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Home , Eliogabalo, Mario Venzago, Max Richter, Paul Groves (tenor), Roberto Abbado

MUSIC OF THE EARTH FESTIVAL

KRZYSZTOF URBAŃSKI

HILBERT CIRCLE THEATRE KRZYSZTOF URBAŃSKI MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR

Timeless Classics with Maureen McGovern

MUSIC OF THE EARTH FESTIVAL Copland’s Appalachian Spring R. Strauss’ An Alpine Symphony Mahler’s “The Song of the Earth” Recomposed by Max Richter: Vivaldi The Four Seasons

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Programs Artists 17 January 6, 7, 2017 18 Jack Everly 22 January 12, 2017 19 Maureen McGovern 24 January 13, 14, 2017 25 Krzysztof Urbański 31 January 20, 21, 2017 34 Sasha Cooke 33 January 22, 2017 35 Paul Groves 42 January 27, 28, 2017 44 Roberto Abbado 45 Zach De Pue Featured Articles 8 Music In My Life The Indianapolis Symphony Orchestra 13 ISO Musicians Around Town 6 Musicians of the ISO 14 Inside the Usher Corps 7 Board of Directors 54 Arts in Indy 67 Indianapolis Symphony Orchestra Association Departments 68 Administration 9 ISO Profile 69 Hilbert Circle Theatre Information

Support 55 Endowment 58 Lynn Society 60 Annual Fund 64 Why I Give 65 Tribute Gifts 66 Corporate Sponsors

4 WELCOME

Dear friends,

I am thrilled to be here for the start of 2017 to present our Music of the Earth Festival. This festival is a two week musical journey which explores the physical and metaphysical aspects of our home planet.

In the first week, we’ll present Copland’sAppalachian Spring and Richard Strauss’ Alpine Symphony. What I love about Alpine Symphony is that it’s actually not about rocks, it’s not about mountains. It’s about human feelings. There is a hero, a person who travels through the mountains who is likely our composer, and we hear his fascination about the world on the pages of the score. We hear what he sees with his eyes. The music, along with the breathtaking images you’ll see accompanying the music, will make for an incredible experience.

In our second week, we will start with Richter’s recomposed version of Vivaldi’s The Four Seasons. So the audience will hear this famous piece but in a completely different light. Then, the ISO will perform Mahler’s “Song of the Earth” which includes six songs, each showing different meanings and different aspects of life.

The music being performed during our festival reminds me of what I love about music — that everyone can listen, analyze, and feel it in a different way. Hopefully, every single person will be inspired.

And speaking of being inspired, I hope you will join us throughout the winter and spring for the rest of our indoor season which will culminate with our season finale, Orff’sCarmina Burana.

Thank you for your support, and I look forward to sharing my musical journey with you throughout the new year.

Sincerely,

Krzysztof Urbański Music Director

5 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 Conrad Jones, Principal The Ford-West Chair Robert Goodlett II, Assistant The W. Brooks and Wanda Y. Alexander Kerr, Principal Guest Principal Fortune Chair Concertmaster Nami Akamatsu Robert Wood Philip Palermo, Associate L. Bennett Crantford Marvin C. Perry II, Assistant Principal Concertmaster Gregory Dugan Peter Vickery, Assistant Peter Hansen Trombone Concertmaster Brian Smith James Beckel, Principal The Meditch Chair K. Blake Schlabach, Assistant Dean Franke, Assistant Flute Principal Concertmaster Karen Evans Moratz, Principal Riley Giampaolo The Wilcox Chair The Sidney and Kathy Taurel Chair Barbara Fisher Agresti Robin Peller Bass Trombone Jennifer Greenlee Rebecca Price Arrensen, Assistant Riley Giampaolo Sherry Hong Principal The Dr. and Mrs. Charles E. Test Michelle Kang Chair Vladimir Krakovich Piccolo Charles Morey Rebecca Price Arrensen Tuba The Janet F. and Dr. Richard E. Barb Anthony Kniffen, Principal Second Violin Chair Konstantin Umansky, Principal Timpani David Bartolowits, Oboe Jack Brennan, Principal Associate Principal Jennifer Christen, Principal The Thomas N. Akins Chair Mary Anne Dell’Aquila, The Frank C. Springer Jr. Chair Craig A. Hetrick, Assistant Principal Assistant Principal Sharon Possick-Lange The Taurel Chair Roger Roe, Assistant Principal Percussion The Dick Dennis Fifth Chair* Braham Dembar, Principal Louise Alexander English Horn Craig A. Hetrick Patrick Dalton-Holmes Roger Roe Pedro Fernandez Victoria Griswold The Ann Hampton Hunt Chair Hua Jin Harp Jayna Park Clarinet Diane Evans, Principal Barbara Radomski David A. Bellman, Principal The Walter Myers Jr. Chair Lisa Scott The Robert H. Mohlman Chair Oleg Zukin Cathryn Gross Keyboard The Huffington Chair The Women’s Committee Chair Viola Samuel Rothstein, Assistant Endowed in honor of Dorothy The Schlegel Chair Principal Munger Mike Chen, Acting Principal/ Associate Principal Bass Clarinet Personnel Beverly Scott, Assistant Principal Samuel Rothstein K. Blake Schlabach, Manager Amy Kniffen L. Bennett Crantford, Assistant Terry E. Langdon Bassoon Manager Eva Lieberman John Wetherill, Principal Stephanie Tong Michael Muszynski Library Mark Ortwein, Assistant Principal James Norman, Principal Librarian Cello Laura Cones, Assistant Principal Austin Huntington, Principal Contrabassoon Librarian Perry Scott, Associate Principal Mark Ortwein Susan Grymonpré, Assistant Chair Anonymously Endowed Librarian Sarah Boyer Horn Ingrid Fischer-Bellman Robert Danforth, Principal Stage The Randall L. Tobias Chair The Robert L. Mann and Family Quentin L. Quinn, Manager Mark Maryanovsky Chair Kenneth Bandy, Technician Anne Duthie McCafferty Richard Graef, Assistant Principal P. Alan Alford, Technician The Dr. and Mrs. Robert L. Julie Beckel Yager Steven A. Martin, Technician Rudesill Chair Jerry Montgomery Jian-Wen Tong The Bakken Family Chair Jill Boaz 6 *The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. BOARD OF DIRECTORS

