2015-2016 SEASON SEPTEMBER | OCTOBER

HILBERT CIRCLE THEATRE

Krzysztof Urbański, Music Director | Jack Everly, Principal Pops Conductor

Beethoven’s “Emperor” with Emanuel Ax Broadway Divas Beethoven’s Missa solemnis Jinjoo Cho plays Tchaikovsky Back to the Future: Film + Orchestra Kenny Rogers with the ISO Mahler Symphony No. 4

VOLUME 1 Find your PLACE Play bocce ball, attend a lively concerto or relax with friends over lunch in our Fireside Grille. It’s all up to you. With worry-free advantages such as not-for-profit ownership, a local board of directors, and CCAC accreditation, Marquette truly is the place to be.

To learn more, call, visit our website or stop by our community. Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads8140 that Township don’t bleed Line Rd. to be | Indianapolis, at least 0.25” IN 46260from edge. phone (317) 875-9700 | www.marque eseniorliving.org

2 698887

698887

698887

phone (317) 875-9700 | www.marque eseniorliving.org

phone (317) 875-9700 | www.marque eseniorliving.org 8140 Township Line Rd. | Indianapolis, IN 46260

8140 Township Line Rd. | Indianapolis, IN 46260

To learn more, call, visit our website or stop by our community.

To learn more, call, visit our website or stop by our community.

accreditation, Marquette truly is the place to be.

accreditation, Marquette truly is the place to be. such as not-for-profit ownership, a local board of directors, and CCAC

such as not-for-profit ownership, a local board of directors, and CCAC

in our Fireside Grille. It’s all up to you. With worry-free advantages

in our Fireside Grille. It’s all up to you. With worry-free advantages

Play bocce ball, attend a lively concerto or relax with friends over lunch

Play bocce ball, attendPLACE a lively concerto or relax with friends over lunch PLACE

Find your

Find your ECISIONS MADE LIVE AND IN PERSON.

261-9000 Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge.

D©2015 The National Bank of Indianapolis www.nbofi.com Member FDIC 3 THE PROGRAM BOOK 2015-2016 Hilbert Circle Theatre Programs Artists 17 September 18-19, 2015 9 Indianapolis Symphony Orchestra 24 October 2-3, 2015 18 Krzysztof Urbański 31 October 9-10, 2015 19 Emanuel Ax 39 October 15, 2015 26 Jack Everly 41 October 16, 2015 27 Christina Bianco 51 October 21, 2015 27 Mandy Gonzalez 55 October 23-24, 2015 28 N’Kenge 60 October 29-31, 2015 28 Kristen Plumley 32 Hans Graf Featured Articles 33 Indianapolis Symphonic Choir 12 New Faces to the ISO 42 Michael Francis 15 ISO Musicians Around Town 43 Jinjoo Cho 68 Arts in Indy 53 Alan Silvestri 57 Kenny Rogers Departments 62 Alexander Shelley 11 ISO Profile 63 Malin Christensson 89 Hilbert Circle Theatre Information The Indianapolis Symphony Orchestra Support 9 Musicians of the ISO 72 Endowment 10 Board of Directors 78 Lynn Society 87 Indianapolis Symphony Orchestra 81 Annual Fund Association 84 Why I Give 88 Administration 85 Tribute Gifts 86 Corporate Sponsors

4 WELCOME

Ladies and Gentlemen, It is with great pleasure that I welcome you to a new season of extraordinary performances with the Indianapolis Symphony Orchestra. This next season is very special for me as a conductor. For three weeks this winter, we are presenting a music festival that touches on two subjects that I love most: science and music. The “Out of this World: Cosmos Music Festival” will present great classical masterpieces about space – Holst’s The Planets and the music from the award-winning film, 2001: A Space Odyssey – and within space, as we are performing works by Mozart, Beethoven and Stravinsky which are currently travelling through space in a time capsule on the Voyager spacecraft! I hope you will join us for this out-of-this-world musical celebration. I’m also excited to transform the Hilbert Circle Theatre into an opera house for a semi-staged version of one of the most renowned operas of all time – Georges Bizet’s Carmen. I conducted this masterwork last spring with the Trondheim Symphony Orchestra, and I knew then that I must bring Carmen to life in Indianapolis. We’ve already named our Carmen – mezzo-soprano and Met Opera star Oksana Volkova – and will be announcing more cast members in the coming months. Please get your tickets now for this once-in-a-lifetime event at the close of our season, June 10 and 12. Finally, I would like to welcome these talented musicians to our musical family: Principal Cello Austin Huntington, Assistant Concertmaster Peter Vickery, Assistant Principal Clarinet/Bass Clarinet Samuel Rothstein, bassoonist Michael Muszynski and Associate Conductor Vince Lee. My wife Joanna and I thank you for being with us and for supporting the Indianapolis Symphony Orchestra.

Krzysztof Urbański ISO Music Director

Dear friends, I reiterate Krzysztof’s sentiment above, as there is much to celebrate in our 86th season. Our Lilly Classical Series is filled with incredible music and renowned soloists; with Principal Pops Conductor Jack Everly, our Printing Partners Pops Series is sure to delight with headliners such as Christina Bianco, Kenny Rogers and Pink Martini; Stella Artois Happy Hour at the Symphony is back with our artists-in-residence, Time for Three; and the 30th anniversary of IPL Yuletide Celebration will be a special treat with Sandi Patty at the helm (tickets on sale Sept. 21!). What’s even more special this year is the 20th anniversary celebration of our youth and family development program, the Metropolitan Youth Orchestra. Founded by Betty Perry in 1995, the MYO has a rich history of preparing students for higher education, helping them navigate life’s challenges, and engaging the entire family through music. We all know music has the power to transform lives, and we see that result every year as 100 percent of our graduating MYO seniors go on to secondary education. Please join us in celebrating the Metropolitan Youth Orchestra’s achievements with a special concert on April 10 at the Hilbert Circle Theatre! Thank you for your patronage and support of the Indianapolis Symphony Orchestra.

Gary Ginstling Chief Executive Officer 5 sweet Honey in tHe roCk • oct. 9, 2015@7:30PM Judson Green & eiGHtH eleMent • nov. 5, 2015@7:30PM School of Music indiAnAPolis syMPHony orCHestrA • Feb. 21, 2016@3PM dAnÚ, trAditionAl irisH BAnd • Mar. 10, 2016@7:30PM

“[Sweet Honey in the Rock] is the gold standard.... Their voices are all fabulous, and they unite to create a sound so pure and smooth and homogeneous that it does not seem humanly possible.”—Fort Worth Star-Telegram 2015-16 Green Guest Artist ConCerts Green Center for the PerforminG Arts • www.dePAuw.edu/musiC/tiCkets • 765.658.4380

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lakecitybank.com 8 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 Contrabass Trumpet Zachary De Pue, Concertmaster Ju-Fang Liu, Principal The W. Brooks and Wanda Y. Fortune Chair The Ford-West Chair Robert Goodlett II, Assistant Marvin C. Perry II, Acting Principal/ Alexander Kerr, Principal Guest Principal Assistant Principal Concertmaster Nami Akamatsu Robert Wood Philip Palermo, Associate L. Bennett Crantford Concertmaster Gregory Dugan Trombone Peter Vickery, Assistant Peter Hansen James Beckel, Principal Concertmaster Brian Smith K. Blake Schlabach, Assistant Principal The Meditch Chair Dean Franke, Assistant Flute Bass Trombone Concertmaster Karen Evans Moratz, Principal Jared Rodin, Acting Bass Trombone The Wilcox Chair The Sidney and Kathy Taurel Chair The Dr. and Mrs. Charles E. Test Chair Barbara Fisher Agresti Robin Peller Jennifer Greenlee Rebecca Price Arrensen, Assistant Tuba Sherry Hong Principal Anthony Kniffen, Principal Michelle Kang Vladimir Krakovich Piccolo Timpani Charles Morey Rebecca Price Arrensen Jack Brennan, Principal The Janet F. and Dr. Richard E. Barb The Thomas N. Akins Chair Second Violin Chair Craig A. Hetrick, Assistant Principal Konstantin Umansky, Principal David Bartolowits, Oboe Percussion Associate Principal Jennifer Christen, Principal Braham Dembar, Principal Mary Anne Dell’Aquila, The Frank C. Springer Jr. Chair Craig A. Hetrick Assistant Principal Sharon Possick-Lange The Taurel Chair Roger Roe, Assistant Principal Harp The Dick Dennis Fifth Chair* Diane Evans, Principal Louise Alexander English Horn The Walter Myers Jr. Chair Patrick Dalton-Holmes Roger Roe Victoria Griswold The Ann Hampton Hunt Chair Keyboard Hua Jin The Women’s Committee Chair Jayna Park Clarinet Endowed in honor of Dorothy Munger Barbara Radomski David A. Bellman, Principal Lisa Scott The Robert H. Mohlman Chair Personnel Oleg Zukin Samuel Rothstein, Assistant Principal K. Blake Schlabach, Manager Cathryn Gross L. Bennett Crantford, Assistant Viola The Huffington Chair Manager The Schlegel Chair Mike Chen, Acting Principal/ Bass Clarinet Library Associate Principal Samuel Rothstein James Norman, Principal Librarian Beverly Scott, Assistant Principal Laura Cones, Assistant Principal Nancy Agres Bassoon Librarian Amy Kniffen John Wetherill, Principal Susan Grymonpré, Assistant Librarian Terry E. Langdon Michael Muszynski, Second Eva Lieberman Bassoon Stage Stephanie Tong Mark Ortwein, Assistant Principal Quentin L. Quinn, Manager Kenneth Bandy, Technician Cello Contrabassoon P. Alan Alford, Technician Austin Huntington, Principal Mark Ortwein Steven A. Martin, Technician The Manterfield Chair Perry Scott, Associate Principal Horn Chair Anonymously Endowed Robert Danforth, Principal Sarah Boyer The Robert L. Mann and Family Ingrid Fischer-Bellman Chair The Randall L. Tobias Chair Richard Graef, Assistant Principal Mark Maryanovsky Julie Beckel Yager Anne Duthie McCafferty Jerry Montgomery The Dr. and Mrs. Robert L. Rudesill Chair The Bakken Family Chair Sé-Doo Park Jill Boaz Jian-Wen Tong

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. 9 BOARD OF DIRECTORS

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

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

Vincent Caponi, Chair Board of Directors Don Altemeyer Ann Hampton Hunt Alice K. Schloss Sherry Amlung Phil Kenney Natalie Schneider Hon. Alex M. Azar II David Kleiman Yvonne H. Shaheen* Deborah Ware Balogh Martha D. Lamkin* Christopher Slapak Charlene Barnette* Sarah Lechleiter J. Albert Smith Jr. Michael Becher* Greg Loewen MaryAnn Sullivan Barry J. Bentley* Morrie Maurer Marianne Williams Tobias Christina Bodurow, Ph.D.* Bruce McCaw Pete Ward John A. Bratt Karen H. Mersereau Nick Weber Bryan Brenner* Peter A. Morse Jr. David Wilcox Vincent Caponi* Gerald L. Moss Ralph V. Wilhelm* Trent Cowles Jackie Nytes James C. Zink Sr. Andrea Cranfill* Michael P. O’Neil Jennifer Zinn Gary Ginstling* Holly M. Pantzer *Executive Committee Heather Hall Kay Pashos Peter Howard, Ph.D. Zeb Portanova

Board of Trustees John M. Mutz, Chair Kay Koch Fred E. Schlegel Mayor Gregory A. Ballard Gordon E. Mallett, Ph.D. Martha Anne Varnes Sen. Dan Coats Robert B. McNamara Dr. Charles H. Webb Jr. Stephen E. DeVoe Charles O’Drobinak Richard D. Wood Carolyn S. Hardman Henry C. Ryder

The Annual Meeting of the Indiana Symphony Society, Inc. will be held on Monday, December 7, 2015 at 4 p.m. In the Hilbert Circle Theatre.

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

10 ISO PROFILE

Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before – inside and outside the concert hall.

A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three).

The ISO’s home – the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc.

Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue begins his ninth season with the ISO and alongside his trio, Time for Three, leads the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through the beloved Classical Christmas concert in December.

The ISO in 2015-2016 In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms, Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax, Dejan Lazic and Garrick Ohlsson. Maestro Urbanski also presents a three-week festival, “Out of this World,” with musical themes inspired by space and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini. Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs presented in the communities of Hendricks County and Greater Greenwood. Upcoming special events include the 30th anniversary of IPL Yuletide Celebration and the 20th anniversary celebration of the ISO’s youth and family development program, the Metropolitan Youth Orchestra. 11 NEW FACES TO THE ISO

Austin Huntington, Principal Cello Principal Cello Austin Huntington is in his final year as a Bachelor of Music student at The Colburn School Conservatory of Music in Los Angeles, CA, where he studies with Ronald Leonard. He made his solo orchestral debut at the age of 10 and is the recipient of numerous grand and first prize awards, including the 2013 Aspen Music Festival Low Strings Competition, 2012 MUSICAAS International String Competition, 2012 Irving M. Klein International String Competition and the 2011 Stulberg Austin Huntington International String Competition. Austin is currently the Principal Cello Principal Cellist of the Colburn Orchestra and has served as the Principal of the Chicago Youth Symphony Orchestra, Encore Chamber Orchestra and the South Bend Symphony. He has made numerous guest appearances with orchestras across the country.

Austin won the Indianapolis Symphony Orchestra’s Michael Ben & Illene Komisarow Maurer Young Musicians Contest five years ago and made his solo debut with the ISO on June 10, 2010, under the direction of Music Director Krzysztof Urbański. He plays on a Venetian cello made in 1725 by Carlo Tononi. The instrument is on generous loan from the Colburn Foundation.

Peter Vickery earned a Bachelor of Music in violin performance at the Indiana University Jacobs School of Music in 2010. He recently served with the Milwaukee Symphony Orchestra and previously held leadership positions with the Terre Haute Symphony and the IU Jacob School’s university and chamber orchestras. He has toured with other notable IU alumni for chamber music collaborations, including Joshua Bell and Alexander Kerr (ISO Principal Guest Concertmaster). He also served as an orchestral fellow at the Aspen Music Peter Vickery Festival in 2009 alongside Kerr, Gil Shaham, Adele Anthony Assistant Concertmaster and Nicholas McGegan.

Assistant Principal Clarinet Samuel Rothstein received his Bachelor of Music degree in music performance from Northwestern University in March of 2012, studying clarinet and bass clarinet with J. Lawrie Bloom and clarinet with Steve Cohen. Prior to joining the ISO, Samuel was a member of the Richmond (VA) Symphony and the Civic Orchestra of Chicago. He has performed with the Milwaukee, Virginia, New World and Illinois Symphony Orchestras as well as the Fort Wayne Philharmonic. Additionally, he played clarinet with Samuel Rothstein the national touring company of Les Misérables for 10 months Assistant Principal Clarinet/ in 2010-2011 and continues to perform in various Broadway Bass Clarinet Chicago productions. Summer festival appearances include 12 NEW FACES TO THE ISO

the National Repertory Orchestra, Spoleto Festival USA, and the Tanglewood Music Center. After two summers as a fellow at Tanglewood, Samuel was invited to return in 2015 as a member of the New Fromm Players, focusing on the study and performance of contemporary music.

Second Bassoon Michael Muszynski recently served as Principal Bassoon for the Atlanta Opera Orchestra, Atlanta Ballet Orchestra, Symphony Orchestra Augusta (GA) and the South Carolina Philharmonic. He served as Second Bassoon in the Columbus (GA) Symphony Orchestra and the Greenville (SC) Symphony Orchestra. Michael has performed in the Atlanta Symphony Orchestra, the Charleston Symphony Orchestra and in a variety of chamber music ensembles. He earned both a Master of Music and Bachelor of Music in Michael Muszynski Bassoon Performance from Northwestern University. Second Bassoon

Since 2012, Vince Lee has served on the conducting staff of the Philadelphia Orchestra and as the conductor of the AZLO Orchestra (NYC). In 2013, he joined the Union City Orchestra (NJ) as its Music Director. From 2008-2011, Lee served as the assistant conductor of the Cincinnati Symphony Orchestra and the Cincinnati May Festival. In 2007, he made his Carnegie Hall debut with the New York Youth Symphony. As a guest conductor, he has appeared with numerous ensembles including the Toledo Symphony, Opera Theatre of St. Louis, Vince Lee the Aspen Music Festival and the Cincinnati Ballet. As a Associate Conductor champion of modern compositions, he has premiered more than 200 works to date.

Lee earned his Master of Music in Orchestral Conducting from the Jacobs School of Music at Indiana University. During his time at IU, he premiered more than 50 works by student performers, conducted 17 orchestral concerts, and served as assistant conductor for the IU New Music Ensemble, Opera Theater and Ballet. Lee earned his Diploma in Orchestral Conducting at The Juilliard School, under the direction of James DePriest. At Juilliard, he was appointed Musical Director for the MAP orchestra (a Juilliard faculty position) and served as Principal Pianist for the Juilliard Orchestras for three years. Lee will make his ISO debut on Oct. 25, the first concert within the symFUNy Sundays series.

13 INDIANAPOLIS SYMPHONY ORCHESTRA

A HALLOWEEN MASQUERADE BENEFITING THE INDIANAPOLIS SYMPHONY ORCHESTRA’S EDUCATION PROGRAMS

FRIDAY, OCTOBER 30, 2015 7PM

HILBERT CIRCLE THEATRE, 45 MONUMENT CIRCLE, INDIANAPOLIS, IN

ATTIRE: MASQUERADE CHIC TICKETS - $75 FOR A LIMITED TIME

Your ticket includes free drinks, food samples, entertainment from some of Indy’s best DJs and much more!

PRESENTED BY:

IN PARTNERSHIP WITH: MEDIA SPONSOR:

THE ISO’S YOUNG PROFESSIONALS GROUP ENTERTAINMENT PROVIDED BY:

MUST BE 21+ TO ATTEND. ISO MUSICIANS WILL PLAY THROUGHOUT THE EVENING. THE FULL ORCHESTRA DOES NOT PERFORM AT THIS EVENT. 14 FOR MORE INFO AND TICKETS, VISIT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300 ISO MUSICIANS AROUND TOWN

The Starlight Symphony Orchestra, of Wimberley, TX, will perform James Beckel’s (Principal Trombonist) piece “Liberty for All” on October 10 and October 11, 2015 with Dr. David Oertel conducting.

St. Paul’s Music Presents ICARUS “A Jazz Concert” at St. Paul’s Episcopal Church, 6050 N. Meridian Street on Sunday February 7th, 2016 at 4PM. Admission is free and open to the public. The Icarus Ensemble is made up of ISO Musicians Dean Franke, violin, Peter Hansen, bass, and Mark Ortwein, winds, along with regular ISO extras Jon Crabiel, percussion, and Gary Walters, piano. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original compositions. Their debut CD is available on I-Tunes, CD Baby, in the Hilbert Circle Theatre lobby, and from band members.

Fall arts highlights at UIndy

Faculty Artist Concert Series Gala Opening Concert with Maestro Raymond Leppard, Sept. 21, 7:30 p.m.

Theatre Production King Lear, Oct. 23–31

Christel DeHaan Fine Arts Center Gallery The Face of War: Combat Art of T. L. Harby. Nov. 9–Dec. 11; Reception: 4–6 p.m., Nov. 10

Jazz Artist Series: Vocalist Rachel Caswell, October 14, 7:30 p.m.

UIndy, just 10 minutes from downtown, presents more than 100 arts events a year; most are free Raymond Leppard, UIndy Artist-in-Residence to the public and many are family-friendly. and Conductor Laureate, Indianapolis Symphony Orchestra. See Maestro Leppard Full arts calendar at at our Gala Opening Concert. arts.uindy.edu/iso | 317-788-3251

15 It begins with a promise.

The Lilly family set a precedent for community service in our company’s earliest days, rushing medicines to victims of natural disasters and founding the local Rotary Club. Today, we continue to find creative ways to share our strength with the world around us. During our Global Day of Service, the people of Lilly join forces with civic organizations and local charities to give back to our communities, making them stronger and more vibrant places to live. This work is central to who we are, a part of our living heritage and our enduring promise to make life better for people around the world.

To find out more about our promise, visit www.lilly.com/about. CA30093 05/14 PRINTED IN USA ©2015, Eli Lilly and Company. ALL RIGHTS RESERVED.

16 BEETHOVEN’S “EMPEROR” WITH EMANUEL AX SEPTDATE 18, 19

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Lilly Classical Series/Program One Friday, September 18, 2015, at 8 p.m. Saturday, September 19, 2015, at 5:30 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor EMANUEL AX, Piano

Ludwig van Beethoven Concerto No. 5 in E-Flat Major for Piano and Orchestra, (1770-1827) Op. 73 (“Emperor”) Allegro Adagio un poco moto Rondo: Allegro, ma non troppo Emanuel Ax, Piano

INTERMISSION – Twenty Minutes

Wolfgang Amadeus Mozart Symphony No. 40 in G Minor, K. 550 (1756-1791) Molto allegro Andante Menuetto: Allegretto Finale: Allegro assai

The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening concerts are endowed by the Florence Goodrich Dunn Fund.

