for Onyx Classics, appearing in spring 2017. As a recital artist, Lazić appears at such venues as Wigmore Hall, Schubertiade Hohenems in Austria, Teatro Colón Buenos Aires, Melbourne Recital Centre, Gilmore Keyboard Festival, and “Le Poisson Rouge” in New York. This season he will also give recitals at the Menuhin Festival Gstaad, in Germany and in the Far East. Dejan Lazićs compositions are receiving increased recognition, and he was recently signed as a composer by Sikorski Music Publishing Group. He is the latest contemporary composer to join the ranks of esteemed names in the Sikorski catalogue, such as Shostakovich, Prokofiev, Khatchaturian, and Shchedrin, amongst many others. His arrangement of Brahms’ Violin Concerto as a piano concerto was premiered with the Atlanta Symphony Orchestra in 2009, it was recently also published by Sikorski, and has enjoyed much ongoing success, at BBC Proms, Concertgebouw Amsterdam, Hamburg Easter Festival, Chopin Festival Warsaw, in both Americas and in Japan. Lazić has performed his “Piano Concerto in Istrian Style” several times since its premiere in 2014, further performances are already being planned. He will have his first orchestral work, a tone poem entitled “Mozart and Salieri” (after Alexander Pushkin), premiered by Indianapolis Symphony and Krzysztof Urbanski in spring 2017. Born into a musical family in Zagreb, Croatia, Lazic grew up in Salzburg, Austria, where he studied at the Mozarteum. He now lives in Amsterdam. Dejan Lazić’s most recent perfomance with the ISO was November, 2015.

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NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Sinfonia in D (La Veneziana) Antonio Salieri Born August 18, 1750 in Legnago, Italy Died May 7, 1825 in Vienna, Austria Antonio Salieri (1750–1825) was primarily a composer of operas, choral works, and vocal pieces. He was not a composer of symphonies, and his orchestral pieces consist mainly of overtures to his operas and a few concerti. For his brief Sinfonia in D, composed in 1786, he knitted together music composed for his operas in a form known as opera sinfonia, an eighteenth century orchestral form, which forecast the classical symphony. Recycling one’s own works, or even borrowing from another composer, were common practices at this time. His Sinfonia is pure entertainment: light, poised, and sparkling. The first movement stems from his comic opera, The School for Jealousy: subtitled “La Veneziana.” It begins at a fast pace marked allegro assai. (Alternating forte and piano dynamics herein anticipate the later Rossini style.) At measure 50, a solo violin sings a winsome melody supported by staccato strings. After a pause (measure 120) the beginning content resumes, fattened out by winds and double bass. After another pause, the opening is recalled, and the movement heads for its fortissimo ending. Mature sonata allegro form is anticipated herein by the contrasting two main themes and a “recap” at the end.

introducing an eight measure, hunting-like theme in triple meter. Violins, paired with the oboes, quickly intensify the scene with buzzing passage work before the theme is repeated. In this first part, oboes and horns basically assume melodic leadership over scampering strings. Finally, the first violins are awarded a genial tune, at first spliced between strings and oboes and horns (ms 71). In this second section, strings bask in center stage, holding firm to the theme, with chirps from oboes and horns before the third iteration of the opening theme appears. From this point until the conclusion, brass, oboe, and strings are united into a dash for the finish line.

Unfortunately for him, Salieri’s life coincided with Mozart and he stood in the shadows. He was probably jealous, but there certainly has been no definitive proof that he poisoned Mozart. That is the stuff of legends— exaggeration, speculation, and gossip. In fact, Salieri had his own substantial career: respected Kapellmeister for Emperor Joseph II, president of the Viennese Musician’s Benevolent Society, Director of the first conservatory in Vienna, and (at the end of his life) Kapellmeister of the Imperial Chapel. Salieri’s first Viennese opera (1770) was Le donne Letterate (The Learned Ladies), which had a modest reception, but nonetheless launched him on a career which contained The second and third movements are based 35 operas. Clearly, he was well established on music for Salieri’s opera La partenza and respected by the time Mozart showed inaspettata (The Unexpected Departure). The up. Salieri had arrived in Vienna in June, 1766; second movement, for strings alone, is marked Mozart arrived in January 1781. andantino grazioso. It remains consistently delicate, soft, and relaxed. A beautiful violin Maybe Mozart was jealous of him? In 1781, solo takes center stage, leading the group into Mozart wrote to his father that “the only a responsorial setting. one who counts in [the Emperor’s eyes] is Salieri.” Was Mozart wary of him? Definitely His last movement, presto, moves immediately yes: he, and his father, were sure that into a dramatic entrance with horns and oboe, 76