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

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

Yvonne H. Shaheen, Chair

Board of Directors Wendy Adams Ann Hampton Hunt Jackie Nytes Hon. Alex M. Azar II Phil Kenney* Michael P. O’Neil* Deborah Ware Balogh Joseph M. Kessler Alice K. Schloss Charlene Barnette* David Kleiman Patrick Sells Michael Becher* Liz Kyzr Carson Shadowen Barry J. Bentley* Martha D. Lamkin* Yvonne H. Shaheen* Christina Bodurow, Ph.D. Sarah L. Lechleiter Christopher Slapak John A. Bratt Greg Loewen J. Albert Smith Jr. Bryan Brenner Karen Mangia Mary Solada Vincent Caponi* Scott Martin Marianne Williams Tobias Kiamesha Colom Morrie Maurer Pete Ward Trent Cowles Bruce McCaw David Wilcox Andrea Davis* Karen H. Mersereau Ralph V. Wilhelm* Craig Fenneman David Morgan C. Daniel Yates Gary Ginstling* Peter A. Morse Jr. James C. Zink Sr. Peter W. Howard, Ph.D. Gerald L. Moss Jennifer Zinn Marc Nichols *Executive Committee

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

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

7 MUSIC IN MY LIFE QUENTIN QUINN, Stage Manager

Quentin Quinn has been the Stage Manager at the ISO for the past 23 years. Prior to the ISO, Quentin worked as a supervisor with the Indiana Convention Center for 20 years. His father was Stage Manager at the ISO with the orchestra for 30 years prior to him taking the position. The Quinn family is on year 53 of stage managing at the ISO. Quentin describes his time at the ISO as being an interesting, challenging, and wonderful time with a lot of positive changes. He has developed friendships with many musicians, some of which he even knew before he arrived at the ISO.

What attracted you to making a career out of stage management ? It may just be in the family genes to a certain degree. I went to school in Indiana, and my intention was to go to IU School of Dentistry. I came back to stage craft and stage work and have been here ever since. An interesting fact is that I have two other brothers that are in the business also. They actually work here for the ISO part time. My oldest son is a production electrician traveling about the country working for the largest trade, corporate, and auto shows. My younger son is a PE teacher and coaches Varsity basketball and golf on the high school level. My wife, Marilyn, of 48 years holds the family production together.

What is the most critical aspect to success as a stage manager? Staying ahead of the game. Making sure that I am giving the stage crew as much information as I can as early as possible. This avoids having everyone jumping through hoops any more than they have to. Everyone really appreciates getting production information up front, and we go from there.

What do you love about your job? Show time! It makes it all worthwhile to see the effort you have put into your work come out in real time and come off well. Most importantly, which I do quite often, I take a look and listen to the audience and see and hear their expressions. If it is a kid’s show, I peek through the curtain and take a look to see all the kids smiling—that’s important and so rewarding!

Outside of work, what do you enjoy doing? How do you spend your time? I like to play golf and particularly help out with the Maestro Open each year. It’s an exciting and valuable fundraiser for the ISO. I have two grand kids, so I enjoy spending time with them and going to their sporting events. We also enjoy boating.

What is the biggest lesson in your life that you’ve learned thus far? Listen once, listen twice. Always listen and assess before you make any decisions on productions and concerts. Don’t go off shorthanded, don’t go off the deep end. When you make a decision, take your time in making the decision to make the right decision the first time. If you make a hurried decision, you may have to go back and change things, and a lot of times the decision you’ve made affects a lot of people and possibly the production.

8 ISO PROFILE

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

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

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

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

The ISO in 2016–2017 In his sixth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Prokofiev, Mahler and Chopin and is collaborating with renowned soloists André Watts, Hilary Hahn and Dejan Lazić. Maestro Urbański also presents the Music of the Earth festival, a mid-winter festival of musical masterworks inspired by the majesty of our planet. In the Printing Partners Pops Series, Maestro Jack Everly is proud to conduct John Williams’ Indiana Jones: Raiders of the Lost Ark with film and orchestra, Sci-Fi Spectacular, celebrating the 50th anniversary of Star Trek, and Timeless Classics with music legend, Maureen McGovern. Special events this year include the 31st anniversary of the IPL Yuletide Celebration and the 100th anniversary of the Hilbert Circle Theatre. 9 OFFER VALID THROUGH FEBRUARY 27

Carmina Burana

FOR MORE DETAILS, CALL 317.639.4300, 10 OR VISIT INDIANAPOLISSYMPHONY.ORG With your Indianapolis Symphony Orchestra

FREE & OPENCBH TO THE PUBLIC TUESDAY, FEBRUARY 28 • 7:30PM HILBERT CIRCLEAd THEATRE The ISO honors the signiﬁcant impact of African-American musicians on the cultural life of Indianapolis and the nation. IMPD Oﬃcer Christopher Wilburn will also accompany the ISO, singing with the orchestra in his Hilbert Circle Theatre debut.

