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THE PROGRAM BOOK Programs 16 March 31, 2016 17 April 1,2, 2016 18 April 3, 2016 28 April 5, 2016 31 April 8, 9, 2016 34 April 14, 2016 35 April 15,16, 2016 36 April 17, 2016 49 April 22, 23, 2016 Featured Articles 13 Music In My Life 15 ISO Musicians Around Town 28 Discovery Concerts 61 Arts in Indy Departments 11 ISO Profile 79 Hilbert Circle Theatre Information Support 65 Endowment 68 Lynn Society 70 Annual Fund 74 Tribute Gifts 75 Why We Give 76 Corporate Sponsors
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2015-2016 Hilbert Circle Theatre Artists 19 Hans Graf 20 James Ehnes 32 Jack Everly 33 Pink Martini 37 Gilbert Varga 38 André Watts 50 Matthew Halls 51 Paul Jacobs The Indianapolis Symphony Orchestra 9 Musicians of the ISO 10 Board of Directors 77 Indianapolis Symphony Orchestra Association 78 Administration
WELCOME Dear friends, As spring flowers bloom, the ISO presents another month of exciting performances. April begins with a Lilly Classical Series concert featuring violinist James Ehnes. Then, we are delighted to welcome back the eclectic, extraordinary Pink Martini on the Printing Partners Pops Series. André Watts joins us to present works by Franck, Wagner and Tchaikovsky, and we conclude the month with Paul Jacobs showcasing the historic Hilbert Circle Theatre Wurlitzer Pipe Organ. On April 10, please join us for a free concert celebrating the 20th anniversary of our youth and family development program, the Metropolitan Youth Orchestra. Founded by Betty Perry in 1995, this program prepares students for higher education, helping them navigate life’s challenges, and engages the entire family through music. We are pleased to celebrate MYO’s rich history and achievements with you. Also in April, we present our first INfusion Music Festival, which focuses on the relationship between music and the environment. This three-day festival runs from April 28 to 30, and will feature the ISO, Time for Three, Kishi Bashi, San Fermin, and Ben Folds. The ISO is committed to minimizing its impact on the environment, beginning with energy reduction and increased recycling in the Hilbert Circle Theatre. With summer right around the corner, the ISO’s 35-year summer tradition continues with Marsh Symphony on the Prairie, June 17–September 4. Be sure to purchase your 10-ticket value pack. There is nothing like experiencing summer with live music at Marsh Symphony on the Prairie. We invite you to purchase tickets using our mobile friendly website or by calling the box office at 317-639-4300. Thank you for being with us; I hope you enjoy the performance.
Gary Ginstling Chief Executive Officer
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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Dean Franke, Assistant Concertmaster The Wilcox Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey
Sé-Doo Park Jian-Wen Tong
Second Violin Konstantin Umansky, Principal David Bartolowits, Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin
Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair
Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Nancy Agres Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair
Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal
Jerry Montgomery The Bakken Family Chair Jill Boaz Trumpet The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Acting Principal/ Assistant Principal Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Bass Trombone Jared Rodin, Acting Bass Trombone The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal
Timpani 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
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
Vincent Caponi, Chair Yvonne H. Shaheen, Vice-Chair Gary Ginstling, Chief Executive Officer Charlene Barnette, Secretary Michael Becher, Treasurer Vincent Caponi, Chair
Board of Directors Don Altemeyer Sherry Amlung Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D.* John A. Bratt Bryan Brenner* Vincent Caponi* Trent Cowles Andrea Cranfill* Gary Ginstling* Peter Howard, Ph.D. Ann Hampton Hunt
Phil Kenney Joseph M. Kessler David Kleiman Martha D. Lamkin* Sarah Lechleiter Greg Loewen Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Marc Nichols Jackie Nytes Michael P. O’Neil Kay Pashos
Alice K. Schloss Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* James C. Zink Sr. Jennifer Zinn
Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder
Fred E. Schlegel Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood
*Executive Committee
Board of Trustees John M. Mutz, Chair Bob Anker Sen. Dan Coats Stephen E. DeVoe Carolyn S. Hardman
Mission of the Indianapolis Symphony Orchestra: To inspire, entertain, educate and challenge through innovative programs and symphonic music performed at the highest artistic level.
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ISO PROFILE
Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before—inside and outside the concert hall. A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three). The ISO’s home—the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc. Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue is in his ninth season with the ISO and along side his trio, Time for Three, leads the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through appearances on the podium each season. The ISO in 2015-2016 In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms, Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax, Dejan Lazić and Garrick Ohlsson. Maestro Urbański also presents the Cosmos Music Festival, with musical themes inspired by space, and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini. Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs presented in the communities of Hendricks County and Greater Greenwood. The ISO is celebrating the 20th anniversary of its youth and family development program, the Metropolitan Youth Orchestra.
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MUSICIAN. TECHIE.
CITIZEN. EMPLOYEE.
We’re all citizens. Just like you. Whether she’s playing guitar or making sure computer programs are in sync, Julie knows the audience wants excellence. That’s no small challenge when your audience is 400,000 customers in and around Indianapolis. People depend on Julie, and others like her, for the water that brews coffee and fills dog dishes. So every day she makes sure her performance is the best it can be, because Julie doesn’t just work for Citizens Energy Group. She lives here too.
Visit IndyCitizens.com to learn more.
MUSIC IN MY LIFE Terry Langdon joined the Indianapolis Symphony Orchestra in 1979, holding the title of Associate Principal Viola until 2002 when she elected to move into the section. Born in New York City, she earned a B.M. from Indiana University and an M.M. from Yale University. Before coming to Indianapolis, she was principal viola with the Owensboro Symphony and played in the viola sections of the Buffalo Philharmonic, the New Haven Symphony and the Aspen Festival Orchestra. Ms. Langdon is married to a biology professor, and they are the parents of three children. She is active as a volunteer at her church and her children’s schools. She enjoys sewing, cooking, and staying active. What did you want to be when you grew up? I wanted to be a jazz bass player, but I was not big enough at age nine to play the bass. My second choice was to play the violin. Unfortunately, my teacher had given them all away, and he offered me a viola instead. I stuck with it and added other instruments later. Who is your favorite composer? J.S Bach. His music is the perfect marriage of expression and intellect. His works are endlessly beautiful and challenging. You have been very active as a teacher and in the ISO’s Learning Community. What do you focus on teaching your students? Yes, education is very important to me. I currently have 12 students, ranging from 9 to 22 years old. In many cases, my students aren’t aware how important it is to have accurate markings in their music: tempo markings, bowing markings, fingering, and phrase markings. All these markings reflect decisions that have been made in advance in order to be able to play the piece. The number of decisions that need to be made often surprises students. Fingerings are very personal, so I encourage students to make choices that work best for them. What is your favorite memory with the ISO? Krzysztof Urbański has such an amazing mind. He makes playing the Rite of Spring look easy to do, even with all of the meter changes. Playing that piece, and knowing how accurate it was, primarily due to his work and vision, was one of my greatest accomplishments. What was your last sewing project? I recently made a king-size t-shirt quilt for my daughter and new son-in-law. It took a lot of time and took over our house, but it turned out well! How is your life better with live music? I do listen to recordings and the radio. It is a way to experience music, and it is certainly better than not hearing the music. However, it does not have the emotional impact of a live performance. The sound quality is never as good. When you play live music, you give the music to the audience, which sends back palpable vibes. The symphony and the audience form a paradigm of human cooperation and interaction at its best. There are few parallels in the world involving that many people working at the same time for the same end.
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ISO MUSICIANS AROUND TOWN As part of the ISO’s Teddy Bear Series, Victoria Griswold’s (ISO violinist) original story The Big Note will be performed on April 28, 2016 at 11 a.m. at Clowes Auditorium of the Central Library. The Big Note will feature five ISO musicians playing excerpts from works of Rossini, Brahms, Saint Saëns, and Rimsky-Korsakov. All Teddy Bear Series performances are free and open to the public. To register call 275.4222. Stuffed friends welcome.
The chamber version of James Beckel’s (Principal Trombone) piece The Glass Victoria Griswold, Bead Game will be performed by Alyssa ISO violinist Cherson for her Performer’s Diploma recital on April 9, 2016 at 6:00 p.m. at Auer Hall in Bloomington, IN. The Susquehanna University band will perform the first movement of The Glass Bead Game on April 23, 2016, conducted by Eric Hinton.
James Beckel, Principal Trombone
Dr. John McGuire will play The Glass Bead Game four times on tour with the Colorado State University Wind Symphony directed by Dr. Rebecca Phillips on April 12, 13, 14 and 15, 2016.
INDIANAPOLIS SYMPHONY ORCHESTRA
13TH ANNUAL
MAESTRO open P R E S E N T E D B Y C E N TA U R G A M I N G
MAY 9, 2016 WOLF RUN GOLF CLUB
RESERVE NOW For sponsorship opportunities or to register your team: Contact Carol Ann Arnell at
[email protected]
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MARCH 31
PICTURES AT AN EXHIBITION
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Six Thursday, March 31, 2016, at 11:15 a.m. Hilbert Circle Theatre HANS GRAF, Conductor Anatoli Liadov Baba-Yaga, Op. 56 (1855-1914) Modest Mussorgsky Pictures at an Exhibition (1839-1881) Promenade Orch. by Maurice Ravel The Gnome The Old Castle Tuileries Bydlo Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges - The Marketplace Catacombs (Sepulcrum Romanum) and “Cum mortuis in lingua mortua” Baba-Yaga (The Hut on Fowl’s Legs) The Great Gate of Kiev
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Length of performance is approximately fourty-five minutes. Recording or photographing any part of this performance is strictly prohibited.
PICTURES AT AN EXHIBITION
APRIL 1, 2
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/ Program Fourteen Friday, April 1, 2016, at 8 p.m. Saturday, April 2, 2016, at 7 p.m. Hilbert Circle Theatre HANS GRAF, Conductor JAMES EHNES, Violin Anatoli Liadov Baba-Yaga, Op. 56 (1855-1914) The Enchanted Lake, Op. 62 Kikimora, Op. 63 Sergei Prokofiev Concerto No. 2 in G Minor for Violin and Orchestra, Op. 63 (1891-1953) Allegro moderato Andante assai Allegro, ben marcato James Ehnes, Violin
INTERMISSION - Twent y M i n ute s
Modest Mussorgsky Pictures at an Exhibition (1839-1881) Promenade Orch. by Maurice Ravel The Gnome The Old Castle Tuileries Bydlo Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges - The Marketplace Catacombs (Sepulcrum Romanum) and “Cum mortuis in lingua mortua” Baba-Yaga (The Hut on Fowl’s Legs) The Great Gate of Kiev
Premier Sponsor
Associate Sponsors
Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited.
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APRIL 3
DUKE ENERGY 317 SERIES
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Duke Energy 317 Series Sunday, April 3, 2016, at 3 p.m. Avon High School HANS GRAF, Conductor JAMES EHNES, Violin Anatoli Liadov Baba-Yaga, Op. 56 (1855-1914) The Enchanted Lake, Op. 62 Kikimora, Op. 63 Sergei Prokofiev Concerto No. 2 in G Minor for Violin and Orchestra, Op. 63 (1891-1953) Allegro moderato Andante assai Allegro, ben marcato James Ehnes, Violin
INTERMISSION - Twent y M i n ute s
Modest Mussorgsky Pictures at an Exhibition (1839-1881) Promenade Orch. by Maurice Ravel The Gnome The Old Castle Tuileries Bydlo Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges - The Marketplace Catacombs (Sepulcrum Romanum) and “Cum mortuis in lingua mortua” Baba-Yaga (The Hut on Fowl’s Legs) The Great Gate of Kiev
Series supported by:
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Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited.
HANS GRAF, Conductor Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Appointed Music Director of the Houston Symphony in 2001, Mr. Graf concluded his tenure in May 2013 and is the longest-serving Music Director in the orchestra’s history. Prior to his appointment in Houston, he was the Music Director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984 to 1994. Hans Graf is a frequent guest with all of the major North American orchestras. His recent and upcoming guest engagements include appearances with the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, the Boston, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, Colorado, Utah and National symphonies and the St. Paul Chamber Orchestra among others. Mr. Graf made his Carnegie Hall debut with the Houston Symphony in January 2006 and returned to Carnegie leading the Orchestra of St. Luke’s in March 2007.
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the St. Petersburg Philharmonic, Deutsches Symphony Orchestra Berlin, Bavarian Radio Orchestra, Rotterdam Philharmonic, Budapest Festival Orchestra, Dresden Philharmonic, Danish Radio Symphony Orchestra and the Netherlands Radio Philharmonic among others. He is also a regular guest with the Sydney Symphony and the Hong Kong, Malaysia and Seoul Philharmonics. During the summer of 2013, Mr. Graf returned to the Salzburg Festival for three different performances, including conducting a new work by Austrian composer Gerhard Wimberger with the Mozarteum Orchestra and leading an unusual, multi-media TV production of Mozart’s The Abduction From the Seraglio with the Camerata Salzburg. He has also participated in other such prestigious European festivals as the Maggio Musicale Fiorentino, Bregenz and Aix en Provence. His U.S. festival appearances include Tanglewood, Blossom Music Festival, Aspen Music Festival, Bravo! Vail Valley Music Festival and the Grant Park Music Festival in downtown Chicago. An experienced opera conductor, Mr. Graf first conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Paris and Rome among others. His extensive opera repertoire includes several world premieres. Recent opera engagements include Parsifal at the Zurich Opera, Boris Godunov at the Opera National du Rhin in Strasbourg, and two rarely produced operas by Strauss and Korngold at the famed Volksoper Vienna.
In Europe, Mr. Graf has conducted the Vienna and London Philharmonics, Vienna Symphony, Royal Concertgebouw Orchestra and Leipzig Gewandhaus Orchestra as well as
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JAMES EHNES, Violin
Known for his virtuosity and probing musicianship, violinist James Ehnes has performed in over 30 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors. James Ehnes has an extensive discography of over 30 recordings featuring music ranging from J.S. Bach to John Adams. Recent projects include a disc featuring concertos by Britten and Shostakovich, three CDs of the music of Béla Bartók as well as a recording of Tchaikovsky’s complete oeuvre for violin. Upcoming releases include a double CD of the complete violin works by Prokofiev and a recording of Khachaturian’s Violin Concerto paired with Shostakovich’s String Quartets Nos. 7 and 8. His recordings have been honored with many international awards and prizes, including a Grammy, a Gramophone, and 7 Juno Awards. James Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of four, and at age nine became a protégé of the noted Canadian violinist
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Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and from 1993 to 1997 at The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation. Mr. Ehnes first gained national recognition in 1987 as winner of the Grand Prize in Strings at the Canadian Music Competition. The following year he won the First Prize in Strings at the Canadian Music Festival, the youngest musician ever to do so. At age 13, he made his major orchestral solo debut with the Orchestre symphonique de Montréal. He has won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. James has been honoured by Brandon University with a Doctor of Music degree (honoris causa) and in 2007 he became the youngest person ever elected as a Fellow to the Royal Society of Canada. In 2010 the Governor General of Canada appointed James a Member of the Order of Canada, and in 2013 he was named an Honorary Member of the Royal Academy of Music, limited to a select group of 300 living distinguished musicians. Ehnes plays the “Marsick” Stradivarius of 1715. He currently lives in Bradenton, Florida with his wife and daughter.