NOTES Salieri was behind many of the obstacles he encountered in Vienna. The relationship between these two was complicated.Of course they crossed paths, and each had a grudging admiration and a dollop of sincere respect for each other, mixed in with suspicion and rivalry. Life is full of ironies: Salieri eventually was a music teacher for Mozart’s son, Franz Xaver Mozart, born in the same year that Mozart died. Salieri was wealthy, while Mozart was often penniless. Mozart was a genius, while Salieri was not. The tense relationship was bigger than the two individuals. It was also the clash of German and Italian musical traditions in Vienna. Each composer, despite their age difference, was the symbolic, iconic figure for the two sides. This is ISO’s first performance of Salieri’s Sinfonia in D. Concerto No. 21 in C Major for Piano and Orchestra, K. 467 Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Mozart was riding the crest of his popularity as a composer and pianist in Vienna when he premiered his Piano Concerto, Number 21 on March 9, 1785 at the Burg Theater, in one of his subscription concerts. That evening was a well-attended leading musical and social event, with a new concerto from the composer. The critic, Niemetschek, reported that his playing “captivated every listener and established Mozart as the greatest keyboard player of his day.” Leopold Mozart, who was visiting his son at this time, noted that the work was “astonishingly difficult.” This happy visit would be the last time that the father and son would see each other. At this time, Mozart was highly energized—he had completed K. 467 only one month after Piano Concerto Number 20 and within the upcoming 21 months would produce four

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more. K. 467 is cast in the traditional three movements. “K” refers to the name of Mr. Köchel, who chronicled Mozart’s works and proceeded to guarantee his own immortality by numbering the pieces with his own initial first. The first movement (marked allegro maestoso) opens with suspended animation. Strings quietly whisper the march-like theme, which grows steadily into a vigorous and majestic subject for the whole orchestra. Another theme from the winds is presented, but does not emerge again until the end, a recluse within the body of the movement. Other themes of short duration also appear before the march is recalled and the orchestra concludes its complex opening. After the introduction, the soloist enters with independent, new ideas unfolding in a delicate beginning. Then the piano spins its own tunes. Together the soloist and orchestra work out a unique relationship in which both forces seem concerned with their own material. “In no other concerto does Mozart carry so far the separation between the two…Mozart has succeeded in making it (the piano) as capable a vehicle of his thought as the orchestra.” (Tovey) The movement ends quietly and is followed by a cadenza. The second movement is an andante (slow). Its mood is dream-like and elegant. The orchestra opens the scene with muted strings and over their hushed rippling the main emerges. Here is the now familiar “Elvira Madigan” theme. The piano enters with the luxuriant ease and sings its part throughout the movement with steady and controlled presentation, traversing many keys, interlacing with the orchestra, resulting in lavish but subdued color. Tovey concludes; “No richer and more enchanting tints could be drawn from the palette which Mozart had at hand.” The hazy modulating atmosphere and calm triplets create a nocturne feeling reminiscent of the works of Chopin yet to come. At times the music seemed experimental in terms of

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the harmonies,which the composer used. Mozart’s father, Leopold, even suggested that perhaps the copyist had made a mistake because of these “wrong sounds.” The third movement finale, a rondo, reestablishes the original strutting mood. After the fantasy quality of the andante, the sturdy energy comes as a shock. The piano starts off the romp with a little solo, and then the full activity begins using a theme which Mozart borrowed from his concerto for Two Pianos, K. 365. The mood is jolly, holding to an opera buffa attitude. The bounce and saucy attitude continues until the close, offering a flashing conclusion which undoubtedly delighted his aristocratic and unflinching world. Mozart’s father was delighted with this work. The ISO’s most recent performance of Mozart’s Piano Concerto No. 21 was April, 2011 featuring pianist Jeremy Denk and conductor Michael Francis. Symphony No. 25 in G Minor, K.183 Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria When he was seventeen, Mozart wrote one of his two symphonies in G minor, K. 183. Fifteen years later he would again choose this key, one which often had been associated with lament or tragedy for his fortieth Symphony, K. 550. For this reason, the first has often been called “the little g minor.” Teenagers are often attracted to experimental, anti-establishment ideas, and after Mozart was exposed to the options expressed by the popular Sturm und Drang (Storm and Stress) aesthetic, he was quite interested. Contrary to the calm, rational, and controlled values of the Enlightenment, the new viewpoints espoused individuality, turbulence, restlessness, doubt, ambiguity,

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sentimentality, and subjectivity, which were first manifested in German literature, starting in the 1860’s in the works of Johann Hamann and Johann von Herder. Prominent examples exist in the works of Schiller (The Robbers) and Goethe in his novel, The Sorrows of Young Werther. Elements of this style in music are represented by strong dynamic changes, pulsing rhythms, syncopation, tremolos, unsettling melodic lines, and harmonic experimentation. Haydn symphonies written in the late 1760’s and early 1770’s have often been called his “Sturm und Drang Symphonies,” (Nos 26,39, 44, 45, 46 and 49.) It’s quite likely that the young Mozart was familiar with many of these works. A strong admirer of Haydn, Mozart once stated; “He alone has the secret of making me smile and touching me to the bottom of my soul.” With his opera Lucio Silla (1772) and Symphony number 25 (1773) Mozart tried his hand in this new, beguiling freedom. The first movement Allegro con brio starts with fast nervous syncopations on a repeated note in violins and violas while an oboe holds steadily on four long held tones. The effect is pure sturm und drang with its immediate pace, nervousness, and intensity. Adding to the drama, there is a sudden stop before the strings resume their quick syncopations and the oboe sings a mournful tune, with added horn pairs interjecting a fanfare. A jagged first theme emerges from the strings with rough accompaniment. Order finally enters with a bouncing tune, introduced by the strings. The exposition per classical “rules” is repeated. The development keeps up the fast momentum, and accelerates leading to a momentary reprieve with winds softly singing a beautiful contrasting subject. The recapitulation restores the intensity, boldly driving the movement to a brisk close. Mozart’s Andante moves to E-flat, with muted violins relaxing into a gentle melody. Listen for the bassoons offering delicate

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commentary in short gestures, conversing with the strings. Overall the mood is relaxed, yet often questioning.