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12 MUSICIANS AROUND TOWN

On January 25 at 7:30 p.m., The University of Indianapolis presents The Icarus Ensemble as part of its Jazz Series in the Ruth Lilly Performance Hall of the Christel DeHaan Fine Arts Center. Admission is $15, $5 for Seniors; free for ages 18 and younger.

The Icarus Ensemble is made up of ISO Musicians Peter Hansen, bass, and Mark Ortwein, bassoon, along with regular ISO Mark Ortwein, Bassoon Peter Hansen, Bass 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 Circle Theatre lobby, and from band members.

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13 INSIDE THE USHER CORPS

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

Pat Craven was born and raised in the Indianapolis area, originally just east of Fountain Square, not far from what was then the Circle Theater. Eventually both her father and aunt worked for Eli Lilly, a growing and respected local business. In 1981, her family decided to move from Indianapolis to Florida to start a new family business. While the business venture did not turn out as planned, they found fulfilling opportunities. Pat worked for the Clerk of Court in Sarasota County in 1985 and relocated to Indianapolis upon retirement in 2014.

What motivated you to become an ISO volunteer? I have always enjoyed the arts and was able to volunteer for the West Symphony in Florida. When I moved back to Indianapolis in the fall of 2015, I sought out volunteer opportunities in the arts again. I was thrilled to learn of the volunteer positions with the Indianapolis Symphony Orchestra and the opportunity to join a team of such great volunteers.

Have you ever played an instrument? I have never played an instrument, however, I have always been drawn to music and have several favorite composers.

Why is volunteering for the ISO important to you? I most enjoy interacting with people, both the patrons as well as the volunteer team. Being retired I feel it is important to stay connected and active within the community. The Indianapolis Symphony Orchestra fulfills those aspects of my life, and I thoroughly enjoy all the opportunities it has provided.

What would you tell someone that is considering volunteering with the ISO? I tell my family, friends, and visitors in the city that the Indianapolis Symphony Orchestra is a vital part of our community. Volunteering with the ISO really makes a difference, and you should join us. It is so much fun!

14 WEDNESDAY, FEBRUARY 8 HILBERT CIRCLE THEATRE 5PM, HAPPY HOUR 6:30PM, CONCERT

BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, & OR CALL 317.639.4300

Matthew Halls, Conductor | Simone Porter, Violin The Los Angeles Times, after referring to her as a “future star,” wrote, “Let’s strike the word ‘future.’ She sounds ready. Now.” At 20 years old, Simone Porter makes her debut with the ISO, performing Mendelssohn’s beloved Violin Concerto followed by Bruckner’s Seventh Symphony.

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Buy tickets at Indianpolissymphony.org, or call 317.639.4300

15 JAN 6–7 TIMELESS CLASSICS WITH MAUREEN MCGOVERN

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

Coffee Pops Series/Program Three † Friday, January 6, 2017 at 11 a.m. Hilbert Circle Theatre

Printing Partners Pops Series/Program Four Friday, January 6, 2017, at 8 p.m. Saturday, January 7, 2017, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor MAUREEN MCGOVERN, Soloist JEFFREY HARRIS, Pianist

Irving Berlin Irving Berlin Medley

George & Ira Gershwin Stiff Upper Lip

George Gershwin & Lou Paley A Corner of Heaven With Me

George & Ira Gershwin Things Are Looking Up / Beginner’s Luck

George & Ira Gershwin Summertime

George & Ira Gershwin A Gershwin Medley

INTERMISSION - Twenty Minutes

Arthur Schwartz Dancing in the Dark

Harold Arlen & Accentuate the Positive / Get Happy Johnny Mercer/Ted Koehler

George & Ira Gershwin Love Walked In / Embraceable You

Richard Rodgers & Nobody’s Heart / Just One of Those Things Lorenz Hart/Cole Porter

Richard Rodgers & Lorenz Hart To Keep My Love Alive

16 TIMELESS CLASSICS WITH MAUREEN MCGOVERN JAN 6–7

Richard Rodgers & Lorenz Hart It Never Entered My Mind

Harold Arlen & E. Y. Harburg Ding, Dong, the Witch is Dead

Harold Arlen & E. Y. Harburg Optimistic Voices / Over the Rainbow

Harold Arlen Arlen Medley

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

Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited. 17 JAN 6–7 JACK EVERLY, Conductor

Jack Everly Mr. Everly is also the Music Director of the IPL is the Yuletide Celebration, now a 31-year tradition. Principal Pops He led the ISO in its first Pops recording, Conductor Yuletide Celebration, Volume One, that of the included three of his own orchestrations. Indianapolis Some of his other recordings include In The and Baltimore Presence featuring the Czech Philharmonic Symphony and Daniel Rodriguez; Sandi Patty’s Broadway Orchestras, Stories; the soundtrack to Disney’s The Naples Hunchback of Notre Dame; and Everything’s Philharmonic Coming Up Roses: The Complete Overtures Of Orchestra, and Jule Styne. the National Arts Centre Originally appointed by Mikhail Baryshnikov, Orchestra (Ottawa). He has conducted the Mr. Everly was conductor of the American Los Angeles Philharmonic at the Hollywood Ballet Theatre for 14 years, where he served Bowl, the New York Pops at Carnegie Hall, as Music Director. In addition to his ABT and appears regularly with the Cleveland tenure, he teamed with Marvin Hamlisch on Orchestra at Blossom Music Center. Maestro Broadway shows that Mr. Hamlisch scored. Everly will conduct over 90 performances He conducted Carol Channing hundreds in more than 20 North American cities this of times in Hello, Dolly! in two separate season. Broadway productions.