Premier Sponsor Associate Sponsor

Length of performance is approximately one hour and thirty minutes. Recording or photographing any part of this performance is strictly prohibited. 17 SEPT 18, 19 KRZYSZTOF URBAŃSKI, Conductor

Provence with Thomas Hampson. He also continues as Principal Guest Conductor of the Tokyo Symphony Orchestra. Following a hugely successful debut with the Münchner Philharmoniker in July 2015, when he conducted Carmina Burana before a capacity crowd of 8,000, Urbański returns to the orchestra in 2015/16 for Lutosławski’s Concerto for Orchestra. His 2014-15 season culminated with him receiving the prestigious Leonard Bernstein Award when he returned to “That he is no mere flashy wunderkind of the conduct the Schleswig-Holstein Akademie at baton was shown by the freshly invigorated the Schleswig-Holstein Festival. Notably, he is playing he drew from the CSO …his keen the first conductor to have ever received the musical instincts and vigorous way of award. translating his ideas into orchestral sound that has both shape and meaning” (Chicago In 2015-16 Urbański will conduct the Danish Tribune), Krzysztof Urbański enters the fifth National Symphony Orchestra, Orchestre season of his highly acclaimed tenure as Philharmonique de Radio France and the Music Director of the Indianapolis Symphony Tonhalle-Orchester Zürich. Other recent Orchestra. debuts include Berliner Philharmoniker and Oslo Philharmonic Orchestra. Engagements As Chief Conductor and Artistic Leader of further ahead include Netherlands Radio Trondheim Symphony Orchestra, highlights of Orchestra, returning to the London Symphony his five years with the orchestra include two Orchestra, Philharmonia Orchestra and Wiener tours (first with concerts in Germany, Austria Symphoniker for annual Beethoven Symphony and Poland and second at the International No. 9 New Year’s concerts. Chopin Music Festival), and a fully staged production of Carmen as his first foray into In North America, Urbański debuts with opera, which this season he conducts with the The San Francisco Symphony and The Indianapolis Symphony Orchestra. Cleveland Orchestra as well as returning to the Toronto Symphony Orchestra, Los Angeles In September 2015, Urbański formally Philharmonic and Washington’s National becomes Principal Guest Conductor of NDR Symphony Orchestra. Other recent U.S. debuts Sinfonieorchester Hamburg and this season he have included the New York Philharmonic, takes them to the Beethoven Easter Festival in Chicago Symphony and Pittsburgh Symphony Warsaw, Wroclaw, Katowice and Aix-en- orchestras.

18 EMANUEL AX, Piano SEPT 18, 19

Boston will culminate in Carnegie Hall as part of the hall’s 125th anniversary celebrations in May.

A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo- Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Mr. Ax has received Grammy® Born in Lvov, Poland, Emanuel Ax moved to Awards for the second and third volumes of Winnipeg, Canada, with his family when he his cycle of Haydn’s piano sonatas. He has also was a young boy. His studies at the Juilliard made a series of Grammy-winning recordings School were supported by the sponsorship of with cellist Yo-Yo Ma of the Beethoven and the Epstein Scholarship Program of the Boys Brahms sonatas for cello and piano. His other Clubs of America, and he subsequently won recordings include the concertos of Liszt and the Young Concert Artists Award. Additionally, Schoenberg, three solo Brahms albums, an he attended Columbia University where he album of tangos by Astor Piazzolla, and the majored in French. Mr. Ax captured public premiere recording of John Adams’ Century attention in 1974 when he won the first Arthur Rolls with The Cleveland Orchestra for Rubinstein International Piano Competition in Nonesuch. In the 2004/05 season Mr. Ax also Tel Aviv. In 1975 he won the Michaels Award of contributed to an International Emmy® Award- Young Concert Artists followed four years later winning BBC documentary commemorating by the coveted Avery Fisher Prize. the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In Three prominent duo collaborations will 2013, Mr. Ax’s recording Variations received the be carried through Mr. Ax’s current season. Echo Klassik Award for Solo Recording of the Beginning with the release of sonatas by Fauré Year (19th century music)/Piano. and Strauss on the Deutsche Grammophon label, Mr. Ax will partner with long-time friend In recent years, Mr. Ax has turned his attention and colleague Itzhak Perlman for concerts in toward the music of 20th-century composers, Kansas City, Ravinia, Dallas, Washington, Los premiering works by John Adams, Christopher Angeles, San Francisco, Santa Barbara and La Rouse, Krzysztof Penderecki, Bright Sheng, Jolla in the first half of the season. A return and Melinda Wagner. Mr. Ax is also devoted visit to Japan will be followed by concerts in to chamber music, and has worked regularly Paris, Berlin, Rome, Tel Aviv and Amsterdam. with such artists as Young Uck Kim, Cho-Liang As an annual guest with the New York Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Philharmonic he will play Brahms with Alan Laredo, and the late Isaac Stern. Gilbert in addition to return visits to orchestras in Houston, Chicago, and Pittsburgh as well Mr. Ax resides in New York City with his wife, as duos in Philadelphia and New York with pianist Yoko Nozaki. They have two children violinist Pamela Frank in a program of Mozart together, Joseph and Sarah. He is a Fellow of sonatas. Long-standing partner Yo-Yo Ma will the American Academy of Arts and Sciences join him in Norfolk, VA, Washington, DC and and holds honorary doctorates of music from Carnegie Hall where they will program all the Yale and Columbia Universities. For more Beethoven sonatas for cello and piano. Solo information about Mr. Ax’s career, please visit recitals in Tokyo, Arizona, Florida, Texas and www.EmanuelAx.com.

19 SEPT 18, 19 NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Concerto No. 5 in E-Flat Major for piano and Beethoven worked orchestra, Op. 73, “Emperor” on his fifth and final Ludwig Van Beethoven Piano Concerto in E Born December 16, 1770 in Bon, Germany flat. (A sixth piano Died March 26, 1827 in Vienna, Austria concerto was partially completed and On May 12, 1809 Napoleon’s army scored in 1815, but successfully occupied Vienna, part of a nothing ever came succession of victories which would not of it.) Amazingly, the composer completed end until 1812 in the disastrous invasion of the majority of Opus 73 by December. For Russia, and the final defeat at Waterloo in Beethoven, the outer world was but a part 1815. By this time, Beethoven had entirely of his existence: a greater reality was the lost faith in the ideals he once had attributed discipline of his writing. “Nulla dies sine linea” to Napoleon (seen in the dedication to he stated (“No day without a line of music”). Napoleon of his Third Symphony, which he He did exactly that, faithful to his art and his later erased in a fit of rage) and re-dedicated commitment. “to celebrate the memory a great man… ” It was a massive creation, “music of sweeping In 1809 Beethoven was furiously witnessing imperious grandeur, unknown to any the enormous successes of a tyrannical man concerto written up to 1812, and beside who had crowned himself emperor in 1804, which the dignity of emperors or archdukes and even worse, had declared that his family loses all consequence.” It was the culmination would succeed him in perpetuity. Gone was of Beethoven’s “heroic decade,” 1802-1809. the hero of the French Revolution, and in its “The Fifth Piano Concerto marks both a place was a frightening military genius who summit and termination.” (John N. Burk) was busy conquering Europe in a succession of conflicts known as the Napoleonic Wars. The concerto premiered in Leipzig on Thanks to general conscription, the French November 28, 1811, and in Vienna, February army was a powerhouse. Conquering Vienna 12, 1812. The origin of the sobriquet is not was part of his grand, ambitious plan. verified. Legend has it that at the concert, Vienna was no match for his cunning or his a French army officer shouted “C’est determination. l’empereur!” (It is the emperor!) or perhaps was attached by Johann Baptist Cramer, the Sensing the city’s demise, the Viennese English publisher of the concerto. It is the nobility had fled the city by the time only piano concerto which Beethoven did not Napoleon arrived, off to their country castles introduce himself. perhaps, but Beethoven elected to remain in his brother’s basement (or that of the Opus 73 begins with three huge orchestral poet, Castelli) covering his ears to deafen chords, each separated by pianistic flourishes explosions and cannons in his neighborhood. from the soloist. Immediately afterwards, the On July 26, he wrote to his publisher, orchestra follows with a sweeping theme, Gottfried Christoph Hartel in Leipzig, “The followed by several subsidiary subjects. course of events has attacked me, body and Strings sing the first main theme quietly soul… What a destructive, disorderly life I see and are answered immediately by horns. and hear around me…nothing but drums, The pianist soon answers, leading us into cannons, and human misery in every form.” a rhapsodic world, moving steadily toward It was within this chaotic, brutal matrix that the second main idea. A dramatic, complex 20 NOTES SEPT 18, 19 development follows with both forces taking in its statements (fantissimo), separated equal part, thus fusing both performing by imaginative, jolly episodes. One of the elements. The recapitulation is traditional most interesting moments is the duet for with major themes being re-stated almost piano and timpani just before the close. without change. At the point where one Throughout, the music never loses its would anticipate a cadenza, Beethoven impetuous, headlong nature, surging to a wrote, “Do not play a cadenza, but attack massive closure, marked by soaring piano immediately the following.” The pianist does scale passages and orchestral flourishes. exactly that, initiating an episode, which introduces a stunning coda. Symphony No. 40 in G Minor, K. 550 Wolfgang Amadeus Mozart The relatively small second movement Born January 27, 1756 in Salzburg, Austria opens with a slow moving, hymn-like Died December 5, 1791 in Vienna, Austria melody presented by muted violins. After a small pause, the soloist responds with a Mozart wrote only two symphonies in a complementary, intimate theme in slow minor key, one in 1773 and the other in triplets followed by graceful variations. 1788. Both are dramatic; both are written The two forces converse slowly, always in G minor, a key the composer used for relaxed, and at ease. A small crescendo tragedy and angst; both forecasted things adds momentary dynamic color: and yet to come: the first in the future work of a an extraordinary section ensues with young composer, the second as harbinger an exquisite long trill from the soloist, of future musical compositions derived from underscored with syncopated chords which emerging Romanticism. Richard Wagner yields seamlessly into a poised, decorated called K. 550 “pivotal to the romantic world.” recap of the opening melody. Beethoven This symphony was written within the urged that the movement not be taken too remarkable period between June 28 and slowly, “un poco piu mosso” and assigning August 10 wherein he composed his last two large beats per measure rather than three symphonies: 39, 40, and 41. four, giving a pulse which has momentum. Cramer’s first published edition noted, “This K. 550 has always attracted attention and must not drag.” comment. Mozart’s biographer Neal Zaslaw remarked, “No symphony of Mozart’s, At the close, listen for a soft bassoon passage, not even the ‘Jupiter’, has aroused so which slides into a single sustained tone. much comment as this one.” The eminent This tone (B) drops a semitone (to B-flat), musicologist, Charles Rosen, added more establishing a new possibility for modulation: clarification to the symphony’s prominence the piano whispers (pianissimo) a new tune saying, “In all of Mozart’s supreme in two measures, offering a hint of what expressions of suffering and terror, there is is to come, but in no way forecasting the something shockingly voluptuous. Nor does astonishing character change of the last this detract from its power or effectiveness: movement. the grief and the sensuality strengthen each other and end by becoming indivisible, From quiet tranquility, Beethoven soars into indistinguishable one from the other. In his a movement of high rhythmic propulsion corruption of sentimental values, Mozart and ebullient linear sweeps. The little is a subversive artist. ” We are not used to melody heard at the outset becomes the Mozart’s confessional side, and when it basis for an enormous rondo in 6/8 meter. emerges, we are fascinated by the potency That aforementioned, tiny hint is now of his personal stress, feelings, and their fully highly energized, leaping upward in revelation. In this regard, Otto Jahn, Mozart’s powerful syncopated rhythms, roaring ahead 19th century biographer commented that 21 SEPT 18, 19 NOTES it was “a work of pain and grieving.” Noted Mozart’s heavy minuet continues in dark for its intensity, high chromatic nature and emotions. In traditional classical style, third turbulence, Symphony No. 40 nonetheless movement minuets usually provide courtly or remained corseted in classical decorum and perhaps light escape from other movements. structure. In this case, however, Mozart sustains prevailing tension. A strutting heavily Agitation is immediately expressed in the accented theme opens the movement. opening of the first movement. At this time, Unaccustomed brusqueness controls the the composer’s personal life was difficult mood, unraveling this dance from its royal, at best. The family moved to a cheaper elegant ancestors. The trio, placed in the residence (per a letter to his patron Michael sunny G major tonality, offers a lyrical release Puchberg) and Mozart begged Puchberg but tranquility is momentary. G minor for more money and support. Maynard returns and asserts its potency and heavy Solomon noted that Mozart was depressed atmosphere in the da capo (repeat of the first not only with his financial woes but also section.) in the failing success of his career. He was not performing publicly, his popularity was The finale has a violent, explosive personality. waning, and that income stream dried up. A bouncing triadic theme, outlining a simple Even though Emperor Joseph II appointed chord opens the fourth movement. Rushing him as “chamber composer” to the court in motifs from violins interrupts its orderly 1787, 800 florins was not enough. nature, and soon the orchestra adds to the ferment. A second theme arises from In the first movement, Mozart foregoes his violins and winds, offering lyric contrast, customary slow introduction, and opts for but is quickly overcome by a turbulent something else: plunging directly into the development. Mozart’s polyphonic textures body proper of the symphony. A restless first and complex writing twist and turn the theme is whispered first by violins and then theme back on itself in coiling, convulsive iterated with power and insistence by the full patterns. A quick pause gives us a breath orchestra. before the recapitulation ensues. Symphony No. 40 closes as it began: with stress and Its incessant rhythmic pattern, filled with agitation, controlled only through the gasping spaces, adds urgency to the music. tight grip of classical architecture. It would A flowing lyrical second theme in B flat major remain for future composers to shatter provides contrasting fluency from divided that architecture with more explosive, strings and woodwinds. The development combustible content. focuses on the unforgettable, breathless first theme, and Mozart shows off unusual daring Although K. 550 was destined to become with harmonic digressions, orchestral power, one of Mozart’s most dramatic and loved and fugal counterpoint. symphonies, some historians question if it was ever performed during his lifetime. An Andante second movement offers a Speculation would seem to answer yes, somber, almost fragile melody featuring but the records are not clear. There are two repeated notes sung by the violas. Second versions of this work: one with clarinets (the violins, and then the neighboring first violins, second) and the first without. The former will join imitatively at successively higher pitches. be performed this weekend. Winds cool the atmosphere with delicate coloration in their turn. A steady pulsating rhythm is constant.

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23 OCT 2 BROADWAY DIVAS

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

The Stratford Coffee Pops Series/Program One Friday, October 2, 2015, at 11 a.m. Hilbert Circle Theatre

JACK EVERLY, Conductor MANDY GONZALEZ, Vocalist N’KENGE, Vocalist CHRISTINA BIANCO, Vocalist KRISTEN PLUMLEY, Vocalist Various Broadway Divas Prelude Arr. Jack Everly Lerner & Lowe “I Could Have Danced All Night” from My Fair Lady Arr. Philip Lang Schönberg & Boublil/Kretzmer “I Dreamed a Dream” from Les Miserables Arr. Bob Krogstad Styne & Sondheim Overture to Gypsy Arr. Robert Ginzler Styne & Comden & Green/ Schwartz ”Neverland / Defying Gravity” from Peter Pan and Wicked Arr. Fred Barton Kern & Hammerstein “Can’t Help Lovin’ That Man” from Showboat Arr. Krogstad Krieger & Eyen “And I am Telling you I’m not Going” from Dreamgirls Arr. Wayne Barker Brown & Brent “Love is Where you Find It” from The Kissing Bandit Arr. Michael K. Runyan Bernstein & Sondheim “A Boy Like That / I Have a Love” from West Side Story Arr. Irwin Kostal Herman “If He Walked Into My Life” from Mame Arr. Wayne Barker Lopez & Lopez “Let It Go” from Frozen Adapted by Ted Ricketts

Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Length of performance is approximately one hour and three minutes. There is no intermission. 24 BROADWAY DIVAS OCT 2, 3

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Printing Partners Pops Series/Program One Friday, October 2, 2015, at 8 p.m. - Hilbert Circle Theatre Saturday, October 3, 2015, at 8 p.m. - Hilbert Circle Theatre

JACK EVERLY, Conductor MANDY GONZALEZ, Vocalist N’KENGE, Vocalist CHRISTINA BIANCO, Vocalist KRISTEN PLUMLEY, Vocalist Various Broadway Divas Prelude Arr. Jack Everly Lerner & Lowe “I Could Have Danced All Night” from My Fair Lady Arr. Philip Lang Schönberg & Boublil/Kretzmer “I Dreamed a Dream” from Les Miserables Arr. Bob Krogstad Gershwin & Gershwin “Summertime” from Porgy and Bess Arr. Robert Russell Bennett Kander & Ebb Suite from Chicago Arr. Michael Gibson Styne & Comden & Green/ Schwartz ”Neverland / Defying Gravity” from Peter Pan and Wicked Arr. Fred Barton

Kern & Hammerstein “Can’t Help Lovin’ That Man” from Showboat Arr. Krogstad INTERMISSION – Twenty Minutes Styne & Sondheim Overture to Gypsy Arr. Robert Ginzler Krieger & Eyen “And I am Telling you I’m not Going” from Dreamgirls Arr. Wayne Barker Brown & Brent “Love is Where you Find It” from The Kissing Bandit Arr. Michael K. Runyan Bernstein & Sondheim “A Boy Like That / I Have a Love” from West Side Story Arr. Irwin Kostal Kander & Ebb Come to the Cabaret Arr. Krogstad & Barton Herman “If He Walked Into My Life” from Mame Arr. Barker Lopez & Lopez “Let It Go” from Frozen Adapted by Ted Ricketts

Premiere Sponsor btlaw.com Length of performance is approximately one hour and thirty-nine minutes. Recording or photographing any part of this performance is strictly prohibited. 25 OCT 2, 3 JACK EVERLY, Conductor

Jack Everly is recordings include In The Presence, featuring Principal Pops the Czech Philharmonic and Daniel Rodriguez, Conductor of Sandi Patty’s Broadway Stories, the soundtrack the Indianapolis to Disney’s The Hunchback of Notre Dame and and Baltimore Everything’s Coming Up Roses: The Complete Symphony Overtures Of Jule Styne. Orchestras, Naples Originally appointed by Mikhail Baryshnikov, Philharmonic Everly was conductor of the American Orchestra and Ballet Theatre for 14 years, where he served the National as Music Director. In addition to his ABT Arts Centre tenure, he teamed with Marvin Hamlisch Orchestra on Broadway shows that Hamlisch scored. He (Ottawa). He conducted Carol Channing hundreds of times has conducted the Los Angeles Philharmonic in Hello, Dolly! in two separate Broadway at the Hollywood Bowl, The New York Pops productions. at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music In 1998, Jack Everly created the Symphonic Center. Maestro Everly will conduct over Pops Consortium, serving as Music Director. 90 performances in more than 20 North The Consortium, based in Indianapolis, American cities this season. produces new theatrical pops programs, including the most recent, On Broadway with As Music Director of the National Memorial Kander & Ebb. In the past 13 years, more than Day Concert and A Capitol Fourth on PBS, 265 performances of SPC programs have Maestro Everly proudly leads the National taken place across the U.S. and Canada. Symphony Orchestra in these patriotic celebrations on the National Mall. These Maestro Everly, a graduate of the Jacobs concerts attract hundreds of thousands School of Music at Indiana University, is of attendees on the lawn. The broadcasts a recipient of the 2015 Indiana Historical reach millions of viewers and are some of Society Living Legends Award and holds an the very highest-rated programming on PBS Honorary Doctorate of Arts from Franklin television. College in his home state of Indiana. He is a proud resident of the Indianapolis Everly is also the Music Director of IPL Yuletide community for over 14 years and when not Celebration, now a 30-year tradition. He led on the podium you can find Maestro Everly the ISO in its first Pops recording, Yuletide at home with his family, which includes Max, Celebration, Volume One, that included three the wonder dog. of his own orchestrations. Some of his other

26 BROADWAY DIVAS OCT 2, 3

Two-time Drama Desk Mandy Gonzalez Award nominated possesses one of the actress, singer and most powerful and impressionist Christina versatile contemporary Bianco has become a voices of our time. She YouTube sensation with is best known for her her diva impression emotional portrayal of videos. Gaining over 21 Nina Rosario in the Tony million views worldwide, Award-winning Broadway Christina is best known musical In the Heights, a for her renditions of “Total role she originally created Eclipse of the Heart” and Off Broadway at 37 Arts “Let It Go”, leading to and which received a performances on major television programs such Drama Desk Award for Best Ensemble. Most as The Ellen Degeneres Show, The Queen Latifah recently, she starred as Elphaba in the Broadway Show and The Today Show. production of Wicked, blowing the roof off of New York’s Gershwin Theatre each night as she Christina made her West End debut starring belted out signature song “Defying Gravity” in The Menier Chocolate Factory’s hailed and for which she was rewarded with a production of Forbidden Broadway at the Broadway.com Award for Best Replacement. Vaudeville Theatre in London. In New York, Other Broadway roles include Princess Amneris Christina recently starred Off-Broadway in the in the Elton John and Tim Rice musical Aida and one-woman, multi-character comedy, Application the Broadway show Lennon where she portrayed Pending (Drama Desk Award Nomination). Other multiple roles including that of Beatles’ icon John New York credits include Newsical the Musical, Lennon. Mandy made her Broadway debut in Forbidden Broadway, Goes To Rehab (Drama Desk Jim Steinman’s Dance of the Vampires starring Award Nomination), Raffi On Broadway at the opposite Michael Crawford. Gershwin Theatre, Tony and Tina’s Wedding (Tina) and It Must Be Him. Christina originated the role Mandy received an OBIE Award and of Dora in the long-running National Tour of overwhelming critical praise for her performance Dora The Explorer Live, including a sold-out run at in the Off-Broadway production of Eli’s Comin’, Radio City Music Hall. directed by Diane Paulus and based on the music and lyrics of singer-songwriter Laura Nyro. As a cabaret artist, Christina performed weekly in an unprecedented eight-month run of 11 O’Clock Equally at home on the big and small screen, Numbers at Feinstein’s at Loew’s Regency. She she has appeared in Across the Universe directed has performed her critically acclaimed solo by Julie Taymor, After starring opposite Pablo shows, Diva Moments and Party Of One, to sold Schreiber and Man on a Ledge with Sam out crowds at NYC’s Birdland and regionally Worthington. Television viewers had the across the U.S. Abroad, Christina has sold out pleasure of seeing Mandy guest starring in White extended runs headlining at London’s famed Collar, The Good Wife, 666 Park Avenue, One Life to Hippodrome and Royal Albert Hall’s prestigious Live and Third Watch. Elgar Room. Christina also performs her shows on various international cruise ships. Many can be heard as the voice of Mei in Disney’s Mulan 2, on recordings of the original Broadway Christina frequently performs as a soloist with cast album of In the Heights, Kerrigan-Lowdermilk various symphony orchestras throughout the Live and The Man Who Would Be King. US and Canada. Christina recently played the recurring role of Bianca on the POP TV sitcom She performs concerts in prestigious venues Impress Me, produced by SoulPancake. This fall, across the U.S. and around the world and has she’ll appear as Mindy in the Hallmark original started working on her first solo album with movie series, ’Signed, Sealed, Delivered.’ plans for a 2015 release. www.ChristinaBianco.com