Pushkin’s “Little Tragedy”, without words, but through the unique and abstract language of music.

The third movement is a stately, firmly accented menuetto, which also references elements from the first movement.. A genial second theme sung by the winds and horn is an elegant, lyrical touch, but the third section quotes the opening and concludes with two stern chords.

The music however does not follow the story strictly but is merely inspired by its events. Both main characters are easily distinguished by their very own themes, which although at first separately introduced to the listener, become more and more connected and intertwined as the work progresses. From the standpoint of Pushkin’s storytelling, these could also represent two ways of seeing art: craftsmanship and genius.

The fourth movement Allegro opens with an energetic theme presented by the strings. As the movement unfolds, notice the contrasting dynamics, often shifting back and forth without preparation—sudden emotional changes are given free rein. In the end, however, Mozart concludes Number 25 on a graceful controlled platform, filled with classical restraint and poise, sealed with two firm chords. The ISO’s most recent performance of Mozart’s Symphony No. 25 was June 21, 2006, conducted by Lawrence Renes. Mozart and Salieri (ISO Co-Commission, World Premiere) Dejan Lazić Born 1977 in Zagreb, Croatia Mr. Lazić has kindly provided these notes for Mozart and Salieri: Alexander Pushkin’s “Mozart and Salieri” is an exploration of the nature of artistic creation and as such it was a wonderful source of inspiration for me to set this highly dramatic (and most probably fictitious) story to music. Naturally, in a symphonic poem, there are no singers to narrate a text. So I was very excited to experiment with the vast spectrum of possibilities a large scale symphony orchestra can provide, with all of its distinctive instruments and their unique colors and characteristics. As a consequence, the orchestra can effectively “narrate” this

Apart from both main characters, there is only a rather short appearance of the Blind Violinist (appearing in Scene 1 / II. Dialogue; in the play without text) and his role is introduced by the solos of the orchestra’s concertmaster. The occasional piano solos represent Mozart when playing the piano to Salieri (Scene 1 / II. Dialogue ; Scene 2 / IV. Apologue). I have divided the original two scenes into five movements: the first three movements are part of Scene 1, followed by the Interlude. The last two movements are part of Scene 2. Scene 1 I. Prologue (a preface to the story) introduces Salieri in a rather monotonous fashion with occasional passionate orchestral outbursts and leads us to the introduction of Mozart, later quoting one of his most popular works. II. Dialogue is the first interaction in the play between Mozart and Salieri, where motifs from Mozart’s arias “Voi che sapete” (Le nozze di Figaro) and “La ci darem la mano” (Don Giovanni) are referenced by the Blind Violinist and as such they form a counterpoint to the motif from Mozart’s theme previously introduced. The chamber music setting at the beginning of this movement becomes more and more symphonic and the orchestra more and more overwhelming in sound and expression.

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III. Monologue for the first time reveals Salieri’s actual plan in the play (to poison Mozart) and is therefore one of the most tragic segments of the whole work – Salieri’s opera “Tarare” is a lyrical tragedy. Strong poly-rhythmical figures and high dynamic range brought especially by the percussion underlines this. Interlude could be seen as the calm before the storm. We know what is going to happen soon and feel certain unease; at the same time we indulge ourselves into this stillness after all the past events and trust that our hopes might win over our fears. Scene 2 IV. Apologue (a brief fable or allegorical story with pointed or exaggerated details) re-introduces the dialogue between the two main characters, however this time without quotations apart from the four notes previously heard in various constellations, A - F - Bb - C# (beginning of Mozart’s Kyrie Eleison from his Requiem, K. 626, which Mozart plays to Salieri not knowing that he has already been poisoned). Salieri cries, realizing what he has done, each of instrumental groups (winds, brass,

percussion, strings) underline the drama with characteristic sounds and figures for their particular group, but not necessarily synchronized with each other rhythmically nor melodically in standard polyphonic fashion, thus creating the feeling of ultimate chaos. V. Epilogue (the afterword, exact opposite to the Prologue) brings closure to the work and presents Salieri’s final speech, with the music sinking into the darkness after Mozart’s death and with instruments using their lowest registers and mutes (La Marche Oubliée, The Forgotten March). But then suddenly the notion that “genius and villainy are two incompatible things” (Pushkin) inspires the music to conclude that death is not eternal oblivion and that it is nothing to fear—it is a man-made term after all. Mozart’s genius lives forever! This is an ISO Co-commission and world premiere performance of Lazić’s Mozart & Salieri.

The 2017 Indianapolis Early Music Festival June 23 through July 16 Indiana History Center 450 W. Ohio Street Artemisia Vocal Trio Sunday, April 23 at 4:00pm FREE Spring Concert Indiana History Center

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ARTS IN INDY Indy Fringe

Join Indy Fringe at Mad Mad Hercules April 21–May 7, 2017. Greek mythology’s most famous hero isn’t the man you remember. Zach Rosing Productions joins forces with No Exit Performance to retell a story you only think you know. Suitable for ages 16 and up. For show times and tickets visit www. indyfringe.org or call 317.522.8099

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

Indianapolis Symphonic Choir The Indianapolis Symphonic Choir performs Mendelssohn’s oratorio Elijah in a one-night-only performance on Friday, March 17 at The Palladium in Carmel. Celebrating its 80th Anniversary Season, the 200-voice Symphonic Choir presents what has been called one of “the greatest choral works ever.” Artistic Director Eric Stark — celebrating his 15th season with the choral institution — conducts the Symphonic Choir, Indianapolis Chamber Orchestra and Indianapolis Children’s Choir in a performance not to be missed. Tickets begin at just $15 and are available by calling (317) 843-3800 or online at www.indychoir.org.