As Music Director of the National Memorial Maestro Everly, a graduate of the Jacobs Day Concert and A Capitol Fourth on PBS, School of Music at Indiana University, is Maestro Everly proudly leads the National a recipient of the 2015 Indiana Historical Symphony Orchestra in these patriotic Society Living Legends Award and holds an celebrations on the National Mall. These Honorary Doctorate of Arts from Franklin concerts attract hundreds of thousands of College in his home state of Indiana. He attendees on the lawn, and the broadcasts is a proud resident of the Indianapolis reach millions of viewers and are some of community for over 14 years, and when not the very highest-rated programming on PBS on the podium you can find Maestro Everly at television. home with his family, which includes Max the wonder dog.

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18 MAUREEN MCGOVERN JAN 6–7

Maureen as “A captivating musical scrapbook from the McGovern, 1960’s to the early 70’s. Ms. McGovern’s vocal celebrated technique is second to none.” as “The Stradivarius In 2005, Ms. McGovern was nominated for a Voice,” marked Drama Desk Award for her role as ‘Marmee’ the 40th in Little Women, The Musical on Broadway. anniversary of In 1981, she made her Broadway debut as the release of ‘Mabel’ in The Pirates of Penzance, then went her number on to star as ‘Luisa’ in Nine with Raul Julia one Oscar- and as ‘Polly Peachum’ in 3 Penny Opera with winning Sting. Maureen reprised her role as ‘Marmee’ International in the first National Tour ofLittle Women, Gold Record, The Musical and starred as ‘Mrs. Anna’ in the “The Morning After” from The Poseidon Broadway revival National Tour of The King Adventure, which garnered her a Grammy and I. Regionally, she has starred in Elegies, Nomination in 1973 for “Best New Artist.” Dear World, The Umbrellas of Cherbourg, The Maureen received her second Grammy Lion in Winter, Letters from ‘Nam and Of Thee Nomination in 1998 for “Best Traditional I Sing-Let ‘Em Eat Cake, among others. She Pop Vocal” for her solo piano/voice album, is currently performing her IRNE Award- “The Pleasure of His Company,” with Emmy- winning “Best Solo Performance” one-woman winning, Grammy-nominated jazz pianist, musical memoir “Carry It On” (co-written and Mike Renzi. She was also a featured guest created with director, Philip Himberg). artist on the Grammy Award-winning Songs from the Neighborhood: The Music of Mister For 34 years, Ms. McGovern has served the Rogers. Other hits include, “Can You Read My Muscular Dystrophy Association as volunteer, Mind” from Superman, the Oscar-winning performer, Board Member, Vice President “We May Never Love Like This Again” from and Chairperson of the record breaking The Towering Inferno and “Different Worlds” Shamrocks Against Dystrophy Campaign and from the TV series Angie. Her many critically NYC Telethon Co-Host for 6 years. Maureen acclaimed recordings include tributes to supports music therapy and has been an George Gershwin, Alan and Marilyn Bergman, Artist Spokesperson for the American Music Harold Arlen, and Richard Rodgers. Her Therapy Association since 2001. current PS Classics CD, A Long and Winding Road has been praised by The New York Times

19 This is our standing ovation.

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

Bravo on an excellent season!

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lakecitybank.com 21 JANTEXT 12 R STRAUSS: AN ALPINE SYMPHONY

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

Coffee Classical/Program Four Thursday, January 12, 2017, at 11:15 a.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor

Richard Strauss Eine Alpensinfonie, Op. 64 (1864-1949)

Concept, photography, and projection of ”An Alpine Symphony in Images” by Tobias Melle.

Length of performance is approximately fifty minutes. 22 Recording or photographing any part of this performance is strictly prohibited. WEEK 1: MUSIC OF THE EARTH FESTIVAL JAN 12–14

INDIANAPOLIS SYMPHONY ORCHESTRA

MUSIC OF THE EARTH

PRE-CONCERT SPEAKER

Scott Russell Sanders is the author of twenty books of fiction and nonfiction, including Hunting for Hope and A Conservationist Manifesto. His most recent books are Earth Works: Selected Essays (2012) and Divine Animal: A Novel (2014). A collection of his eco-science fiction stories entitledDancing in Dreamtime will be published this fall, and a new edition of his documentary narrative, Stone Country, co-authored with photographer Jeffrey Wolin, will appear in 2017. Among his honors are the Lannan Literary Award, the John Burroughs Essay Award, the Mark Twain Award, the Cecil Woods Award for Nonfiction, the Eugene and Marilyn Glick Indiana Authors Award, and fellowships from the Guggenheim Foundation and the National Endowment for theKRZYSZTOF Arts. In 2012, URBAŃSKI, he was elected CONDUCTOR to the American Academy of Arts and Sciences. He is a Distinguished Professor Emeritus of English at Indiana University. He and his wife, Ruth, a biochemist, have reared two children in their hometown of Bloomington, in the hardwoodMusic Director hill Krzysztofcountry Urba of Indiana’sński presents White a mid-winter River Valley. festival of musical masterworks inspired by the majesty of our planet. Strauss’ epic A S takes you to the very summit, bathing the listener in sonic sunlight. Mahler’s serene “The Song of the Earth,” drawn from delicate lines of Chinese poetry, is the rst of his great farewells: music as life giving, life sustaining, life loving as the Earth itself.