NOTES
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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Baba-Yaga, The Enchanted Lake, Kikimora Anatoli Liadov Born May 10, 1855 in St. Petersburg, Russia Died August 28, 1914 in Polinovka, Russia
she does good things, but mainly she is a terror: her favorite dinner is little children.
Anatoli Liadov studied at the St. Petersburg Conservatory under Rimsky-Korsakov, but was known as a lazy student, never getting his work done on time, and generally irresponsible. Eventually, Rimsky- Korsakov kicked him out of his class.
Baba-Yaga treats the story in a terrifying setting as she travels through the forest. Mussorgsky’s version of Baba-Yaga preceded Liadov’s, which was produced in 1905 as Opus 56. The music opens with several shrieks and then sinks into a jagged setting of the old woman flying rapidly through the woods. Notice the depiction of violent winds, which are beautifully orchestrated. Thrusting rhythms mark her passage in deep parts of the orchestra. At the close she vanishes as quickly as she arrived.
Ultimately Liadov did manage to become a professor at the Conservatory and remained there most of his life. Prokofiev, one of his students, noted, “Laziness was his most remarkable feature.” This procrastination cost him the chance to write The Firebird for Diaghilev, a commission grabbed by Stravinsky who was launched onto the world stage with his version of the ballet. When Liadov could harness himself to compose, his works were brilliant and often fantasy-like. Three of his most famous programmatic tone poems are Baba-Yaga, Kikimora, and The Enchanted Lake. Baba-Yaga Baba-Yaga and her two older sisters permeated Eastern European folklore, especially Russia folklore from 1755 when she first appeared in Mikhail Lomonosov’s Russian Grammar. She is terrifying—an old lady with a huge appetite and iron teeth, but she somehow remains very thin, almost like a skeleton. She lives deep in the forest, in a frightening hut, which spins on chicken legs, and has a fence made of human bones with skulls on top. In the Russian version, she travels in a mortar with the pestle used as a rudder, or a birch broom, and wherever she goes she is “announced” by a wild wind disturbing the trees, which groan at her evil presence. Floating disembodied hands circle around her to do her bidding. Occasionally
The Enchanted Lake Opus 62, composed in 1908-09, is titled The Enchanted Lake (A fable-tableau per Liadov). Herein, the composer produces one of the most beautiful atmospheric depictions of a lake (supposedly inhabited by fairies and wood sprites) in the moonlight. His inspiration was Lake Llmen, south of St. Petersburg, of which Liadov wrote, “How purely picturesque it is—with bountiful stars over the mysteries in the depths. But most important—it is uninhabited, without entreaties and complaints: only naturecold, malevolent, but fantastic as a fairy tale. One must feel the change of colors, the chiaroscuro, the incessantly changeable stillness and seeming immobility.” The mood is consistently gentle. Midway, a delicate tune from the winds provides a lyrical segment, but at all times absolute serenity reigns in the lush, impressionist harmonies and slow pace. Occasional birdcalls add to the tranquility and beauty of the scene. The composer conducted the first performance on February 21, 1909 in St. Petersburg.
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NOTES
Kikimora Opus 63, Kikimora was produced in the same year as The Enchanted Lake, 1909. Her kinship to Baba-Yaga is close. A malevolent (although sometimes nice) old household witch who torments children at night (by tickling them), makes squeaky mouse-like sounds, lives behind a stove or in the cellar, and spends her nights breaking dishes and spinning. Should you see her at this task, however, you will die. She traverses the household by slipping through keyholes in the doors. Once she is established, it is almost impossible to get her out of the house. Some tales mention her as “the goddess of the house” who rewards good housekeepers and terrorizes those who do not keep a clean house. Liadov wrote, “She grew up in the mountains with a magician. From dawn to sunset, the magician’s cat regales Kikimora with fantastic tales of ancient times and faraway places as Kikimora rocks in a cradle made of crystal. It takes her seven years to reach maturity, by which time her head is no larger than a thimble and her body no wider than a strand of straw. Kikimora spins flax from dusk to dawn with evil intentions for the world.” The music begins softly with a dense, heavy atmosphere from which the English horn surfaces with a melancholy, somber melody. Like Baba-Yaga, Kikimora (at midpoint) gains acceleration, and she is off on her malevolent, spiteful plans. The tone poem takes us on a frightening course as Kikimora seeks vengeance on the world and its inhabitants. Small wicked snippets sound from the winds over shuddering strings: excitement is enhanced by rapidly repeating notes, coaxing the music into nervous advance. An aggressive segment dominates the final section: there is a sudden pause, and Kikimora disappears with a peep from the piccolo. The ISO’s last performance of Baba-Yaga was October 2006, conducted by Vasily Petrenko. The ISO’s last performance of The Enchanted Lake and Kikmora was January 1997, conducted by Alfred Savia.
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Concerto No. 2 in G Minor Sergei Prokofiev Born April 27, 1891 in Sontzovka, Ukraine Died March 5, 1953 in Moscow, Russia In 1935, at age 44, Prokofiev decided to end his twenty years in the west and return permanently to Moscow with his family. Prokofiev explained, “Here is how I feel about it: I care nothing for politics—I’m a composer first and last. Any government that lets me write my music in peace, publishes everything I composed before the ink is dry, and performs every note that comes from my pen is all right with me. In Europe, we all have to fish for performances, cajole conductors and theatre directors; in Russia they come to me. I can hardly keep up with the demand...” Lina, his wife at the time, arrived that year as well with their two sons Oleg and Svatislov. His view that “government would let him write whatever he wanted,” under the dictatorship of Joseph Stalin, was not only naïve but dangerous. 1935-36 were fateful years in Russian history vis-à-vis music. The crackdown on artistic dissent from the overarching principal of Soviet Realism, compulsory for all composers, would begin to be aggressively enforced in 1936. In 1932, Stalin had introduced his cultural policy of “Socialist Realism” stating, “The main attention of the Soviet composer must be directed towards the victorious progressive principles of reality towards all that is heroic, bright and beautiful. This distinguishes the spiritual world of Soviet man and must be embodied in musical images full of beauty and strength. Socialist Realism demands an implacable struggle against folk-negating modernistic directions that are typical of the decay of contemporary bourgeois art, against subservience and servility towards modern bourgeois culture.” The first purge of Soviet composers would occur in 1937. Prokofiev escaped the denunciations, at least for the moment, and he was seemingly compliant. “I believe the type of music needed is what one might call “light-serious”
NOTES or “serious-light” music. It is by no means easy to find the right idiom for such music. It should be primarily melodious, and the melody should be clear and simple without, however, becoming repetitive or trivial. The same applies to the technique of form; it, too, must be clear and simple but not stereotyped. It is not the old simplicity that is needed but rather a new kind of simplicity.” Gone was the enfant terrible of his early years, the brave pioneer, and innovator. In 1948, however, Andrei Zhdanov denounced him in a government decree (along with Shostakovich and Khachaturian) by the government for his formalist tendencies and western decadence. For Prokofiev, the struggle between his love of his homeland and the fury of the Stalinist government was endless. From time to time he turned out “acceptable music” such as Thirty Years, Winter Bonfire, and On Guard for Peace. He also turned out music deemed unacceptable for which he was punished and humiliated for his formalist tendencies and western decadence. By any metric, it was dangerous to compose music under Stalin. Prokofiev died of a stroke in 1953, the same hour, day, and year as Stalin, lucky not to have been one of the twenty million deaths during the Stalin regime. There was not one flower at his funeral. Stalin’s funeral used every flower available. Only forty people attended his funeral. Prokofiev was on a concert tour with the French violinist Robert Soetens while he was working on the Second Violin Concerto. “The number of places in which I wrote the Concerto shows the kind of nomadic concerttour life I led then. The main theme of the first movement was written in Paris, the first theme of the second movement in Voronezh, the orchestration was finished in Baku and the premiere was given in Madrid.” This was on December 1, 1935. It was his last work before returning to Russia. The Allegro moderato begins with the soloist’s gentle, folk-like melody (only eight bars) followed by a response from lower strings, sharing the idea but in a “distant key”. Initial
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serenity is truncated by typical Prokofiev brilliance, spicing the music with rapid tonal changes, imbuing the movement with distinctive colorations and energy. Shortly thereafter, a second main idea emerges, which has been described as “one of the mature Prokofiev’s most felicitous melodic revelations” (Israel Nestyev, Prokofiev.) A development features the two melodic ideas appearing, disappearing, and alternating within bright, sassy contexts. Michael Steinberg wrote, “His inventive violin writing carries him brilliantly to the end.” The recapitulation brings both ideas back for a final bow before a muted horn and pizzicato strings bring the first movement to its close. The Andante assai of the second movement opens with elegant pizzicato triplets, supporting a lush melody (in duple meter) from the soloist. Prokofiev was composing his Romeo and Juliet ballet contemporaneously, and most analyses suggest that this main subject was an extension or further expression of romantic feelings. Clarinet and flute provide a counter melody before the movement enters a section of impassioned lyrical exchanges between orchestra and violinist, sometimes cast in theme and variation format. A spectacular moment occurs when the violins are given a turn to sing the full melody with the soloist flying high with independent commentary and decoration. There is a small coda with bassoon, drums, and bass recalling the melody quietly at the end. No holds are barred in the last movement. The mood shifts dramatically into a bright dancelike setting, complete with castanets (probably because Prokofiev knew this would be played in Madrid). He also let loose his predilection for dramatic dissonances, heavy accents, and wildness. (In fact, he marks the very end to be played tumultuoso.) Although a rather polite second theme appears momentarily, nothing can withstand the allure of the energy and agitation with which the movement began. Winds and brass enter the fray, preparing for a particularly stunning presentation of virtuosity with the soloist furiously playing over steady drumbeats. The Second Violin Concerto ends
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with a veritable fiesta of fast pizzicato strings and timpani. The last performance of Prokofiev’s Concerto No. 2 in G Minor was March 2011, featuring soloist Karen Gomyo and conducted by Jakub Hrůša. Pictures at an Exhibition Modest Mussorgsky Born on March 21, 1839 in Toropets, Russia Died on March 28, 1881 in Saint Petersburg, Russia The grand orchestral version of Pictures at an Exhibition began as a ten movement piano suite written in 1874 “in remembrance of Viktor Hartmann,” an architect and artist who happened to be a personal friend of Mussorgsky’s. They had met in 1862 and both shared a commitment to Russian nationalism. The composer never considered orchestrating the piano score, which was left to many others to have a turn at it. He was quite content leaving the work simply as an “album series.” His “album series” excited many future composers who saw irresistible potential and fodder for orchestral iterations and assorted arrangements. These included those of Lucien Cailliet, Leopold Stokowski, Mikhail Tushmalov, Henry Wood, Leo Funtek, Giuseppe Becce (a very truncated version). Walter Goehr, the pianist Leonid Leonardi, a chamber version by Chao Ching-Wen, a version for Brass Ensemble by Elgar Howarth, and an adaptation for classical guitar by Kazuhito Hamashita. Ten different composers were engaged to write one movement each by the Amadeus Orchestra of the UK which was first performed in 2012. Also, a version emerged by Peter Breiner for large orchestra in 2012. Leonard Slatkin took a turn at it with two compendium versions. And the list is long for arrangements of different performing groups such as jazz orchestra, organ, pipe organ, metal bands, euphonium and tuba quartet, band, glass harp, punk-jazz band, and saxophone choir also exist, just to name a few.
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After Hartmann’s sudden death at age 39, the critic Valadimir Stassov organized a memorial art exhibition in the Academy of Fine Arts in St. Petersburg. The exhibition feature 400 Hartmann drawings, costumes, architectural designs, sketches for ornamental house objects and watercolors. Six weeks after visiting this tribute, Mussorgsky completed his own musical tour of the exhibition, and wrote to Vladimir Stassov, “My dear generalissimie, Hartmann is seething as Boris seethed…sounds and ideas hand in my head and I can barely manage to scribble them on paper…. The transitions are good on the Promenade…I want to work more quickly and reliably…. so far, I think it is well tuned.” Boris refers to the composer’s only completed opera, Boris Godunov, which he completed in 1869. The work bore the working title Hartmann and was later changed. Vivid pictorialization and textural variety within the piano score caught the ear of Serge Koussevitsky, and he commissioned Maurice Ravel to create an orchestral version which was premiered at the Paris Opera on October 19, 1922. Acclaim was immediate, not only for the amazing musical spectacle, but also for the fabulous orchestration which Ravel produced. For source, Ravel had relied on the edited piano score by Rimsky-Korsakov after the composer’s death. Pictures at an Exhibition begins with a steadily moving Promenade (walking section) in which “Mussorgsky depicts himself roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at time sadly, thinking of his departed friend.” (Stassov) It is mainly slow because Mussorgsky weighed about 300 pounds. We arrive first at The Gnome clumsily running with crooked legs” which is represented by a grotesque Nutcracker originally designed by Hartmann as a Christmas present for children. Note the sudden starts and stops as The Gnome flails about in his movements. A
NOTES savage ending completes this section. We move again via the Promenade, marked “moderato commodo assai e con delicatezza” to the watercolor Il Vecchio Castello (The Old Castle), wherein we view a troubadour singing (sadly) to his beloved in front of the medieval building. The troubadour, who is unsuccessful in wooing his sweetheart, is represented by the doleful tones of alto saxophone. The music ends quietly with throbbing rhythms. We re-enter the Promenade, marked “moderato non tanto, pesamente” leading to a picture of the beautiful Tuileries in Paris. A tiny, tri-partite scherzo depicts children playing amid scolding nannies. The music moves lightly, quickly, full of sparkle and delight. Bydlo depicts a huge Polish cart drawn by oxen. The heaviness of the cart and the oxen is presented via solo tuba and slowly moving orchestration thumping in 4/4 meter. The music quiets as the cart moves away at the close. The Promenade resumes now marked “tranquillo” before we arrive at the lighthearted Ballet of the Chicks in their Shells for which Hartmann had designed costumes featuring eggshells with bright yellow canary heads for the ballet The Elf of Argyle or Trillby. Quick chirps unmistakably represent the energetic chicks who bounce happily amid winds and pizzicato strings. The Ravel version omits the Promenade theme at this point. A dramatic introduction presents the section titled Samuel Goldenberg and Schmuyle. (Per Stasov “Two Jews: rich and poor.”) These two portraits were owned by Mussorgsky and had been loaned to the retrospective of Hartmann’s works.
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dead Hartmann leads me towards the skulls, invokes them; the skulls glow softly from within.” The Promenade theme re-emerges within the context of the Andante. The scary Hut on Fowl’s Legs referencing Baba-Yaga (a fearsome witch in Russian folklore who lives on the edge of a forest) is one of the most exciting elements within the musical “exhibition.” The hut has no windows or doors, and spins around in frightening behavior. For this section, Mussorgsky’s music begins Allegro con brio, feroce before moving into an andante mosso section. Stasov wrote, “Hartmann’s drawing depicted a clock in the form of BabaYaga’s hut. Mussorgsky added the witch’s flight in the mortar.” A coda leads to the final movement, The Great Gates of Kiev. The final movement is marked maestoso con grandezza, based on the sketch which was Hartmann’s design for the city gates at Kiev, conceived “in the ancient Russian massive style with a cupola shaped like a Slavonic helmet.” It was inspired as a tribute to old Russia, a piece of heartfelt nationalism. The music opens with an expansion of the opening promenade, includes a baptismal hymn from the Russian Orthodox faith, and moves steadily to an enormous climax and glorious tribute colored by tubular bells to Tsar Alexander II who had survived a nearly successful assassination. The ISO’s last performance of Pictures at an Exhibition was June 2013, conducted by Krzysztof Urbański.