New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Join us for our season finale concert at the Hilbert Circle Theatre, May 14, 5:00 p.m., featuring performances by all three of our orchestras. For more information please visit www.nwyso.org. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

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

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

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ENDOWMENT Endowed Performances The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias September 30 and October 1, 2016 — André Watts The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund October 7-8, 2016 — Hilary Hahn The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 4-5, 2016 — Gil Shaham and Jennifer Christen Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 12, 2016 — Jan Lisiecki Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias December 2016 — Opening Night Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 2016 — Closing Night

April 21-22, 2017 — Brahm’s Requiem The Performance of New Music Endowed by LDI, Ltd. April 28, 2017 — Mozart and Salieri The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 5, 2017 — Rachmaninoff The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 2–3, 2017 — Bertrand Chamayou The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund June 9–10, 2017 — Carmina Burana The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2017 — Marsh Symphony on the Prairie The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick

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

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert

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

The Tobias Green Room Endowed by Randall L. Tobias

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

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

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

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

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

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

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

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

The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by Friends of Ava Button The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund The J.K Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984 The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991

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

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

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

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

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

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

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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 Gail H. & Robert H. Hall Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn Mr. David A. Jacobs

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

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

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

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

“

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

”

- Rollie and Cheri Dick

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

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ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of January 20, 2017. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.

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

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Christopher A. Slapak & Michael J. Robertson Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Anonymous Anthem Blue Cross and Blue Shield Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase The Clowes Fund Community Health Network Duke Energy The Glick Fund, a fund of Central Indiana Community Foundation Ice Miller Indiana Arts Commission Ann and Gordon Getty Foundation and the League of American Orchestras MacAllister Machinery Company, Inc. National Endowment for the Arts OneAmerica Financial Partners, Inc. Printing Partners R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics SalesForce Scott A. Jones Foundation Shaheen Family Foundation St.Vincent Health Telamon Corporation Terry Lee Hyundai The Martin D. & Mary J. Walker Charitable Foundation Founders’ Society, First Chair ($10,000-$19,999) Anonymous (2) Mr. & Mrs. Robert Bader Charlene & Joe Barnette Mr. & Mrs. Barry J. Bentley Maestro Raymond Leppard & Dr. John C. Bloom Charles & Joyce Boxman Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Vincent & Robyn Caponi Mr. Daniel Corrigan Mr. & Mrs. James E. Dora

Craig & Mary Fenneman Don & Carolyn Hardman Emily & Peter Howard Allan & Kathy Hubbard Bob & Rhonda Kaspar Joseph & Kathy Kessler Ned & Wendy Kirby Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff Drs. W.H. & K.T. Landschulz Mr. & Mrs. Bruce McCaw Mr. E. Kirk McKinney, Jr. Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Dorit & Gerald Paul Mel & Joan Perelman Walt & Mary Prouty Mary Frances Rubly Mr. & Mrs. William N. Salin Phyllis & Gary Schahet Marlyne Sexton Jeff & Cassandra Short Mr. Kevin D. Taylor Mr. & Mrs. Daniel O. Weisman Kathy & Ralph Wilhelm Roberta & Bill Witchger Dr. Christian Wolf & Elaine Holden-Wolf Hsiu-Chiung Yang & Marian Mosior Jim & Rita Zink ADL Charitable Trust Ann & Gordon Getty Foundation Buckingham Foundation Inc. Care Institute Group, Inc. The Indianapolis Foundation, a CICF Affiliate Citizens Energy Group City of Carmel CNO Financial Group Community Health Network Delaware Community Foundation Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. Erie Insurance The Glick Family Foundation Fenneman Family Foundation Fifth Third Bank Hendricks County Community Foundation Indiana Members Credit Union The Indiana Rail Road Company Indiana University Health Partners Industrial Dielectrics Holdings The Kroger Co. Lacy Foundation

Macy’s McCaw Family Foundation Navient NextGear Capital Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana The Sells Group Vectren Corporation Founders’ Society ($5,000-$9,999) Anonymous (9) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Teresa & Don Altemeyer Bob & Pat Anker Mr. Aasif Bade Deborah and Douglas Balogh Trudy W. Banta Ms. Sarah Barney Alpha Blackburn Suzanne B. Blakeman Terry & Robert L Bowen Mr. & Mrs. John Bratt Donald & Barbara Broadlick Charles W. Brown Michael & Mary Ann Browning Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Ms. Jane Conley Dexter & Rosemary Cooley Andrea Davis David & Consuelo Davis Erin & Scott Dorsey Dr. Thomas & Paula Elam Jack Everly & Ty A. Johnson Ms. Carol J. Feeney George R. Flexman Russell Fortune III Dr. & Mrs. Richard W. Garrett Michael & Beth Gastineau Gary Ginstling & Marta Lederer Larry C. & Lee A. Glasscock Charles & Susan Golden Mr. & Mrs. Thomas W. & Mary P. Grein John & Chichi Guy Steve L. Hamilton & Keith O. Norwalk Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Sharon Hoog Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Dr. & Mrs. Raymond V.