27 OCT 2, 3 BROADWAY DIVAS

New York Post calls Connecticut native N’Kenge “Electrifying” Kristen Plumley has in the role of Mary Wells performed with many that she originated in opera companies Broadway’s Smash Hit throughout the country, Motown: The Musical. including New York N’Kenge made her City Opera (Barbarina Broadway debut in in Le Nozze di Figaro), Sondheim on Sondheim Virginia Opera (Norina alongside Barbara Cook, in Don Pasquale and Vanessa Williams, Norm Zerlina in Don Giovanni), Lewis and Tom Wopat Chautauqua Opera which was directed by (Sophie in Werther), Pulitzer Prize-winner James Lapine. In London, Lyric Opera of Cleveland (Despina in Così fan N’Kenge made her West End debut starring in Tutte), Amarillo Opera (Musetta in La Bohème), The Genius of Ray Charles. She was hailed by NY Greensboro Opera (Adina in L’Elisir d’Amore Times as “a classically trained diva that can stretch and Gilda in Rigoletto), Opera Festival of New from Broadway, Pop Soul to Opera”. N’Kenge Jersey (Nannetta in Falstaff and Amor in Orfeo starred in the Michael Jackson Tribute Show ed Euridice, Boheme Opera (NJ) (Adele in Die World Tour and has also been seen as a soloist at Fledermaus), L’Opéra Français de New York Carnegie Hall with The New York Pops Orchestra, (the Sultan of Egypt in Glück’s Les Pelerins de Baltimore Symphony, Cincinnati Symphony, la Mecque), Opera Memphis (Yum-Yum in The Indianapolis Symphony and Cleveland Orchestra Mikado) and Nevada Opera (Josephine in H.M.S. to name a few. Pinafore). On the concert stage Kristen has performed a broad spectrum of works, including This 2015-2016 Season N’Kenge will be seen Mozart’s Coronation Mass and Haydn’s Mass as The Witch in Big Fish and Matron “Mama” in Time of War at Carnegie Hall, Mozart’s Mass Morton in Chicago with Alpine Music Project in C minor, Elgar’s For the Fallen, Bach’s Coffee Theater and has been cast as Queen Ti in Cantata, and Respighi’s Laud to the Nativity, Broadway bound Akhenaten: The Musical and Basically Bernstein with Opera Tampa, and An Tanya in the Broadway-bound musical 54: The Evening of Gilbert and Sullivan with the symphony Musical. In addition, N’Kenge will be seen as orchestras of St. Louis, Richmond, Memphis and a soloist with numerous symphonies across Minnesota. Her favorite concert is An Evening the US. Nominated for Outstanding Lead of Sci-Fi Favorites (music from science fiction Actress by Helen Hayes Awards in DC for her movies and television shows, hosted by George performance in 3 Mo’Divas , N’Kenge had the Takei and conducted by Maestro Jack Everly), honor to perform for President Obama at the which she has performed with the Cleveland, Commander-in-Chief’s Inaugural Ball. For more Indianapolis, Seattle, Baltimore, Edmonton news and concert/tour dates, visit N’Kenge at and Ottawa Symphonies, among others. In www.nkengemusic.com. N’Kenge will meet & 2011 Kristen performed in the North American greet patrons and sign merchandise after today’s premiere of Handel’s first opera, Almira, with concert. operamission in New York. She lives in northern New Jersey with her husband and their nine- year-old twins. Please visit Kristen’s website, www.kristenplumley.com.

28 INDIANAPOLIS SYMPHONY ORCHESTRA

WITH THE ISO

TUESDAY, NOVEMBER 24, 7:30PM Hilbert Circle Theatre Kick off the holidays early with Emmy and Tony Award-winning singer and actress, Kristin Chenoweth, making her debut with the ISO! From her critically acclaimed performances on Broadway in Wicked and You’re a Good Man, Charlie Brown to numerous television credits including Pushing Daisies, Glee, and The Good Wife, Kristin has won the hearts of millions of fans. Don’t miss this one-night-only special event at the Hilbert Circle Theatre! TICKETS ON SALE MONDAY, SEPTEMBER 21 AT 10AM.

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30 BEETHOVEN’S MISSA SOLEMNIS OCT 9, 10

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Lilly Classical Series/Program Two Friday, October 9, 2015, at 8 p.m. Saturday, October 10, 2015, at 7 p.m. Hilbert Circle Theatre

HANS GRAF, Conductor CYNDIA SIEDEN, Soprano JULIE BOULIANNE, Mezzo-soprano COLIN BALZER, Tenor NATHAN BERG, Bass-Baritone INDIANAPOLIS SYMPHONIC CHOIR ERIC STARK, Artistic Director

Ludwig van Beethoven Missa solemnis in D Major, Op. 123 (1770-1827) Kyrie Gloria Credo Sanctus Agnus Dei

The Performance of Classical Music including Major Liturgical and Choral Music is endowed in memory of Elmer Andrew and Marquerite Maas Steffen by E. Andrew Steffen

Premier Sponsor Associate Sponsor

Length of performance is approximately one hour and thirty minutes. Recording or photographing any part of this performance is strictly prohibited. There is no intermission. 31 OCT 9, 10 HANS GRAF, Conductor

Known for his wide the St. Petersburg Philharmonic, Deutsches range of repertoire and Symphony Orchestra Berlin, Bavarian Radio creative programming, Orchestra, Rotterdam Philharmonic, Budapest the distinguished Festival Orchestra, Dresden Philharmonic, Austrian conductor Hans Danish Radio Symphony Orchestra and the Graf is one of today’s Netherlands Radio Philharmonic among most highly respected others. He is also a regular guest with the musicians. Sydney Symphony and the Hong Kong, Malaysia and Seoul Philharmonics. Appointed Music Director of the Houston Symphony in 2001, In October 2010, Mr. Graf led the Houston Mr. Graf concluded his tenure in May 2013 and Symphony on a tour of the UK, which included is the longest-serving Music Director in the performances in Birmingham, Edinburgh, orchestra’s history. Prior to his appointment Leeds, Manchester and two performances at in Houston, he was the Music Director of the Barbican in London. And in June 2012, the Calgary Philharmonic for eight seasons the Houston Symphony, led by Mr. Graf, was and held the same post with the Orchestre the first major American orchestra to appear National Bordeaux Aquitaine for six years. He at the Festival of World Symphony Orchestras also led the Salzburg Mozarteum Orchestra in Moscow, presenting two programs, which from 1984 to 1994. included Bruckner 9, the Russian premiere of John Adams’ Doctor Atomic Symphony, and Hans Graf is a frequent guest with all of the first performance in Russia by an American the major North American orchestras. His orchestra of Shostakovich Symphony No. 11. recent and upcoming guest engagements include appearances with the Cleveland and During the summer of 2013, Mr. Graf returned Philadelphia Orchestras, the New York and to the Salzburg Festival for three different Los Angeles Philharmonics, the Boston, San performances, including conducting a Francisco, St. Louis, Cincinnati, Detroit, Dallas, new work by Austrian composer Gerhard Baltimore, Indianapolis, Milwaukee, Colorado, Wimberger with the Mozarteum Orchestra Utah and National symphonies and the St. and leading an unusual, multi-media TV Paul Chamber Orchestra among others. Mr. production of Mozart’s The Abduction From Graf made his Carnegie Hall debut with the the Seraglio with the Camerata Salzburg. He Houston Symphony in January 2006 and has also participated in other such prestigious returned to Carnegie leading the Orchestra of European festivals as the Maggio Musicale St. Luke’s in March 2007. He and the Houston Fiorentino, Bregenz and Aix en Provence. His Symphony were re-invited to appear at U.S. festival appearances include Tanglewood, Carnegie Hall in January 2010, at which time Blossom Music Festival, Aspen Music Festival, they presented the New York premiere of Bravo! Vail Valley Music Festival and the Grant The Planets – An HD Odyssey, featuring the Park Music Festival in downtown Chicago. orchestra playing Holst’s famous work, The Planets, accompanied by exclusive high- An experienced opera conductor, Mr. Graf first definition images from NASA’s exploration of conducted the Vienna State Opera in 1981 the solar system. Mr. Graf and the Houston and has since led productions in the opera Symphony returned to Carnegie Hall again in houses of Berlin, Munich, Paris and Rome May 2012 to participate in Carnegie’s Spring among others. His extensive opera repertoire for Music festival with an all-Shostakovich includes several world premieres. Recent program. opera engagements include Parsifal at the Zurich Opera, Boris Godunov at the Opera In Europe, Mr. Graf has conducted the Vienna National du Rhin in Strasbourg, and two rarely and London Philharmonics, Vienna Symphony, produced operas by Strauss and Korngold at Royal Concertgebouw Orchestra and the famed Volksoper Vienna. Leipzig Gewandhaus Orchestra as well as 32 INDIANAPOLIS SYMPHONIC CHOIR OCT 9, 10

Soprano Deborah Anderson Suzie Dodds Jessica Johnson *Mary Jo Moss Olesya Savinkova Pamela Walters Shallen Atkinds Jacqueline Eastman *Patricia K. Johnson Laura Nagle Carol Love Selby *Faedra Weiss Marilyn Baumgardt Cassie Garcia Debbie Jones Shari Norris Stephanie Shaw Suellen Williams Alyssa Beck Diane Hall Quay Kester Diana Pannell Crystal Sheward Judith Ann Wilson Victoria Bedwell Danielle Hartman Kendra Kirby Erin Quandt Anna Pranger Sleppy Mary Jo Wright Emily Bertram Anna Hassler Justine Koontz Julie Query *Deborah Smith Laura Brueckmann Mary Lou Hayden Kennedy Luton Joanna Luisi Reinhardt Kayla Smith Emily Christine Carson *Ann Hill Christina Merriott *Micci Richardson Valerie Stevens Michelle Cohen Karen Jacobs Rebecca Mickelson Lauren Richmond Kathy Tackitt *Cindy Colter *Kathy Jensen Kelly Miller *Ingrid Rockstrom Coleen Walker

Alto Faith Alexander *Kathy Dean Janet Hock Rose Massela Katherine Sinclair Dixie L. Williams *Carole S. Arthur Kimberly DiCamilla Laura Howie-Walters Phyllis McCormack Margaret Strodtbeck Terran Williams Reba Baker Jodi L. Drake Kristin Ingersoll *Rose M. Mullen Gwen Swart *Anita Willis *Janice Bilby Holly Erickson Jan Kennicutt Yvonne Nichols *Carol Gossett Thorne Sandy Winter Suzanna Blahna *Ann M. Gerritsen Susan Kniola Kathy Martin-O’Neil Dana L. Voigt Emily Zoss Katherine Bolinger Dana Goot Katherine T. Julie L. Paavola Valerie Voigt Kara Bougher Jane E. Gosling Landschulz Becky Peterson *Renee Wargel Melissa Brown *Mary Gosling Claudia J. MacRae *Judy Roudebush Elaine Weiss Ann Carlson Molly Harris Lisa Marchal *Marie Schaekel Lydia Wells Ali Darley Katie L. Hilton Jaclyn Martin Sydney Schafer Donna K. White Tenor *Brad Arthur Terion Cooper *Loran Hill Eric Oehler David Michael Larry Stout Christopher Borm Michael Davis** R. Zachary Karanovich Ian Oehler Schuster Gregg A. Sweeney Christopher Brush Jeremy Allen Elkins Alexander Lalov Richard Perry Nate Shadday James R. Toombs Robert C. Campbell Michael Ervin Donald Mains, Jr. Grant Pfifer Lucas Shafer Tommy Lee Wells John Champley Alex Garcia Tom Nichols Daniel Rains Craig Allen Slaughter Barrie Zimmerman Chen Chen Gary Griffith Cameron Oehler Roland Schaffer Karl E. Snider

Bass Joshua Ashbaugh Daniel Dixon *Tim Hoover Bennett C. Laguzza David Nolan Charles Schafer *Gary Asher *Franklin R. Doug Johnson *Jon E. Lewis *Bill Paraskevas Dennis Tackitt Jeffrey Bick Drumwright Philip E. Johnston Mark Lund Gregory Pennington *Richard Thorne Jeffrey Bower Nate Foley Ian Justiniano *Rodney Martin Angel Robertsson- Tom Woo Wes Colter Charles Gardner Lee Kingery Bob Massie Soper K. Allen Davis *Dennis Hardin Nicholas Kohne Greg McGowan *David Rose Brett Deery *R.P. Hogan, III Timothy S. Kroeker David A. Mumper David Rosenfield

David Duncan, Keyboard Artist

*Denotes a Steffen Singer. The Steffen Singers, named in honor of the Symphonic Choir’s founding conductor Elmer Steffen, are persons who have dedicated 20+ years of their life to the Indianapolis Symphonic Choir as singing members. The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and dynamic musical institutions and 2015/2016 marks its 79th season. Among the most active symphonic choruses in the nation, this organization reaches in excess of 25,000 persons each season with more than 25 performances and a comprehensive educational/outreach program. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each forty-two-week season. The organization is led by a professional staff and governed by a volunteer Board of Directors. The Symphonic Choir is the choral partner of the Indianapolis Symphony Orchestra, having been founded in 1937 at the Orchestra’s request to perform the great choral/orchestral repertoire. Michael Pettry Eric Stark Executive Director Artistic Director Over the years, this partnership has remained at the very core of the Choir’s existence and exhibits the very best of collaborative ideals – two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. In addition to collaborative performances with the ISO, the Symphonic Choir presents its own performances, educational initiatives and events each season. 2015-2016 marks the 14th season under the artistic direction of Dr. Eric Stark. Upcoming Indianapolis Symphonic Choir performances include December’s Festival of Carols, performed at the Scottish Rite Cathedral and The Palladium at the Center for the Performing Arts, as well as Bach’s St. John Passion at the Christel DeHaan Fine Arts Center. For more information about the Indianapolis Symphonic Choir visit indychoir.org or follow us on Facebook and Twitter. 33 OCT 9, 10 NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Missa solemnis in D Major, Op. 123 his mind, albeit in the Ludwig Van Beethoven background. In 1819, Born December 17, 1770 in Bonn, Germany he put pen to paper Died March 26, 1827 in Vienna, Austria and began to write. In his famous 1820 “My chief aim was to awaken and portrait by Joseph Karl permanently instill spiritual feelings not Stieler commissioned only in the singers but in the listeners.” - by Franz and Antonie Beethoven Brentano, Beethoven holds his pen over the Missa solemnis manuscript. In 1818, Beethoven learned that his friend and patron, Archduke Nicholas Rudolph Nominally a Catholic, Beethoven was well was to become a cardinal of the Church and studied in other religions, but Christianity Archbishop of Olmutz. For the occasion, was predominant in his life. In his diary Beethoven decided to write a Mass and the (Tagebuch) he spoke of God, always installation was scheduled for March 1820. addressing him as Dear Father, and he On June 4, 1819, the composer wrote to him: saw Christ as a fellow sufferer. Opus 123 “The day on which a High Mass composed would be his second mass, having written by me is performed during the ceremonies one in 1807 on commission from Prince solemnized for Your Imperial Highness will be Nicholas Esterhazy. In summary of that work, the most glorious day of my life, and God will Beethoven noted, “I believe I have treated enlighten me so that my poor talents may the text as it has seldom been treated.” In contribute to the glorification of that solemn a snippy reply, the Prince commented:“ My day.” The date was fixed for March 20, 1820. dear Beethoven, what have you done?” The composer missed the deadline by several years. It was not completed until December Musical settings of the Catholic mass 1822. In January 1823 the composer began (Latin: missa) marketing the work for 50 ducats. On April 18, 1824 in St. Petersburg, Russia, Prince The Catholic mass has two basic components: Galitzin underwrote the first performance. the Ordinary and the Proper. The Ordinary Beethoven, had in fact, conducted the Kyrie, refers to five parts, which are included in Credo, and Agnus Dei (identified as “Three every mass: the Kyrie, Gloria, Credo, Sanctus, Grand Hymns with Solo and Chorus Voice” at Agnus Dei (modified in Requiem masses the premier of his Ninth Symphony.) in 1970.) The Proper refers to prayers, communion, and scripture readings and In 1818, Beethoven wrote in his private other elements, which are related to specific Diary, “In order to write true church music, observance such as to the day or the time of go through all the ecclesiastical chants of year and therefore can be somewhat variable. the monks. Also look there for the stanzas in Generally speaking the musical mass uses the the most correct translations along with the Ordinary. most perfect prosody of all Christian-Catholic psalms and hymns in general. “ Between 1819 The creation of Missa solemnis and 1823 he worked on the Missa solemnis. Philip Huscher wrote: “It was the composition The struggles that Beethoven endured that demanded more of Beethoven’s time during the writing of his Missa solemnis were and thought than any other at any time in his extreme and seemingly unending. career.” Even though he was producing his Ninth Symphony and his late piano sonatas Included in his preparatory studies were the during this time, the Missa solemnis was on Dodecachordon, a 1547 treatise on church 34 NOTES OCT 9, 10 modes and the Instituzioni armoniche of 1558, is the second section: the music becomes treating of theory, history, speculation, and darker and more serious. The final section, criticism. He had the entire mass translated Kyrie eleison repeats the initial beseeching for into German in order to capture the nuance mercy. of every word. Jameson Marvin concluded “Through Beethoven’s comprehension of Gloria: Beethoven expands his enthusiasm modal theory, Renaissance polyphony, for God and praising God in a grand opening Handelian counterpoint, and Haydnesque flourish. The Gloria becomes dramatic, Cantata-Mass form, he molds a new genre in with many changes of tempi and textures. which, in his hands, becomes by far the most Beethoven explained, “No bar is inexpressive.” expressive setting of any mass of the 19th At the end, he repeats the word Gloria twice, century.” which is not in the Catholic text.

Beginning in August of 1819, Anton The Credo is the longest movement. The text Schindler, Beethoven’s personal secretary and is the longest, and he expands his musical first biographer recorded: setting accordingly. He uses ancient modes for the text Et incarnates est de spiritu sancto “It was 4 o’clock in the afternoon. In the ex Maria virgine to lend a old coloring which living room, behind a locked door we heard sounds quite mystical. A solo flute represents the master singing parts of the fugue in the the Holy Spirit above the chorus. In the Credo—singing, howling, stamping. After we Crucifixus section, Beethoven marks the had been listening for a long time to the most suffering of Christ with syncopated rhythms, awful scene, and were about to go away, the and jolting sforzandis (sudden loud and soft door opened and Beethoven stood before us sounds). with distorted features calculated to excite fear. He looked as if he had been in mortal The Sanctus becomes more joyful, even combat with the whole host of contrapuntist, moving into a fast section to mark the his everlasting enemies…His words were energetic praise of God. confused, as if he felt embarrassed at being overheard. Soon he began to speak of the The Benedictus: Beethoven elected to day’s events and said with notable self- combine this in the Sanctus section. The control “What a mess! Everyone has run away, linkage is marked by a beautiful Preludium, and I have not had anything to eat since which includes a stunning violin solo. yesterday noon.” The Agnus Dei (Lamb of God): Herein At the conclusion of that year he wrote, Beethoven selects a minor key (b minor) and “When I think of the events of the year 1819, uses a solemn pace to match the words and I remember his mental excitement and I the pleading: “Oh Lamb of God that taketh must admit that never before and never away the sins of the world, have mercy since that time have I seem him in a similar upon us.” In the last section, he takes more state of removal from the world.” Later, liberties with the mass, using only the phrase Schindler observed, “Every movement as he “dona nobis pacem” (Give us peace,) rather approached it became bigger than he had than the full text, which was traditional imagined.” in the mass. Suddenly, the orchestration radically changes and a military style march Kyrie assai sostenuto “Mit Andacht” (with occurs. Musicologists have often stated that devotion) the composer, at this point, is pleading for outward (political) peace as well as inner This section is written in ABA form. The first peace. begins with the Kyrie eleison. It is sung three times, and answered responsorially by a soloist, representing the priest. Christe eleison

35 OCTTEXT 9, 10 NOTES

MISSA SOLEMNIS, OP. 123 LUDWIG VAN BEETHOVEN (1770–1827) I. Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

II. Gloria Gloria in excelsis Deo. Glory be to God in the highest. Et in terra pax And in earth peace hominibus bonæ voluntatis. to men of good will. Laudamus te; benedicimus te; We praise Thee; we bless Thee; adoramus te; glorificamus te. we worship Thee; we glorify Thee. Gratias agimus tibi We give thanks to Thee propter magnam gloriam tuam. for Thy great glory. Domine Deus, Rex coelestis, O Lord God, Heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite Jesu Christe. O Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father. Qui tollis peccata mundi, Thou that take away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dextram Patris, Thou that sit at the right hand of the Father, O miserere nobis. have mercy upon us. Quoniam tu solus Sanctus, For thou only art holy, tu solus Dominus, thou only art the Lord, tu solus Altissimus, Jesu Christe. thou only art the most high, Jesus Christ. Cum Sancto Spiritu Together with the Holy Ghost in gloria Dei Patris. in the glory of God the Father. Amen. Amen.

III. Credo Credo in unum Deum; I believe in one God; Patrem omnipotentem, the Father almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible. Credo in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, Et ex Patre natum ante omnia sæcula. begotten of the Father before all worlds; Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, true God of true God, Genitum non factum, begotten not made; consubstantialem Patri: being of one substance with the Father, per quem omnia facta sunt. by Whom all things were made. Qui propter nos homines, Who for us men et propter nostram salutem and for our salvation descendit de coelis. descended from heaven; 36 NOTES OCTTEXT 9, 10

Et incarnatus est de Spiritu Sancto and was incarnate by the Holy Ghost, ex Maria Virgine: et homo factus est. of the Virgin Mary, and was made man. Crucifixus etiam pro nobis He was crucified also for us, sub Pontio Pilato, suffered under Pontius Pilate, passus et sepultus est. and was buried. Et resurrexit tertia die And on the third day He rose again secundum Scripturas. according to the Scriptures: Et ascendit in coelum: and ascended into heaven. sedet ad dexteram Patris. He sits at the right hand of the Father; Et iterum venturus est cum gloria, and He shall come again with glory judicare vivos et mortuos: to judge the living and the dead; cujus regni non erit finis. and His kingdom shall have no end. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Dominum, et vivificantem: the Lord and giver of life, qui ex Patre Filioque procedit. Who proceeds from the Father and the Son, Qui cum Patre et Filio simul Who with the Father and the Son together adoratur et conglorificatur: is worshipped and glorified; qui locutus est per Prophetas. who spoke by the Prophets. Credo in unam sanctam And I believe in one holy catholicam et apostolicam Ecclesiam. catholic and apostolic Church. Confiteor unum baptisma, I acknowledge one baptism in remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum And I await the resurrection of the dead et vitam venturi sæculi. and the life of the world to come. Amen. Amen.