Limoges-The Marketplace brings forth “French women quarrelling violently in the market.” Catacombs, per Stasov, notes, “Hartmann represented himself examining the Paris catacombs by the light of a lantern. There are two sections: Largo and Andante. Mussorgsky wrote in the score, “The creative spirit of the
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I n d i a n a p o l i s S y m p h o n y O r c h e s t r a ’s
OPEN NG Night Gala A special evening of music celebrating the bicentennial of the state of Indiana and the 100th birthday of the Hilbert Circle Theatre.
featuring
Principal Pops Conductor Jack Everly and the Indianapolis Symphony Orchestra
Save the Date
September 24, 2016 HILBERT CIRCLE THEATRE
TABLES ON SALE NOW! INDIVIDUAL DINNER TICKETS ON SALE MAY 2! FOR MORE INFORMATION, CALL THE ISO BOX OFFICE AT 317.639.4300. PRESENTED BY:
I VEERRSSAARRYY 0TTHHAANNNNI V 220 PROGRAMOF OFTHE THEINDIANAPOLIS INDIANAPOLISSYMPHONY SYMPHONY ORCHESTRA AAPROGRAM ORCHESTRA PRESENTEDBYBY PRESENTED
MetropolitanYouth YouthOrchestra Orchestraworks workswith withkids kidsand andtheir theirfamilies familiesfrom from The Metropolitan kindergarten kindergarten through through12th 12thgrade gradetototeach teachlife lifeskills skillsthrough throughmusic. music. Join Joinususfor foraafree freeconcert! concert!
MYO MYO 20th 20thANNIVERSARY ANNIVERSARY CELEBRATION CELEBRATIONCONCERT CONCERT Sunday, Sunday, April April10, 10,2016, 2016,3PM 3PM Hilbert HilbertCircle CircleTheatre Theatre
*With *With special special guests guests Cathy CathyMorris Morrisand andDean DeanFranke Frankealong alongwith with2020years yearsofofMYO MYOalumni. alumni. Thank Thank you you to to our our sponsors sponsorsfor fortheir theirsupport supportininhelping helpingMYO MYOstudents studentsand andtheir theirfamilies, families,asasourouryoung youngpeople people aspire to become the leaders of tomorrow in their communities aspire to become the leaders of tomorrow in their communities
Anonymous (3) | The Ann and Gordon Getty Foundation and the League of American Orchestras | R.B. Annis Educational Foundation | Anonymous (3) | The Ann and Gordon Getty Foundation and the League of American Orchestras | R.B. Annis Educational Foundation | Junior League of Indianapolis | BKD | Hoover Family Foundation | Shaw-Burckhardt-Brenner Foundation | Sheila Fortune Foundation | Junior League of Indianapolis | BKD | Hoover Family Foundation | Shaw-Burckhardt-Brenner Foundation | Sheila Fortune Foundation | Ackerman Foundation | The Penrod Society | FALPRET/McKinney Family Foundation | Indiana First Lady’s Charitable Foundation | Psi Iota Xi, Iota Tau | Ackerman Foundation | The Penrod Society | FALPRET/McKinney Family Foundation | Indiana First Lady’s Charitable Foundation | Psi Iota Xi, Iota Tau | Charles W. Brown | David Garrett | Don and Carolyn Hardman | Dr. & Mrs. E. Henry Lamkin, Jr. | Sarah & John Lechleiter | Dr. Gordon and Carole Mallett | Charles W. Brown | David Garrett | Don and Carolyn Hardman | Dr. & Mrs. E. Henry Lamkin, Jr. | Sarah & John Lechleiter | Dr. Gordon and Carole Mallett | Dr. Kathryn Vanderwater-Piercy* and Dr. Jeffrey Vanderwater-Piercy | Mr. and Mrs. Frank D. Walker | *deceased Dr. Kathryn Vanderwater-Piercy* and Dr. Jeffrey Vanderwater-Piercy | Mr. and Mrs. Frank D. Walker | *deceased
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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 14 performances of the 2016 program, The Orchestra Moves. 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.
The Orchestra Moves
2015-2016 Discovery Concerts — January 26 | February 16, 17 | April 5 | May 10 | May 17, 18 VINCE LEE, Conductor | EMMA DONAHUE, Soprano | ERIC SMEDSRUD, Baritone Nicholas Scarim A Simple Melody (b.1952 ) Wolfgang Amadeus Mozart (1756-1791)
Overture to The Marriage of Figaro
Jacques Offenbach (1819-1880)
“Can-Can” from Orpheus in the Underworld
Johann Strauss II (1825-1899)
On the Beautiful Blue Danube Waltzes
Georges Bizet (1838-1875)
“Toreador Song” from Carmen
Giacomo Puccini (1858-1924)
“O mio babbino caro” from Gianni Schicchi
Ludwig van Beethoven (1770-1827)
Allegro Con Brio from Symphony No.5 in C Minor, Op. 67
Igor Stravinsky “Finale” from The Firebird Suite (1919) (1882-1971)
Premier Sponsor
Associate Sponsors Batt Family Foundation Elba L. & Gene Portteus Branigin Foundation Franklin Symphonic Council Rock Island Refining Foundation Speedwell Foundation
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DISCOVERY CONCERTS
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Teacher Testimonials “Brian is a very intelligent 3rd grade student who has issues focusing. When we attended the Discovery Concerts, we were lucky enough to have seats ten rows from the front of the stage. Throughout the entire concert, Brian’s eyes and ears were locked on the orchestra. He asked me all about the instruments. His questions were beyond a young student seeing something interesting. He was passionate! He loved it! When the concert was over, I sat with him on the bus, and he informed me that he wanted to play the violin. Again, he was not expressing a momentary excitement—he was hooked! Due to your concert, Brian has begun playing the violin with our music teacher. This has given him a center that will be healthy for him. I don’t know what he will achieve, but your program has served as an inspiration to give Brian a true outlet and passion he deserves.”
Brian, Third Grade Violinist Thomas D. Gregg Elementary, IPS #15
– Gene Markiewicz, Third Grade Teacher, Thomas D. Gregg Elementary, Indianapolis Public School 15 “Thank you so much for a wonderful performance! Your generosity in making this opportunity possible for our students is truly appreciated. After some wonderful preparatory experiences, thanks to the very helpful classroom lesson provided by the ISO, the students arrived at the Hilbert Circle Theatre with great anticipation and were enthralled to see the music “come alive.” Your performances always serve as a source of inspiration for these budding instrumentalists! Thank you for making this opportunity available to our students each year. We are already looking forward to next year’s performance!” – Tricia Clark, Music Teacher, Theodore Potter Elementary School, Indianapolis Public School 74
Student Testimonial
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D
ECISIONS MADE LIVE AND IN PERSON.
261-9000
©2016 The National Bank of Indianapolis
www.nbofi.com
Member FDIC
PINK MARTINI WITH THE ISO
APRIL 8, 9
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor The Stratford Coffee Pops Series† Friday, April 8, 2016, at 11 a.m. Hilbert Circle Theatre Printing Partners Pops Series/Program Seven Friday, April 8, 2016, at 8 p.m. Saturday, April 9, 2016, at 8 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor PINK MARTINI, Soloists THOMAS M. LAUDERDALE, Piano CHINA FORBES, Vocals GAVIN BONDY, Trumpet ANTONIS ANDREOU, Trombone NICHOLAS CROSA, Violin PHIL BAKER, Upright Bass DAN FAEHNLE, Guitar TIMOTHY NISHIMOTO, Vocals and Percussion BRIAN DAVIS, Congas and Percussion MIGUEL BERNAL, Congas and Percussion ANTHONY JONES, Drums and Percussion Selections to be announced from the stage.
Premier Sponsor
Associate Sponsor
†
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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JACK EVERLY, Conductor
Jack Everly is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 22 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn. The broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television. Everly is also the Music Director of IPL Yuletide Celebration, now a 30-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three
of his own orchestrations. Some of his other recordings include In The Presence, featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs. In the past 13 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud 15 year resident of Indianapolis. When not on the podium you can find Maestro Everly at home with his family, which includes Max, the wonder dog.
Ji Young Lim
, 2014 Bronze Medalist Tickets: ChihYi Chen, Pianist May 10, 2016, 7:30 PM www.violin.org Eugene and Marilyn Glick Indiana History Center
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Laureate Series
PINK MARTINI, Soloists
In 1994 in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-intraining, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from all over the world—crossing genres of classical, jazz and old-fashioned pop—and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks. One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs together. Their first song “Sympathique” became an overnight sensation in France, was nominated for “Song of the Year” at France’s Victoires de la Musique Awards, and to this day remains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America… the America which remains the
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most heterogeneously populated country in the world… composed of people of every country, every language, every religion.” Featuring a dozen musicians, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998. Since then, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, and the BBC Concert Orchestra at Royal Albert Hall in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s Frank Gehrydesigned Walt Disney Concert Hall, four soldout concerts at Carnegie Hall, the Governor’s Ball at the 80th Annual Academy Awards in 2008 and Paris’ fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz in 2012. In its twentieth year, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.
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ANDRÉ WATTS
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Seven Thursday, April 14, 2016, at 11:15 a.m. Hilbert Circle Theatre GILBERT VARGA, Conductor ANDRÉ WATTS, Piano Edward MacDowell Concerto No. 2 in D Minor for Piano and Orchestra, Op. 23 (1860-1908) Larghetto calmato Presto giocoso Largo - Molto allegro André Watts, Piano Richard Wagner (1813-1883)
Prelude and “Liebestod” from Tristan und Isolde
Piotr Ilyich Tchaikovsky Romeo and Juliet Overture-Fantasy (1840-1893)
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Length of performance is approximately one hour and fifteen minutes. Recording or photographing any part of this performance is strictly prohibited.
ANDRÉ WATTS
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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 Fifteen Friday, April 15, 2016, at 8 p.m. Saturday, April 16, 2016, at 5:30 p.m. Hilbert Circle Theatre GILBERT VARGA, Conductor ANDRÉ WATTS, Piano César Franck (1822-1890)
“Psyché et Eros” from Psyché
Edward MacDowell Concerto No. 2 in D Minor for Piano and Orchestra, Op. 23 (1860-1908) Larghetto calmato Presto giocoso Largo - Molto allegro André Watts, Piano
INTERMISSION - Twent y M i n ute s
Richard Wagner (1813-1883)
Prelude and “Liebestod” from Tristan und Isolde
Piotr Ilyich Tchaikovsky Romeo and Juliet Overture-Fantasy (1840-1893)
This concert is endowed by Marianne Williams Tobias. Premier Sponsor
Associate Sponsors
(4.16 only) 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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APRIL 17
TELAMON PALLADIUM SERIES
Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series Sunday, April 17, 2016, at 3 p.m. The Center for the Performing Arts (Palladium) GILBERT VARGA, Conductor ANDRÉ WATTS, Piano César Franck (1822-1890)
“Psyché et Eros” from Psyché
Edward MacDowell Concerto No. 2 in D Minor for Piano and Orchestra, Op. 23 (1860-1908) Larghetto calmato Presto giocoso Largo - Molto allegro André Watts, Piano
INTERMISSION - Twent y M i n ute s
Richard Wagner (1813-1883)
Prelude and “Liebestod” from Tristan und Isolde
Piotr Ilyich Tchaikovsky Romeo and Juliet Overture-Fantasy (1840-1893)
Associate Sponsors
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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.
GILBERT VARGA, Conductor Gilbert Varga, son of celebrated Hungarian violinist Tibor Varga, conducts with distinctive presence and flair. A commanding and authoritative figure on the podium, Varga is repeatedly acclaimed for performances displaying a broad range of colors, exquisite textures, and subtle use of dynamics. Renowned for his elegant and exceptionally clear baton technique, Varga has held positions with and guest-conducted many of the major orchestras across the world. Varga works extensively with the symphony orchestras of North America, enjoying regular relationships with many including the Minnesota Orchestra, Nashville Symphony and the St. Louis Symphony amongst others. In Europe, he works regularly with many of the major orchestras including the Royal Scottish National Symphony, Frankfurt Museumgesellschaft, Royal Liverpool Philharmonic and in the 2015/16 season he looks forward to his debuts with the Tonkünstler Orchestra at Vienna’s Musikverein and further afield with the Macao Symphony. In May 2013, Varga was appointed Principal Conductor of the Taipei
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Symphony Orchestra. Gilbert Varga studied under three very different and distinctive maestros: Franco Ferrara, Sergiu Celibidache and Charles Bruck. In the earlier part of his conducting career, Varga concentrated on work with chamber orchestras, particularly the Tibor Varga Chamber Orchestra, before rapidly developing a reputation as a symphonic conductor. He was Chief Conductor of the Hofer Symphoniker (1980-1985), and Chief Conductor of the Philharmonia Hungarica in Marl (1985-1990), conducting their debut tour to Hungary with Yehudi Menuhin. He was also Permanent Guest Conductor of the Stuttgart Chamber Orchestra (1991-1995) and Principal Guest of the Malmö Symphony (1997-2000). In 1997, Varga became Music Director of the Basque National Symphony Orchestra, leading them through ten seasons, including tours across the UK, Germany, Spain and South America. Varga’s discography includes recordings with various labels including ASV, Koch International and Claves Records. His latest recording, released in January 2011 of concertos by Ravel and Prokofiev with Deutsches Symphonie-Orchester Berlin and Anna Vinnitskaya on Naïve Records, was given five stars by BBC Music Magazine.
$10
STUDENT TICKETS
Student tickets are available for most ISO concerts at the Hilbert Circle Theatre! From Beethoven to Broadway and even our popular Happy Hours, student tickets are just $10!
TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL THE BOX OFFICE AT 317.639.4300
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APRIL 14-17
ANDRÉ WATTS, Piano
André Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic in their Young People’s Concerts, broadcast nationwide on CBS. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion. More than 50 years later, André Watts remains one of today’s most celebrated and beloved superstars. A perennial favorite with orchestras throughout the U.S., Mr. Watts is also a regular guest at the major summer music festivals including Ravinia, the Hollywood Bowl, Saratoga and Tanglewood. Recent and upcoming engagements include appearances with the Philadelphia Orchestra in Philadelphia and on tour, the New York and Los Angeles Philharmonics, the Minnesota Orchestra, and the St. Louis, Atlanta, Detroit, Cincinnati, Dallas, Houston, Baltimore, Indianapolis, Seattle and National symphonies among others. In celebration of the Liszt anniversary in 2011, Mr. Watts played all-Liszt recitals throughout the U.S. Recent international engagements include concerto and recital appearances in Japan, Hong Kong, Germany and Spain. André Watts has had a long and frequent association with television, having appeared on numerous programs produced by PBS, the BBC and the Arts and Entertainment Network, performing with the New York Philharmonic, Boston Symphony, Philadelphia Orchestra, Mostly Mozart
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Festival Orchestra and the Chamber Music Society of Lincoln Center among others. His 1976 New York recital, aired on the program Live From Lincoln Center, was the first full length recital broadcast in the history of television, and his performance at the 38th Casals Festival in Puerto Rico was nominated for an Emmy Award in the category of Outstanding Individual Achievement in Cultural Programming. Mr. Watts’ most recent television appearances are with the Philadelphia Orchestra on the occasion of the orchestra’s 100th Anniversary Gala and a performance of the Brahms Concerto No. 2 with the Seattle Symphony, Gerard Schwarz conducting, for PBS. Mr. Watts’ extensive discography includes recordings of works by Gershwin, Chopin, Liszt and Tchaikovsky for CBS Masterworks; recital CDs of works by Beethoven, Schubert, Liszt and Chopin for Angel/EMI; and recordings featuring the concertos of Liszt, MacDowell, Tchaikovsky and Saint-Saens on the Telarc label. He is also included in the Great Pianists of the 20th Century series for Philips. A much-honored artist who has played before royalty in Europe and heads of government in nations all over the world, André Watts received a 2011 National Medal of Arts, given by the President of the United States. In June 2006, he was inducted into the Hollywood Bowl of Fame, and he is also the recipient of the 1988 Avery Fisher Prize. At age 26 Mr. Watts was the youngest person ever to receive an Honorary Doctorate from Yale University and he has since received numerous honors from highly respected schools including the University of Pennsylvania, Brandeis University, The Juilliard School of Music and his Alma Mater, the Peabody Conservatory of Johns Hopkins University. Mr. Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the Jacobs School of Music at Indiana University in May, 2004.
NOTES
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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Psyché et Eros César Franck Born December 10, 1822 in Liege, Belgium Died November 8, 1890 in Paris, France César Franck (1822-1890) was one of the most influential organists and teachers in late nineteenth century France. Numbered among his students (even though he was not a professor of composition) were Vincent D’Indy, Henri Duparc, Ernest Chausson, Louis Vierne, and Paul Dukas. In his later years, he produced extraordinarily beautiful compositions, of which Psyché et Eros is one of six symphonic poems. This is his longest and last in the genre. Franck’s early symphonic poems were inspired by contemporary French poetry, but this subject matter was a shocking choice even though the story had been quite popular in nineteenth century literature, drama, poetry, stained glass, frescoes, ballet and art. This story of human (and carnal) love was strange for a man who was devoted to his religion, was sometimes identified as a “Christian mystic and ascetic,” and called a seraphic angel by his students. Was the story, as set by Franck, a matter of salvation? Redemption by divine intervention? What about all the eroticism? The dedicatee, Vincent D’Indy, insisted that “there was nothing of the pagan spirit about it… but is imbued with Christian grace and feeling.” The entire orchestral score was never published, and orchestral excerpts have served to present what was left of the symphonic poem. The work is based on the pagan legend of Psyché, taken from The Golden Ass (aka Metamorphoses) by Lucius Apuleius Madaurensis (c.124-c.170 BC). This is the only ancient Roman Latin novel which has survived in its entirety. The powerful tale of Psyché et Eros begins in the fourth book
and continues in books five and six. The novel disappeared for many years but was re-discovered during the Renaissance. From that point forward, its themes of love, sexual pleasures and marriage were ignited and recast for many centuries, even into the 21st century. (See Carol Gilligan’s references to the story in The Birth of Pleasure, 2002.) The story line is as follows: the goddess Aphrodite (Venus) is wildly jealous of the beauty of the mortal Psyché, and coaxes her son Eros (Cupid) to cast a spell so no one will fall in love with her. He shoots his arrow but wounds himself and falls in love with Psyché. Psyché’s family seeks for a mortal husband but fails. Sending her off to a mountaintop, she is met by Eros, who becomes her lover and betrothed, even though she must never look upon his face. She however does peek at him during the night and recognizes Eros. After many struggles and punishments for her behavior, Eros and Psyché are united in eternal marriage by Zeus (Jupiter) with a grand wedding celebration attended by all the Gods. Once elevated to heaven, they have a love child named Voluptua (Pleasure). Franck divides Psyché et Eros into three parts: 1. Introduction: Psyché is asleep (Lento), He is awakened and taken by zephyrs to the mountains (Allegro vivo). 2. The Union of the Lovers: Eros’ gardens (Poco animato), lento section, Psyché and Eros are together (Allegretto modere). 3. A slow section prefaces Psyché’s punishment and redemption. The final close is extremely soft, orchestrated only by two
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NOTES
clarinets, horns, violins and violas. He also included a chorus for sopranos, altos and tenors. Their mission was to make commentary on the story and add atmospheric touches, rather than to propel the narrative. Franck called them “the chorus of mysterious voices.” The work premiered in 1888 and was later performed in Concerts du Colonne series during February and March 1890. Henry Villars commented. “The audience was swept away, and Franck was glowing with happiness in his box.” On the other hand, Le Menestrel critic wrote, “ We are surrounded by movement, continuous melody reigns in all its exaggerated presence. Through an uninterrupted series of outrageous harmonies, indecisive phrases wind, which have no good reason for beginning and have none for ending. The orchestra moans and murmurs, the chorus offstage imitates the vague noise of Aeolian harps hung on the branches of pine trees.” (From Ph. D dissertation: Symphonic Culture in Paris by Mark Seto) Even if the literary themes within Psyché et Eros are unusual for the “beatific” composer, they are fulsomely expressed in Franck’s late romantic coloration, emotion and imagination. Some have said he “deeroticized” the topic, but the music speaks for itself: lush, evocative, richly chromatic and deeply effecting. This is the ISO’s first performance of Psyché et Eros.
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Piano Concerto No. 2 Edward MacDowell Born on December 18, 1860 in New York City, NY Died on January 23, 1908 in New York City, NY Edward Alexander MacDowell was an American pianist and composer, one of the first seven chosen for membership in the American Academy of Arts and Letters. Although trained in the Paris Conservatoire and the Frankfurt Academy, he was often considered to be the most important American composer of his day. During his lifetime (1860-1908), European training was not unusual for U.S. composers, because there were no American conservatories during this time. At age 17, his mother took him from New York to Paris for his musical education, and he remained in Europe for many years. His life spanned the height of Romanticism, and his compositions (a specialist in miniatures and character pieces, such as Woodland Sketches, Sea Pieces, and New England Idylls) embrace the ideals and ideas of that philosophy. Of particular importance was his fascination with nature, and some of his most famous pieces (To A Wild Rose, for example) reflect his ability to transmit the beauty of what he saw around him. At his funeral, James Huneker noted, “He was a born tone poet. He also had the painter’s eye and the interior vision of the seer.” His Second Piano Concerto was composed in Wiesbaden, Germany between 1884 and 1885 and was dedicated to the Venezuelan pianist Teresa Carreno. The American premiere was in New York on March 5, 1889 with the composer as soloist. The same concert included the American premier of Tchaikovsky’s Fifth Symphony. Critics decided then and there that MacDowell’s was the superior work! On March 13, 1889, the Musical Courier stated, “In the Tchaikovsky Fifth Symphony. One vainly sought for
NOTES coherency and homogeneousness.” Regarding the MacDowell Concerto, The New York Tribune wrote, “It is a splendid composition, so full of poetry, so full of vigor as to temp the assertion that it must be placed at the head of all works of its kind produced by either a native or an adopted citizen of America.” In Europe, however, critics complained that the work was “too Lisztian.” Liszt had been the composer’s friend and a strong promoter of his music. Their admiration was mutual. In 1888, MacDowell and his wife Marian Nevins, a former piano student, decided to return to the United States to live in Boston. Two years previously, he and his wife had bought a summer home, Hillcrest Farm, in Peterborough, New Hampshire. In 1896, he became the first chairman of the Music Department at Columbia University until 1904. In 1907, Marian established the MacDowell Colony for artists, composers and writers, deeding Hillcrest Farm for this purpose. The Colony became a huge success thanks to Andrew Carnegie, J.P Morgan, Grover Cleveland, and many donors who supported its mission, a blending of artistic talents. There are now dozens of buildings in the colony on 450 acres, and it is on the National Register of Historical Landmarks. Opus 23 is built in traditional sonata-allegro structure but unusual in that its tempo marking Larghetto calmato indicated that a slow pace came first. A dreamlike, nostalgic theme begins immediately in the violins followed by horns. When the soloist enters with a stunning, extensive cadenza, it is clear that the composer has big ideas on hand for the pianist. Eventually, this melts into a slow recall of the main idea from violins, flute and horns with pizzicato celli. Again, the pianist re-enters with another massive display and amplification of preceding themes, exciting the orchestra into a brilliant response. With its soaring lyricism, magnificent coloration, and alluring passion, the opening movement is clearly committed to romantic ideals,
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drama, power, and exuberance. In its dreamlike passages, it also speaks to the Romantic ideals of intimacy and tenderness. For his second movement, MacDowell produces a presto giocoso (fast moving) dazzling scherzo in rondo form. It contains three themes, which had been destined for a symphonic poem about Beatrice and Benedict, referencing Shakespeare’s Much Ado about Nothing, the first Shakespeare play the composer and his wife had seen in England. According to his wife, “He favored the mischievous demons or elves that fly in clouds through the air like pixies they were light gossamer nothings, delicate as a feather, wafted by swift March breezes.” MacDowell’s friend and pupil, Mr. T.P. Currier, noted, “his finger velocity was the most striking characteristic of his playing… he took to prestissimo like a duck to water… One of his ever present fears was that his fingers would run away with him!” This movement demands formidable technique, strength, and crisp articulations. The closing marked piu mosso (faster) is definitely pixie-like: marked ppp, the pianist plays a passage of light broken chords, capped by two swift little arpeggios and a light staccato chord over pizzicato strings: the movement simply disappears. The final movement opens slowly, marked Largo. Low strings preface the soloist’s quiet response. The two forces blend in before the pianist delivers the massive first theme. After spinning trills, the music shifts to a jolly, faster pace (molto allegro) expanding the ideas into dramatic relief. The main theme of the first movement returns for a final bow before three faster ideas are introduced. Midpoint, the music moves into a thoughtful lento segment, but with the soloist leading the way, MacDowell ignites the last section into huge orchestral climaxes, pianistic fireworks, galloping toward a massive closing chord. There is also a two piano version of the
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NOTES
Second Piano Concerto, Opus 24, arranged by the composer in 1890.
celli and winds building a small chord, but the treatment of the chord and its ambiguity had enormous consequences. So enormous The ISO’s last performance of MacDowell’s that the opening has been considered a Concerto No. 2 was January 2003, featuring “landmark in the development of western soloist André Watts, conducted by Andrew music.” Michael Rose, in The Birth of Opera, Litton. wrote that Wagner “began a process that led progressively but inexorably to the birth of atonality, the theories of Tristan und Isolde: Prelude and Schoenberg, and the principals Liebestod of 12 tone music, whose Richard Wagner effects are with us still.” William Berger in Wagner Delivering Born May 22, 1813 in Without Fear wrote, “From Leipzig, Germany literally the first bar of the outstanding Died February 13, 1883 in score, Wagner reinvents performances Venice, Italy the art of music.” in print Prelude and Liebestod stands at the beginning and end of Wagner’s sensual Tristan und Isolde, an opera focusing on desire, illicit love and the fatal, inextricable combination of love and death. These two excerpts, however, had already been heard in public before the opera’s premier in Munich at the Konigliches Hof und National Theater on June 10, 1865. The Prelude had debuted in Prague in March 1859, and the two were linked in a Parisian concert on January 25, 1860 with the composer conducting. This orchestral fusion has long been played independently as a concert piece and has stood the test of time, to become one of the most beautiful and acclaimed works in Wagner’s writings. It is hard to imagine that in this lush, romantic music a revolution was brewing, which happens within the first few measures. The music begins with quiet tones from the
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Here is what occurred and what you will immediately hear. The music will slowly fuse, note by note, into a dissonant chord (known as the Tristan chord), which does not “behave” or move into a consonance. Instead, the music moves by a step upward, into another dissonance with similar behavior. Harmonic expectation was not satisfied, and in this deliberate, tantalizing construction, a revolution in traditional tonal harmonic practice was at hand. No longer does a composite sound (a chord) have to move in a certain way. It can simply exist as coloration or, in this case, a sound of continuing stress. Traditionally a dissonance (uncomfortable sound) had been treated as a matter of momentary coloration which then moved (almost directly) to a consonance (a comfortable sound), which relieved and resolved all tension, “distress” and suspense created by the dissonance. In this case,
NOTES
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Wagner does not provide the anticipated release. After first presenting a dissonant chord (composed of two tritones), he elects to repeat the structure. The listener is “left hanging” so to speak. Eduard Hanslick commented, “The Prelude to Tristan und Isolde reminds us of one of the old Italian paintings of a martyr whose intestines are slowly unwound from his body onto a reel.” Wagner continues this effect throughout the Prelude, leading to growing intensity, only to be relieved by resolution in the Liebestod. The cumulative effect was stunning, but not fully understood or acceptable to many who first heard the Prelude. So shocking, in fact, it was reported that several audience members fell into a swoon upon hearing the notes for the first time. Wagner intended instability and danger: the lack of harmonic fulfillment represented the angst and torture of unfilled love between Tristan und Isolde.
The Prelude (langsam und schmachtend) opens softly and slowly to the special chord. There is a pause, and again, a tone higher, the idea repeats with another pause: more music and another pause… as if the music cannot move forward. Suddenly there is a large chord, and the music unfolds seamlessly into a poignant theme sung by strings with coloration from the horns. From time to time, winds make small commentaries. Gradually the music moves into a surge of passion but submerges once again into its opening reluctance with gentle repetitions of the opening measures of the theme. The static nature of this behavior underscores the impossibility of any hope of happiness. Two pizzicato from the lower strings seal this part with the instructions “attacca”, meaning go ahead immediately. In Wagner’s music dramas, the action and the music were continuous.
On July 5, 1865 the Allgemeine musikalische Zeitung noted, “Not to mince words, it [the opera] is the glorification of sensual pleasure, tricked out with every titillating device…the most ideal of the Muses has been made to grind the colors for indecent paintings… Wagner makes sensuality itself the true subject of his drama we think that the stage presentation of the poem Tristan und Isolde amounts to an act of indecency.” On his part, in December 1854, Wagner had written to Liszt that “since never in my whole life have I tasted the real happiness of love, I mean to raise a monument to that most beautiful of dreams…. I have in my mind a plan for Tristan und Isolde, the simplest but most full-blooded conception…and it will quickly bring me a good income and keep me afloat for a time.” Later, with great pride, he commented on the significance of his opera saying, “Tristan is and remains a miracle to me! I find it more and more difficult to understand how I could have done such a thing: when I read through it again, my eyes and ears fell open with amazement… I have far overstepped the limits of what we are capable of achieving in this field.” (L. Wright)
The orchestral Liebestod, an arrangement of Isolde’s Act 3 aria Mild une leise, begins by echoing the softness and tentative nature of the Prelude. Instructions are to play sehr mässig beginnend. The music begins from the bass clarinette moving slowly in combination with horns supported by shimmering strings declaiming the “longing motif,” which becomes combined with the “transfiguration motif” of love. After harp arpeggios, the tempo increases (etwas bewegter: moving ahead), and there is increasing activity. The orchestra texture thickens steadily: soaring rhapsodic populate the score with repetitions of the opening idea. Notice herein the beautiful scoring for the harp. Gradually, the music becomes more passionate, accelerating with increasing dynamics until a massive climax of the longing motif and transfiguration motif. The conclusion moves to a thinner texture, moving slowly with resignation to the glimmering final chord. At this time in the opera, Tristan has died and Isolde falls over his body, holding him in her arms as if in a trance as she is transformed into the higher plane of existence into unmitigated bliss in their ultimate unity.