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

Jungclaus-Campbell Co., Inc. The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF Lumina Foundation for Education Mallor Grodner LLP Merrill Lynch SHC – Senior Home Companions MusicCrossroads The National Bank of Indianapolis PNC Regions Bank JK Family Fund, A Donor Advised Fund of Renaissance Charitable Foundation Skiles Detrude Van Riper Woodard Family Foundation Winners Circle Conductor’s Circle ($2,500-$4,999) Anonymous (2) Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Mr. C. Harvey Bradley Jr. Mary Clare & George Broadbent Mr. Richard F. Brown & Mrs. Cathy Springer-Brown Dr. & Mrs. John T. Callaghan Elizabeth A. Chamberlin Mr. & Mrs. Albert Chen Nancy Christy Fred & Alice Croner James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneen & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Eric Siemers and Peggy Edwards Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. Mark Foglesong Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Jim & Roberta Graham Dr. & Mrs. Christian Gries Bob Hallam Velda Hamman Mr. & Mrs. James Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Mr. Allan Hubbard Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear

Mr. & Mrs. John C. Jenkins & Family Scott & Holly Johnson Dr. & Mrs. C. Conrad Johnston Jennifer & John Jokantas Daniel H. Joseph & Liu Li Dr. Louis N Jungheim & Dr. Thalia I. Nicas Dr. & Mrs. John E. Kalsbeck Donn & Dot Kaupke James & Jennifer Kelley Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Larry & Rose Kleiman Dr. Gwen & Mr. Robert Krivi Dr. Elisabeth Krug Peg Lavagnino Andrew & Lynn Lewis Nancy Lilly Jim & Sarah Lootens Malcolm & Joyce Mallette Mary & Charles Matsumoto Dr. & Mrs. Ronald Maus The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Susanah M. Mead Flip & Cindy Miller Jim Miller Milton & Margaret Miller Jim & Jackie Morris Elizabeth & William Murphy F. Timothy & Nancy Nagler Timothy S. Needler Marc A. Nichols & James E. Collins Jackie Nytes Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Jack & Katie Patterson Eloise Paul & Bill Lee Ray and Jim Luther-Pfeil David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Myrta J. Pulliam Jo & Chris Rathbun Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. Todd K. Rutledge Mr. Gilva F. Sallee Mrs. Lisa M. Sapp James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Armen & Marie-Claude Shanafelt Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Dick & Susan Simon Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Dee & Tom Spencer Michael & Carol Stayton Sydney L. Steele Drs. Randall & Bonnie Strate James Sweeney Dr. & Mrs. Reed Tarwater

Mrs. David Thiel Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Ms. Cathy Turner Martha Anne Varnes Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman 500 Festival, Inc. CharBlue Community Health Network South Region DB Engineering LLC Donovan CPAs & Advisors Firestone Building Products and Industrial Products First Person Franklin Symphonic Council, Inc. Harlan Family Foundation Hoosier Park at Anderson Horace Mann Indiana American Water Co., Inc. Indiana Farm Bureau Insurance The Indianapolis Recorder The Indy Star Indy Eleven InterDesign Indianapolis Symphony Orchestra Association South Group ITT Technical Institutes J M Smith Foundation Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc Milhaus Development RBC Wealth Management Ricker’s Salin Bank & Trust Salin Foundation St. Richard’s Episcopal School The Stratford Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (5) Dr. & Mrs. Wayne Ambrous Nicholas Barbaro & Sue Ellen Scheppke Mr. Todd Barrett Spencer & Marcia Bavender Jay & Julie Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Kirk & Sharon Boller -- Bottom Line Performance Inc Dr. & Mrs. W. C. Bonifield Ms. Marsha Bragg Matt & Janette Brown Gordon & Celia Bruder Dr. Mark Overhage & Dr. Mary Brunner Mrs. Alva Buchholtz

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ANNUAL FUND Kenneth & Patricia Burow Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. James M. Cornelius Dave & Christie Crockett Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Dennis K. Dickos, M.D. Patty Donnelly & Rob Pozzebon Mr. & Mrs. Robert M. Donovan Miss E. Frances Eickhoff Andrew & Irene Engel John N. & Julia Luros Failey Gracia & Jim Floyd Dr. Norm & Adrienne Fogle Dick & Brenda Freije Marianne Glick Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Robert Gregory Ms. Julie Griffith Kenneth & Barbara Hamilton Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Ms. Lisa Heid Gregory Henneke & Martha O’Connor Mr. & Mrs. Gerald V. Hinchman Abigail W. Hohmann Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Mrs. Joan D. Kahn Dana & Marc Katz Mr. Charles E. Kendall Patricia Kilbury Mr. Doug Klitzke Col. A. D. Kneessy Tim, Amy & Matthew Konrad Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Mr. & Mrs. Allan Litz Deborah & Joe Loughrey John & Ingrid Mail Mr. Kevin Malley & Mr. Ronald Nobles Jon D. Marhenke, M.D. Dr. & Mrs. Douglas R. Maxwell Scott & Tiffany McCorkle Ann & John McGrath Nancy L McMillan Mr. & Mrs. Robert B. McNamara Mr. & Mrs. Russell Mobley Teresa Morton Nyhart Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Sarah Myer Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Guido Neels Tom & Nancy Newlin Mr. & Mrs. John S. Null Thomas & Stacy O’Leary Bill & Jamie Parrish Allen H. Pekar Beverley & Bill Pitts Barbara Poulsen Christine & Ken Price Scott & Susan Putney Dr. & Mrs. George F. Rapp