PROGRAMS TO INCLUDE: Thank you to our Music of the Earth Festival partners: R. STRAUSS’ MAHLER’S DAS LIED VON DER ERDE AN ALPINE SYMPHONY (“THE SONG OF THE EARTH”) FRIDAY, JANUARY 13, 8PM FRIDAY, JANUARY 20, 8PM SATURDAY, JANUARY 14, 5:30PM SATURDAY, JANUARY 21, 7PM

TITLE SPONSOR: PREMIER SPONSOR:

FOR MORE INFORMATION, CALL THE ISO BOX OFFICE AT 317.639.4300, OR VISIT INDIANAPOLISSYMPHONY.ORG

23 JAN 13, 14 R STRAUSS: AN ALPINE SYMPHONY

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

Lilly Classical Series/Program Seven Friday, January 13, 2017, at 8 p.m. Saturday, January 14, 2017, at 5:30 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor

Aaron Copland Suite from Appalachian Spring (1900-1990)

INTERMISSION - Twenty Minutes

Richard Strauss Eine Alpensinfonie, Op. 64 (1864-1949)

This performance is endowed by the Eugene B. Hibbs Fund.

Premier Sponsor

Associate Sponsor

Concept, photography, and projection of ”An Alpine Symphony in Images” by Tobias Melle.

Length of performance is approximately one hour and forty minutes. 24 Recording or photographing any part of this performance is strictly prohibited. KRZYSZTOF URBAŃSKI, Conductor JAN 12–14

Alongside his performances in Hamburg, this season sees the release of two discs recorded with NDR Elbphilharmonie Orchester: Dvořák’s Symphony No.9 for Outhere and Chopin small pieces for piano and orchestra with Jan Lisiecki for Deutsche Grammophon. Also soon to be released is Martinu’s Cello Concerto No.1 recorded for Sony with the Berliner Philharmoniker and Sol Gabetta. In addition, his discography includes “holly excellent renderings” (Gramophone) of “That he is no mere flashy wunderkind of the Lutosławski works for Alpha Classics with NDR baton was shown by the freshly invigorated Elbphilharmonie Orchester. playing he drew from the CSO …his keen musical instincts and vigorous way of In 2016–17, Urbański’s European season translating his ideas into orchestral sound includes his debut with the Netherlands Radio that has both shape and meaning,” stated the Philharmonic Orchestra and reinvitations Chicago Tribune when describing conductor to Rotterdam Philharmonic Orchestra, Krzysztof Urbański who, in September Tonkünstlerorchester, Philharmonia Orchestra, 2016, entered the sixth season of his highly Münchner Philharmoniker, and Wiener acclaimed tenure as Music Director of the Symphoniker for their annual Beethoven Indianapolis Symphony Orchestra. Symphony No.9 New Year concerts. Past debuts include Berliner Philharmoniker, In his final season as Chief Conductor and London Symphony, and Oslo Philharmonic Artistic Leader of Trondheim Symfoniorkester, orchestras. Urbański leads the orchestra in performances of Stravinsky’s The Rite of Spring, Bartók’s In North America, Urbański returns to the Concerto for Orchestra, Brahms’ Requiem and Toronto Symphony Orchestra, Los Angeles concludes his successful tenure with Mahler’s Philharmonic, and Washington’s National Symphony No.1. Previous highlights include Symphony Orchestra. His recent U.S. debuts two tours (first with concerts in Germany, include The Cleveland Orchestra, New York Austria, and Poland and second at the Philharmonic, and Chicago and San Francisco International Chopin Music Festival), and a Symphony orchestras. fully-staged production of Carmen as his first foray into opera. In June 2015, Urbański received the prestigious Leonard Bernstein Award when he returned to In September 2015, Urbański formally conduct the Schleswig-Holstein Akademie at became Principal Guest Conductor of NDR the Schleswig-Holstein Festival. Notably, he is Elbphilharmonie Orchester, and this season, the first conductor to have ever received this in addition to concerts in Hamburg, they tour award. Japan with soloists Alice Sara Ott and Sayaka Shoji.