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Tragically, only by death. Death is the key to fulfillment. Thus the title Liebestod: lovedeath. In Wagner’s mind the two were tightly connected. He forecast the ending in Act II, when the lovers sang; “Oh might we then together die… each to each be given in love alone, our heaven.” Isolde’s final aria re-iterates this conviction. Her words are: “Breathe my life away in sweet scents? In the billowing torrent In the resonating sound In the universal stream of the World breath. To drown, to be engulfed, to be unconscious, utmost rapture.” Holding back the music gains energy and fulfillment through ineffable sweetness and consonant releases. The orchestration becomes larger as the drama moves toward its passionate and infinitely sad conclusion. At this time in the opera, Tristan has died and Isolde falls over his body, holding him in her arms as she is transformed into the higher plane of existence in heaven. Timpani strokes underscore the increasing tempo in a steady accelerando moving, as it were, toward a higher plane: an inevitability of their union into the World Soul. Note the repetitions of the Liebestod motif “death of love,” which is a five-note pattern, as if the music is stuck on one idea, marking the futility and disaster of the love between Tristan and Isolde. Eventually, the music moves into a major key and resolution of the “special chord,” which recurs many times in the work. Finally, in this musical resolution, there is unmitigated bliss. Sadly, the only means of arriving at this point for the two lovers was through death and transfiguration. The ISO’s last performance of Tristan und Isolde: Prelude and Liebestod was June 2007, conducted by Mario Venzago.
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Romeo and Juliet Pitor Ilyich Tchaikovsky Born May 7, 1840 in Votkinsky, Russia Died November 6, 1893 in St. Petersburg, Russia In the nineteenth century, the Russian aristocracy and Imperial Court developed a strong appetite and respect for European classical music, which was mainly performed in their palaces. Embracing Western styles and tastes manifested into an artistic and social pedigree, and travel to the West was part of the elite lifestyle. Upper class Russians also liked to be speak French, and by age six Tchaikovsky was able to speak French and a bit of German, taught to him by his nanny, Fanny Durbach, whom he addressed all of his life as mademoiselle. After a short career as a civil servant, he turned to music, producing symphonies, ballets, operas, concerti, string quartets and piano trios in traditional western formats. Ultimately, Tchaikovsky became the first Russian composer known and loved internationally. He received an honorary Doctor of Music degree from Cambridge, and became a member of the Academie des Beaux-Arts in France. However, there was a reaction to Western enthusiasms. Within growing Russian nationalism, a counter-current developed. Led by a group called The Mighty Five, a formidable insistence on purely Russian music and Russian sources gained momentum. Its members, largely self-taught, were Balakirev, Borodin, Rimsky-Korsakov, Modest Mussorgsky, and Cui. In the simplest terms, there were two basic and contentious factions: those who embraced the West and those who were focused on “new music” with Russian roots and influences. Somewhat ironically, Tchaikovsky and the Five both shared a commitment to “Russianness,” but how it was to be expressed was very different.
NOTES Tchaikovsky, who had formal Conservatory training, and Balakirev, founder of the Mighty Five, had a friendship and a “working relationship.” On his side, Balakirev thought that academic musical training was a threat to inspired composition, probably because he never had any. However, he managed to maintain an influential career in composition, conducting and research into Russian folk music. Tchaikovsky’s brother, Modest, noted that the composer’s relationship with the Mighty Five resembled “ those between two friendly neighboring states—cautiously prepared to meet on common ground, but jealously guarding their separate interests.” (The Life and Letters of Peter Ilich Tchaikovsky by Rosa Newmarch) It was Balakirev who suggested that he write the Romeo and Juliet Overture, explaining literary analyses, and even sent suggested themes, harmonic development and orchestration. The composer was only 29, and he took the advice to heart and collaborated extensively. The composer was happy with the idea and noted, “It will be my most monumental work. It now seems to me absurd that I could not see earlier that I was predestined, as it were, to set this drama to music”. In a letter to Balakirev he stressed, “The layout is yours. The introduction portraying the friar, the fight—Allegro and love—the second subject; and secondly the modulations are yours: also the introduction in E, the Allegro in B-flat minor, and the second subject in D-flat.” He completed
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the Overture in 1869, and the Overture premiered on March 16, 1870. The response was tepid, and eventually there were two revisions in 1872 and 1880. The Romeo and Juliet Overture-Fantasy put Tchaikovsky on the map and became a masterpiece. The Overture (cast in sonata-allegro form) begins with a long introduction: a solemn chorale sung by clarinets and bassoons opens the scene, representing Friar Lawrence. Two contrasting main themes emerge. The first brutal and nervous, represents the warring Capulet and Montague families. The second is the splendid love theme for Romeo and Juliet, first stated by English horn and muted violas. Many have said, “ This is the best love music there is…” A development section (complete with warring families) is brilliantly scored and developed before the recapitulation. Herein, the love theme melody receives its most grand statement. At the conclusion, the music moves into a quiet, reflective segment with quiet timpani. Steadily the music retreats into deep sadness: what futility and tragedy had occurred. A roaring conclusion marked by aggressive, angry timpani and a stern chord brings the Overture to its close. The last ISO performance of Tchaikovsky’s Romeo and Juliet was June 2009, conducted by Juanjo Mena.
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ORGAN SPECTACULAR
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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 Sixteen Friday, April 22, 2016, at 8 p.m. Saturday, April 23, 2016, at 7 p.m. Hilbert Circle Theatre MATTHEW HALLS, Conductor PAUL JACOBS, Organ Olivier Messiaen Les Offrandes oubliées (The Forgotten Offerings) (1908-1992) Félix-Alexandre Guilmant Symphonie No. 1 pour Orgue et Orchestre, Op. 42 (1837-1911) Introduction (Largo e maestoso) et Allegro Pastorale: Andante quasi allegro Final: Allegro assai Paul Jacobs, Organ
INTERMISSION - Twent y M i n ute s
Darius Milhaud La Création du monde, Op. 81a (The Creation of the World) (1892-1974) Maurice Ravel Cinq pièces enfantines from Ma Mère l’Oye (Mother Goose) (1875-1937) Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) Petit Poucet (Tom Thumb) Laideronnette, impératrice des pagodes (Little Ugly Girl, Empress of the Pagodas) Les entretiens de la belle et de la bête (Conversations of Beauty and the Beast) Le jardin féerique (The Enchanted Garden)
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MATTHEW HALLS, Conductor
British conductor Matthew Halls is quickly becoming known for his dynamic work with major symphony orchestras and opera companies, and for his probing and vibrant interpretations of music of all periods. The 2015-16 season marks his second as Artistic Director of the Oregon Bach Festival, having succeeded founding director Helmuth Rilling the previous year. Increasingly in demand by North American Symphony orchestras, Halls has performed with the Cleveland Orchestra, Calgary Philharmonic, Houston Symphony, Los Angeles Chamber Orchestra, National Arts Centre Orchestra, Philadelphia Orchestra, Seattle Symphony, and the Utah Symphony in repertoire from Bach and Handel to Beethoven, Kernis, Mendelssohn, Messiaen, Mozart, Rachmaninov, Tchaikovsky and Tippett. His debut with the Toronto Symphony, in which he led Beethoven’s Ninth Symphony, “captured much of the energy and excitement that its first audience must have felt at its premiere nearly 200 years ago” (Toronto Star).
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Halls’ 2015-16 North American appearances include the Nashville Symphony for the complete Brandenburg Concertos, Los Angeles and St. Paul Chamber Orchestras, Oregon Symphony, Indianapolis Symphony Orchestra, and Les Violons du Roy in Quebec. European orchestras are equally eager to welcome Halls to their podiums. In spring 2014, he made a triumphant debut with Concentus Musicus Wien, substituting on short notice for Nikolaus Harnoncourt in an acclaimed performance of Haydn’s Seasons. He has also appeared with the BBC Scottish Symphony, Bergen Philharmonic, and Frankfurt Radio Symphony, and makes regular appearances in Austria and on tour with the Salzburg Mozarteum Orchestra. Overseas this season, he appears with the Royal Scottish National Orchestra, Irish Baroque Orchestra, Konzerthaus Berlin, Deutsche Kammerphilharmonie Bremen, and returns to the Moazarteum. He is also featured with the Taipei Symphony Orchestra in Taiwan and returns to both the Iceland Symphony Orchestra in Reykjavik, and Musica Viva in Moscow. Halls is represented on disc with Handel’s Parnasso in Festa, winner of the Stanley Sadie Handel Recording Prize, released by Hyperion. His recordings on Linn Records are highlighted by a set of four Bach Harpsichord Concertos conducted from the keyboard, which Gramophone welcomed as “joyful and invigorating.”
PAUL JACOBS, Organ The first and only organist ever to have won a Grammy Award (in 2011 for Messiaen’s towering “Livre du SaintSacrement”), Paul Jacobs combines a probing intellect and extraordinary technical skills with a repertoire that spans the gamut of music written for his instrument, both old and new. He has transfixed audiences, colleagues and critics with landmark performances of the complete works for solo organ by J.S. Bach and Messiaen, as well as a vast array of other composers. A fierce advocate of new music, he has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, and Christopher Theofanidis, among others. As a teacher he has also been a vocal proponent of the redeeming nature of traditional and contemporary classical music, which he fears is being diluted in a popular culture. Mr. Jacobs’s 2015-16 season includes solo appearances with the Philadelphia Orchestra (performing Camille Saint-Saëns’ Symphony No. 3 conducted by James Levine), Indianapolis Symphony, and the Lexington Philharmonic. Mr. Jacobs will also return to the Nashville Symphony in November 2015 for a series of concerts and live recordings of Michael Daugherty’s Organ Concerto with the Nashville Symphony and Music Director Giancarlo Guerrero. At the Pacific Symphony, Mr. Jacobs curates and performed at a multi-day organ festival in February 2016. Also in the 2015-16 season, Mr. Jacobs and world-renowned dramatic soprano Christine Brewer will tour the program of their upcoming Naxos album Divine Redeemer, with appearances at Lincoln Center’s White
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Nights Festival, at Disney Hall in Los Angeles, Symphony Hall in San Francisco, St. Louis Cathedral, and Spivey Hall in Atlanta, GA. Furthermore, Mr. Jacobs will perform recitals throughout the United States, including at the Kennedy Center and Denver Cathedral. In summer 2016, Mr. Jacobs will return to the Oregon Bach Festival, where he is the director of the organ institute. Prodigiously talented from his earliest years, at age 15, young Jacobs was appointed head organist of a parish of 3,500 in his hometown, Washington, Pennsylvania. Mr. Jacobs would go on to make musical history at the age of 23, when he played J.S. Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. He has also performed the complete organ works of Olivier Messiaen in marathon performances throughout North America, and recently reached the milestone of having performed in each of the fifty United States. Mr. Jacobs studied at the Curtis Institute of Music, double-majoring with John Weaver for the organ and Lionel Party for the harpsichord, and at Yale University with Thomas Murray. He joined the faculty of The Juilliard School in 2003 and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. In addition to his concert and teaching appearances, Mr. Jacobs is a frequent performer at festivals across the world and has appeared on American Public Media’s Performance Today, Pipedreams, and Saint Paul Sunday, as well as NPR’s Morning Edition, and ABC-TV’s World News Tonight.