IV. Sanctus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Osanna in excelsis. Hosanna in the highest.

Benedictus qui venit Blessed is He that comes in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

V. Agnus Dei Agnus Dei, Lamb of God, qui tollis peccata mundi, Who takes away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei. Lamb of God. Dona nobis pacem. Grant us peace.

37 INDIANAPOLIS SYMPHONY ORCHESTRA

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38 IVCI WINNER JINJOO CHO PLAYS TCHAIKOVSKY OCT 15

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Coffee Classical Series/Program One Thursday, October 15, 2015, at 11:15 a.m. Hilbert Circle Theatre

MICHAEL FRANCIS, Conductor JINJOO CHO, Violin

Piotr Ilyich Tchaikovsky Concerto in D Major for Violin and Orchestra, Op. 35 (1840-1893) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Jinjoo Cho, Violin

Edward Elgar Variations on an Original Theme, Op. 36 (“Enigma”) (1857-1934) Theme (Enigma: Andante) Variation I (L’istesso tempo) ‘C.A.E.’ Variation II (Allegro) ‘H.D.S-P.’ Variation III (Allegretto) ‘R.B.T.’ Variation IV (Allegro di molto) ‘W.M.B.’ Variation V (Moderato) ‘R.P.A.’ Variation VI (Andantino) ‘Ysobel’ Variation VII (Presto) ‘Troyte’ Variation VIII (Allegretto) ‘W.N.’ Variation IX (Adagio) ‘Nimrod’ Variation X (Intermezzo: Allegretto) ‘Dorabella’ Variation XI (Allegro di molto) ‘G.R.S.’ Variation XII (Andante) ‘B.G.N.’ Variation XIII (Romanza: Moderato) ‘ * * * ‘ Variation XIV (Finale: Allegro) ‘E.D.U.’

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40 IVCI WINNER JINJOO CHO PLAYS TCHAIKOVSKY OCT 16

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Lilly Classical Series/Program Three Friday, October 16, 2015, at 8 p.m. Hilbert Circle Theatre

MICHAEL FRANCIS, Conductor JINJOO CHO, Violin

Felix Mendelssohn Calm Sea and Prosperous Voyage, Op. 27 (1809-1847)

Piotr Ilyich Tchaikovsky Concerto in D Major for Violin and Orchestra, Op. 35 (1840-1893) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Jinjoo Cho, Violin

INTERMISSION – Twenty Minutes

Edward Elgar Variations on an Original Theme, Op. 36 (“Enigma”) (1857-1934) Theme (Enigma: Andante) Variation I (L’istesso tempo) ‘C.A.E.’ Variation II (Allegro) ‘H.D.S-P.’ Variation III (Allegretto) ‘R.B.T.’ Variation IV (Allegro di molto) ‘W.M.B.’ Variation V (Moderato) ‘R.P.A.’ Variation VI (Andantino) ‘Ysobel’ Variation VII (Presto) ‘Troyte’ Variation VIII (Allegretto) ‘W.N.’ Variation IX (Adagio) ‘Nimrod’ Variation X (Intermezzo: Allegretto) ‘Dorabella’ Variation XI (Allegro di molto) ‘G.R.S.’ Variation XII (Andante) ‘B.G.N.’ Variation XIII (Romanza: Moderato) ‘ * * * ‘ Variation XIV (Finale: Allegro) ‘E.D.U.’

Premier Sponsor Associate Sponsor

Length of performance is approximately one hour and forty-five minutes. Recording or photographing any part of this performance is strictly prohibited. 41 OCT 16 MICHAEL FRANCIS, Conductor

Michael Francis return engagements with the BBC National has quickly Orchestra of Wales, RTÉ National Symphony established of Ireland, the Dresden Philharmonic, and himself as an the symphonies of Oregon, Cincinnati, international Ottawa, New World, and Pittsburgh. His conductor European engagements have included creating the London Symphony Orchestra, English ongoing Chamber Orchestra, Orchestre de Chambre relationships de Lausanne, Orquesta Sinfónica de RTVE with the Madrid, Helsinki Philharmonic, the Mariinsky world’s leading Orchestra, Orchestre Philharmonique de orchestras. Monte-Carlo, and Stuttgart Radio Symphony. He came to In Asia, Maestro Francis has worked with Japan prominence as Philharmonic, Tokyo Symphony, Hong Kong a conductor in January 2007 when he replaced Philharmonic, and National Taiwan Symphony an indisposed Valery Gergiev for concerts with upcoming returns to the Malaysian and with the London Symphony Orchestra during Seoul philharmonics and a debut with the NHK the BBC Gubaidulina festival at the Barbican Symphony Orchestra in Japan. Centre. Only one month later, Francis was asked, this time with only two hours’ notice, to Michael Francis’ 2010 debut with the San replace the composer/conductor John Adams Francisco Symphony quickly established a in a performance of his own works with the formidable relationship with the orchestra. LSO at the Philharmonie Luxembourg and He has now led twenty-one different classical soon after in January 2009, he replaced André programs and three New Year’s Eve programs Previn leading a German tour of the Stuttgart with the orchestra. Radio Symphony. Soloists that he works with include Lang Lang, Now six seasons later, Michael Francis assumed Arcadi Volodos, Christian Tetzlaff, Anne-Sophie his role as Music Director of the Mainly Mozart Mutter, Vadim Gluzman, Nicola Benedetti, Festival on October 1, 2014, and as Music Baiba Skride, Alisa Weilerstein, Daniel Director for The Florida Orchestra beginning Müller-Schott, Miloš and Rufus Wainwright. in September 2015 while entering his third season as Chief Conductor and Artistic Advisor Michael Francis has recorded several albums, to Sweden’s Norrköping Symphony Orchestra. the most recent of which is the complete Rachmaninoff piano concertos with Valentina He has also debuted with the New York Lisitsa and the London Symphony Orchestra and Royal Philharmonic, the symphonies for Decca Records in 2013. of Houston, Seattle, Milwaukee, Quebec, Vancouver and in 2014/2015 conducted

42 JINJOO CHO, Violin OCT 16

Critically Chamberfest, Kentucky Center for the Performing acclaimed violinist Arts, Seoul Spring Chamber Music Festival, and Jinjoo Cho has Tongyeong International Music Festival. established herself as one of the most Jinjoo launched her current season with a New vibrant, engaging Year’s performance as the Artist in Residence at and charismatic Kumho Art Hall in Seoul, Korea. In 2015, Jinjoo violinists of her will give recitals at Bard College, Chamber Music generation. International in Dallas, and the Mainly Mozart Gold Medalist of Festival in Miami among others. Her upcoming the 2014 Ninth engagements include Carnegie Hall concerto and Quadrennial recital debuts and concerts with the Greensboro, International Violin North Carolina, Indianapolis, Vermont, Santa Competition of Fe and Phoenix symphonies, Grand Junction Indianapolis, Jinjoo Orchestra, and Minas Gerais Symphony in Brazil. made her first appearance on the international Jinjoo’s biggest passion is arts education and music scene when she garnered the First Grand audience engagement. As a result, she is the Prize and Radio Canada’s People’s Choice Award founder of a new chamber music program for at the 2006 Montreal International Musical high school and college students in Hudson, Competition at age 17. Times Argus of Montreal Ohio named the Encore Chamber Music Institute. proclaimed her performance of Shostakovich The institute will have its inaugural season in the Violin Concerto as possessing “an undeniable summer of 2016. Another project of hers on the charisma and depth…with an intense lyricism opposite side of the globe is Classical Revolution and heartfelt tenderness that sent shivers up the Korea, where musicians travel all across Korea to spine.” give free concerts and meet audiences in cafés. Since then, she has won numerous international The programs in 2015 include performances in awards including the First Prize and Orchestra Seoul and Jeju Island. Additionally, she started Award at the Buenos Aires International Violin writing a monthly column in the performing arts Competition in 2010, 2nd Laureate at the 2011 magazine, Auditorium, titled “The Art of Practice” Isang Yun International Music Competition, First in April 2015. Grand Prize at the Alice Schoenfeld International Born in Seoul, Korea, Jinjoo moved to Cleveland, String Competition, and the Dorothy DeLay Ohio at the age of 14 to study at the Cleveland Award at Aspen Music Festival. Institute of Music as a Young Artist Program Jinjoo has concertized throughout North and student. Within a few years of arriving in the South America, Asia, and Europe, performing as United States, she had won most of the local a soloist with such prestigious orchestras as The competitions for both high school and collegiate Cleveland Orchestra, Orchestre symphonique level students, including the Cleveland Orchestra de Montréal, Orchestre symphonique de Youth Orchestra’s concerto competition and Québec, Seoul Philharmonic Orchestra, the Cleveland Institute of Music’s collegiate Orquesta Sinfónica Nacional (Argentina), and the level concerto competition. One of the jurors Louisville Orchestra among many others. She at the Cleveland Orchestra Youth Orchestra has been privileged to perform with renowned competition was the legendary oboist John artists Kent Nagano, Peter Oundjian, Michael Mac, who later became very closely tied to Stern, James Gaffigan, Robert McDuffie, Jaime Jinjoo’s musical development. At age 16, she Laredo, Sharon Robinson, Paul Neubauer, Roger was awarded the Gold Medal at the Stulberg Tapping and Anton Nel. Jinjoo has appeared International String Competition. Furthermore, in international venues and festivals including Jinjoo served as concertmaster of the Cleveland Carnegie Hall, Severance Hall, the Herkulessaal Orchestra Youth Orchestra and later, the New of Munich, Teatro Colón of Buenos Aires, Seoul York String Orchestra Seminar. The New York Arts Center, Aspen Music Festival, Schwetzingen Times described her concertmaster solos as “rich SWR Festipiele, Festival de Lanaudiére, Cleveland and open…finely polished, (and) focused.” 43 OCTOBER 20 - NOVEMBER 15

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45 OCT 16 NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Calm Sea And Prosperous Voyage, Opus 27 bars. The whole stirs Felix Mendelssohn sluggishly from the Born February 3, 1809 in Hamburg, Germany passage with heavy Died November 4, 1847 in Leipzig, Germany tedium. Finally it comes to a halt with Two poems by Goethe, the first titled Calm at thick chords and the Sea and the second titled Prosperous Voyage, Prosperous Voyage sets were the source for three 19th century out. Now all the wind settings: Beethoven’s Opus 112, instruments, the timpani, oboes and flutes (1814-1815) Schubert’s song “Calm Sea” begin and play merrily to the end.” (1815) and Mendelssohn’s Overture Opus 27, (1828, revised in 1834.) Originally, In place of vocal settings, chosen by Schubert Mendelssohn had intended that A and Beethoven, Mendelssohn sets the poems Midsummer Night’s Dream, Calm Sea and into an orchestral seascape. Although he had Prosperous Voyage, and Hebrides be published only seen the sea one time at this point in as a single set with a single opus number, but his life, he wrote a stunning and convincing that later changed. representation of the danger and terror of being becalmed and the celebration of finally The first poem reads: seeing land and the renewal of wind. Silence, deep rules over the waters Calmly slumbering lies the main The music begins piano and adagio: a While sailor views with trouble sustained chord sounds from strings and Nought but one vast level plain winds, with a tiny downward movement in Not a zephyr is in motion! the basses for two measures before violins Silence fearful as the grave! and violas pick up the theme: hymn-like, In the mighty waste of ocean the instruments move together with small Sunk to rest is every wave. (1795) colorations from the flute. The atmosphere is lonely, frightening, and deadly calm. Sailors The second poem reads: faced a certain death if things did not change. There is no panic, only resignation. The mist is fast clearing And radiant is heaven Hope does emerge when a birdcall emerges While Aeolus loosens from the flute; a climbing gesture leads into Our anguish-fraught bond. a general swell of a sustained fortissimo The zephyrs are sighing chord. At this point, we launch into the Alert is the sailor. “prosperous” section marked molto allegro e Quick! Nimbly be plying! vivace. Excitement grows, trumpet fanfares The distance approaches announce the salvation and the orchestra I see land beyond! (1795) races headlong into an unending celebration. Embedded into this section is a small hymn Mendelssohn wrote the following notes: of thanksgiving, momentarily stopping “The introduction I planned in this way: the euphoria. Joy and relief re-enter into That a pitch gently sustained by the strings a lyrical conclusion, with the bird singing for a long while hovers here and there and small interjections in a zestful renewal of life trembles, barely audible, so that in the and a second chance for the living of it. The slowest Adagio, now the basses, now the Overture concludes with a peaceful chord: violins, rest on the same pitch for several and all is well. 46 NOTES OCT 16

Concerto in D Major for violin and orchestra, composer is surely no ordinary talent, Op. 35 but rather an inflated one, obsessed with Piotr Iiyich Tchaikovsky posturing as a man of genius and lacking Born May 7, 1840 in Votkinsk, Russia of all discrimination and taste.” Tchaikovsky Died November 6, 1893 in Saint Petersburg, cut out the review and literally carried the Russia critic’s words in his pocket for several months, becoming very depressed. The concerto’s In early 1878, Tchaikovsky’s patron, Nadezhda future seemed catastrophic. von Meck, gave the composer money to use for an extended holiday. She felt that his Things began to look up when, on December failed marriage in 1877 and suicide attempt 4, 1881, Adolf Brodsky, the second dedicatee, by drowning in the Moscow River warranted premiered the work in Vienna and wrote, “ a trip outside of Russia to recover his spirits. One can play the concerto again and again Taking violinist Joseph Kotek as a companion, and never be bored. And, this (repetition) is a Tchaikovsky set off for Clarens, Switzerland. most important circumstance for conquering The two read through reams of violin its difficulties.” music, including Edouard Lalo’s Symphonie The concerto was revived. espagnole. Lalo’s Symphonie was a seminal force in Tchaikovsky’s decision to write his It is true that the concerto demanded new own violin concerto, which he began on violin techniques, but not impossible ones. In March 17 and completed in only two weeks. this regard the concerto was forward looking, Little did he realize he had created a lightning ranking among those musical works whose rod for criticism. To start it off, Mme. von demands initiated new technical abilities and Meck wrote of her personal displeasure with expertise from the performer. Ultimately, the concerto. “I shall not give up the hope as violinists improved, Tchaikovsky’s work that in time the piece will give you greater has become one of the great showpieces pleasure,” Tchaikovsky responded. in violin repertoire. Its fanciful gypsy-like tunes, colorful Russian orchestration and Its first dedicatee, Leopold Auer, head of pyrotechnics make it a timeless thriller. “I the violin department of the St. Petersburg never compose in the abstract,” Tchaikovsky Conservatory and concertmaster of the explained. “I invent the musical idea and its Imperial Orchestra, refused to play the instrumentation simultaneously.” Concept concerto deeming it “unsuitable to the and instrumentation were one. character of the instrument.” Critic Edouard Hanslick wrote that it was “a rare mixture Years later, Auer regretted his early refusal of originality, crudity, of inspiration and to play the concerto. In the Musical Courier, wretched refinement, with an audible, January 1912, he stated, “I have often odorously Russian stench.” Continuing on deeply regretted (my refusal) and before in the Neue freie Presse, Hanslick’s disgust Tchaikovsky’s death received absolution from gained momentum: “(In the first movement) him. “ vulgarity gains the upper hand. The Adagio is well on the way to reconciling us and A brief introduction from the first violins winning us over when, all too soon, it breaks opens the concerto. After a small crescendo, off to make way for a finale that transports the soloist is launched unobtrusively with a us to the brutal and wretched jollity of a tiny solo and presentation of the main theme, Russian church festival. We see a host of sung above minimal string accompaniment. gross and savage faces, hear crude curses The subject becomes increasingly elaborate, and smell the booze.” Hanslick lobbed gains strength, and the orchestra adds weight grenades at Tchaikovsky as well. “The Russian and coloration. A second theme, marked

47 OCT 16 NOTES con molto espressione, is similar and equally “In this music I have sketched for their beguiling. Such lack of contrast between amusement and mine, the idiosyncrasies of the two main themes is unusual, but the 14 of my friends, not necessarily musicians.” composer’s intent was to write idiomatically Although the composer began with the idea for the violin, not to genuflect to traditional of simply having fun, Opus 36, catapulted formal controls. The development section England back onto the international music savors the main theme before growing into scene after Elgar took his theme and a fiery cadenza. A recapitulation follows elaborated on it in a magnificent set of the soloist’s high-wire performance, but variations for orchestra. England had not then the orchestra takes a bow with its own had any musical prominence for so long that extravaganza in a coda, which asks for no less the music critic of the Manchester Guardian, than four accelerations of tempi. Arthur Johnstone, wrote “The audience seemed rather astonished that a work by a The second movement (canzonetta) is exactly British composer should have other than a that: a small, quiet, song. Both its structure petrifying effect on them!” (ABA) and texture are simple. Woodwind chords prepare the soloist’s setting. Two The additional title “Enigma” refers to a elegant themes are quietly presented concealed theme which is suggested within with accompaniment from violins, violas, the variations. Elgar baited speculation and French horns. In the third section, about the work saying “The enigma I will the woodwinds return with a recall of the not explain. Its dark saying must be left opening, and lead directly into the finale. unguessed and I warn you that the apparent connection between the Variations and In contrast, the third movement immediately the Theme is often of the slightest texture; ignites renewed vigor and acrobatics. The further, through and over the whole set soloist whips out a dance-like tune, which another and larger theme goes, but is not is capsulated in rondo format (alternating played.” The composer carried this special theme and episodes.) Tchaikovsky releases secret to his grave. all orchestral stops and the soloist, now launched on a frenetic ride, is front and The theme emerged from casual center. Keeping up, he must navigate perilous circumstances. In his own words, Elgar scales, double stops, dangerous leaps with explained “One evening, after a long and blazing speed and accuracy. Herein lie tiresome days teaching, aided by a cigar, I many of the technical difficulties alluded to musingly played on the piano the theme as earlier. The effect is undeniably stunning. it now stands. The voice of C.A.E. (Lady Elgar) Michael Steinberg concluded that “Although asked with a sound of approval, ‘What was Tchaikovsky could not please Dr. Hanslick, he that?’ I answered, ‘Nothing – but something has no trouble at all winning us over!” might be made of it.” It was as if Elgar merely stumbled upon the keystone of his momentous work.

Variations on an Original Theme, Op. 36 (“Enigma”) The composer’s own words (in quotations) Edward Elgar enhance the nature of his friends’ tonal Born June 2, 1857 in Broadheath portraits. Died February 23, 1934 in Worchester, United Kingdom C.A.E. – Caroline Alice Elgar, his wife “a prolongation of the theme with what I wished On February 2, 1899 Edward Elgar completed to be romantic and delicate additions.” his Variations on an Original Theme saying H.D.S.P.- H. David Stuart-Powell, a pianist

48 NOTES OCT 16 with whom Elgar played chamber music. Dorabella – Dora Penny, a friend of the “His characteristic diatonic run over the keys composer. “The music suggests a dancelike before beginning to play is here travestied in lightness.” the semiquaver (sixteenth note) passages.” G.R.S. – Dr. George Robinson Sinclair, organist R.B.T. – Richard Baxter Townshend, an actor at Hereford Cathedral. “The music has famous for playing the roles of old men with nothing to do with organs or cathedrals. The their “low voices flying off occasionally into first few bars were suggested by his great ‘soprano timber’ as heard in the dialogue bulldog, Dan, falling down the steep bank between the bassoon and the higher into the River Wye and his rejoicing bark on woodwinds.” He was also a bass singer. landing.” G.R.S. said ‘Set that to music!’ I did, and here it is.” W.M.B. – William M. Baker, a fiery and vigorous country squire who one time B.G. N. – Basil G. Nevinson, an amateur cellist “forcibly read out the arrangements for the “A tribute to a very dear friend.” Note the day and hurriedly left the music-room with special role given to the celli in this section. an inadvertent bang of the door.” ***** - Lady Mary Lygon “The asterisks take R.P.A. – Richard Penrose Arnold, a self-taught the place of the name of a lady who was, amateur pianist and delightful raconteur, at the time of composition on a sea voyage about whom Elgar noted “His serious (and hence could not be asked for permission conversation was continually broken up by to use her initials). The drums suggest the whimsical and witty remarks.” distant throb of the engine over which the clarinet quotes a phrase from Mendelssohn’s Ysobel – Isobel Fitton was an amateur violist/ Calm Sea and Prosperous Voyage. violinist and a student of Elgar’s “who was very tall, explaining the huge upward leaps E.D.U. – “Edu” was the pet name given to Elgar in the melody.” The composer felt that her by his wife. “The music is bold and vigorous in music should be “pensive, and for a moment, general style.” romantic.” After the friends are presented, Elgar Troyte – Arthur Troyte Griffith, a “truculent concludes with a fast coda. The Variations architect” who had a habit of saying the premiered at the Worcester England Festival unexpected. Hence, the music is often on September 13, 1899 under the baton of surprising. “The strong rhythm suggests the the composer. attempts of the instructor to make something like order out of chaos. “

W.N. – Winifred Norbury (and her sister) Elgar wrote “The gracious personalities of the ladies are shown, and a little suggestion of a characteristic laugh is given.” Winifred was secretary to the Worcester Philharmonic Society.

Nimrod – August Jaeger (the Hunter) an esteemed musicologist. “The music is the record of a long summer evening talk when my friend discoursed eloquently on the slow movements of Beethoven.” 49 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 fi lls 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.