25 JAN 12–14 Notes

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

Appalachian Spring was thunderstruck. Aaron Copland “Surely only an artist Born November 14, 1900, in Brooklyn, NY with an understanding Died December 2, 1990, in Westchester, NY of my work could have visualized In the 1930s, Aaron Copland wrote that he dance material in so was making a significant change in his style. “I rhythmically complex felt that it was worthwhile to see if I couldn’t and thematically say what I had to say in the simplest possible abstruse a composition.” terms.” Additionally, he was committed to creating a distinctive American voice in The composer began work on Appalachian music. “It was Copland’s genius for finding the Spring in 1943, commissioned by the memorable, evocative musical phrase that Foundation of Arts patron Elizabeth Sprague moved him from the avant-garde maverick Coolidge, who paid him $500 “for a dance to the voice of America.” (Barbara Heninger, piece.” Martha Graham (who actually titled the program note annotator) He succeeded work) had been inspired for a ballet by Hart brilliantly. Composer Virgil Thompson called Crane’s poem, “The Dance,” which included him “The President of American Music.” His these words: music in this regard was so effecting, so endearing, so comprehensible, so identifiable O Appalachian Spring! I gained the ledge; as ours that he singularly defined the Steep, inaccessible smile that eastward bends American spirit in music. On one occasion, And northward reaches in that violet wedge the composer recalled that an audience Of Adirondacks! member, after hearing Appalachian Spring in 1981, came up to him and said, “Mr. Copland The ballet received the Pulitzer Prize in May … when I hear your music, I can just see the 1945. Copland orchestrated the chamber Appalachians and I just feel spring. …” Mr. score, and the Suite for Orchestra premiered in Copland concluded, “Well, I am willing if they 1945 with the New York Philharmonic. are!” The setting is the early 19th century, on the Appalachian Spring (for chamber orchestra) site of a Pennsylvania farmhouse that was began as “Ballet for Martha,” referencing a wedding gift to a young couple. Copland Martha Graham’s ballet troupe. According wrote, “The bride-to-be and the young to Copland, the music was based on his farmer-husband enact the emotions, joyful friendship with Graham herself. “I was and apprehensive, which their new domestic thinking primarily about Martha and her partnership invites. An old neighbor suggests, unique choreographic style, which I knew now and then, the rocky confidence of well. Nobody else seems quite like Martha: experience. A revivalist and his followers she’s so proud, so very much herself. And remind the new householders of the strange she’s unquestionably very American: there’s and terrible aspects of human fate. At the end something prim and restrained, simple yet the couple are left quiet and strong in their strong about her which one tends to think of new house.” as American.” Copland met Martha Graham in the early 1930s at a concert that featured The ballet had 14 segments; the orchestral his Piano Variations. She told the composer version eight. The composer kindly provided she wanted to dance to it; Copland told her the following road map: that was “impossible.” Proving him wrong, she created the dance Dithyramb. Copland 1. Very slowly. Introduction of the characters, 26 Notes JAN 12–14 one by one, in a suffused light. Eine Alpensinfonie, Op. 64 (Alpine Symphony) Richard Strauss 2. Fast. Sudden burst of unison strings in A Born June 11, 1864 in Munich, Germany Major arpeggios starts the action. A sentiment Died September 8, 1949 in both elated and religious gives the keynote to Garmisch-Partenkirchen, Germany this scene. The tone poem concept initiated by Franz Liszt 3. Moderate. Duo for the Bride and her was carried forward and more fully developed Intended — scene of tenderness and passion. by Strauss. He achieved unprecedented realism in seven formidable tone poems, 4. Quite fast. The Revivalist and his flock. Folksy nine of the Alpine Symphony and Symphony feeling — suggestions of square dances and Domestica are included. Strauss explained his country fiddlers. attraction, noting that flexibility in the tone poem format provided an all-encompassing 5. Still faster. Solo dance of the Bride — freedom from past musical structures. “I have presentiment of motherhood. Extremes of joy found myself in a gradually, ever-increasing and fear and wonder. contradiction between the musical-poetic content that I want to convey and the ternary 6. Very slowly (as at first). Transition scene to sonata form that has come down to us from music reminiscent of the introduction. classical composers….I consider it a legitimate artistic method to create a correspondingly 7. Calm and flowing. Scenes of daily activity new form for every subject, to shape which for the Bride and her Farmer husband. There neatly and perfectly is a very difficult task...” are five variations on a Shaker theme. The In the Alpine Symphony, Strauss wrote that theme, sung by a solo clarinet, was taken from “this represents moral purification through a collection of Shaker melodies compiled by one’s own strength, liberation through work, author Edward D. Andrews, and published worship of eternal, magnificent nature.” under the title “The Gift to Be Simple.” The melody most borrowed and used almost He began his work on the Alpine Symphony literally is called “Simple Gifts.” in 1911, and it premiered in 1915 with the Dresden Court orchestra in Berlin, conducted 8. Moderate. Coda. The Bride takes her place by the composer. among her neighbors. At the end the couple are left “quiet and strong in their new house.” Strauss saved his biggest orchestral body Muted strings intone a hushed prayerlike (around 125 players) for the last work in the chorale passage. The close is reminiscent of tone poem set, possibly one of the reasons the opening music. the Alpine Symphony is the least played. Included amid this massive ensemble is a wind The above became iconic American music, machine, two sets of timpani, an organ, and deeply embedded and embraced in our ten to twenty horns (some offstage). At the culture. The seventh section, “Simple final rehearsal for the premiere, the composer Gifts,” sometimes tends to “steal the show.” quipped, “You see, I have finally learned how In response, Copland made a separate to orchestrate.” arrangement for orchestra, titled “Variations on a Shaker Tune,” which has also become part Maestro Emmanuel Villaume commented, of our American musical heritage. “You have everything for the conductor in the piece. The colors, mastering all these The ISO’s last performance of Appalachian climaxes, missing all these textures is Spring was February, 2015, conducted by absolutely fascinating and an exhilarating Jeffrey Kahane. experience for a conductor. It is an absolute total masterpiece…Because of the descriptive 27 JAN 12–14 Notes organization it does not have that reputation across an ice field would be. as one of those major works of the human spirit and human genius. There is something Dangerous Moments: listen for the bassoons in it that appears decadent, over the top… as the climber continues to cross the ice. If there was a kitchen sink on the summit, it would be there.” On the Summit: a breathtaking view with oboe solo and the famous peak motive from four There are 22 parts in continuous movement, trombones..The emotional climax of the work. each titled within the score. The music depicts a 24-hour period on the mountain describing Vision: shifting harmonies, instability, the an ascent to the top and return. These are: organ enters for the first time.

Night: dark low orchestration, nonetheless Mists Rise: gentle and evocative, listen for the shimmering, opening with a unison B-flat held long scales within the string section. by strings, horns, and low winds, followed by a slowly descending scale. The Sun gradually becomes obscured.