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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Les Offrandes oubliées (Forgotten Offerings) Olivier Messiaen Born December 10, 1908 in Avignon, France Died April 27, 1992 in Clichy, France Olivier Messiaen was a devout Catholic, and through his music he intended to reveal the truths of his faith and mystical convictions. “The foremost idea I wanted to express in music, the one that is the most important because it stands above everything else, is the existence of the truths of the Catholic faith. I have the good luck to be a Catholic: I was born a believer, and so it happens that the scriptures have always made a deep impression on me. A number of my works are therefore intended to illuminate the theological truths of the Catholic belief. This is the first aspect of my work, the noblest, probably the most useful, the most valid, and the only one perhaps that I shall not regret at the hour of my death. God being present in all things, music dealing with the theological subject can and must be extremely varied. I have therefore, tried to produce a music that touches all things without ceasing to touch God.” Les Offrandes oubliées and his Nativite du Seigneur garnered acclaim and prominence for his work. At the top of the published score of Les Offrandes oubliées, he explained his vision and intent; “arms outstretched, afflicted unto death, you shed your blood on the cross. We have forgotten, sweet Jesus, how you love us. Driven onward by madness and forked tongues in breathless, uncontrolled and headlong flight, we have fallen into sin like a bottomless pit. It is here to be found, the unsullied table, the source of charitibility, the feast of the poor, the well of holy sympathy, which is to us the very bread of life and love. We have forgotten, sweet Jesus, how you love us.” Perhaps referencing the Trinity, Les Offrandes oubliées is in three parts, played without
52
pause. The movements are prefaced by these markings: The first section: dolorous, profoundly sad. The second section: ferocious, desperate, and breathless—with great pity and love. The third section: Communion. Messiaen provided the following notes: “Les Offrandes oubliées, written in 1930 [for two pianos], was first performed on February 19, 1931 at the Théatre des Champs Elysées in Paris under the direction of Walter Straram. I had just turned 22. It was my first work played by an orchestra [the two piano version was orchestrated in 1931] and my first contact with the public at large. The work is in three parts: The Cross: lamentation of the strings, the sorrowful ‘neumes’ of which divide the melody into groups of uneven duration, cut by long mauve and grey wailings. {This section features a poignant melody sung in unions by violins and long held notes in the brass. Neumes were part of early musical notation, used in Gregorian plainchant, indicating pitch, and by the thirteenth century, also duration. They look like small, solid black squares. Sometimes they have appendages of hanging lines, indicating how the tone is to be interpreted, such as with a trill. Sometimes they are linked or grouped together in a notation called liquescent which means a sliding of the pitch.) The Sin: presented here as a kind of ‘race to the abyss’ in an almost ‘mechanized’ speed. You will notice the strong flexional ending accents, whistling of the harmonics in glissando, the incisive calls of the trumpets. (Flexional indicates a separation from the root of a word into the last syllable. In Latin grammar this
NOTES indicated an accent on the end of the word. Messiaen included this stress pattern in his music). “The Eucharist: long and slow phrase of the violins, which rises over a blanket of pianissimo chords, with reds, gold, blues (like a faraway stained glass window), in the light of muted solo chords. The sin is the forgetting of God. The Cross and the Eucharist are the Divine Offerings. ‘This is my Body, given for you—this is my Blood, spilled for you.’ “ The ISO’s last performance of Les Offrandes oubliées was March 1983, conducted by John Nelson. Symphonie No. 1 pour Orgue et Orchestre, Op. 42 Alexandre Guilmant Born on March 12, 1837 in Boulogne-sur-Mer, France Died on March 29, 1911 in Meudon, France “The organ is King of the instruments.” -Mozart In the last quarter of the nineteenth century, Paris sparkled with music. The founding in 1860 of the Concerts populares by Jules Pasdeloup offered an expansion of the musical audience to include the rising bourgeoisie and “the lower classes.” Les Concerts Colonne founded in 1872 was focused on presenting French music: various concert halls were built… music became integral to Parisian life and national pride. The Societe des Grandes auditions (founded to promote “art music”) and even the department store Bon Marche gave free public concerts with “resident musicians” and musical education. Along with all of this, the traditional Opera flourished, the Conservatory and its Concerts du Conservatoire maintained a strong presence, and even the zoo offered regular public concerts. French composers such as César Franck, Gabriel Faure, Henri Duparc, Offenbach and Saint -Saens were acclaimed and venerated. This was the environment which Alexandre Guilmant entered when
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he moved to Paris in 1871, where he was appointed to la Trinite church. He stayed there 30 years and then went “on the road” as a performing organist. He was the first major French organist to tour the United States in 1904, where he produced a series of 40 concerts. He also became a popular performer throughout Europe, and one critic likened him to “a pop star.” In England, his concerts sometimes attracted over 10,000 people. (Paul Serotsky) By this time, organs had evolved to such an extent in their tonal abilities, their design and their capacities that Cesar Franck exclaimed, “My organ: it is an orchestra!” A significant amount of credit therein is due to the French organ builder, Aristide Caville-Coll, whose development of tracker action, of additional stops allowing the orchestra to sound like different instruments (such as flute, oboe or trumpet) the coupling of keyboards, and changes in pneumatic pressure tolerance made the organ a dramatic source of power, inspiration, dynamic strength via the swell box, and harmonic coloration. Sometimes these splendid instruments were called symphonic organs. Although the Baroque period (1600-1750) had lavished enormous attention on the organ, the idea of big symphonic style compositions offered new vistas and growing stature for the organ in the concert hall. Noted French composers/organists were Cesar Franck, Charles-Marie Widor, Marcel Dupre, Fleury, and Felix-Alexandre Guilmant. Guilmant had the good fortune to have had access to one of the “modern” instruments of his friend, Caville-Coll. He remained singularly devoted to organ composition, pedagogy, organ construction and performance during his lifetime. He was especially noted for his spectacular ability to improvise. Symphony No. 1 began as one of his eight organ sonatas to which he simply added orchestral parts and retained the opus number 42. It premiered on August 22, 1878 in the Palais du Trocadero. Opus 42 begins loudly
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NOTES
with organ and orchestra matching one another in grand alternating assertions… “Like two heavyweight boxers exchanging punches.” (Paul Serotsky) The main first theme begins as a solo pedal statement from the organ; the second theme is soft, sweetly lyrical in contrast, again with soloist and orchestra separated for the most part, however sharing in thematic subject matter. Guilmant follows traditional sonata-allegro format with a development (both forces are joined herein) and recapitulation. The relaxed second movement, titled Pastorale, moves in lilting 12/8 meter and employs the flute stops of the organ in a delicate, slowly moving fugal presentation. Guilmant was exceptionally well trained in Bach fugue repertoire. Eventually he adds the voix celeste (celestial voice) in a heavenly conclusion. A pianissimo orchestral chord from the strings closes the scene. At the first concert, the audience demanded, and received, a repeat of this movement. The third movement immediately provides a full-blown display of organ virtuosity within fast moving sixteenth notes, reminiscent of French toccata style. As in the first movement, Guilmant includes a contrasting lyrical second theme, which eventually yields to the energy of the opening. The final segment offers a brilliant display, marked by trumpets and timpani, and a huge, climactic unification of forces for a sensational closing. This is the ISO’s first performance of Guilmant’s Symphonie No. 1 pour Orgue et Orchestre. La création du monde, Op. 81a (The Creation of the World) Darius Milhaud Born September 4, 1892, in Marseille, France Died June 22, 1974, in Geneva, Switzerland In the 1920’s, Darius Milhaud was part of an avant-garde group of French composers designated by the music critic Henri Collet as “Les Six.” This association was loose to say the least, and not unified, as The Mighty Five had
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been in Russia in a single mission. Sometimes they did collaborate with one another, but generally each composer was independent. The whole set only collaborated once on a set of piano pieces known as L’Album des Six. What they all agreed upon was to “refresh” French music with new artistic perspectives. According to Milhaud, “Collet chose six names absolutely arbitrarily, those of Auric, Durey, Honegger, Poulenc, Tailleferre and me simply because we knew each other and we were pals, and appeared on the same musical programs, no matter if our temperaments and personalities were not all the same. Auric and Poulenc followed ideas of Cocteau, Honegger follower German Romanticism, and myself Mediterranean lyricism.” (Benjamin Ivry in Francis Poulenc). Les Six socialized frequently, especially at the Gaya Bar, where Milhaud liked to hear Jean Wiener play “negro music” in a popular style. Black exoticism in dance and music was embraced by in-the-know Parisians. During the jazz age in Paris this music was often labeled “le tumult noir (the black noise).” Wiener was also a composer who had a particular fondness for “the blues” and “hot American energy.” In his own works and concerts, he was a steady promoter of jazz. The new American sound was attractive to European tastes, even though it smacked of populism and a certain uneducated quality. In Der Steppenwolf, the main character expressed the jazz effect;“This kind of music, has always had a certain charm for me... Jazz was repugnant to me, and yet ten times preferable to all the academic music of the day… its raw and savage gaiety reached an underworld of instinct and breathed a simply, honest sensuality… Unblushingly negroid, it had the mood of childlike happiness.” Milhaud was fascinated by American jazz and credited the (American) Billy Arnold’s Novelty Jazz Band as having introduced him to jazz when he heard them during his visit to London in 1920. He was particularly drawn to the freedoms of jazz and its rhythms. “Their constant use of syncopation in the melody
NOTES was done with such contrapuntal freedom as to create the impression of an almost chaotic improvisation, whereas in fact, it was something remarkably precise.” In 1922 he came to New York and listened to many genres of jazz, paid close attention to the ensembles, and wrote musical sketches. By the time Milhaud wrote his music for the ballet La création du monde 1923, he was writing for a well-established popular taste. The ballet references African creation myths taken from Blaise Cendrar’s Anthologie negre. Leonard Bernstein summarized: “The Creation of the World emerges not as a flirtation but as a real love affair with jazz.” Milhaud explained, “This is a work making wholesale use of the jazz style to convey a purely classical feeling.” The ballet has five parts … 1. Chaos before Creation: slow and mysterious, gradually growing in intensity. Listen for elements of polytonality and the soft closure. 2. Lifting darkness and creation of trees, plants, insects, birds and beasts: jazzy solos for flute, oboe, and horn. Life and the making of it is an exhilarating and delicate process. 3. Man and woman are created: increase of movement and excitement, exuberant. 4. The desire of man and woman: beautiful seduction music from clarinet. 5. The kiss: a beautiful conclusion, introduced quietly by oboe, a bit of excitement, followed by softly fluttering flutes with a tender goodbye from the saxophone. The ISO’s last performance of La création du monde was October 2004, conducted by Mario Venzago. Cinq pièces enfantines from Ma Mère l’Oye (Mother Goose) Maurice Ravel Born March 7, 1875 in Ciboure, Basse Pyrenees Died December 28, 1937 in Paris, France “Old Mother Goose, When she wanted to wander, Would ride through the air
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On a very fine gander. Jack’s mother came in, And caught the goose soon, And mounting its back, Flew up to the moon.” Several nations claim ownership of the origins of Mother Goose. Mother Goose sometimes has been depicted as a goose or as an English countrywoman, starring as the narrator in 16th century tales of “advice” and fairy stories. Boston has claimed that she was the wife of Mr. Isaac Goose of Massachusetts. France says that the “real Mother Goose” was really the wife of King Robert II of France. One agreed upon fact is that in 1695, Charles Perrault produced fairy tales titled Histories ou contes du temps passé, subtitled “Tales of Mother Goose.” In 1729, Robert Samber produced a translation in England. Whatever the authenticity of her origins, Mother Goose’s rhymes and fairy tales captured the imagination of the western world, and she is very much a part of our childhood. In 1908, the French composer, Maurice Ravel, wrote an exquisite piano suite for four hands based on Mother Goose tales. A confirmed bachelor, Ravel greatly enjoyed the children of his friends, especially Mimi and Jean Godebski. At this time, the children had started piano lessons, and he wanted to create something especially enticing. He commented, “ The idea of conjuring up the poetry of childhood in these pieces has naturally led me to simplify my style and clarify my writing.” On a more personal level, his biographer, G.W. Hopkins, noted that Ravel had been “somewhat spoiled as a child, and he retained a longing and an affinity for the pure and uncluttered emotional horizons of childhood. He remained a collector of mechanical and other smallscale bric-a-brac.” All three elements would attract the composer to spend creative time with Mother Goose. Roland-Manuel, another biographer, stated that “ Ma Mère l’Oye shows us the secret of his profound nature and the soul of a child who has never left fairyland, who does not distinguish between the natural and the artificial and who appears to believe that everything can be imagined and made
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real in the material world, if everything is infallibly logical in the mind.” The full ballet contains Ravel’s musical fingerprint at every turn: melodies are clear, the orchestration is elegant, rhythms are precise, and the harmonies evoke a delicate, magical world. In 1912, the composer orchestrated the fourhand suite for a ballet, which was produced at the Theatre des Arts. He added a Prelude, an opening scene and various interludes. The Prelude filled with delicately muted fanfares (“the horns of Elfland”) and trembling strings create an atmosphere of expectation before the tale’s beginning. The opening Dance of the Spinning Wheel (Danse du Rouet et Scene) references the story of Princess Florine (at first happily skipping rope and playing) who falls asleep after pricking her finger. The Good Fairy is called in to watch over her in a twenty-measure tiny Pavane, played by flute and muted violins. A brief whistle from the Good Fairy, summons two servants and the sleeping princess is put into their care. After a brief waltz interlude, we arrive at the Conversations between Beauty and the Beast. A clarinet sings a gentle waltz as Beauty appears. The dialogue assigns instruments to the characters: woodwinds chant the words of the Beauty, and the Beast is represented by contrabassoon. For a time Beauty rejects the Beast (heavy orchestration) but gradually she begins to flirt and find him more attractive. An evil spell is magically broken with Beauty’s assertion that “he is not a monster and is not ugly.” The Beast emerges as a prince (harp glissando and harmonics on solo violin) and the two are linked in happiness (interweaving of parts). A second interlude leads us to Hop o’My Thumb, (Petit Poucet) derived from Perrault’s baroque anthology of 1697 Ravel commented that as little boy wanders through the woods (wandering scales from violins), “He believed that he would easily find his path by means of his bread crumbs, which he had scattered wherever he had passed; but he was very
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much surprised when he could not find a single crumb; the birds had come and eaten everything up!” A solo oboe describes the winding course of Hop ‘o my Thumb and the rhythm changes from 2/4, to 3/4, to 5/4 stretching out his walk and indicating confusion. Violin harmonics and trills represent forest birds from the flute. The third section is also prefaced by an interlude, featuring the harp, coupled with the celesta, playing a melody with a decidedly Oriental character. A flute provides suitable flourishes to open the scene. Its oriental character is further insured by Ravel’s orchestration, which included wood block, glockenspiel, pentatonic melodies and xylophone. The music depicts Laideronette “Empress of the Pagodas”; cursed into total ugliness by a jealous witch. A Green Serpent emerges, and the two visit a country inhabited by pagodas (tiny people with bodies made of jewels, crystal and porcelain.) In the end, the Green Serpent turns into a prince; Laideronette’s beauty is restored; and of course, they marry…in the next section. At this point, Ravel selects the Beauty and the Beast story for a final bow and adds his magical Fairy Garden (Apotheosis). Daylight is breaking (bird calls and twittering) while Prince Charming enters in a slow waltz. He awakens Princess Florine with a kiss, and the Good Fairy (summoned in Part I to protect her during the “deep sleep”) grants them her blessing to marry. Dancers from the other stories gather around the two, now united by true love, and the orchestra enthusiastically provides glittering fanfares. With wedding bells pealing in the background, “they live happily ever after.” This Suite for Orchestra selects five elements from the ballet: Pavane, Tom Thumb, Laideronette, Beauty and the Beats, and the Enchanted Garden. The ISO’s last performance of Cinq pièces enfantines from Ma Mère l’Oye was April 2011, conducted by Michael Francis.
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ARTS IN INDY Dance Kaleidoscope David Hochoy is celebrating his 25th season as Artistic Director for Dance Kaleidoscope. In addition to creating years of artistic excellence with DK, his choreography can be seen at the ISO and IRT. Also celebrating 25 DK seasons is lighting designer Laura Glover. Laura also designs lighting for Time for Three, Phoenix Theatre and the ISO. See their artistic collaboration in Scheherazade 25, June 2-5 at Ithe RT.
Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) on Saturday, April 30 for our momentous 30th Anniversary Concerts at 3pm and 7pm. These concerts will celebrate the ICC’s 30 years as part of the central Indiana arts community, and the legacy of retiring Founder and Artistic Director Henry Leck, who will “pass the baton” to incoming Artistic Director Joshua Pedde. These historic performances will feature all new music, including the world premiere of Dan Forrest’s epic Jubilate Deo. Tickets are on sale now at icchoir.org. The ICC has programs for students ages 18 months to 18 years. To enroll a child, attend a concert, or make a donation, call 317.940.9640.
Indianapolis Symphonic Choir The Indianapolis Symphonic Choir brings to life J. S. Bach’s St. John Passion in a one-night-only performance on April 2 at the Christel DeHaan Fine Arts Center. Eric Stark conducts a fresh, re-imagined interpretation that is both personal and epic, historic yet timeless. The 40-voice Symphonic Choir Chamber Singers unites with the Indianapolis Baroque Orchestra in a performance that embodies the revered choral institution’s versatility and musical savvy. For more information and tickets, visit indychoir.org or call (317) 9409057.