50 Visit IndyCitizens.com to learn more. BACK TO THE FUTURE: FILM WITH ORCHESTRA OCT 21

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Special Event Wednesday, October 21, 2015, at 7:30 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor

Back to the Future Film: with Orchestra

STEVEN SPIELBERG Presents

BACK TO THE FUTURE A ROBERT ZEMECKIS Film

MICHAEL J. FOX CHRISTOPHER LLOYD LEA THOMPSON CRISPIN GLOVER

Written by ROBERT ZEMECKIS & BOB GALE Music by ALAN SILVESTRI Produced by BOB GALE and NEIL CANTON Executive Producers STEVEN SPIELBERG KATHLEEN KENNEDY and FRANK MARSHALL Directed by ROBERT ZEMECKIS

Length of performance is approximately two hours and one minute. Recording or photographing any part of this performance is strictly prohibited. 51 OCT 21 JACK EVERLY, Conductor

Jack Everly is recordings include In The Presence, featuring Principal Pops the Czech Philharmonic and Daniel Rodriguez, Conductor of Sandi Patty’s Broadway Stories, the soundtrack the Indianapolis to Disney’s The Hunchback of Notre Dame and and Baltimore Everything’s Coming Up Roses: The Complete Symphony Overtures Of Jule Styne. Orchestras, Naples Originally appointed by Mikhail Baryshnikov, Philharmonic Everly was conductor of the American Orchestra and Ballet Theatre for 14 years, where he served the National as Music Director. In addition to his ABT Arts Centre tenure, he teamed with Marvin Hamlisch Orchestra on Broadway shows that Hamlisch scored. He (Ottawa). He conducted Carol Channing hundreds of times has conducted the Los Angeles Philharmonic in Hello, Dolly! in two separate Broadway at the Hollywood Bowl, The New York Pops productions. at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music In 1998, Jack Everly created the Symphonic Center. Maestro Everly will conduct over Pops Consortium, serving as Music Director. 90 performances in more than 20 North The Consortium, based in Indianapolis, American cities this season. produces new theatrical pops programs, including the most recent, On Broadway with As Music Director of the National Memorial Kander & Ebb. In the past 13 years, more than Day Concert and A Capitol Fourth on PBS, 265 performances of SPC programs have Maestro Everly proudly leads the National taken place across the U.S. and Canada. Symphony Orchestra in these patriotic celebrations on the National Mall. These Maestro Everly, a graduate of the Jacobs concerts attract hundreds of thousands School of Music at Indiana University, is of attendees on the lawn. The broadcasts a recipient of the 2015 Indiana Historical reach millions of viewers and are some of Society Living Legends Award and holds an the very highest-rated programming on PBS Honorary Doctorate of Arts from Franklin television. College in his home state of Indiana. He is a proud resident of the Indianapolis Everly is also the Music Director of IPL Yuletide community for over 14 years and when not Celebration, now a 30-year tradition. He led on the podium you can find Maestro Everly the ISO in its first Pops recording, Yuletide at home with his family, which includes Max, Celebration, Volume One, that included three the wonder dog. of his own orchestrations. Some of his other

52 ALAN SILVESTRI, Composer OCT 21

In his ongoing, and “Death Becomes Her”, from the cosmic decades-long wonder of “Contact” to the emotional isolation career as a of “Castaway”, and from the Wagnerian brawl composer, of “Beowulf” to the magic of “The Christmas Alan Silvestri Carol” and “Polar Express” whose song “Believe” has scored garnered an Oscar nomination. But perhaps some of the no film partnership defines their creative most iconically relationship better than Zemeckis’ 1994 Best revered and Picture winner, “Forrest Gump”, for which profitable films Silvestri’s gift for melodically beautiful themes in Hollywood earned him an Oscar nomination and the history, affection of film music lovers everywhere. amassing over a hundred Though the Zemeckis/Silvestri collaboration credits to the tune of two Oscar and Golden is legendary, Silvestri has scored well over 100 Globe nominations, two Emmy awards, as well films of every imaginable style and genre. His as three Grammy awards. While stylistically energy and experimentation has brought diverse, the unifying voice of Alan’s work is an excitement and emotion to the hard-hitting unmistakable rhythmic melody whose themes orchestral/percussion scores of “Predator”, continue to embody movie excitement and “Judge Dredd” and James Cameron’s “The drama for generations of moviegoers. Abyss” and lent thrills to the effects-driven scores for “ The Mummy Returns” and “G/I. Born in New York City and raised in Teaneck, Joe: The rise of the Cobra”. His ethnic rhythms New Jersey, Silvestri first thought of becoming for “Soapdish” and “The Mexican” segue to a bebop jazz guitar player. After spending the raucus fun of family entertainments like two years at the Berklee College of Music in “Stuart Little 1 and 2” and Disney’s “Lilo and Boston, Silvestri hit the road as a performer Stitch” as well as the “Night at the Museum” and arranger. Landing in Hollywood at the age trilogy. The gripping tension of “Blown Away” of 22 and armed with film scoring books and and “Identity” yield to the romantic film noir a sense of adventure, Silvestri found himself of “The Bodyguard” while edgy comedies like successfully composing the music for 1972’s “Mousehunt” and romantic comedies like “The “The Doberman Gang”. Father of the Bride 1 and 2”, “Parent Trap” and “What Women Want” bring heart felt warmth. The 1970s witnessed the rise of energetic But Silvestri has also proven adept at riding synth-pop scores, establishing Silvestri as the the western range of “Young Guns 2” and “The action rhythmatist for TV’s highway patrol hit Quick and the Dead” while also providing “CHiPs.” This action driven score caught the thrilling macho muscle for “Van Helsing” and ear of budding filmmaker Robert Zemeckis, “The A-Team”. Alan’s talent for a dynamically whose hit film 1984’s “Romancing the Stone” heroic sound has helped propel such Marvel was the perfect first date for the composer superheroes as “Captain America: The First and director and it’s success became the basis Avenger” and “The Avengers” to spectacular of a decades long collaboration between the world-wide success, even as he provided the filmmaker and composer that continues to the restrained, anguished sound for the alcoholic current day. Their numerous collaborations pilot of Robert Zemeckis’ “Flight.” Silvestri’s have taken them through many fascinating rambunctious orchestral cheer has also helped landscapes and stylistic variations, from the to create the hit caveman family film “The “Back to the Future” trilogy, the jazzy world of Croods.” Toontown in “Who Framed Roger Rabbit ?” to the tension filled rooms of “What Lies Beneath”

53 OCT 21 ALAN SILVESTRI, Composer

In 2014 Alan won two Emmy awards for his time residents of California’s central coast. work on “Cosmos: A Spacetime Odyssey.” The They are founders of the local branch of the new “Cosmos” updates Carl Sagan’s original Juvenile Diabetes Research Foundation’s series with the latest discoveries about the Monterey branch and have served in many universe we live in and combines those facts capacities through their long relationship with spectacular visual effects and animation. with the organization since their son was Ann Druyan, widow of Carl Sagan and a diagnosed as a young child in 1992. They co-writer on the original “Cosmos” series, are also the founders of Silvestri Vineyards. serves as an executive producer, writer and Their wines show that lovingly cultivated fruit director alongside executive producer Seth has a music all its own. “There’s something MacFarlane. about the elemental side of winemaking that appeals to me,” he says. “Both music making Most recently, Alan has composed the music and wine making involve the blending of art for Robert Zemeckis’ “The Walk.” The film is and science. Just as each note brings it own the story of French high-wire artist Philippe voice to the melody, each vine brings it’s own Petit’s attempt to cross the Twin Towers of the unique personality to the wine.” World Trade Center in 1974. The film will be in theaters October, 2015. Whether in his studio or the vineyard, Alan continues to find inspiration and passion for Alan Silvestri and his wife Sandra are long music, film, family and wine.

A NOTE FROM THE COMPOSER

Great Scott! After 30 years we find ourselves being sent Back To The Future. This time the re-entry is in the concert hall, bringing a new sense of excitement through gifted musicians all around the world. Unlike Doc Brown, I could never have dreamed that I would have the opportunity to set the time circuits back to 1985 and have the chance to relive the excitement of the arrival of Back To The Future.

“Where we’re going, we don’t need roads…” With a timeless film, and a timeless machine known as an orchestra, we can go anywhere.

-Alan Silvestri

Back to the Future is a trademark and copyright of Universal Studios and U-Drive Joint Venture. Licensed by Universal Studios Licensing LLC. All Rights Reserved.

Back to the Future – Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Coordinator: Rob Stogsdill Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Marketing Coordinator: Dan Barry Music Composed by Alan Silvestri Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi Technical Consultant: Laura Gibson Synthesizer Programming: Alex Levy Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Back to the Future has been adapted for live concert performance. With special thanks to: Universal Studios, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy and Mark Graham.

www.filmconcertslive.com 54 KENNY ROGERS WITH THE ISO OCT 23, 24

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Printing Partners Pops Series/Program Two Friday, October 23, 2015, at 8 p.m. Saturday, October 24, 2015, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor KENNY ROGERS, Vocalist

Selections to be announced from stage.

Premiere Sponsor

btlaw.com

Associate Sponsor

Length of performance is approximately thirty-seven minutes. Recording or photographing any part of this performance is strictly prohibited. 55 OCT 23, 24 JACK EVERLY, Conductor

Jack Everly is recordings include In The Presence, featuring Principal Pops the Czech Philharmonic and Daniel Rodriguez, Conductor of Sandi Patty’s Broadway Stories, the soundtrack the Indianapolis to Disney’s The Hunchback of Notre Dame and and Baltimore Everything’s Coming Up Roses: The Complete Symphony Overtures Of Jule Styne. Orchestras, Naples Originally appointed by Mikhail Baryshnikov, Philharmonic Everly was conductor of the American Orchestra and Ballet Theatre for 14 years, where he served the National as Music Director. In addition to his ABT Arts Centre tenure, he teamed with Marvin Hamlisch Orchestra on Broadway shows that Hamlisch scored. He (Ottawa). He conducted Carol Channing hundreds of times has conducted the Los Angeles Philharmonic in Hello, Dolly! in two separate Broadway at the Hollywood Bowl, The New York Pops productions. at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music In 1998, Jack Everly created the Symphonic Center. Maestro Everly will conduct over Pops Consortium, serving as Music Director. 90 performances in more than 20 North The Consortium, based in Indianapolis, American cities this season. produces new theatrical pops programs, including the most recent, On Broadway with As Music Director of the National Memorial Kander & Ebb. In the past 13 years, more than Day Concert and A Capitol Fourth on PBS, 265 performances of SPC programs have Maestro Everly proudly leads the National taken place across the U.S. and Canada. Symphony Orchestra in these patriotic celebrations on the National Mall. These Maestro Everly, a graduate of the Jacobs concerts attract hundreds of thousands School of Music at Indiana University, is of attendees on the lawn. The broadcasts a recipient of the 2015 Indiana Historical reach millions of viewers and are some of Society Living Legends Award and holds an the very highest-rated programming on PBS Honorary Doctorate of Arts from Franklin television. College in his home state of Indiana. He is a proud resident of the Indianapolis Everly is also the Music Director of IPL Yuletide community for over 14 years and when not Celebration, now a 30-year tradition. He led on the podium you can find Maestro Everly the ISO in its first Pops recording, Yuletide at home with his family, which includes Max, Celebration, Volume One, that included three the wonder dog. of his own orchestrations. Some of his other

56 KENNY ROGERS, Vocalist OCT 23, 24

longtime friend and collaborator Dolly Parton, for their new duet, “You Can’t Make Old Friends,” the title track of Rogers’ current acclaimed 32nd studio album released by Warner Bros. in 2013. “You Can’t Make Old Friends” was also included on the American Songwriter Top 50 Songs of 2014 list. The magical Kenny & Dolly reunion was only the third time in the studio together since their “Real Love” hit in 1985.

Rogers’ music has always crossed boundaries — his 28 Billboard Adult Contemporary Top 10’s is Grammy Award-winning country superstar and sixth-best all-time, and fourth-best among men, music icon Kenny Rogers has enjoyed great trailing only Elton John, Neil Diamond and Elvis success during his storied career of five and a Presley. Rogers was the only male artist to notch half decades. Billboard AC Top 10s in the ‘60s, ‘70s, ‘80s and ‘90s (only Barbra Streisand also managed that The enduring Country Music Hall of Fame feat in those decades). Rogers has sent the most member and pop superstar has endeared country No. 1’s to the top spot on AC (five of his music lovers around the globe with his amazing eight AC No. 1’s were also country No. 1’s) and songs, heartfelt performances, distinctive no core country artist has crossed over more voice, gift for storytelling and universal appeal. titles to AC. Rogers has played to millions of fans around the world, performing songs from his catalog Rogers has continued his amazing run into the of 24 Number One hits including “The Gambler,” 21st century with a Country Music Hall of Fame “Lucille,” “Coward of the County,” “Ruby, Don’t induction, a CMA Lifetime Achievement Award, Take Your Love To Town,” and “Lady”. two Grammy Award nominations (“Calling Me” with Don Henley and “You Can’t Make The first country artist to consistently sell out Old Friends” with Dolly Parton), a CMA Award arenas, Rogers has charted a record within nomination (“You Can’t Make Old Friends” each of the last seven decades. He has sold with Dolly Parton), a Gold-certified record (21 more than 120 million albums worldwide, Number Ones), and three critically acclaimed making him one of the Top Ten Best-Selling albums (Water and Bridges, The Love of God, Male Solo Artists of All Time, according to and You Can’t Make Old Friends), considered by the RIAA. Rogers has won many awards for Rogers to be some of the very best work of his his music and charity work, including three entire career. Grammy Awards, 19 American Music Awards, 11 People’s Choice Awards, eight Academy of In July 2015, it was announced that Rogers will Country Music Awards and six Country Music release his first Christmas album in 17 years — Association Awards, including the CMA Lifetime Once Again It’s Christmas — during the 2015 Achievement Award in 2013. holiday season. He has been the recipient of the Lifetime Remaining a popular entertainer around Achievement Award from the International the world, Rogers, who was once voted the Entertainment Buyers Association, the Cliffie “Favorite Singer of All-Time” in a joint poll by Stone Pioneer Award from the Academy of readers of both USA Today and People, still loves Country Music, and the Horatio Alger Award, touring and recording new music. “I really, given to those who have distinguished really love what I’m doing,” Rogers says. “People themselves despite humble beginnings. survive longer if they love what they’re doing— because you just don’t quit.” Rogers earned a Grammy Award nomination and CMA Award nomination in 2014, along with 57 WEWE STUDENTS NOW OFFERING STUDENTSTUDENT $10$10 TICKETSTICKETS VALID FOR ALL LILLY CLASSICAL, COFFEE CLASSICAL, PRINTING PARTNERS POPS, THE STRATFORD COFFEE POPS, STELLA ARTOIS HAPPY HOUR AT THE SYMPHONY, AND DOW AGROSCIENCES SYMFUNY SUNDAYS CONCERTS TICKETS AT IndianapolisSymphony.org 317.639.4300

A family-friendly series presented by: Symphonic Spooktacular! Sunday, October 25 2pm Pre-Concert Activities 3pm Concert

Put your kids in costumes and spend your Sunday afternoon at the Hilbert Circle Theatre with a program of creepy classics featuring the Lemony Snicket favorite, “The Composer is Dead.”

CHILD TICKETS FROM $10!

BUY NOW AT 317.639.4300 OR AT INDIANAPOLISSYMPHONY.ORG *Ask the Box Office about our Subscription offer which includes a ticket to Yuletide!

58 The Indianapolis Symphony Orchestra is currently accepting volunteers for this year’s IPL Yuletide Celebration! Learn more by attending our November 17 volunteer training at the Hilbert Circle Theatre. Registration begins at 6:00PM. RSVP by contacting [email protected] – 317.231.6792.

Helping you recover body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee problems. They will offer you professional support and direction toward resolving the problem. Services offered include: • Identification/Evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources such as legal services, physicians, financial counseling and more if your company is interested in receiving more information about our program, please call 317.338.4900 or 1.800.544.9412. st.vincent.org

59 OCT 29 MAHLER SYMPHONY NO. 4

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Coffee Classical Series/Program Two Thursday, October 29, 2015, at 11:15 a.m. Hilbert Circle Theatre

ALEXANDER SHELLEY, Conductor MALIN CHRISTENSSON, Soprano

Gustav Mahler Symphony No. 4 in G Major (1860-1911) Bedächtig, nicht eilen In gemächlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich Malin Christensson, Soprano

Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. Length of performance is approximately fifty five minutes. There is no intermission. 60 MAHLER SYMPHONY NO. 4 OCT 31

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Lilly Classical Series/Program Four Saturday, October 31, 2015, at 5:30 p.m. Hilbert Circle Theatre

ALEXANDER SHELLEY, Conductor MALIN CHRISTENSSON, Soprano

Béla Bartók (1881 - 1945) Romanian Folk Dances Jocul cu bâtă (Stick Dance) Brâul (Sash Dance) Pe loc (In One Spot) Buciumeana (Dance from Bucsum) Poarga Românească (Romanian Polka) Mărunțel (Fast Dance)

Luciano Berio Folk Songs (1925-2003) Black is the colour... (USA) I wonder as I wander... (USA) Loosin yelav... (Armenia) Rossignolet du bois (France) A la femminisca (Sicily) La donna ideale (Italy) Ballo (Italy) Motettu de Tristura (Sardinia) Malurous qu’o uno fenno (Auvergne) Lo fiolaire (Auvergne) Azerbaijan love song (Azerbaijan) Malin Christensson, Soprano

INTERMISSION – Twenty Minutes

Gustav Mahler Symphony No. 4 in G Major (1860-1911) Bedächtig, nicht In gemächlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich Malin Christensson, Soprano

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Length of performance is approximately one hour and forty-four minutes. Recording or photographing any part of this performance is strictly prohibited. 61 OCT 29, 31 ALEXANDER SHELLEY, Conductor

Alexander Alexander’s operatic engagements have Shelley was included The Merry Widow and Gounod’s appointed Romeo and Juliet for Royal Danish Opera; La Music Director- Bohème for Opera Lyra at the National Arts designate Centre in Ottawa, Iolanta with the Deutsche of Canada’s Kammerphilharmonie Bremen, Cosi fan tutte National in Montpellier and a new production of The Arts Centre Marriage of Figaro for Opera North in 2015. Orchestra in October 2013 Alongside his regular appearances in London, and will take up Ottawa and Nuremberg, the 2014/15 the position of season and beyond includes return visits to, Music Director among others, the DSO Berlin, Gothenburg in September Symphony, Konzerthausorchester Berlin, 2015. In 2015 Leipzig Gewandhaus, Melbourne Symphony he enters and NDR Radio Philharmonic as well as his seventh year as Chief Conductor of the his debuts with Camerata Salzburg, Czech Nuremberg Symphony Orchestra where he has Philharmonic, Orchestre de la Suisse Romande, transformed the orchestra’s playing, education Orchestre Philharmonique de Luxembourg work and touring activities which have and Oslo Philharmonic. His first recording for included tours to Italy, Belgium, China and a Deutsche Grammophon, an album with Daniel re-invitation to the Musikverein in Vienna. In Hope and the Royal Stockholm Philharmonic, January 2015 Shelley was named Principal was released in September 2014. Associate Conductor of the Royal Philharmonic Orchestra with whom he will curate and In Germany, Alexander enjoys a perform a series of concerts at Cadogan Hall close relationship with the Deutsche each season. Kammerphilharmonie Bremen, with whom he performs regularly both in subscriptions Born in the UK in 1979, Alexander first in Bremen, and around Germany, and in gained widespread attention when he was October 2013 he took the orchestra on tour to unanimously awarded first prize at the 2005 Italy with a signature programme of Strauss, Leeds Conductors Competition and was Wagner and Brahms. He is artistic director described as “the most exciting and gifted of their Zukunftslabor project - an award- young conductor to have taken this highly winning series which aims to build a lasting prestigious award. His conducting technique is relationship between the orchestra and a new immaculate, everything crystal clear and a tool generation of concert-goers through grass- to his inborn musicality.” roots engagement and which uses music as a source for social cohesion and integration. Since then he has been in demand from orchestras around the world including the The son of professional musicians, inspiring Philharmonia, City of Birmingham Symphony, future generations of musicians and audiences Rotterdam Philharmonic, Stockholm has always been central to Alexander’s work. Philharmonic, Mozarteum Orchester Salzburg, In Spring 2014 he conducted an extended tour Konzerthausorchester Berlin, DSO Berlin, of Germany with the Bundesjugendorchester Leipzig Gewandhaus, Simon Bolivar, Seattle and Bundesjugendballett which included a and Houston Symphony Orchestras. Further collaborative concert at the Baden-Baden afield Alexander is a regular guest with the top Easter Festival with Sir Simon Rattle and Asian and Australasian orchestras. members of the Berliner Philharmoniker. In 2001, during his cello and conducting studies Recent press has singled him out as in Dusseldorf, he founded the Schumann “a musician of considerable gifts and Camerata with whom he created “440Hz”, an extraordinarily impressive interpretative innovative concert series involving prominent qualities” (Strauss, Elgar and Sibelius in German television, stage and musical London), a conductor with “exceptional artistic personalities, conceived by him as a major authority” (Brahms with DSO Berlin) and initiative to attract young adults to the concert described his Verdi Requiem in Salzburg as an hall. “original, intelligent, thoroughly convincing and well-crafted interpretation”. 62 MALIN CHRISTENSSON, Soprano OCT 29, 31