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Mr. Alan & Mrs. Deborah Rasper Mr. & Mrs. Randall Riggs Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. & Mrs. John F. Schaefer Paul & Martha Schmidt John Seest Jerry & Rosie Semler Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Christy & Jeffery Soldatis Judy A. Springmire Drs. Pamela Steed & Peter Furno Rita & Larry Steinberg Ed & Barbara Steward Jim & Cheryl Strain Richard & Lois Surber Sidney Taurel Stephen L. Tracy Dr. James & Linda Trippi Randall Trowbridge & Alice Brown Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Don & Coleen Walker Courtenay & Emily Weldon Mrs. Mary Whalin Mrs. Lucy Wick Ken & Wendy Yerkes Josephine A. Yu The Ackerman Foundation Batt Family Foundation Conrad Indianapolis Cornelius Family Foundation, Inc. CSO Architects, Inc. F.A. Wilhelm Construction Co. Gracia E. Johnson Foundation The Jenn Foundation Joanne W. Orr Charitable Fund The Penrod Society Pointer Management Symphony Club ($1,000-$1,499) Anonymous (5) Mr. Eric Adolph & Ms. Teresa Beam Kate & Dan Appel Mr. Wilbur L. Appel, Jr. Joan Baker Mrs. Taylor L. Baker Terry & Patricia Balko Linden and Allison Barber Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Mark & Ann Bear Mr. & Mrs. Laurens Beyland Jeffrey Stant & Mary Bookwalter Erv & Priscilla Boschmann Douglas & Angela Braly Dr. Harry D. Brickley Tiffany & William Browne, Jr. Terri Bruksch Mr. James & Mrs. Joan Burgett Lorene M. Burkhart Celeste & Derrick Burks

Pam & Jack Burks Helen Burnett Donald W. Buttrey Mr. & Mrs. E. M. Cavalier Betty Chapple Casey Chell & Daniel Duarte Ray & Lisa Childers Mr. & Mrs. Randall Christie Mr. & Mrs. Douglas Church Dan & Laura Conder Mrs. Mary C. Crean Mr. Douglas Davies Joanne Meyer Davis Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Norman Dean Dr. & Mrs. Frank Deane Dr. Tom & Pat DeCoster Julie & David DeWitt Mr. & Mrs. Erold R. Diller Mr. & Mrs. Dan Dumbauld Stephen Dutton Joe & Florie Eaton Mr. & Mrs. Thomas J. Eggers Mr. & Mrs. Neil Ellerbrook David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum Linda Felton Dean & Beth Flaris Ann & David Frick Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. James F. Gallagher Paul & Beth Gaylo Mr. & Mrs. Raymond Gibson Mr. Scott & Ms. Amy Goldsmith Mr. & Mrs. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Mr. & Mrs. Berl J. Grant Thomas & Nancy Grembowicz Peter Grossman & Pauline Spiegel Jim Gutting Jerry & Kathleen Hacker Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Mr. & Mrs. Eugene E. Henn Dr. Stephen & Susan Henson Mr. Ronald N. Hermeling William & Patricia Hirsch C. Jane Hodge Mrs. Ginny Hodowal Jack & Ruth Hoover Brenda S. Horn Mrs. Jill Hoyle Ms. Lysiane Huber Clarena Huffington Meredith & Kathleen Hull Carolyn Humke Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson Larry & Marianne Jacobi David L. Johnson & Anne Nobles Catherine Jones Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Mr. & Mrs. Robert P. Kassing

Mr & Mrs. David Kelly Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. & Mrs. Daniel E Klausner David H. Kleiman Steve & Sharon Klusman Richard & Roxanne Kovacs Terrence & Jodi Kunstek Dr. Matthew Landman Gene & Carolyn Lausch Cindy & Rick Leffler Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Grace Long Lowell & Penelope Lumley Ralph & Nancy Lundgren Carey Lykins Mr. Greg Malone Michael & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Ms. Marilyn Martin Elaine M. Mattson Dr. Rose Mays Carson & Betsy McCaw Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Myron J. McKee Alan & Ann McKenzie Marni McKinney Mr. & Mrs. Richard Menke Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. James Miller Mr. & Mrs. Robert E. Miller James E. LeGrand & William A. Nichols Mr. Bill Moreau Dr. & Mrs. Patrick J. Murphy Ann & Jim Murtlow Peggy & Byron Myers Mr. Reid Nagle Don Nead & Caryl Matthews Paul Nordby Lara Noren Linda Pence Pat Perkinson Marian Pettengill Mr. Matthew & Mrs. Christine Phillips Gayle L. Phillips Lois Pless Larry & Nancy Pugh Mrs. Nancy Quest Jeff & Clare Quinn Roger & Anna Radue Patricia L. Ragan Richard & Betty Lou Reasoner Barb and Tom Reed Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg Rick Rezek Mrs. Mary L. Rice Jean & Lamar Richcreek Mark & Susan Ridlen William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins

ANNUAL FUND

Mr. & Mrs. Jeffrey Schmahl Mrs. Edna Woodard Joseph & Leanna Roberts Mr. Kenneth & Mrs. Ann Dee Saundra & Tuck Schulhof Turner & Diann Woodard Peggy L. Robinson Jack & Connie Douglas Dr. & Mrs. William Segar Diana & Dan Yates Dr. & Mrs. Andreas Sashegyi Constance C. Earle Michael & Priscilla Shaw Mrs. Teresa P. Youngen Roderick & Anne Scheele Dr. & Mrs. Christopher Eddy Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Leslie R. Zimmerman Dr. Richard Schevitz & Ms. Brian & Sara Eldridge Mr. & Mrs. Lyman A. Snyder Rosemary Ervin Mr. & Mrs. Ardith Fleetwood Ms. Sarah Studzinski Roger & Barbara Schmenner Mr. Kenneth Fraza Greg & Linda Sykes The Ruth E. Stilwell Endowment Ms. Silvana Schuster Dr. Karen & Thomas Gallagher M. C. Tanner Fund, a fund of CICF Carson Shadowen Dona & Catherine Gatlin Mrs. Maggie Tatter The Dr. Lawrence M. and Eldoris J. Mr. & Mrs. Henry E. Sleeth Drs. Jean & Gerald Godfrey Kirk & Jo Taylor Borst Family Fund of the CICF Mrs. Marian Small Brian & Claudia Grant Mrs. T. Marilyn Trout Cavalier Family Foundation Nancy C. & James W. Smith John & Mary Ann Grogan Mr. Charles Warren Cole Hardwood, Inc. Mr. Peter & Mrs. Chris Susan C. Guba Larry E. Wollert II & Arif Kocabas Douglas & Angela Braly Family Smithhisler Ms. Lauren Guidotti Ty & Keri Wooten Foundation The Sneed Family Dan & Vicky Hancock Dr. & Mrs. Steve Young ASA Concierge Psychological Loren Snyder Mr. & Mrs. Thomas G. Harvey Jr. Richard E. Ziegler Services, LLC Barb Stang Mr. & Mrs. Jerome T. Henning Sue & John Zinser Gregory & Appel Insurance Brian & Martha Steinkamp Mike & Noel Heymann The Humke Foundation, Inc. Ms. Shelley Stiner Mr. & Mrs. David Jensen Indiana First Lady’s Charitable Mrs. Lynn Stocksill Walter G. Justus Foundation, Inc. Mr. Bill & Mrs. Linda Strickland Contributed Goods and Services Robert & Cindy Kirkpatrick Anonymous Fund of Central Indiana Mr. Richard & Mrs. Gwen T.S. Sun ($5,000 and Above) Community Foundation Nela Swinehart & Lonn Bayha Thomas N. Akins Knipstein Dr. Hadrian Szpurka & Dr. Anna J. Solotken & Company, Inc. Blue & Co., LLC Robbie & Emily Kusz Linebarger Janin Family Fund, a Jankowska Catherine Rossi Mrs. Carl Lesher Foundation Mr. John Tan DCG: Digital Color Graphics Dennis & Karen Licht Marni McKinney Foundation Phillip A. Terry Enflora Flowers for Business Mr. Joseph Lime O’Ryan Law Firm Mr. Mark Thompson NUVO Newsweekly Reverend Dr. Joan Malick Psi Iota Xi, Iota Tau The Throm Family Printing Partners Jeffrey & Christine Marks RSE Realty, Inc Douglas L. Tillman Second Helpings Mr. & Mrs. Ken Matsumoto The Saltsburg Fund; Karen Lake Jerry & Linda Toomer Well Done Marketing Mr. & Mrs. Ralph McCormick Buttrey (deceased), Donald W. Mrs. Clara Trapp WTTS Mr. & Mrs. Robert Medsker Buttrey Bob & Sue True Earl Miller & Ek-Leng Chua-Miller SBC Wealth Management Barbara S. Tully John & Tara Morse The Toomer Family Foundation Kenneth L. Turchi Ms. Brittany Nehman Ms. Phyllis Dye Turner David & Diane Nesbitt Constance Van Valer, M.D. Virtuoso Brian Oakley Mr. & Mrs. Bradley Warnecke ($750-$999) Dr. John A. & Cinda Overman Paul & Gretchen Watson Anonymous (8) Anne K. Perry & Marvin C. Scott & Sue Webber Mr. & Mrs. Roy & Jan Applegate Perry, II Frank & Sandy Weddle John & Reita Bertsch John Mainella & Michael Pettry Mrs. Phyllis West Mr. & Mrs. Borissov Janeann M. Pitz & Reinhard L. Alan & Elizabeth Whaley Mr. & Mrs. Fred Boso Pollach Meg Williams & Nicole Collins Christine & Robert Broughton The Prible Family Mr. & Mrs. Clark Williamson Sandra L. Burns Brian & Sabine Quick Forrest Williamson Dr. David & Judith Chadwick Diane Richardson Mr. & Mrs. Meredith L. Wilson Mr. & Mrs. Tom Cooper Mr. & Mrs. Timothy J. Riffle ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTARY Bob & Debbie Wingerter Daryl, Sherry & Kevin Cox Mr. Henry A. Ryan| MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |EL Mr. &| MIDDLE Mrs. RobertSCHOOL Witt and Jennifer Cross | ELEMENTARY | MIDDLE SCHOOL | HIGH SCHOOL | COLLEGE |ELEMENTA TARY | HIGHPatrick SCHOOL | COLLEGE