New World Youth Orchestras The New World Youth Orchestras concludes its 34th season with a finale concert on May 8, 5pm, at the Hilbert Circle Theatre. This concert will feature the Symphony, Philharmonic, and Concert Orchestras, as well as the Senior Winner of our Young Artist Competition. The New World Youth Orchestras’ mission is to develop the musical talent and nurture the personal growth of young people in Indianapolis and central Indiana through the rehearsal and performance of orchestra masterworks, both traditional and contemporary. For more information please visit www.nwyso.org. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at
[email protected] or 317.664.7812
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ENDOWMENT Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund. Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian and Boris Meditch 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 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 Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel
The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune
The Assistant Principal Cello Chair Endowed anonymously
The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test
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 Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani
The Sidney and Kathy Taurel Principal Flute Chair Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute
The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra
The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo
Endowed Performances The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor”
The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp
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ENDOWMENT The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen October 9-10, 2015 – Beethoven’s Missa solemnis Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 6-7, 2015 – Brahms’ Piano Concerto No. 1 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise and Alison Paul November 13-14, 2015 – Brahms’ Piano Concerto No. 2
The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias April 15-16, 2016 – André Watts The Mrs. Earl B. Barnes Memorial Fund in Support of a Guest Artist Endowed Anonymously May 7, 2016 – The Legendary Menahem Pressler The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 20-21, 2016 – Beethoven’s “Pastoral”
Yuletide Celebration Opening Performance Endowed by Marianne Williams Tobias First Performance December 2015
The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 3-4, 2016 – Garrick Ohlsson
Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias Last performance December 2015
The Bishop Family Holliday Park Concert Endowed by the Mrs. Irving M. Fauvre Fund Summer 2016
The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring
The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2016 – Marsh Symphony on the Prairie
The performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist fund January 29-30, 2016 – The Planets The Performance of New Music Endowed by LDI, Ltd. February 5-6, 2016 – Music from 2001: A Space Odyssey The Performance of a Young Professional Artist Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara Worden The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund March 4 - 5, 2016 – Rachmaninoff’s Second Piano Concerto The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund March 11-12, 2016 – Don Quixote The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick March 18, 2016 – Nielsen’s “Inextinguishable” Symphony
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Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist in Residence Endowment Endowed in memory of Hortense and Marvin Lasky
ENDOWMENT The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt
Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen
The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer
Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof
The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett
Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter
The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by Friends of Ava Button The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund The J.K Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984 The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991
Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984 First Monday Music Club Endowed anonymously Stage Terrace Seating Endowed anonymously Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers
Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune
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LYNN SOCIETY The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity. Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.713.3342. Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell* Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis 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 Dr. & Mrs. Larry C. Franks
Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett David & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Gail H. Hall Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Alice* & Kirk* McKinney Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch
William F. Murphy, CPA John & Carolyn Mutz Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley Dr. & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Richard D. & Billie Lou* Wood Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (15) *Deceased
THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Mrs. Raymond A. Basso Miss Helen F. Bernheisel Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak
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Edgar L. Conn Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards
Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn
LYNN SOCIETY Mr. David A. Jacobs Frances M. Johnson Mr. E. Patrick Kane Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure Sarah Forney McFarland Mrs. Judd R. McKay Martha Means Mr. & Mrs. J. Irwin Miller Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter
Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn Miss Sally Reahard Mr. Vernley R. Rehnstrom Peter C. & Dr. Jeanette P. Reilly Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr.
Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White Clara M. Wilmeth Ms. Mary Wratten Mildred R. Young Wilma K. Young Steven J. Zellman Karl & Barbara Zimmer Anonymous (5)
Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”
YOUR LEGACY MATTERS Remembering the ISO in your will impacts the music we share for generations to come. No amount is too small to make a difference.
Contact Casey Chell, Director of Development, with questions about or
[email protected]. The Lynn Society at 69
ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of February 16, 2016. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. $100,000 and Above Dr. Gwen & Mr. Robert Krivi Founders’ Society Ann and Gordon Getty Foundation Anonymous James E. & Patricia J. LaCrosse ($5,000-$9,999) and the League of American Ms. Christel DeHaan Drs. W.H. & K.T. Landschulz Anonymous (7) Orchestras Mr. Jim S. Irsay Mr. E. Kirk McKinney, Jr. Mr. & Mrs. Jeffrey M. Adams Anonymous B. M. “Marti” Ripberger Karen Mersereau & Dr. Michael Helms Thomas N. Akins Anthem Blue Cross and Blue Shield Yvonne H. Shaheen Mrs. Nancy Ann Morris Teresa & Don Altemeyer Arthur Jordan Foundation Marianne Williams Tobias Dorit & Gerald Paul Bob & Pat Anker Barnes & Thornburg LLP Randall & Deborah Tobias Walt & Mary Prouty Mr. Aasif Bade BMO Harris Bank Mary Frances Rubly Drs. Douglas & Deborah Balogh Budweiser Zink Distributing Co, LLC Phyllis & Gary Schahet Trudy W. Banta Chase Anonymous Marlyne Sexton Ms. Sarah Barney Citizens Energy Group Arts Council of Indianapolis and the Jeff & Cassandra Short Dr. & Mrs. John E. Batchelder The Clowes Fund City of Indianapolis Christopher A. Slapak & Michael J. Mr. & Mrs. Michael Becher Delaware Community Foundation The Christel DeHaan Family Robertson Suzanne B. Blakeman Duke Energy Foundation Mr. Kevin D. Taylor Charles & Joyce Boxman Erie Insurance Efroymson Family Fund Roberta & Bill Witchger Mr. & Mrs. John Bratt Ice Miller LLP Eli Lilly and Company Dr. Christian Wolf & Elaine Donald & Barbara Broadlick Indiana Arts Commission The Herbert Simon Family Foundation Holden-Wolf Charles W. Brown MacAllister Machinery Company, Inc. Indianapolis Power & Light Company Hsiu-Chiung Yang & Marian Mosior Mr. Richard F. Brown & Mrs National Endowment for the Arts Indianapolis Symphony Orchestra Jim & Rita Zink Cathy Springer-Brown Navient Association Michael & Mary Ann Browning Nicholas H. Noyes Jr. Memorial Lilly Endowment, Inc. Mr. & Mrs. Walter P. Bruen, Jr. Foundation The Margot L. and Robert S. Eccles ADL Charitable Trust Mike & Pat Byers OneAmerica Financial Partners, Inc. Fund, a fund of CICF Buckingham Foundation Inc. Ms. Jane Conley R.B. Annis Educational Foundation Marsh Supermarkets, LLC. CNO Financial Group Dexter & Rosemary Cooley Raymond James & Associates, Inc. Nina Mason Pulliam Charitable Trust Community Health Network Stephen & Andrea Cranfill Roche Diagnostics Ruth Lilly Philanthropic Foundation Dorsey Foundation David & Consuelo Davis SalesForce Dow AgroSciences Jack Everly & Ty A. Johnson Scott A. Jones Foundation Founders’ Society, Music Director Elba L. & Gene Portteus Branigin Ms. Carol J. Feeney St.Vincent Health ($50,000+) Foundation Inc. Dr. & Mrs. Richard W. Garrett Telamon Corporation Rollin & Cheri Dick The Glick Family Foundation Michael & Beth Gastineau The Martin D. & Mary J. Walker Kay F. Koch Fenneman Family Foundation Gary Ginstling & Marta Lederer Charitable Foundation Sarah & John Lechleiter Fifth Third Bank Larry C. & Lee A. Glasscock Ann M. & Chris Stack The Frenzel Family Charitable Lead Charles & Susan Golden Founders’ Society, First Chair Richard D. Wood Trust Mr. & Mrs. Thomas W. & Mary ($10,000-$19,999) Hendricks County Community P. Grein Anonymous (2) Foundation John & Chichi Guy The Honorable & Mrs. Alex M. Azar II The Glick Fund, a fund of Central Indiana Members Credit Union Steve L. Hamilton & Keith O. Mr. & Mrs. Robert Bader Indiana Community Foundation The Indiana Rail Road Company Norwalk Charlene & Joe Barnette Printing Partners Indiana University Health Partners Richard & Elizabeth Holmes Mr. & Mrs. Barry J. Bentley Industrial Dielectrics Holdings Mr. & Mrs. W. Seymour Holt Maestro Raymond Leppard & Dr. John Founders’ Society, Concertmaster Junior League of Indianapolis Dr. Sharon Hoog C. Bloom ($20,000-$49,999) Lacy Foundation Dr. Ann H. Hunt Bryan & Elaine Brenner Anonymous Macy’s Dr. and Mrs. Ronald Iacocca Dr. & Mrs. Thomas A. Broadie Christina Bodurow Next Gear Capital Dr. & Mrs. Raymond V. Ingham Vincent & Robyn Caponi Trent & Amy Cowles Ricker’s Carlyn Johnson Mr. & Mrs. Daniel P. Carmichael Ann Dettwiler Ronald McDonald House Charities of Kimra Kidd Mr. & Mrs. James M. Cornelius Phil & Colleen Kenney Central Indiana and McDonald’s of Drs. Sandra & Charles Kinsella Mr. Daniel Corrigan Dr. & Mrs. E. Henry Lamkin, Jr. Central Indiana Ned & Wendy Kirby Fred & Priscilla Crawford Mr. & Mrs. Eli Lilly II The Sells Group Mrs. James L. Kittle, Sr. Mr. & Mrs. James E. Dora Dr. Gordon & Carole Mallett Shaheen Family Foundation David H. Kleiman Erin & Scott Dorsey Mrs. F. Bruce Peck, Jr. Terry Lee Hyundai Don & Jen Knebel Mr. & Mrs. John Fazli Dr. Kenneth & Mrs. Debra Renkens Tobias Family Foundation Dr. & Mrs. Eugene P. Kroeff Craig & Mary Fenneman Robert & Alice Schloss Vectren Corporation Nancy Lilly Don & Carolyn Hardman Dr. & Mrs. Eugene Van Hove Dr. Richard E. Lindseth Emily and Peter Howard Martin & Mary Walker Greg & Alexandra Loewen Allan & Kathy Hubbard David & Eleanor Wilcox Dr. & Mrs. Carlos Lopez Bob & Rhonda Kaspar Kathy & Ralph Wilhelm Ms. Karen Mangia & Mr. Thom Joseph & Kathy Kessler England Timothy J. & Cindy Konich
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ANNUAL FUND Mr. & Mrs. Morris Maurer Stacy A. Maurer Mr. & Mrs. Bruce McCaw Robert H. McKinney Virginia Melin Mr. & Mrs. Dayton Molendorp Ellie, Weber & Emaline Morse Jerry & Anne Moss John & Carolyn Mutz Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Holly & John Pantzer Kay Pashos & Neal Steinbart Mr. & Mrs. Thomas J. Pence Donald & Karen Perez Bart Peterson Zeb & Barbara Portanova Dr. & Mrs. Robert L. Rudesill Fred and Bev Ruebeck Margaret Cole Russell & Steve Russell Mr. & Mrs. William N. Salin Ms. Natalie Schneider Perry & Lisa Scott William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Michael & Carol Stayton Mr. & Mrs. Frank D. Walker Pete & Lena Ward Margaret Watanabe Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Sara & Michael Zeckel John & Linda Zimmermann Jennifer & Michael Zinn Ann & Gordon Getty Foundation Barefoot Wine The Barrington of Carmel BKD Bose McKinney & Evans LLP Care Institute Group, Inc. Charles W. Brown Foundation Chubb Group of Insurance Companies City of Carmel Cornelius Family Foundation, Inc. Deloitte & Touche LLP DMC Holdings, Inc. Faegre Baker Daniels FedEx Corporation Franklin Symphonic Council, Inc. Hoover Family Foundation Huntington Bank Indiana Space Grant Consortium James O. & Alice F. Cole Foundation Jungclaus-Campbell Co., Inc. The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF McCaw Family Foundation Meridian Dermatology Merrill Lynch MusicCrossroads The National Bank of Indianapolis NextGear Capital Regions Bank The Rock Island Refining Foundation Skiles Detrude The Stratford
Winners Circle Conductor’s Circle ($2,500-$4,999) Anonymous (4) Mr. James Adams Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Frank & Katrina Basile Mr. C. Harvey Bradley Jr. Kenneth & Patricia Burow Dr. & Mrs. John T. Callaghan Elizabeth A. Chamberlin Nancy Christy Dave & Christie Crockett Fred & Alice Croner Robert Crouse & Anne Werry James J. & Barbara Curtis Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneed & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Ms. Phyllis Dye Turner Mrs. Marian Elliott Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Lou Gerig David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Bert & Martha Gorman Jim & Roberta Graham Dr. Christian & Mrs. June Gries Mr. & Mrs. James Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Clarena Huffington Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear Mr. & Mrs. John C. Jenkins & Family Scott & Holly Johnson Dr. & Mrs. C. Conrad Johnston Mr. & Mrs. John Jokantas Daniel H. Joseph and Liu Li Dr. Louis N Jungheim & Dr. Thalia I. Nicas Dr. and Mrs. John E. Kalsbeck Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Mr. & Mrs. Joseph C. Lanning Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Andrew J Macht Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Mr. & Mrs. Robert B. McNamara Susanah M. Mead
Boris E. Meditch Pete & Cindy Method Flip & Cindy Miller Milton & Margaret Miller Jim & Jackie Morris Dr. & Mrs. Daniel H. Mowrey Peggy & Byron Myers F. Timothy & Nancy Nagler Mr. & Mrs. Guido Neels Cindy Nichols Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Jack & Katie Patterson Eloise Paul & Bill Lee Mel & Joan Perelman Carol Phillips Myrta J. Pulliam Dr. & Mrs. George F. Rapp Richard & Betty Lou Reasoner Jasmine Reese Mary Ann Dalton Rickert Dr. Merrill Ritter Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Mr. & Mrs. Todd K. Rutledge James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Drs. Lei Shen and Soomin Park Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Dr. Mike Simmons Dick & Susan Simon Joanne & Gerald Solomon Dee & Tom Spencer Drs. Pamela Steed & Peter Furno Sydney L. Steele Jim & Cheryl Strain Drs. Randall & Bonnie Strate James Sweeney Norm & Dawn Tabler Dr. & Mrs. Reed Tarwater Mrs. David Thiel Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Dr. James & Linda Trippi Ms. Cathy Turner Martha Anne Varnes Joe and Sue Vertin Jane & Hugh Watson Dr. & Mrs. William Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman The Ackerman Foundation DB Engineering LLC Donovan CPA Enflora Flowers for Business Ernst & Young LLP Firestone Building Products and Industrial Products First Person Hoosier Park at Anderson Indiana American Water Co., Inc. Indiana Farm Bureau Insurance