Born in Sweden, Baden-Baden; Miss Wordsworth Albert Herring soprano Malin at the Glyndebourne Festival; Marzelline Christensson Fidelio at the Beethoven Festival in Warsaw; studied at the Flower Maiden Parsifal at Covent Garden; Royal College of Drusilla L’incoronazione di Poppea at the Music. Drottningholms Slottsteater and Papagena Die Zauberflöte at the Théâtre du Châtalet, in Her most recent Montpellier and at the Vienna Festival. engagements have included She has also appeared at the BBC Proms and Susanna at the Lucerne and Daytona Festivals and her in staged recent highlights have included the London performances Symphony Orchestra with Harding; the of Le nozze di BBC Symphony Orchestra with Bělohlávek; Figaro with the Los Angeles Philharmonic the Orchestra of the Age of Enlightenment Orchestra conducted by Gustavo Dudamel; with Jacobs, Labadie and Leonhardt; the Zerlina Don Giovanni for the Houston Grand Philharmonia Orchestra with John Wilson, Opera and at the Helsinki Festival; Bach’s the Gävle Symfoni Orkester with Søndergård; Weihnachts-Oratorium with the Leipzig the Royal Scottish National Orchestra with Gewandhausorchester and Pinnock, the Denève and the Scottish Chamber Orchestra Matthäus-Passion with the Philadelphia with Ticciati. Orchestra and Nézet-Séguin, Mozart’s Mass in C Minor with the CBSO and Nelsons and In recital she works regularly with Simon Beethoven’s Symphony no. 9 with the Swedish Lepper, Malcolm Martineau and Roger Radio Orchestra and Blomstedt. Vignoles and her appearances include Particular highlights in opera have also London’s Wigmore Hall, the Laeiszhalle in included Barbarina Le nozze di Figaro at the Hamburg, the Tonhalle in Zurich and the Salzburg Festival and Susanna at the Innsbruck, Cheltenham, Bath Mozart and Aix-en-Provence Festival and in Santiago di Oxford Lieder Festivals. Chile; Sophie Werther at the Festspielhaus

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63 OCT 29, 31 NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Romanian Folk Dances tunes which provided Béla Bartók tunes, rhythms, Born March 25, 1881 in Sâanicolau Mare, Romania harmonies, and ideas Died September 26, 1945 in New York City, NY for their compositions (Bartók’s opera Duke In the late nineteenth century, Hungarian Bluebeard’s Castle, for style music had been used with great success example) as well as by major composers such as Brahms and Liszt scholarly monographs as coloration or substance in many of their and a gigantic set of twelve volumes most famous works. For Liszt, who was born containing their research. The intent was to in Hungary but spent most of his life outside provide examples of, foundation for, and a of his homeland, the inclusion of Hungarian renaissance of authentic Hungarian music. inflections…sometimes called gypsy style… could be considered “natural.” Among his This quest led both men into Transylvania, most stunning works in this genre are the now a part of Romania, but which had been nineteen Hungarian Rhapsodies, so popular part of Hungary for many years until added they covered the world in various iterations permanently to Romania in 1920. Thus, we (especially the Second Rhapsody) appearing find the legitimacy of “Romanian Folk Dances” even in cartoons such as “Convict Concerto” as a source for Hungarian folk style. “Bartók played by Woody Woodpecker and “Rhapsody was particularly drawn to Romanian folk Rabbit”, by Bugs Bunny. The Rhapsodies’ traditions because he felt that these had popularity has been unquenchable on almost been more isolated from outside influences any level. Brahms’ Hungarian Dances paid and were therefore more authentic.” (Stephen tribute to the Hungarian style in 21 dances. Strugnell) Bartók noted “I have collected He first became interested in the sound after Hungarian, as well as Slovak and Romanian hearing Hungarian gypsy music in Hamburg, folk music and used them as models.” and on his tours with the Hungarian violinist Eduard Remenyi. But, something was wrong: The Romanian Dances were written and Bartók and Kodály discovered it. between 1915-1917, first for piano and later orchestrated. In order, the Dances are: This so-called “Hungarian style” stemmed 1. Dance with Sticks: a solo dance for a quite narrowly from gypsies (Roma) and young man, which includes kicking the was thoroughly romanticized. In fact, the ceiling style was not representative of authentic 2. Waistband Dance: derived from a spinning Hungarian folk music. This subject, song with dancers holding each other’s sometimes known as “the problem of waists, flowing directly into dance 3 Hungarian music” was addressed by many 3. On the Spot: a dance in which the writers and eventually clarified by the participants basically stamp on one spot. extensive work of Bela Bartók and Zoltan 4. Hornpipe Dance: featuring the ancient Kodály. A fine study titled “Redefining Mixolydian mode (a type of scale) and Hungarian Music from Liszt to Bartók” by Lynn Arabian colors M. Hooker traces their investigations. 5. Romanian Polka: a children’s dance with changing meters, flowing directly into Traveling throughout the most remote the final dance regions of Hungary, Bartók and Kodály 6. Fast Dance: fast, tiny steps are performed transcribed, saved, recorded on an “Edison” by couples, used as a courting dance. phonograph, and classified thousands of folk

64 NOTES OCT 29, 31

Folk Songs 4. Little Nightingale: France Luciano Berio 5. The Ideal Woman: Italy Born October 24, 1925 in Oneglia 6. Dance: Italy Died May 27, 2003 in Rome, Italy 7. Song of Sadness: Sardinia 8. Wretched is He (Auvergne and dedicated Luciano Berio, 1925-2003, was an Italian to France) musician, composer, conductor, and music theorist (founder of the journal Incontri Musicali, known for his leadership in avant- Symphony No. 4 in G Major garde music; especially in the aleatoric Gustav Mahler (chance) and electronic fields. His Folk Songs, Born July 7, 1860 in Kaliště, Czech Republic 1964, were written for and dedicated to Died May 18, 1911 in Vienna, Austria his wife at that time, mezzo-soprano Cathy Berberian, during the composer’s residency at Mahler’s Fourth Symphony is the last of Mills College. The set was conceived originally the tetralogy known as the “Wunderhorn for small ensemble, and later expanded for symphonies” because they used quotes of symphony orchestra in 1973. themes and elements of songs and poems from “Das Knaben Wunderhorn” (The Youth’s Regarding the title, Berio commented: Magic Horn). This was an anthology of “My links with folk music are often of an German folk music and folklore published emotional character. When I work with that in 1805 and 1808, which, over many years, music, I am always caught by the thrill of captivated Mahler. In the Wunderhorn discovery… I return again and again to folk collection, the title of the poem used in the music because I try to establish contact symphony’s final movement is “There is not between that and my own ideas about a cloud in the sky” but Mahler changed the music. I have a utopian dream, though I title in 1892, in his setting, to: Das Himmlische know it cannot be realized: I would like to Leben Elements from the song appear in create a unity between folk music and our the first three movements before it is heard music – a real, perceptible, understandable in its entirety in the last movement, sung conduit between ancient, popular music- by soprano. Since this was the composer’s making which is so close to everyday work main musical source it is not surprising that and music.” In “Luciano Berio: Two Interviews he wrote the movements in reverse order, by David Osmond-Smith”, Berio reflected; starting with the last, which features the song “My interest in folklore is very longstanding in its entirety. He began the symphony in – even as a boy I was writing pastiche 1899 and finished it in 1901. folksongs. Recently this interest has put down deeper roots, and I have tried to gain a more The music is clearly declaimed throughout specific and technical understanding of the and comparatively (for Mahler) lightly scored: processes that govern certain folk idioms…” no heavy brass (i.e. no trombones or tuba), just horns, trumpets, winds, and reduced The songs in this collection – perhaps the strings. The percussion section is interesting: earliest example of Berio’s fascination and cymbals, sleigh bells, triangle, tam-tam, experimentation with different musical and glockenspiel along with timpani. The culture and vernaculars, stem from eight smallness of the orchestra has spawned countries and regions: America, Armenia, adaptations for chamber orchestra: for Auvergne, Azerbaijan, France, Italy, Sardinia, example, by Erwin Stein (Austrian arranger and Sicily. and writer and admirer of Schoenberg) in 1. Black is the Color: USA 1920 and Yoon Jae Lee (2006) in which he 2. I Wonder as I Wander: USA further reduced the original score’s string 3. The Moon has Risen: Armenia section to single players. 65 OCT 29, 31 NOTES

The Fourth Symphony has innocence and In The Mahler Companion, Donald Mitchell congeniality throughout. Each movement writes, “The Fourth, to my mind, represents is prefaced by instructions that indicate a manifestation of neoclassicism peculiar serenity and moderate pace. Many have said to Mahler himself, an awareness of and it was “accessible, the most accessible of his reflection on the role he himself and his symphonies to date.” Audiences were a bit work(s) in progress might play in the still perplexed at first, but critics were scathing. A evolving history of the idea of the symphony. 1904 New York concert described the Fourth The Fourth spells out the impossibility as “a drooling and emasculated musical of rolling history back or complacently monstrosity.” attempting to continue in the line of – wake of, rather – the Great Tradition.” This was the first symphony for which the composer The first movement appears did not provide Make a in sonata -allegro format, precise programmatic lasting impression opening with four flutes descriptions, preferring in print and sleigh bells, marked that the audience “moderately, not rushed.” understand music for This combination will music, without a specific also appear in the fourth story at hand. “I know movement. The first theme the most wonderful is a friendly melody names for the from the first violins, movements, but I and the second is a will not betray them to folk-style tune from the rabble of critics and the celli, marked “sung listeners so that they can broadly.” The development subject them to banal reveals more complexity, misunderstandings and especially in its contrapuntal distortions.” At one point textures. he called it a humoresque in six movements. The second movement Eventually, it would opens as a delicate scherzo, be trimmed to four which includes two trios. movements, his last Similar to the speed of symphony without the first movement: the brooding nature, the instruction is intensity, size, and “play without haste, vastness of those yet leisurely moving.” to come. Mahler’s wife, Alma, noted that his inspiration was a painting It is the shortest of Mahler’s symphonies, (1872) by Arnold Bocklin titled “Self Portrait weighing in at just under one hour, and the with death playing the Fiddle.” Mahler most frequently performed. He completed described this movement as “Friend Death is the work August 5, 1900. Mahler seemed Striking up the Dance.” The original title was happy with it, but nonetheless sent this “Friend Hein Strikes Up.” Hein was a medieval observation to his wife, Alma. “My Fourth … violinist who led his victims to death. Note is all humor, naïve, etc. It is that part of me the solo violin part in which the instrument which is still the hardest for you to accept and is tuned higher than usual (scordatura), which in any case only the fewest of the few to give a ghostly atmosphere in his danse will comprehend for the rest of time.” macabre. Herein, the violinist is instructed

66 NOTES OCT 29, 31 to play wie ein Fidel (like a medieval fiddle). A bit of darkness enters only in the time of To accomplish this, the concertmaster uses the animal slaughter: two violins. The irony of death and jollity as a combination is cleverly exploited throughout John lets out the little lamb with grim undercurrents from lower Herod the butler lies in wait for it instruments. A sudden chirp from the solo We lead a patient innocent, patient violin ends the movement, emerging after a Darling little lamb to its death… grim section from the lower instruments. Saint Luke slaughters the ox Without any thought or concern…” His third movement consists of two contrasting ideas announced at the The happy vision is quickly restored: beginning and set of variations, marked “peacefully, somewhat slowly”. For this, “Good greens of every sort Mahler noted that he had been inspired by grow in the heavenly vegetable path… church sculptures, which had their arms and gardeners who allow everything… “closed in eternal peace.” There is just no music on earth That can compare to ours…. The last movement - once titled The Celestial Life, is marked “Very comfortably, featuring The song controls the musical form (strophic) a child (represented by the soprano) singing and verses are separated by interludes. The a naïve vision of Heaven and preparation ending is soft, sealed by solo harp repeating of a feast. “The instruction from Mahler is to alternating fourths, with a final triple sing “with child-like, bright expression, and pianissimo sustained note from the double without the slightest suggestion of parody.” basses. “No worldly tumult is to be heard in heaven All live in greatest peace We lead angelic lives Yet have a merry time of it besides”

67 ARTS IN INDY

Dance Kaleidoscope Dance Kaleidoscope and The Remembrances Holocaust Coalition Limited present Remembrances. The concert includes DK’s athletic iconoGlass (set to the music of Philip Glass). Remembrances: A Ballet in Memory of the Victims of the Holocaust, presented with support from the National Endowment for the Arts, is dedicated to the six million Jews and five million others who died in the Holocaust. This historic ballet will receive its Indiana Premiere October 16 – 18, 2015, at Clowes Memorial Hall at Butler University. More information at dancekal.org; tickets at TicketMaster.com or 800.982.2787. Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) as it celebrates its historic 30th anniversary concert season! The season begins with two fall performances – “Music of the Night,” a Halloween-themed concert, and “Sweet Melodies,” where the ICC will be joined by special guests the New World Youth Orchestra. These concerts showcase the ICC’s advanced ensembles and will kick off a truly momentous year for the ICC and the Indianapolis area. The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or make a financial donation, visit icchoir.org or call 317.940.9640. Indianapolis Symphonic Choir You’re always excited to hear the Indianapolis Symphonic Choir unite with the ISO for performances of great musical masterworks. But did you know that the 200-voice Symphonic Choir also serves as the “official choral partner” of IPS and provides myriad educational initiatives for students? With the understanding that a balanced education demands access to music experiences, the Symphonic Choir’s education programs serve over 2,500 youth through initiatives such as the All-City Honor Choir, the Spotlight Choir (side-by-side) program and many others. To learn more about the Symphonic Choir’s music education programming, visit indychoir.org. New World Youth Orchestras The New World Youth Orchestras (NWYO) is Indiana’s premiere youth orchestra entering into its 34th season with two, autumn concerts in November in collaboration with the Indianapolis Children’s Choir: Nov 1 at Saints Peter and Paul Cathedral and Nov 8 at the Hilbert Circle Theatre. Comprised of three separate orchestras, NWYO’s 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 orchestral masterworks, both traditional and contemporary. Visit www.nwyso.org for more information. To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812 68 YOUR TICKET TO INDY’S MOST DYNAMIC ARTS ORGANIZATION!

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70 THURSDAY, NOVEMBER 19 HAPPY HOUR 5PM CONCERT 6:30PM

The ISO’s Stella Artois Happy Hour at the Symphony series continues! Enjoy pre-concert complimentary food and drink samples from area restaurants and vendors followed by a 60-minute concert featuring Time for Three with the ISO.

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317 SERIES COMING TO HENDRICKS COUNTY

THE INDIANAPOLIS SYMPHONY ORCHESTRA WILL BE PERFORMING IN HENDRICKS COUNTY THIS SEASON! DON’T MISS THREE GREAT CONCERTS AT AVON HIGH SCHOOL. BRAHMS’ PIANO CONCERTO NO. 1 THE PLANETS PICTURES AT AN EXHIBITION

SUNDAY, NOVEMBER 8, 2015 SUNDAY, JANUARY 31, 2016 SUNDAY, APRIL 3, 2016 3PM 3PM 3PM All concerts take place at Hendricks Regional Health Performing Arts Center at Avon High School.

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71 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 Ann Hampton Hunt English Horn Chair The Ford-West Concertmaster Chair Endowed by Ann Hampton Hunt Endowed by Richard E. Ford in honor of his mother, Roger Roe, English Horn Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund The Meditch Assistant Concertmaster Chair David A. Bellman, Principal Clarinet Endowed by Juliette, Dimitri, Marian and Boris Meditch The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by The Wilcox Assistant Concertmaster Chair Clarena Huffington Endowed by David E. and Eleanor T. Wilcox Cathryn Gross, Assistant Principal Clarinet Dean Franke, Assistant Concertmaster The Robert L. Mann and Family Principal Horn Chair The Taurel Assistant Principal Second Violin Chair Endowed by Robert L. Mann and Family Endowed by Kathy and Sidney Taurel Robert Danforth, Principal Horn Mary Anne Dell’Aquila, Assistant Principal Second Violin The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth and Darrell The Dick Dennis Fifth Chair Bakken Endowed in memory of Richard F. Dennis by Jerry Montgomery, Horn Carol Richardson Dennis This Second Violin Section Chair is Seated Using The W. Brooks and Wanda Y. Fortune Revolving Seating Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune The Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test The Assistant Principal Cello Chair Endowed anonymously The Thomas N. Akins Principal Timpani Chair Endowed anonymously The Randall L. Tobias Cello Chair Jack Brennan, Principal Timpani Endowed by Randall L. Tobias The Walter Myers Jr. Principal Harp Chair The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed anonymously in honor of Walter Myers Jr. Endowed by Dr. and Mrs. Robert L. Rudesill Diane Evans, Principal Harp Anne Duthie McCafferty, Cello The Dorothy Munger Principal Keyboard Chair The Sidney and Kathy Taurel Principal Flute Chair Endowed by the Women’s Committee of the Endowed by Sidney and Kathy Taurel Indianapolis Symphony Orchestra Karen Evans Moratz, Principal Flute Endowed Performances The Janet F. and Dr. Richard E. Barb Piccolo Chair The Francis W. and Florence Goodrich Dunn Annual Endowed by Janet F. and Dr. Richard E. Barb Classical Series Opening Concerts Rebecca Price Arrensen, Piccolo Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor” The Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe 72 ENDOWMENT

The Performance of Classical Music including Major The Frank E. McKinney, Jr. Guest Conductor Chair Liturgical and Choral Music Endowed by Marianne Williams Tobias Endowed in memory of Elmer Andrew and April 15-16, 2016 – André Watts Marguerite Maass Steffen by E. Andrew Steffen October 9-10, 2015 – Beethoven’s Missa solemnis The Mrs. Earl B. Barnes Memorial Fund in Support of a Guest Artist Frank and Irving Springer Piano Performance Endowed Anonymously Endowed by Frank C. Springer Jr. May 7, 2016 – The Legendary Menahem Pressler November 6-7, 2015 – Brahms’ Piano Concerto The Dennis T. Hollings Performance of Classical Music The Paul Family Performance of Classical Music Endowed by the Dennis T. Hollings Fund Endowed by Dorit, Gerald, Eloise and Alison Paul May 20-21, 2016 – Beethoven’s “Pastoral” November 13-14, 2015 – Brahms’ Piano Concerto No. 2 The Willian L. and Jane H Fortune Guest Conductor Yuletide Celebration Opening Performance Chair Endowed by Marianne Williams Tobias Endowed by Mr. and Mrs. William L. Fortune First Performance December 2015 June 3-4, 2016 – Garrick Ohlsson

Yuletide Celebration Closing Performance The Bishop Family Holliday Park Concert Endowed by Marianne Williams Tobias Endowed by the Mrs. Irving M. Fauvre Fund Last performance December 2015 Summer 2016

The Mohlman Performance of Classical Music The Performance of a Summer Series Concert Endowed by a gift from Ina M. Mohlman Endowed by Mrs. William P. Cooling and the late Robert H. Mohlman Summer 2016 – Marsh Symphony on the Prairie January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund The performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist fund The Performance of a Young Professional Artist January 29-30, 2016 – The Planets Endowed by Roche Diagnostics

The Performance of New Music Special Endowments Endowed by LDI, Ltd. Hilbert Circle Theatre February 5-6, 2016 – Music from 2001: A Space Endowed by Stephen and Tomisue Hilbert Odyssey The Tobias Green Room The Performance of a Young Professional Artist Endowed by Randall L. Tobias Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara The Maestro Society Worden August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett The Paul and Roseann Pitz Performance of Classical Music Mrs. Walter Myers Jr. Endowed by the Paul and Roseann Pitz Fund Randall L. Tobias March 4 - 5, 2016 – Rachmaninoff’s Second Piano Jack Weldon, Maestro Society Founder, given Concerto by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood The Performance of ISO Principal Chair Musicians Mr. Raymond Leppard Endowed by the Eugene B. Hibbs Fund Dr. John C. Bloom March 11-12, 2016 – Don Quixote Edna Woodard-Van Riper Marianne Williams Tobias The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The Marianne Williams Tobias Program Annotator Chair March 18, 2016 – Nielsen’s “Inextinguishable” Endowed anonymously symphony Marianne Williams Tobias, Program Annotator 73 ENDOWMENT

Artist in Residence Endowment Second Floor Lobby Endowed in memory of Hortense and Marvin Lasky Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and The Paul E. and Martha K. Schmidt Conducting Study Jane H. Fortune Fellowship Endowed by Paul E. and Martha K. Schmidt Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) The Michael Ben and Illene Komisarow Maurer Young Swearingen Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. The Instrument Petting Zoo Tuck Schulhof Endowed by Dr. and Mrs. Gordon E. Mallett Orchestra Box C3 The Indiana Series This Orchestra Box Endowed by Herschel and Angela Endowed by Mr. and Mrs. J. Irwin Miller Porter

The Indianapolis Symphony Orchestra Vice President of Orchestra Box C4 Education This Orchestra Box Endowed by E. Andrew Steffen Endowed by Mr. and Mrs. William L. Fortune Orchestra Box C6 The Marilyn K. Glick Young Composer’s Showcase This Orchestra Box Endowed by Mrs. Rhonda Kittle in Endowed by Mr. and Mrs. Eugene B. Glick honor of her late husband, James L. Kittle

The ISO Pre-School Music Education Programs The Oval Promenade Endowed by Randall and Deborah Tobias Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis The Sarah McFarland Endowment Symphony Orchestra Endowed by the Sarah McFarland Fund October 1984

The Pitz Leadership Award First Monday Music Club Endowed by the Paul and Roseann Pitz Fund Endowed anonymously

The Installation and Maintenance of a Theatre Pipe Organ Stage Terrace Seating Endowed by the Sally Reahard Fund Endowed anonymously

The J.K Family Foundation Words on Music Special Acknowledgements Endowed by Marianne Williams Tobias, President, Performance of the Wurlitzer Pipe Organ J.K. Family Foundation Generously underwritten by David and Eleanor Wilcox The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly The New Steinway Concert Grand Piano to the Indianapolis Symphony Orchestra 1984 Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Grand Lobby Endowed by Marianne Williams Tobias The Music Library Office Underwritten by the Musicians and Staff of the The Box Office Lobby Indianapolis Symphony Orchestra in memory of Named in Honor of Generous Support from Marianne W. Richard Grymonpré and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of The ISO Association Office the Thoughts & Experiences of Humankind,” June 1991 Endowed by Peggy & Byron Myers

74 INDIANA HISTORICAL SOCIETY

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SUN MON TUE WED THR FRI SAT 4 5 Celebrating its 30th DECEMBER 2015 YULETIDE PERFORMANCES 8PM Opening Night! 2PM, 8PM 6 7 8 9 10 11 12 Anniversary, IPL Yuletide SOLD OUT Celebration welcomes the 2PM*, 6PM 7:30PM** 2PM, 8PM 2pm, 8pm 13 14 15 16 17 18 19 return of our beloved host 2PM 2PM, 6PM 7:30PM 7:30PM 8PM 2PM, 8PM Sandi Patty, joining Jack 20 21 22 23 24 25 26 Everly and the ISO for 2PM, 6PM 2PM, 8PM 2PM, 8PM 2PM, 8PM Indiana’s greatest holiday 27 28 29 30 31 tradition!