Sunrise: a smashing picture, truly a sunrise like Elegy: a strange mood overtakes the scene in a no other. Introduced by an ascending A major unison melody from the strings. scale… Calm before the Storm..interrupts the Elegy. The Ascent: a sturdy, optimistic theme, with offstage horns. Two themes are introduced Thunder and Tempest, Descent…enormous which will appear in subsequent sections: first, intensity, probably referencing a mountain a marching theme from strings and harp and experience he had during his youth when the second, brass fanfares. he was fourteen years old. After that event, Strauss recalled “The next day I portrayed the Entry into the Forest: instrumental tones whole thing on the piano.” This area uses the deepen as thick foliage obscures the sunlight. largest instrumentation of the entire work Birds sing from the upper woodwinds. Sunset: the harp announces the return of Wandering by the Brook: watery depiction sunlight. Some have considered this to be the with an active theme and rushing wavelets. coda of the structure. It is marked to be played “in gentle ecstasy.” At the waterfall: a glittering section with sparkling winds. Some have said this is the In the following sections, a recall of themes most directly pictorial of all the parts. heard earlier are presented:

Apparition: sometimes said to represent the Quiet Settles (an epilogue) “Fairy of the Alps.” Night: the depths of the darkness are explored On Flowering Meadows: peaceful, rustic in a cascading six-octave drop. Violins recall picture with cowbells and shepherd’s pipes. the marching theme, with a glissando to the On the Alpine Pasture: listen for the yodeling last note. sounds. The ISO’s first performance of theAlpine Through thickets and undergrowth by the Symphony was in January 2014, conducted by Wrong Way: horns. Maestro Urbański.

On the glacier: fanfare type theme with short- long rhythmic accents, much as staggering 28 In a world of change our focus is steadfast.

317-261-1900 www.dmdcap.com

29 JAN 20, 21 WEEK 2: MUSIC OF THE EARTH FESTIVAL

INDIANAPOLIS SYMPHONY ORCHESTRA

MUSIC OF THE EARTH

INDIANAPOLIS SYMPHONY ORCHESTRA PRE-CONCERT ACTIVITES

A new, three-year initiative of Ball State University Emerging Media, ReMix the MUSIC OFSymphony THE will challenge EARTH preconceived notions about classical music through INDIANAPOLIS interactive SYMPHONY experiences ORCHESTRA in the Hilbert Circle Theatre lobby during evening performances. MUSIC OFStudents fromTHE Purdue University EARTH also will present interactive activities that support INDIANAPOLIS the discoverySYMPHONY and preservation ORCHESTRA of Earth’s natural acoustic heritage with the Discovery Park Center for Global Soundscape exhibit. KRZYSZTOF URBAŃSKI, CONDUCTOR MUSIC OFAn hour priorTHE to performances EARTH on Friday and Saturday evening, Dr. Jim Larner, Professor of Music and Humanities at Marian University, will give a special Musicpresentation, Director Krzysztof “Going Urba ńGentlyski presents into a thatmid-winter Good festival Night,” of that musical explores masterworks how inspired the death by the of majestyhis belovedof our planet. daughter Strauss’ epic and A own S heart ailment takes you led to Mahlerthe very summit,to confront bathing his the grief listener and in KRZYSZTOFsonicmortality sunlight. URBAŃSKI, Mahler’s in “The serene Song CONDUCTOR “The of theSong Earth.” of the Earth,” drawn from delicate lines of Chinese poetry, is the rst of his great farewells: music as life giving, life sustaining, life loving as the Earth itself. Music Director Krzysztof Urbański presents a mid-winter festival of musical masterworks inspired by the majesty of our planet. Strauss’ epic A S takes you to the veryPROGRAMS summit, bathing the TOlistener INCLUDE: in sonic sunlight. Mahler’s serene “The Song of the Earth,”Thank drawn youfrom delicate to our lines Music of Chinese of poetry, the is Earth the Festival partners: rst of his great farewells:KRZYSZTOF music as life URBAŃSKI, giving,R. STRAUSS’ life sustaining, CONDUCTOR life loving as the Earth itself.MAHLER’S DAS LIED VON DER ERDE PROGRAMSAN ALPINE TO INCLUDE: SYMPHONY (“THE SONG OF THE EARTH”) Music Director Krzysztof Urbański presentsFRIDAY, a mid-winter JANUARY festival of 13, musical 8PM masterworks inspired by the FRIDAY, JANUARY 20, 8PM majesty of ourR. planet. STRAUSS’ Strauss’ epic A S MAHLER’Stakes you to the DASvery summit, LIED VONbathing DER the listener ERDE in sonicAN sunlight. ALPINE Mahler’s SYMPHONY sereneKRZYSZTOF “The SATURDAY,Song of theURBAŃSKI, Earth,” JANUARY drawn(“THE from CONDUCTOR 14,SONG delicate 5:30PM linesOF THEof Chinese EARTH”) poetry, is the SATURDAY, JANUARY 21, 7PM rstFRIDAY, of his JANUARY great farewells: 13, 8PM music as life giving, life sustaining,FRIDAY, life loving JANUARY as the 20, Earth 8PM itself. SATURDAY, JANUARY 14, 5:30PM SATURDAY,TITLE JANUARY SPONSOR: 21, 7PM PREMIER SPONSOR: Music Director Krzysztof Urbański PROGRAMSpresents a mid-winter TO INCLUDE:festival of musical masterworks inspired by the majesty of our planet. Strauss’ epic TITLEA SPONSOR: S takesPREMIER you SPONSOR: to the very summit, bathing the listener in sonic sunlight.R. Mahler’s STRAUSS’ serene “The Song of the Earth,”MAHLER’S drawn from delicate DAS linesLIED of VONChinese DER poetry, ERDE is the ANrst ALPINE of his great SYMPHONYfarewells: music as life giving, life (“THEsustaining, SONG life loving OF as THEthe Earth EARTH”) itself.