Indiana Spine Group The Indianapolis Recorder ITT Technical Institutes J M Smith Foundation Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc RBC Wealth Management SEI Investments The Shaw-Burckhardt-Brenner Foundation Sheila Fortune Foundation Skyline Club, Indianapolis Smoke Free Indy Symphony at Sunset Group, Inc UnitedHealthcare Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (6) Dr. & Mrs. Wayne Ambrous Joan Baker Nicholas Barbaro & Sue Ellen Scheppke Mary Ruth Barnard Spencer & Marcia Bavender James & Lynda Beckel Ms. Susan Bever Jay & Julie Bishop Mr. Benjamin & Mrs. Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Kirk & Sharon Boller — Bottom-Line Performance Inc Dr. & Mrs. W. C. Bonifield Terry & Robert L. Bowen Alice Brown & Randy Trowbridge Matt & Janette Brown Gordon & Celia Bruder Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. Bert Curry Mr. Douglas Davies Mr. & Mrs. Gregory C. Davis Manuel & Sally Debono Julie & David DeWitt Dennis K. Dickos, M.D. Mr. & Mrs. Erold R. Diller Mr. & Mrs. Robert M. Donovan Mr. & Mrs. Dan Dumbauld Miss E. Frances Eickhoff Dr. Thomas & Paula Elam Andrew & Irene Engel Kristi Espiritu John N. & Julia Luros Failey Jim & Gracia Floyd Dr. Norm & Adrienne Fogle Dr. & Mrs. Mark Foglesong Dick & Brenda Freije Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith Bob Hallam Kenneth & Barbara Hamilton Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Ms. Lisa Heid
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ANNUAL FUND Mr. & Mrs. Jerome T. Henning Mr. & Mrs. Gerald V. Hinchman Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn Dana & Marc Katz Donn & Dot Kaupke James & Jennifer Kelley Mr. Charles E. Kendall Patricia Kilbury Larry & Rose Kleiman Mr. Doug Klitzke Dr. Elisabeth Krug Mr. & Mrs. George Kyle Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Cindy & Rick Leffler Mr. & Mrs. Allan Litz Ralph & Nancy Lundgren John & Ingrid Mail Jon D. Marhenke, M.D. Linda & Carter Mathews Dr. & Mrs. Ronald Maus Ann & John McGrath Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Jim Miller Mr. & Mrs. Robert E. Miller Mrs. Ina Mohlman Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Elizabeth & William Murphy Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Timothy S. Needler Mr. Carl & Dr. Loui Lord Nelson Tom & Nancy Newlin Mr. & Mrs. John S. Null Jackie Nytes Mrs. Martha O’Connor Bill & Jamie Parrish Allen H. Pekar Mr. Lee & Mrs. Patricia Perkinson Beverley & Bill Pitts Lois Pless Sue & David Powers Christine & Ken Price Scott & Susan Putney Patricia L. Ragan Mark & Susan Ridlen Mr. & Mrs. Randall Riggs Mr. & Mrs. Byron Robinson Gordon & Patsy Roe Parker & Sarah Ross Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. and Mrs. John F. Schaefer Jerry & Rosie Semler Armen and Marie-Claude Shanafelt Michael & Priscilla Shaw Randall & Amy Shepard Mr. & Mrs. Jeff Smithburn Mr. & Mrs. Larry Speer Rita & Larry Steinberg Ed & Barbara Steward Richard & Lois Surber R. H. Temple Jerry & Linda Toomer
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Stephen L. Tracy Dr. James & Linda Trippi John & Kathy Vahle Joe & Diane Vande Bosche Scott & Sue Webber Courtenay & Emily Weldon Emily A. West Mrs. Phyllis West Mrs. Mary Whalin Mrs. Lucy Wick Dr Christian Wolf and Ms Elaine Holden-Wolf Ken & Wendy Yerkes Josephine Yu Batt Family Foundation Conrad Indianapolis Endowment Development Services Gracia E. Johnson Foundation The Jenn Foundation Mallor Grodner LLP Marni McKinney Foundation McKinney Family Foundation NTN Driveshaft Paul Family Foundation, Inc. The Penrod Society The Toomer Family Foundation Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (9) Kate & Dan Appel Mr. Wilbur L. Appel, Jr. Mr. Gregory & Mrs. Kimberly Arnott Mr. & Mrs. Bradford H. Arthur Mr. & Mrs. John S. Ayre Ms. Cindy Bailey Mrs. Taylor L. Baker Terry & Patricia Balko Meaghan Banks Clay & Karen Barnes Dean Barnhard Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Eric & Elaine Bedel Dr. & Mrs. Steven C. Beering Mr. & Mrs. Henry B. Blackwell Rev. James R. Bonke Mrs. Jeanne Book Erv & Priscilla Boschmann Mr. & Mrs. R. Robert Brafford Christine & Robert Broughton Terri Bruksch Mrs. Alva Buchholtz Randall & Ann Burgess Lorene M. Burkhart Celeste & Derrick Burks Helen Burnett Donald W. Buttrey Ms. Katharine Carr Mr. & Mrs. E. M. Cavalier Ray and Lisa Childers Dan & Laura Conder Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis Mr. Douglas B. Day Dr. & Mrs. Frank Deane
Diantha V. DeGraw Mr. & Mrs. Joseph E. DeGroff Casey Chell & Daniel Duarte Constance C. Earle Dr. Carmel Egan & Mr. Gerard Carthy Mr. & Mrs. Thomas J. Eggers Ms. Linda A. Erickson David & Julie Eskenazi Sherry Faris Dr. & Mrs. Harvey Feigenbaum Linda Felton David & Ann Frick Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. James F. Gallagher Mr. & Mrs. Raymond Gibson Marianne Glick Mr. Jonathan Gottlieb & Valerie Omicioli Thomas & Nancy Grembowicz Mrs. C. Perry Griffith Peter Grossman and Pauline Spiegel Jerry & Kathleen Hacker Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Velda Hamman Mr. & Mrs. Eugene E. Henn Mike & Noel Heymann Mrs. Sue Hirschman C. Jane Hodge Mrs. Ginny Hodowal Mrs. Jill Hoyle Ms. Lysiane Huber Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson David L. Johnson & Anne Nobles Mr. & Mrs. Richard Johnson Ty A. Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. Jerald W. King Richard & Roxanne Kovacs Barry Kroot Terrence & Jodi Kunstek Mr. Eric Everett Leiter Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Mr. & Mrs. John D. Long Lowell & Penelope Lumley Carey Lykins Mr. Kevin Malley & Mr. Ronal Nobles Mike & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Dr. & Mrs. Douglas R. Maxwell Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Dorothy J. McIver Alan & Ann McKenzie Mr. & Mrs. James Miller Dr. Bruce & Mrs. Stefany Mitlak
Lucina B. Moxley Dr. and Mrs. Patrick J. Murphy Ann & Jim Murtlow Carolyn and Blake Lee Neubauer Mr. & Mrs. David L. Nickels Paul Nordby Lara Noren Thomas & Stacy O’Leary Michael & Lorelee Palmetier Mrs. Karen L. Parrish Sally & Jay Peacock Linda Pence Jim and Ray Luther-Pfeil Gayle L. Phillips Larry & Nancy Pugh Roger & Anna Radue Jo & Chris Rathbun Barb and Tom Reed Bob & Carol Reynolds, Barnes & Thornburg Mrs. Mary L. Rice Jean & Lamar Richcreek The Riggs Family William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Bill & Gail Rodecker Mr. Gilva F. Sallee Dr. & Mrs. Gary R. Sampson Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Roger & Barbara Schmenner Paul & Martha Schmidt David & Kitty Sedgley Jonathon & Donna Sedgwick John Seest Carson & Carla Shadowen Mr. & Mrs. Henry E. Sleeth Mrs. Marian Small Nancy C. & James W. Smith Mr. Peter & Mrs. Chris Smithhisler Christy & Jeffery Soldatis Dennis Sponsel Betty & Alan Stanford Barb Stang T.S. Sun Nela Swinehart & Lonn Bayha Steven & Robin Tames Mr. John Tan Phillip A. Terry Mr. & Mrs. Robert Thomas The Throm Family Douglas L. Tillman Mrs. Clara Trapp Randall Trowbridge & Alice Brown Barbara S. Tully Jim & Leah Turner Lynn C. Tyler Constance Van Valer, M.D. Don & Coleen Walker Dr. Kevin Waltz & Rhonda Fox Waltz Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Charles Warren Nick and Maureen Weber Frank & Sandy Weddle J. Anne Werry L. Alan & Elizabeth Whaley Mr. & Mrs. Frederic Wiese, Jr. Forrest Williamson Mr. & Mrs. Meredith L. Wilson
ANNUAL FUND Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Jim & Karen Wolf Mrs. Edna Woodard Turner & Diann Woodard Mrs. Irene Yacko Diana & Dan Yates Mr. & Mrs. Leslie R. Zimmerman Mary Ann & Gene Zink Sue & John Zinser Anonymous The Ruth E. Stilwell Endowmen Fund, a fund of CICF Blankenship Vocational Services Cavalier Family Foundation Cole Hardwood, Inc. Dayton Foundation The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Gracie Communications Gregory & Appel Insurance The Humke Foundation, Inc. Indiana First Lady’s Charitable Foundation, Inc. Indiana Utility Shareholders Association Milestone Ventures Inc Psi Iota Xi, Iota Tau RSE Realty, Inc Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey SBC Wealth Management Straubinger Flutes
Virtuoso ($750-$999) Anonymous (7) Michael D. Bartley Mark & Ann Bear Mr. & Mrs. Robert Berger Mr. & Mrs. George Boguslawski Mr. & Mrs. Fred Boso Kevin M. Clements Mr. James & Mrs. June Conine Terry & Debbie Cottingham Daryl, Sherry & Kevin Cox Patrick and Jennifer Cross Norman Dean Jessica R. Di Santo Jack & Connie Douglas Judith Erickson Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dr. Matt Gardlik Ms. Dorothy Gitlin Drs. Jean & Gerald Godfrey Mr. Ray E. Gotshall & Ms. Lillian K. Fox John & Mary Ann Grogan Ms. Lauren Guidotti Mr. & Mrs. Alan Hamilton Mr. & Mrs. Chris Hanley Mr. & Mrs. Thomas G. Harvey, Jr. Stephen & Susan Henson Mr. Ronald N. Hermeling Abigail W. Hohmann Jack & Ruth Hoover Larry & Marianne Jacobi Catherine Jones Mr. William A. & Mrs. Elizabeth M. Kerr Dr. & Mrs. Jerry L. Kight
Robert & Cindy Kirkpatrick Dr. Yukiko Kitagawa Steve & Sharon Klusman Col. A. D. Kneessy Howard & Sarah Knight Mr. Richard & Mrs. Gwen Knipstein Mr. & Mrs. Tim Konrad Ms. Katherine Kovac Mr. Robbie Kusz Dennis & Karen Licht Mr. & Mrs. Donald R. MacPherson Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Dennis & Anne McCafferty Mr. & Mrs. Ralph McCormick Earl Miller & Ek-Leng Chua-Miller Lawren Mills Mr. Bill Moreau Dr. Kathy Moreira Graham Denby Morey Ms. Brittany Nehman David & Diane Nesbitt Dr. Donald and Mary Jean Orander Dr. John A. & Cinda Overman Muriel Patterson Anne K. Perry & Marvin C. Perry, II Marian Pettengill John Mainella & Michael Pettry Janeann Pitz Scott A. Reef Diane Richardson Ms. Judy Schaefer Saundra & Tuck Schulhof Dr. & Mrs. William Segar Dr. & Mrs. Robert K. Silbert Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland
Ms. Sarah Studzinski Claudia V. Swhier Mrs. Maggie Tatter Ms. Sheree Toney Mrs. T. Marilyn Trout Paul & Gretchen Watson Mr. & Mrs. Clark Williamson Miss Gretchen Wolfram Larry E. Wollert II & Arif Kocabas Dr. & Mrs. Steve Young Contributed Goods and Services ($5,000 and Above) Carol & Ken Bandy Blue & Co, LLC Buckingham Foundation Inc. Conrad Indianapolis Enflora Flowers for Business Lynch, Incorporated mitsch design NUVO Newsweekly Printing Partners Well Done Marketing WTTS
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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 January 1, 2016 - February 16, 2016.
Honor Gifts In Honor of Yvonne Shaheen F. Timothy and Nancy Nagler Memorial Gifts In Memory of Paul Haugan Henry A. Ryan
In Memory of George Rhodes Don and Carolyn Hardman
In Memory of Joan Burgett Mr. & Mrs. Ralph McCormick South Group Board, ISOA
YOUR TICKET TO INDY’S MOST
DYNAMIC
ARTS ORGANIZATION! SPONSORED BY:
MEMBERSHIP IS ONLY $39! For more information, contact Danielle Dennis at
[email protected] or visit www.IndianapolisSymphony.org/ support/get-involved/forte
GET CONNECTED, SUPPORT THE SYMPHONY, MIX ‘N’ MINGLE, REAP THE REWARDS!
WHY I GIVE
The Clowes Fund is a family foundation that seeks to enhance the common good by encouraging organizations and projects that help to build a just and equitable society, create opportunities for initiative, foster creativity and the growth of knowledge, and promote appreciation of the natural environment. The Clowes Fund pursues these goals by awarding grants in the arts, education, and social services, with a special interest in supporting projects that strengthen the communities in which Clowes family members and the foundation’s directors live and work. Estherre Wohlenhaus serves as Program Assistant at The Clowes Fund, supporting the grantmaking process through a variety of administrative and knowledge management duties. In her spare time, you might find this accomplished equestrienne immersed in outdoor activities, volunteering with a refugee resettlement group, engaging in some sort of adventure ranging from a symphony concert to boxing classes, or simply spending time with friends and family (she claims title as stand up paddle board champ at the annual Wohlenhaus family reunion). “The Clowes Fund (the Fund) is pleased to support The Indianapolis Symphony Orchestra not only on the merits of the Metropolitan Youth Orchestra (MYO) program, but also as a Legacy Grant that honors our shared history. The Fund’s founder Dr. George H.A. Clowes served on the ISO board during its infancy. As president, he was an ardent fundraiser for the cause. As reported in the recently published biography, The Doc and the Duchess: The Life and Legacy of George H. A. Clowes, in 1945 he wrote, “We shall pull the orchestra through this year and next, but only at very great cost and sacrifice on the part of those who are really interested in keeping it alive.” MYO aligns with the Fund’s current interests in social justice and equity, in this case, music education for low income urban students and their families. MYO is intentional about caring for the whole student. From engaging parents as active participants in the learning process, to mentorship and college readiness components, MYO’s vision sees far beyond music education. MYO gives students the opportunity to gain the skills and confidence to move forward into economic stability. Personally, visiting MYO’s Saturday music class and attending performances, it has been a real joy to see the shared learning between students and their parents, as well as the skilled, enthusiastic and encouraging instruction that ISO musicians, MYO staff and other music instructors offer each student. Thank you, ISO and MYO, for your great work in fostering the development of Indianapolis’ young musicians and for investing in their futures!” Estherre Wohlenhaus Program Assistant The Clowes Fund, Inc.
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CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact the Director of Development at 317.262.1880.
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Anticipation Abounds! L E T U S E N T E R TA I N YO U
Unwind and Dine at the Stunning Home and Gardens of Landscape Architect Ron Tisdale Gourmet Dinner • Music by Tim Wright
Save the Date AUGUST 7, 2016 I N D I A N A P O L I S SYM P H O N Y O R C H E S T R A A S S O C I AT I O N
Bring friends to support the ISO’s education programs! One of the most delightful things about a garden is the anticipation it provides.
• W.E. Johns •
ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager
MARKETING & COMMUNICATIONS Sarah Ross, Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Marci Taylor, Graphic Designer
Orchestra Operations K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant
Communications Leila Viera, Publications Manager Lauren King, Digital Communications Specialist Marianne Williams Tobias, Program Book Annotator
Operations and Facilities Joanne Bennett, Director of Operations
Patron Services David Storms, Box Office Manager Andrew Lay Senior Customer Care Representative Anita Blackwell Mary Ferguson Crystal Black Nick Neukom Erika Fowler Janine Knuutila Customer Care Representatives
Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration Zack French, Director, Artistic Planning Gregg Gleasner, Artistic Advisor Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Pops & Presentations Coordinator DEVELOPMENT Holly C. Johnson, Vice President Megan Meyer, Executive Assistant to the Vice President Casey Chell, Director of Development Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and Foundation Giving Melissa Weseli, Associate Director of Corporate Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Danielle Dennis, Corporate Relations Manager Sally Meyer, Foundation and Grants Manager Cindy McHone, Gift Processing Manager Brian Oakley, Individual Giving Manager Caily Wolma Lee, Individual Giving Associate
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LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Linda Noble, Associate Director, Education Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Education Program Coordinator FINANCE Steve L. Hamilton, Vice President Adam White, Controller Candi Berry, Staff Accountant Teaka Vest, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist
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 First Mondays at the ISO. For information, please email firstmondays@IndianapolisSymphony. org.
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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CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES 317.843.5678 ✦ WWW.OFGLTD.COM/ISO