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STUDENT TICKETS

WHY WE GIVE DAVID & BARBARA MALSON Dave and Barbara Malson are long time Pops subscribers and donors to the Indianapolis Symphony. In addition to enjoying Pops concerts, the Malsons have made memories attending Yuletide Celebration, Happy Hour at the ISO, and special events such as the Opening Night Gala. Have you always lived in Indianapolis? Yes, we both grew up and were raised in Rush County, which makes it easy and convenient to be an hour away from downtown Indianapolis. Have you ever played an instrument? Dave played trombone and Barbara played bass clarinet and piano. We can both thank our wonderful, dedicated instructors who taught us and helped us to better appreciate music. What was the first ISO concert you ever attended? It was Cab Calloway in October of 1990. That was also the first year we became subscribers to the Pops Series. We have held on to the booklets listing each season and we enjoy looking back through them to reminisce about prior concerts. What has been your favorite musical experience with the ISO so far? Dave: There have been many, but we have to say that Yuletide Celebration is certainly a spectacular event. from the music to the costumes and the performers to the overall atmosphere of the concert; and then to leave the Hilbert Circle Theatre and walk out and see the christmas tree on Monument Circle in Downtown Indianapolis; Truly awesome! We are so fortune to have Jack Everly not only as Principal Pops Conductor but also to the Music Director of Yuletide Celebration. Barb: The Opening Night Gala in 2011 when the audience was graced on the same stage by Krzysztof Urbański, Jack Everly, and Time for Three. It is exciting to see the expertise, enthusiasm, and energy they bring to the stage. Indianapolis is so very fortunate! What led you to donate to the ISO? Why is that important to you? Several years after becoming subscribers, we realized that ticket sales are only a portion of funds necessary to sustain a major orchestra and retain excellent musicians. We wanted to do more so we became donors and that has allowed us to receive invitations to some exciting events. We are very proud to be a part of the ISO and support its wonderful administrative staff. If you want to join the Malsons as supporters of the ISO, contact the Development Office at 317.229.7076.

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TRIBUTE GIFTS Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from December 1, 2016–January 20, 2017.

Memorial Gifts In Memory of Dorothy Calkins Campbell & Susan McLaren In Memory of William B. Clark Pamela & Henry Boch & Family Katy and Dan Cantor John and Robin Minturn Stephen L. and Kimberly O. Smith David & Cynthia Swider John Tucker Beth Yakey In Memory of Ina Mohlman Mrs. Jane R. Nolan

In Memory of Janet Siakotos Drs. Meredith and Kathleen Hull Johnson, Grossnickle and Associates Nichaols Siakotos In Memory of Mary E. Southwick Jerlyn S. Southwick In Memory of Avis Thomas Karlalea Cody In Memory of Jerry Thompson Dr. Jean Miller Thompson

In Memory of Shari Robinson Carolynn Stern In Memory of Dr. Robert Rudesill Dr. Harry D. Brickley Dr. John C. Klein Peggy & Byron Myers Ken & Mary Anne Winslow Honor Gifts In Honor of Suzanne B. Blakeman Mr. Bob Mead

In Honor of Raymond Leppard Mike & Noel Heymann

In Honor of Sarah Boyer Janice Klein and Judy Ganser

In Honor of David Neal Rebecca & David Hancock

In Honor of Maestro Jack Everly and Producer Ty Johnson Jack & Ruth Hoover

In Honor of Dr. Edward & Catherine Ross Mr. Bob Mead

In Honor of Walter Lefavour Mrs. Lisa M. Sapp

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

btlaw.com

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ASSOC ATION

JOIN US

IN WHAT WE DO...

PEOPLE WITH A PASSION FOR MUSIC SYMPHO N Y I N COLOR

Symphony in Color is an annual enrichment program of the ISOA which offers a unique blending of symphonic music and visual arts for Indiana School Children, grades 1-6. Artwork of Gold Ribbon, Renato Pacini and People’s Choice Award Winners will be on display in the Oval Promenade. IMPORTANT DATES: Contest week and judging - February 6-8 Hilbert Circle Theatre Exhibit - February 25-March 27 Symphony in Color Awards Tea - March 19

Call the ISOA office at 317.231.6726 for more information

THE MICHAEL BEN AND ILLENE KOMISAROW MAURER YOUNG MUSICIANS CONTE ST FINALS

March 12, 2017 | 2:00PM Christel DeHaan Fine Arts Center, University of Indianapolis

Join us for concerto performances by contest finalists, as they compete for the oppportunity to perform with the ISO. All musicians are Indiana residents ranging from grades 8-12.

Call the ISOA office at 317.231.6726 for more information

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

March 15, 2017 | 7:00PM Hilbert Circle Theatre

Join us for our Annual Student Appreciation Concert! This year’s performance will feature 70 high school musicians from central Indiana, sitting side-by-side with their ISO counterpoints to perform works by Mahler and Rachmaninoff. Arrive early for pre-concert entertainment and activities.

Call the ISOA office at 317.231.6726 for more information

save the date

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

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

HERE’S HOW

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

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

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

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

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

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

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

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