Times in red denote SuperSaver performances. Times in green denote Premium Priced performances. *symFUNy Sundays presented by Dow AgroSciences performance is December 6 at 2pm. **Audio & Visual Impaired performance

TICKETS ON SALE MONDAY, SEPTEMBER 21 AT 10AM! BUY AT INDIANAPOLISSYMPHONY.ORG OR CALL 317.639.4300. 76 77 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 David & Deloris “Dee”* Garrett Dorit & Gerald Paul Earleen M. Ashbrook Cy* & Pris Gerde Joan S. Paulin Ms. Nancy Ayres James E. & Judith A. Gillespie Dr.* & Mrs. Bruce Peck Dawn, Ruth* & Darrell Bakken David & Julie Goodrich Marian Pettengill and Family Janet F. & Dr. Richard E. Barb Mrs. Anne M. Greenleaf Mrs. Joseph D. Pierce Frank & Katrina Basile John S. Griffin Dr. & Mrs. George Rapp Dr.* & Mrs. Paul F. Benedict Gail H. Hall Josette Rathbun Dr. John C. Bloom Mary & George Harless Mr.* & Mrs. Elton T. Ridley Rosanne Bonjouklian Tom & Nora Hiatt Dr. & Mrs. Robert L. Rudesill Mrs. Charlotte Bose Clarena Huffington Henry & Vel* Ryder Charles & Cary Boswell Ann Hampton Hunt Jane & Fred Schlegel Dr. Ella H. & Mr. Robert R. Bow- Ty A. Johnson Paul & Martha Schmidt man Joan & David F.* Kahn Carl & Laurel Schnepf Mr. & Mrs. Charles H. Boxman Swadesh & Sarla Kalsi H. Tuck & Saundra L. Schulhof John Charles Braden & Bob & Rhonda Kaspar Mrs. Raiford Scott* Denton Raubenolt Ms. Peg Kimberlin Margaret A. Shaw Donald & Barbara Broadlick Ms. Marie E. Kingdon Jean & Clifton Smith Philip J. Burck John J. Kloss, JD Mr. & Mrs. Clark L. Snyder Alex. S. Carroll Kay F. Koch Sue K. Staton Nancy & Chris* Christy H. Jean Jones Kyle Dr.* & Mrs. James B. Steichen Ms. Patricia C. Chunn James E. & Patricia J. LaCrosse Ann R. Strong Norman I.* & Maxine Cohen Dr. Ned & Martha Lamkin Kathryn* & Sidney Taurel John & Ulla Connor Lawrence & Vivian Lawhead Mrs. David Thiel Chris W. & Lesley J. Conrad Mr. & Mrs. Richard L. Ledman Marianne Williams Tobias Peter Cooney Raymond Leppard Ann Vaughan Mr. & Mrs. Ronald A. Cox Mr. L. Robert Lowe Jr. Anna S. & James P. White Stephen & Andrea Cranfill Dr. & Mrs. Gordon E. Mallett Mildred M. Wiese Mr. & Mrs. Thomas E. Dapp Dr. & Mrs. Karl L. Manders David E. & Eleanor T. Wilcox Lou & Kathy Daugherty Mr.* & Mrs.* Michael Ben Maurer Mr. & Mrs.* Charles D. Williams, III Edgar* & Joanne Davis Stacy Maurer Mr. & Mrs. C. Daniel Yates Carol Richardson Dennis Janice & John F. McHenry Mike & Phyllis* Zimmermann Clarita Donaldson W. Jean McCormick Anonymous (15) Mrs. Lewis A. Enkema Alice* & Kirk McKinney Mr.* & Mrs. Richard Felton Robert B. & Eleanor S. McNamara *Deceased Mr. Murray R. Fischer Marian Y.* & Boris E. Meditch Dr.* & Mrs. W. Brooks Fortune William F. Murphy, CPA Dr. & Mrs. Larry C. Franks John & Carolyn Mutz Bradley S. & Teresa G. Fuson Peggy & Byron Myers Dr. & Mrs. Richard W. Garrett Mr. & Mrs. Charles J. O’Drobinak THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Allen E. & Mary Crum Mr. Richard E. Ford Mrs. Raymond A. Basso John H. Darlington Mr. & Mrs. William L. Fortune Miss Helen F. Bernheisel J. Richard Delbauve Nelle Godio Betty Thorp Boyd Vivian F. Delbrook Mr. Raymond K. Gretencord Mrs. Elba L. Branigin Jr. Suzanne S. Dettwiler Carol E. Gruen John F. Brennan Lillian J. Duckwall Louise W. Hanson Mrs. Ferne Brewer Francis W. & Florence Goodrich Dr. & Mrs. F. R. Hensel Lenore B. Brignall Dunn Mr. & Mrs. Byron Hollett Suzanne Swain Brown Mr. & Mrs. Don B. Earnhart Mr. Dennis T. Hollings H. Earl Capehart Jr. Mr. Robert A. Edwards Emma Stutz Horn Edgar L. Conn Mr. Francis E. Fitzgerald Mr. David A. Jacobs 78 LYNN SOCIETY

Frances M. Johnson Frieda Nyhart Mr. Charles B. Staff Jr. Mr. E. Patrick Kane Marcia L. O’Brien Andrew Steffen Mr. & Mrs. E.W. Kelley Mrs. Joanne W. Orr Florence Barrett Stewart Mr. Donald M. Kercheval Lois Heuse Otten Mrs. Samuel Reid Sutphin Louise Lage Kirtland Dr. F. Bruce Peck Dr. & Mrs. Charles E. Test Peter B. Krieg Mr. & Mrs. Paul G. Pitz H. Richard Unkel Ruth Lilly Dr. Henry Plaschkes Mrs. Helen E. Van Arendonk Mr. & Mrs. Charles J. Lynn Mr. Theodore N. Popoff Mary Jane Wacker Doris L. Lynn Patricia A. Quinn Virginia M. Wagner Mr. Stuart L. Main Miss Sally Reahard Margaret Warner Mr. & Mrs. Robert L. Mann Mr. Vernley R. Rehnstrom Penny Weldon Marjorie N. McClure Peter C. & Dr. Jeanette P. Reilly Harriett Denny White Sarah Forney McFarland Dr. Mary Avery Root Clara M. Wilmeth Mrs. Judd R. McKay Sanford Rosenberg Ms. Mary Wratten Martha Means Frances M. Schager Mildred R. Young Mr. & Mrs. J. Irwin Miller Mrs. Mary Schulz Wilma K. Young Mrs. Walter Myers Jr. Ms. Violet H. Selley Steven J. Zellman Mr. Don Nicholson Macy M. Glendining Simmons Karl & Barbara Zimmer Louis W. Nie, M.D. Jeannette Soudriette Anonymous (5) Mr. Donald G. Nutter Mr. Frank C. Springer Jr.

Remembering The ISO In Your Will

It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language:

“I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

YOUR LEGACY MATTERS

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

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

79 Indianapolis Symphony Orchestra THANK YOU 2015 SPONSORS!

PREMIER PLUS SPONSORS:

PREMIER SPONSORS:

Rick Brown & Cathy Springer-Brown

BATON SPONSORS:

U BLIC IM L P P A R C BLIS O O H V L A E T E M S I S D E

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LUNCH SPONSOR: DINNER SPONSOR: BEVERAGE STATION SPONSORS:

CONTRIBUTORS: Ashworth/Addias Golf Apparel • Blend Cigar Bar • Budweiser Zink Distributing • Cabrito Tequila • Centaur Gaming • Coca Cola Essig Management • Fairway Custom Golf • Golf Academy of Indiana • Golf Club of Indiana • Golf Galaxy • Golf Smith • GolfTec/Carmel • GoldTec/Castleton • Gary Eagle Gold Club • Harbor Trees Golf Club • Hickory Stick Golf Club • Indiana Pacers Indiana Wholesale Wine & Liquor • Indianapolis Colts • Indianapolis Motor Speedway • Ironwood Golf Club • Maple Creek Golf Club McNamara Florists • Meridian Music • Musicians of the ISO • New Amsterdam Vodka • Nike Golf • Old National Bank Old Oakland Golf Club • Prairie Vodka • Plum Creek Golf Club • Ruth's Chris • Stony Creek Golf Club • Taylor Made Titleist/Cobra Golf • Winding Ridge

80 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 August 8, 2015. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.

$100,000 and Above BMO Harris Bank Phyllis & Gary Schahet Mr. Richard F. Brown & Mrs. Cathy Anonymous Budweiser Zink Distributing Co, LLC Marlyne Sexton Springer-Brown Mr. Jim S. Irsay The Clowes Fund Jeff & Cassandra Short Mr. & Mrs. Walter P. Bruen, Jr. Mr. & Mrs. Eli Lilly II Delaware Community Foundation Christopher A. Slapak & Michael J. Mike & Pat Byers B. M. “Marti” Ripberger Duke Energy Robertson Ms. Jane Conley Yvonne H. Shaheen Erie Insurance Mr. Kevin D. Taylor Stephen & Andrea Cranfill ------ExactTarget Roberta & Bill Witchger David & Consuelo Davis Anonymous Ice Miller LLP Dr. Christian Wolf & Elaine Rollin & Cheri Dick Arts Council of Indianapolis and the Indiana Arts Commission Holden-Wolf Jack Everly & Ty A. Johnson City of Indianapolis Chase Jim & Rita Zink Ms. Carol J. Feeney The Christel DeHaan Family National Endowment for the Arts ------Dr. & Mrs. Richard W. Garrett Foundation Navient ADL Charitable Trust Michael & Beth Gastineau Efroymson Family Fund Nicholas H. Noyes Jr. Memorial Buckingham Foundation Inc. Gary Ginstling & Marta Lederer Eli Lilly and Company Foundation Citizens Energy Group Mr. & Mrs. Larry Glasscock The Herbert Simon Family Printing Partners CNO Financial Group Charles & Susan Golden Foundation R.B. Annis Educational Foundation Community Health Network Mr. & Mrs. Thomas W. & Mary P. Indianapolis Power & Light Raymond James & Associates, Inc. Dorsey Foundation Grein Company Roche Diagnostics Dow AgroSciences Steve L. Hamilton & Keith O. Indianapolis Symphony Orchestra Scott A. Jones Foundation Elba L. & Gene Portteus Branigin Norwalk Association St.Vincent Health Foundation Inc. Richard & Elizabeth Holmes Lilly Endowment, Inc. The Martin D. & Mary J. Walker The Glick Family Foundation Mr. & Mrs. W. Seymour Holt The Margot L. and Robert S. Eccles Charitable Foundation The Frenzel Family Charitable Lead Dr. Sharon Hoog Fund, a fund of CICF Trust Peter & Emily Howard Marsh Supermarkets, LLC. Founders’ Society, First Chair Hendricks County Community Dr. Ann H. Hunt Nina Mason Pulliam Charitable Trust ($10,000-$19,999) Foundation Dr. and Mrs. Ronald Iacocca Ruth Lilly Philanthropic Foundation Anonymous (2) Indiana Members Credit Union Dr. & Mrs. Raymond V. Ingham The Honorable & Mrs. Alex M. Azar II The Indiana Rail Road Company Carlyn Johnson Founders’ Society, Music Director Mr. & Mrs. Robert Bader Indiana University Health Partners Bob & Rhonda Kaspar ($50,000+) Charlene & Joe Barnette Industrial Dielectrics Holdings Kimra Kidd Kay F. Koch Mr. & Mrs. Barry J. Bentley Ann and Gordon Getty Foundation Drs. Sandra & Charles Kinsella Sarah & John Lechleiter Maestro Raymond Leppard & Dr. and the League of American Ned & Wendy Kirby Marianne Williams Tobias John C. Bloom Orchestras Mrs. James L. Kittle, Sr. Richard D. Wood Mrs. Elanor Bookwalter OneAmerica Financial Partners, Inc. Don & Jen Knebel ------Bryan & Elaine Brenner Ricker’s Dr. & Mrs. Eugene P. Kroeff The Glick Fund, a fund of Central Dr. & Mrs. Thomas A. Broadie Ronald McDonald House Charities of James E. & Patricia J. LaCrosse Indiana Community Foundation Charles W. Brown Central Indiana and McDonald’s Nancy Lilly Vincent & Robyn Caponi of Central Indiana Dr. Richard E. Lindseth Founders’ Society, Concertmaster Mr. & Mrs. Daniel P. Carmichael Rotary Foundation of Indianapolis Greg & Alexandra Loewen ($20,000-$49,999) Mr. & Mrs. James M. Cornelius Shaheen Family Foundation Dr. & Mrs. Carlos Lopez Christina Bodurow Mr. Daniel Corrigan Terry Lee Hyundai Stacy A. Maurer Trent & Amy Cowles Fred & Priscilla Crawford Tobias Family Foundation Mr. & Mrs. Bruce McCaw Ann Dettwiler Mr. & Mrs. James E. Dora Robert H. McKinney Dr. & Mrs. E. Henry Lamkin, Jr. Erin & Scott Dorsey Founders’ Society Virginia Melin Dr. Gordon & Carole Mallett Mr. & Mrs. John Fazli ($5,000-$9,999) Mr. & Mrs. Dayton Molendorp Mrs. F. Bruce Peck, Jr. Craig & Mary Fenneman Anonymous (5) Ellie, Weber & Emaline Morse Mr. David Rodgers Otto N. Frenzel IV Mr. & Mrs. Jeffrey M. Adams Jerry & Anne Moss Robert & Alice Schloss Don & Carolyn Hardman Thomas N. Akins John & Carolyn Mutz Ann M. & Chris Stack Allan & Kathy Hubbard Teresa & Don Altemeyer Mr. & Mrs. Charles J. O’Drobinak Randall & Deborah Tobias Phil & Colleen Kenney Bob & Pat Anker Michael P. & Leanne M. O’Neil Dr. & Mrs. Eugene Van Hove Joseph & Kathy Kessler Mr. Aasif Bade Holly & John Pantzer Martin & Mary Walker Timothy J. & Cindy Konich Drs. Douglas & Deborah Balogh Kay Pashos & Neal Steinbart David & Eleanor Wilcox Dr. Gwen & Mr. Robert Krivi Ms. Sarah Barney Mr. & Mrs. Thomas J. Pence Kathy & Ralph Wilhelm Drs. W.H. & K.T. Landschulz Dr. & Mrs. John E. Batchelder Donald & Karen Perez ------Mr. E. Kirk McKinney, Jr. Mr. & Mrs. Michael Becher Bart Peterson Anonymous Karen Mersereau & Dr. Michael Suzanne B. Blakeman Zeb & Barbara Portanova Anthem Blue Cross and Blue Shield Helms Charles & Joyce Boxman Mary Frances Rubly Arthur Jordan Foundation Mrs. Nancy Ann Morris Mr. & Mrs. John Bratt Dr. & Mrs. Robert L. Rudesill Barnes & Thornburg LLP Dr. Kenneth & Mrs. Debra Renkens Donald & Barbara Broadlick Mr. & Mrs. William N. Salin 81 ANNUAL FUND

William & Faye Sigman Dr. & Mrs. Larry C. Franks Anna S. & James P. White Mr. & Mrs. Richard A. Harrison Maribeth & Al Smith Julia & Doug Gard Bob & Marnie Wilken Mr. & Mrs. Gerald V. Hinchman Susanne & Jack Sogard David Gerstein, M.D. Terence & Margaret Yen Clarena Huffington Michael & Carol Stayton Cora A. Gibson Barrie & Margaret Zimmerman Mr. & Mrs. V. William Hunt Mr. & Mrs. Frank D. Walker Steven M. Giovangelo & Gerald J. ------Ms. Harriet Ivey & Dr. Richard Pete & Lena Ward Bedard The Barrington of Carmel Brashear Margaret Watanabe Jim & Roberta Graham Chubb Group of Insurance Mr. Gerald R. Jenn Mr. & Mrs. Daniel O. Weisman Christian & June Gries Companies Holly & Scott Johnson David P. Whitman & Donna L. Mr. & Mrs. James Hancock DB Engineering LLC Dr. & Mrs. Philip E. Johnston Reynolds Mr. Henry Havel & Ms. Mary Enflora Flowers for Business Joan & David F. Kahn Lynn & Andy Wiesman Stickelmeyer Ernst & Young LLP James & Jennifer Kelley Jacquie & Fred Winters Dr. David K. & Clarice F. Hennon Fifth Third Bank Mr. Charles E. Kendall Hsiu-Chiung Yang & Marian Mosior Marsha A. Hutchins Firestone Building Products and Mr. Doug Klitzke Sara & Michael Zeckel Larry & Annette Hutchison Industrial Products Dr. Elisabeth Krug John & Linda Zimmermann Mr. & Mrs. John C. Jenkins & Family First Person Mr. & Mrs. George Kyle Jennifer & Michael Zinn Mr. & Mrs. John Jokantas Huntington Bank Mr. & Mrs. Joseph C. Lanning ------Daniel H. Joseph Indiana American Water Co., Inc. Dr. & Mrs. Richard Lasbury Ann & Gordon Getty Foundation Dr. Louis N. Jungheim & Dr. Thalia Indiana Farm Bureau Insurance Bob & Maureen Lee Barefoot Wine Nicas Indiana Spine Group Mr. & Mrs. Allan Litz Bose McKinney & Evans LLP Dr. and Mrs. John E. Kalsbeck ITT Technical Institutes Jon D. Marhenke, M.D. Care Institute Group, Inc. Mr. & Mrs. Michael J. Kenniff J M Smith Foundation Linda & Carter Mathews Charles W. Brown Foundation Peg Kimberlin Jungclaus-Campbell Co., Inc. Dr. & Mrs. Ronald Maus City of Carmel Peg Lavagnino Dr. Michael J. Helms, DPM Ann & John McGrath Cornelius Family Foundation, Inc. Andrew & Lynn Lewis The Shaw-Burckhardt-Brenner Marni McKinney Deloitte & Touche LLP Jim & Sarah Lootens Foundation Mr. & Mrs. Richard Menke DMC Holdings, Inc. Andrew J Macht Sheila Fortune Foundation Jim Miller FedEx Corporation Malcolm & Joyce Mallette Skyline Club, Indianapolis Mr. & Mrs. Robert E. Miller Franklin Symphonic Council, Inc. Mr. & Mrs. David Malson Smoke Free Indy Mrs. Ina Mohlman Hoover Family Foundation Mary & Charles Matsumoto The Stratford Elizabeth & William Murphy The Julia L. and Andre B. Lacy Chari- Mr. & Mrs. Robert B. McNamara Symphony at Sunset Group, Inc Tim & Nancy Nagler table Fund, a fund of CICF Boris E. Meditch UnitedHealthcare Timothy S. Needler MacAllister Machinery Company, Pete and Cindy Method Western Reserve Partners, LLC Mr. Carl & Dr. Loui Lord Nelson Inc. Flip & Cindy Miller Witham Health Services Mr. & Mrs. John S. Null Macy’s Milton & Margaret Miller Jackie Nytes McCaw Family Foundation Jim & Jackie Morris President’s Club Mrs. Martha O’Connor Meridian Dermatology Dr. & Mrs. Daniel H. Mowrey ($1,500-$2,499) Dorit & Gerald Paul Merrill Lynch Peggy & Byron Myers Anonymous (4) Allen H. Pekar MusicCrossroads Mr. & Mrs. Guido Neels Joan Baker Mr. Lee & Mrs. Patricia Perkinson The National Bank of Indianapolis Cindy Nichols Mary Ruth Barnard Beverley & Bill Pitts NextGear Capital Mr. & Mrs. Thomas O’Leary Frank & Katrina Basile Scott & Susan Putney Regions Bank Mr. & Mrs. Robert H. Orr James & Lynda Beckel Mr. & Mrs. Randall Riggs The Rock Island Refining Foundation Noel & Beth Outland Ms. Susan Bever Mr. & Mrs. Byron Robinson Skiles Detrude Jane & Andrew Paine Jay & Julie Bishop Gordon & Patsy Roe Telamon Corporation Jack & Katie Patterson Mr. & Mrs. Jesse L. Bobbitt Parker & Sarah Ross Vectren Corporation Eloise Paul & Bill Lee Dr. & Mrs. W. C. Bonifield Dr. & Mrs. Randall G. Rowland Walt & Mary Prouty Terry & Robert L. Bowen Mr. John Ruhl Conductor’s Circle Dr. & Mrs. George F. Rapp Mr. C. Harvey Bradley Jr. Dave & Marcia Sapp ($2,500-$4,999) Richard & Betty Lou Reasoner Alice Brown & Randy Trowbridge Jerry & Rosie Semler Anonymous (4) Jasmine Reese Gordon & Celia Bruder Randall & Amy Shepard Mr. James Adams Dr. Merrill Ritter Mr. & Mrs. John Campbell Dick & Susan Simon Dr. Albert Allen & Ms. Kathryn Mrs. John R. Roesch John & Ulla Connor Mr. & Mrs. Jeff Smithburn Maeglin Mr. & Mrs. Todd K. Rutledge Chris W. & Lesley J. Conrad Rita & Larry Steinberg Mr. & Mrs. Michael Alley James & Mary Beth Schafer Bill & Angela Corley Mrs. David Thiel J. Dara & Sherry Amlung Jane & Fred Schlegel Mr. & Mrs. Bert Curry Jerry & Linda Toomer Trudy W. Banta Klaus & Joel Schmiegel Mr. Douglas Davies Stephen L. Tracy Dr. & Mrs. Richard Barb Drs. Lei Shen and Soomin Park Mr. & Mrs. Gregory C. Davis Dr. James & Linda Trippi Kenneth & Patricia Burow Eric Siemers & Peggy Edwards Manuel & Sally Debono John & Kathy Vahle Dr. & Mrs. John T. Callaghan Dr. Mike Simmons Julie & David DeWitt Joe & Diane Vande Bosche Nancy Christy Joanne & Gerald Solomon Mr. & Mrs. Robert M. Donovan Scott & Sue Webber Dave & Christie Crockett Dee & Tom Spencer Ms. Phyllis Dye Turner Courtenay & Emily Weldon Fred & Alice Croner Drs. Pamela Steed & Peter Furno Miss E. Frances Eickhoff Emily A. West James J. & Barbara Curtis Sydney L. Steele Andrew & Irene Engel Mrs. Phyllis West Rick & Jody Dennerline Jim & Cheryl Strain John N. & Julia Luros-Failey Mrs. Mary Whalin Ms. Andrea Devoe Drs. Randall & Bonnie Strate Gracia & Jim Floyd Mrs. Lucy Wick Steve & Mary DeVoe James Sweeney Dr. Norm & Adrienne Fogle ------Kerry Dinneed & Sam Sutphin Norm & Dawn Tabler Dr. & Mrs. Mark Foglesong The Ackerman Foundation Robert W. Dyar, M.D. Dr. & Mrs. Reed Tarwater Joe & Kathy Grahn Batt Family Foundation Mrs. Marian Elliott Dr. & Mrs. Ron Thieme Mr. & Mrs. Berl J. Grant Conrad Indianapolis Dorothy Schultz Englehart Dr. James & Linda Trippi Mr. & Mrs. Robert Gregory Endowment Development Services Dr. & Mrs. Michael E. Flaugh Martha Anne Varnes Ms. Julie Griffith Gracia E. Johnson Foundation Steve & Lisa Ford Hugh & Jane Watson John & Chichi Guy The Indianapolis Recorder Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. William Wheeler Bob Hallam The Jenn Foundation

82 ANNUAL FUND

Mallor Grodner LLP C. Jane Hodge Dennis Sponsel Mr. Ray E. Gotshall & Ms. Lillian Marni McKinney Foundation Mrs. Ginny Hodowal Betty & Alan Stanford K. Fox McKinney Family Foundation Mrs. Jill Hoyle T.S. Sun Ms. Lauren Guidotti Mike Watkins Real Estate Group Inc Carolyn Humke Richard & Lois Surber Mr. & Mrs. Alan Hamilton The Penrod Society Krisztina & Ken Inskeep Mr. John Tan Mr. & Mrs. Chris Hanley The Toomer Family Foundation Mrs. Ninalou Isaacson Phillip A. Terry Mr. & Mrs. Thomas G. Harvey, Jr. Van Riper Woodard Family Ethan & Joyce Jackson Mr. & Mrs. Robert Thomas Mr. & Mrs. Jerome T. Henning Foundation Mr. & Mrs. Richard Johnson The Throm Family Mr. Ronald N. Hermeling Dr. & Mrs. Charles E. Jordan Douglas L. Tillman Catherine Jones Symphony Club Mike & Linda Jordan Barbara S. Tully Mr. William A. & Mrs. Elizabeth ($1,000-$1,499) Donn & Dot Kaupke Lynn C. Tyler M. Kerr Anonymous (8) Dr. & Mrs. Frederick M. Kelvin Constance Van Valer, M.D. Dr. & Mrs. Jerry L. Kight Kate & Dan Appel Richard & Susan Kent Don & Coleen Walker Robert & Cindy Kirkpatrick Mr. & Mrs. John S. Ayre David H. Kleiman Mr. & Mrs. Bradley Warnecke Dr. Yukiko Kitagawa The Honorable & Mrs. Taylor L. Richard & Roxanne Kovacs Mr. & Mrs. Charles Warren Steve & Sharon Klusman Baker, Jr. Barry Kroot Nick and Maureen Weber Col. A. D. Kneessy Terry & Patricia Balko Terrence & Jodi Kunstek J. Anne Werry Howard & Sarah Knight Meaghan Banks Cindy & Rick Leffler L. Alan & Elizabeth Whaley Mr. Richard & Mrs. Gwen Knipstein Nicholas Barbaro & Sue Ellen Mr. Eric Everett Leiter Mr. & Mrs. Frederic Wiese, Jr. Ms. Katherine Kovac Scheppke Mr. & Mrs. William Lindstaedt Mr. & Mrs. Meredith L. Wilson Rev. Richard & Mrs. Nancy Lewer Dean Barnhard Mr. Tom Linebarger Bob & Debbie Wingerter Dennis & Karen Licht Ms. Susan Bates Mr. & Mrs. John D. Long Mr. & Mrs. Robert Witt Dr. Erik L.Lindseth Spencer & Marcia Bavender Lowell & Penelope Lumley Jim & Karen Wolf Reverend Dr. Joan Malick Eric & Elaine Bedel Mr. & Mrs. Ralph E. Lundgren Mrs. Edna Woodard Jeffrey & Christine Marks Dr. & Mrs. Steven C. Beering Carey Lykins Turner & Diann Woodard Mr. & Mrs. Ken Matsumoto Kirk & Sharon Boller -- Bottom-Line Ms. Karen Mangia & Mr. Thom Mrs. Irene Yacko Mr. & Mrs. Ralph McCormick Performance Inc England Diana & Dan Yates Ms. Lawren K. Mills Rev. James R. Bonke James R. & Rita E. Martin Josephine Yu Mr. Bill Moreau Mrs. Jeanne Book Dr. & Mrs. Douglas R. Maxwell Mary Ann & Gene Zink Dr. Kathy Moreira Erv & Priscilla Boschmann Michael & Patricia McCrory Sue & John Zinser Graham Denby Morey Mr. & Mrs. R. Robert Brafford Craig & Kathleen McGaughey ------Dr. and Mrs. Patrick J. Murphy Terri Bruksch Mr. & Mrs. Thomas McGinley Anonymous Ms. Brittany Nehman Randall & Ann Burgess Dorothy J. McIver Cavalier Family Foundation David & Diane Nesbitt Celeste & Derrick Burks Alan & Ann McKenzie Cole Hardwood, Inc. Dr. Donald and Mary Jean Orander Helen Burnett Nancy L McMillan Dayton Foundation Muriel Patterson Donald W. Buttrey Dr. Bruce & Mrs. Stefany Mitlak Gracie Communications Marvin C. & Anne K. Perry Mr. & Mrs. E. M. Cavalier Jack & Judy Myers Gregory & Appel Insurance Marian Pettengill Dexter & Rosemary Cooley Mr. & Mrs. Daniel Mytelka The Humke Foundation, Inc. Diane Richardson Mrs. Mary C. Crean Carolyn and Blake Lee Neubauer Indiana First Lady’s Charitable Mr. Gilva F. Sallee Joanne Meyer Davis Paul Nordby Foundation, Inc. Saundra & Tuck Schulhof Rebecca & Larry Davis Lara Noren Indiana Utility Shareholders Mr. Carson Shadowen Mr. Douglas B. Day Michael & Lorelee Palmetier Association Michael & Priscilla Shaw Dr. & Mrs. Frank Deane Mrs. Karen L. Parrish James O. & Alice F. Cole Foundation Dr. & Mrs. Robert K. Silbert Diantha V. DeGraw Sally & Jay Peacock Milestone Ventures Inc Peter & Chris Smithhisler Mr. & Mrs. Joseph E. DeGroff James & Raymond Luther-Pfeil NTN Driveshaft Ms. Shelley Stiner Mr. & Mrs. Dan Dumbauld Gayle L. Phillips RSE Realty, Inc Mr. Bill & Mrs. Linda Strickland Constance C. Earle Larry & Nancy Pugh The Ruth E. Stilwell Endowment Claudia V. Swhier Mr. & Mrs. Thomas J. Eggers Myrta J. Pulliam Fund, a fund of CICF Lonn Bayha & Nela Swinehart Dr. & Mrs. Tom Elam Jo & Chris Rathbun Salin Bank & Trust Mrs. Maggie Tatter The Dr. Lawrence M. and Eldoris J. Mr. Robert F. & Mrs. Mary L. Rice The Saltsburg Fund; Karen Lake Ms. Sheree Toney Borst Family Fund of the CICF Jean & Lamar Richcreek Buttrey (deceased), Donald W. Paul & Gretchen Watson Ms. Linda A. Erickson The Riggs Family Buttrey Miss Gretchen Wolfram David & Julie Eskenazi William R. & Gloria Riggs Straubinger Flutes Dr. & Mrs. Steve Young Sherry Faris Mr. Larry Roan ------Dr. & Mrs. Harvey Feigenbaum N. Clay & Amy Robbins Virtuoso Contributed Goods and Services Linda Felton Joseph & Leanna Roberts ($750-$999) ($5,000 and Above) Dick & Brenda Freije Peggy L. Robinson Anonymous (2) Carol & Ken Bandy Mr. & Mrs. James F. Gallagher Bill & Gail Rodecker Ms. Cindy Bailey Buckingham Foundation Inc. Mr. & Mrs. Raymond Gibson Margaret Cole Russell & Steve Mark & Ann Bear Conrad Indianapolis Marianne Glick Russell Mr. & Mrs. Robert Berger Enflora Flowers for Business Dr. Lawrence I. Goldblatt Roderick & Anne Scheele Mr. & Mrs. Fred Boso Lynch, Incorporated Thomas & Nancy Grembowicz Roger & Barbara Schmenner Casey Chell mitsch design Mr. & Mrs. Peter Grossman Paul & Martha Schmidt Kevin M. Clements NUVO Newsweekly Jerry & Kathleen Hacker David & Kitty Sedgley Dan & Laura Conder Printing Partners Dr. & Mrs. Jim Hamby Jonathon & Donna Sedgwick Mr. James & Mrs. June Conine WTTS Kenneth & Barbara Hamilton John Seest Terry & Debbie Cottingham Mr. & Mrs. Lucius O. Hamilton Jackie Simmons & Tom Norman Dean Velda Hamman Schnellenberger Jack & Connie Douglas Ms. Lisa Heid Mr. & Mrs. Henry E. Sleeth Judith Erickson Mr. & Mrs. Eugene E. Henn Marian Small Dr. Karen & Thomas Gallagher Mike & Noel Heymann Nancy C. & James W. Smith Dr. Matt Gardlik Mrs. Sue Hirschman Christy & Jeffery Soldatis Ms. Dorothy Gitlin

83 WHY I GIVE

Chris and Lesley Conrad Lynn Society Members

The Lynn Society first became important to me in 1959 as a fourth grader at IPS #91. The Indianapolis Public Schools had teamed up with the Indianapolis Symphony Orchestra to create a program where children from all over the city, grades 4-6, would be given the opportunity to foster an appreciation for and a knowledge of classical music. The program was called Music Memory and it taught students to identify the title and composer of famous classical works just by listening to short excerpts. Students with perfect scores were granted a “field trip” to Clowes Hall where the final contest was performed by the Indianapolis Symphony Orchestra, under the direction of Izler Solomon. The ISO would play a portion of eight or so classical pieces and the students would mark their sheets and identify the composer. As students, this was the equivalent of actually seeing classical music “rock stars.” I recall my classroom music teacher commenting that someone had been the financial overseer of this program, and I thought to myself, “Wow, that person doesn’t even know us. This program must be really important to them.”

I have been privileged to be the junior high and high school guidance counselor to the children of several of these classical music “rock stars” throughout the years, and my husband Chris and I have become friends with a number of the orchestra members. I hold a fondness for the ISO that goes clear back to those Music Memory performances of1959. Because of this, Chris and I, through our estate plans, hope to be like that financial overseer to the Music Memory Contest. Being a member of The Lynn Society insures that after we have had our last ISO ticket scanned, the programs and the music of future classical music “rock stars” will continue to enhance the lives of people we don’t even know.

84 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 April 14, 2015 – August 10, 2015.

Honor Gifts In Honor of David and Ingrid Bellman, Ms. In Honor of Helen Rudesill’s birthday Diane Evans and Ms. Terry Langdon - Happy Mrs. Donna Gilkison, sons Phillip and Scott Birthday Rita and Larry Steinberg Rita and Larry Steinberg Peggy Myers In Honor of Jack Everly, Indiana Historical In Honor of Yvonne Shaheen Society’s Indiana Living Legend Rita Steinberg Mr. and Mrs. John Fazli In Honor of Ms. Ada Shaum In Honor of Geoffrey Lapin Dr. Thomas Whittaker & Dr. Ann Zerr Virginia Melin In Honor of Christal Phelps Steele on her In Honor of Alice and Bob Schloss on the retirement occasion of their 50th wedding anniversary Anne and Dennis McCafferty Robin Bernstein Rita and Larry Steinberg In Honor of Katie Patterson Virginia Melin Capital Group In Honor of the wedding anniversary of Jim and Anna White Amy MacDonell and Randall Shepard

Memorial Gifts In Memory of Louise and Walter Bellman In Memory of Dennis King David and Ingrid Bellman Norma King In Memory of Karen Chapman In Memory of Sandra Krebs Laura Cones Sue A. Aranjo In Memory of Bertha Custer In Memory of Mary Ellen Pankratz Peggy Myers Ed & Jackie Rowell In Memory of Mrs. Edna DeFlorio, ISO Second In Memory of Roseann and Paul Pitz Clarinetist Trina Gross’ mother Janeann Pitz and Reinhard Pollach Michael Borschel Dr. Deborah Studen Pavlovich and George In Memory of Neal Grundy Pavlovich Mark Frederick Garringer Marylynne Pitz and Mark Weitzmann Donna and Thomas Pitz In Memory of Paul Haugan Henry A. Ryan In Memory of Herb Strong Katie Patterson In Memory of Virginia Hofmann Peggy Myers Dawn Fazli Mr. & Mrs. Ralph McCormick on behalf of In Memory of Sue Westbrook the ISOA South Group Marilyn George ISO Association South Group Dawn Fazli

85 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 Develop- ment at 317.262.1880.

btlaw.com

86 ISO ASSOCIATION

Sherry Amlung / President Wendy Adams / President Elect Nela Swineheart / Treasurer Rita Martin / Recording Secretary Cindy Ohlrogge / Assistant Treasurer Roberta Graham / Corresponding Secretary Connie Menke / Immediate Past President

Board Members, City Group & State Units J. Dara Amlung Glenda Griffin Leslie Nelson Susan Smithburn – VP Mary Kay Anthony Karen Harding Davine Nolcox Sarah Stoel Janet Barb Pat Hoeffken Sharon Paskins Peg Strodtbeck Charlene Barnette Ruth Hudson Joyce Peterson Linda Sykes – VP Susan Beckett Kay Kinder – VP Jan Pierce – VP Marge Vogel Peg Brummit Meme Kramer Kimberly Potosnak Joanna Weiler Joannie Burgett Mable Lewis – VP Barbara Ralph Mary Ellen Weitekamp Faye Crabtree Pat McCormick – VP Mary Richards Esther Weaver Nancy Christy Gail McDermott-Bowler Carol Rohra- Mary Whalin E. J. Choe Ann McKenzie baugh-Mote Dorothy White Marty Davis Sue Meyer Cheryl Rosenfeld Eleanor Wilcox Rebecca Davis Dorothy Miller Helena Rudolf Jackie Williams Ruth Durbin – VP Peg Myers – VP Sondra Scaggs Margie Zaring Carol Edgar Laura Nelson Betty Sisco

Past Presidents Alma Ayres Lou Ramey Helen Rudesill Dawn Fazli Jo Latham Martha Anne Varnes Sue Maine Janet Barb Sarah Goodman Marian Meditch Dagnia Kleinops Patricia A. Quinn Josephine Madden Margaret Hansen Kahn Illene Maurer Charlene Barnette Marion Fotheringham Kitty Baker Nancy Christy Pam Hicks Florence Curle Ann Strong Karen Davis Connie Menke Margie Tomlinson Jean Quinn Peggy Myers Jessie Burns Anna White Katie Patterson

On behalf of the entire Indianapolis Symphony Orchestra family, I want to express my personal thanks to each and every one of the members of the ISO Association for all they do for the ISO. Association members donated more than 11,000 volunteer hours last year to the ISO, a remarkable achievement! And, I am well aware that the contributions of Association members go well beyond volunteer hours; their hard work, enthusiasm and generous financial contributions have all helped to enrich the ISO in ways that are beyond measure.

Thank you, ISO Association!

Sincerely, Gary Ginstling Chief Executive Officer

If you would like to learn more about the ISO Association, email [email protected] or call 262-4068. 87 ADMINISTRATION

EXECUTIVE OFFICE MARKETING & COMMUNICATIONS Gary Ginstling, Chief Executive Officer Sarah Ross, Director of Marketing Laura Irmer, Executive Assistant Anja Hoover, Associate Director of Marketing Jennifer Welch, Art Director OPERATIONS Joshua Shuck, Group Sales Manager Danny Beckley, Vice President and General Manager Marci Taylor, Graphic Designer

Orchestra Operations Communications K. Blake Schlabach, Orchestra Personnel Manager Jessica Di Santo, Director of Communications L. Bennett Crantford, Assistant Personnel Manager Leila Viera, Publications Manager Bekki Witherell Quinn, Administrative Assistant Lauren King, Digital Communications Specialist Marianne Williams Tobias, Program Book Annotator Operations and Facilities Joanne Bennett, Director of Operations Patron Services Bethany Anderson, Facilities Coordinator David Storms, Box Office Manager Andrew Lay Audience Services & Events Senior Customer Care Representative David Armstrong, Director of Audience Services Anita Blackwell Kalyn Whitaker, House Manager Mary Ferguson Frances Heavrin, Event Coordinator Crystal Black Nick Neukom Artistic Administration Erika Fowler Zack French, Director, Artistic Planning Janine Knuutila Gregg Gleasner, Artistic Advisor Customer Care Representatives Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and LEARNING COMMUNITY Presentations Beth Perdue Outland, Vice President, Community Brandy Rodgers, Manager, Pops, Yuletide Celebration & Engagement & Strategic Innovation Symphonic Pops Consortium Endowed by Mr. and Mrs. William L. Fortune Mallory Essig, Pops & Presentations Coordinator Linda Noble, Associate Director, Education Betty Perry, Artistic Director, Metropolitan Youth DEVELOPMENT Orchestra Holly C. Johnson, Vice President Ruth Wolff, Director, ISO Learning Community Tanya Sovinski, Director, Development Krystle Ford, Associate Director, Metropolitan Youth Rita Steinberg, Senior Major Gift Officer Orchestra Casey Chell, Director, Major Gifts Perry A. Accetturo, Education Program Coordinator Missy Eltz, Director, Development Operations Meg Williams, Director, Foundation Relations FINANCE Sally Meyer, Foundation and Grants Manager Steve L. Hamilton, Vice President Carol Ann Arnell, Manager, Special Events and Donor Benefits Adam White, Controller Cindy McHone, Manager, Gift Processing Candi Berry, Staff Accountant Danielle McCormick, Corporate Relations Associate Teaka Vest, Accounts Payable Coordinator Caily Wolma Lee, Individual Giving & Research Associate Megan Meyer, Executive Administrative Assistant Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology

Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist

88 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 Subscriber Hotline For questions about parking, tickets, If you are a subscriber and have any ticketing subscriber benefits and will call, visit our Box needs, please call the Subscriber Hotline at Office at the main entrance to the theater 317.236.2040, or email the ISO at subscriber@ (off of Monument Circle) or the satellite Box IndianapolisSymphony.org. This dedicated Office at the east entrance (off Scioto Street). hotline is staffed during normal business hours by our Customer Care Representatives. Coat Checks and Restrooms You may also leave a message after hours, Coat checks are located on the main floor and and a representative will respond promptly. on the Oval Promenade on the second floor. The second floor can be reached by staircases Beyond the Concert on the east and west end of the theater or Attend The J. K. Family Foundation Words on elevators near the main entrance. Accessible Music one hour before every Lilly Classical restrooms are located on both floors. Series concert to hear from conductors and musicians performing that evening. Grab Emergency a drink and mingle with friends and ISO In the event of an emergency, please use the musicians after select evening concerts nearest exit (marked by lighted signs). This is during Reverb. your shortest route out of the theater. Also, join us for a behind-the-scenes Ushers discussion with special guests during First For questions about Hilbert Circle Theatre Mondays at the ISO. For information, please accessibility, first aid and lost and found, email firstmondays@IndianapolisSymphony. please see any usher. Ushers are here to org. answer your questions and to make your concert experience enjoyable.

Parking Garage Attached to Hilbert Circle Theatre Express Parking Garage is open on the west side of Pennsylvania Street between Market and Washington Streets. A canopy connects the garage to the Hilbert Circle Theatre lobby, giving you a close and convenient parking option. For evening concerts, pay on your way in to save the time and trouble of waiting in line after the concert.

For our Coffee Concert patrons, parking is limited; therefore, we recommend garages at the Circle Centre Mall.

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at [email protected]! 89   YOUR SEASON ~ YOUR WAY

CUSTOMIZE YOUR SUBSCRIPTION! Beethoven’s Missa Solemnis Kenny Rogers Brahms’ Piano Concerto #1 and #2, featuring Dejan Lazić Beethoven’s Fifth & Stravinsky’s The Rite of Spring Pink Martini Tchaikovsky’s Romeo and Juliet with André Watts Pictures at an Exhibition A Choral Spectacular, featuring Indianapolis Symphonic Choir, Indianapolis Children’s Choir and a Gospel Chorus Chopin’s Grand Polonaise, featuring Garrick Ohlsson

Krzysztof Urbański Jack Everly

SUBSCRIBE AND SAVE! Subscribers receive the best deals the ISO has to offer: deep discounts, access to the best seats, pre-sale opportunities, restaurant discount card, and MORE!

SUBSCRIBE TODAY BY CALLING THE BOX OFFICE AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

317.639.4300 | IndianapolisSymphony.org BIZET’S

Carmen Featuring Oksana Volkova as “Carmen” Krzysztof Urbański, Conductor

A story full of passion, love and betrayal, it has become the most popular opera seen by audiences all over the world. Don’t miss this special event as Krzysztof Urbański leads the Indianapolis Symphony Orchestra in a semi-staged production of Georges Bizet’s Carmen.

FRIDAY JUNE   PM | SUNDAY JUNE   PM HILBERTCIRCLETHEATRE

BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300.

91 Oxford proudly supports the Indianapolis Symphony Orchestra.

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