FRIDAY, JANUARY 13, 8PMPROGRAMSFOR MORE TO INCLUDE: INFORMATION,FRIDAY, JANUARY CALL 20, 8PMTHE ISO BOX OFFICE AT 317.639.4300, SATURDAY,FOR MORE JANUARY INFORMATION, 14, 5:30PM CALL THE ISO BOX SATURDAY,OFFICEOR VISIT AT JANUARY317.639.4300, INDIANAPOLISSYMPHONY.ORG 21, 7PM R. STRAUSS’OR VISIT INDIANAPOLISSYMPHONY.ORGMAHLER’S DAS LIED VON DER ERDE AN ALPINE SYMPHONYTITLE SPONSOR: PREMIER(“THE SPONSOR: SONG OF THE EARTH”) FRIDAY, JANUARY 13, 8PM FRIDAY, JANUARY 20, 8PM SATURDAY, JANUARY 14, 5:30PM SATURDAY, JANUARY 21, 7PM FOR MORE INFORMATION, CALL THE ISO BOX OFFICE AT 317.639.4300, TITLE SPONSOR: PREMIER SPONSOR: OR VISIT INDIANAPOLISSYMPHONY.ORG 30

FOR MORE INFORMATION, CALL THE ISO BOX OFFICE AT 317.639.4300, OR VISIT INDIANAPOLISSYMPHONY.ORG MAHLER: SONG OF THE EARTH JANDATE 20, 21

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

Lilly Classical Series/Program Eight Friday, January 20, 2017, at 8 p.m. Saturday, January 21, 2017, at 7 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor PAUL GROVES, Tenor SASHA COOKE, Mezzo-soprano ALEXI KENNEY, Violin

Max Richter The Four Seasons Recomposed (b. 1966) Alexi Kenney, Violin

INTERMISSION - Twenty Minutes

Gustav Mahler Das Lied von der Erde (1860-1911) Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Sorrow) Der Einsame in Herbst (The Solitary One in Autumn) Von der Jugend (Youth) Von der Schönheit (Beauty) Der Trunkene im Frühling (The Drunkard in Spring) Der Abschied (The Farewell) Paul Groves, Tenor Sasha Cooke, Mezzo-Soprano

This performance is endowed by Ina M. and Robert H. Mohlman.

Premier Sponsor

Associate Sponsor

See page 25 for Maestro Urbański’s bio. Length of performance is approximately two hours and ten minutes. Recording or photographing any part of this performance is strictly prohibited. 31 DISCOVERINGAMERICA’SNEXTGREATPIANISTSAPA Ad AMERICAN PIANISTS AWARDS TWO PREMIERE SERIES CONCERTS REMAIN

DREWPETERSEN ALEXBEYER SUNDAYJANUARY | PM SUNDAYFEBRUARY | PM Note: Ad sizes spec’d were only 0.125” from outer edge, had to Beethoven Concerto No. 5 Beethoven Concerto No. 2 reduce ads that don’t bleed to be at least 0.25” from edge. EACHPERFORMSASOLORECITALFOLLOWEDBYACONCERTOWITHTHEINDIANAPOLISCHAMBERORCHESTRA ATTHEINDIANAHISTORYCENTER’SBASILETHEATER 32 WWWAMERICANPIANISTSORG TELAMON PALLADIUM SERIES JANDATE 22

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

Telamon Palladium Series Sunday, January 22, 2017, at 3 p.m. The Palladium at the Center for the Performing Arts

KRZYSZTOF URBAŃSKI, Conductor PAUL GROVES, Tenor SASHA COOKE, Mezzo-Soprano ALEXI KENNEY, Violin

Max Richter The Four Seasons Recomposed (b. 1966) Alexi Kenney, Violin

INTERMISSION - Twenty Minutes

The recipient Academy, ChamberFest Cleveland, the of a 2016 Avery Lake Champlain Chamber Music Festival, Fisher Career Marlboro, Music@Menlo, Open Chamber Grant, violinist Music at Prussia Cove, Ravinia, Yellow Barn, Alexi Kenney and on tour with Musicians from Ravinia’s has been Steans Institute, collaborating with artists praised by including Pamela Frank, Miriam Fried, Gary the New York Graffman, Steven Isserlis, Kim Kashkashian, Times for “… Gidon Kremer, and Christian Tetzlaff. He immediately has an upcoming tour with Musicians from drawing Marlboro in 2017. listeners in with his He is the recipient of top prizes at the Yehudi beautifully Menuhin International Competition (2012), phrased and delicate playing.” His win at the Mondavi Center Competition (2010), and the 2013 Concert Artists Guild Competition the 2013 Kronberg Academy master classes. at the age of nineteen led to his critically He was praised by Strings magazine for his acclaimed Carnegie Hall debut recital at Weill “beautiful, aching tone” for a performance Hall. of the Sibelius Concerto with the China Philharmonic Orchestra in Beijing during the Alexi’s 2016–17 season began this summer Menuhin Competition. with unaccompanied recitals at New York’s Mostly Mozart Festival at David Geffen Hall Born in Palo Alto, California in 1994, Alexi and at Festival Napa Valley (formerly Festival Kenney received his Bachelor’s of Music del Sole). Concerto highlights this season degree from the New England Conservatory include performances with the Indianapolis, of Music in Boston, where he is currently the Jacksonville (FL), Santa Fe, Riverside, and only violinist in its selective Artist Diploma Tulare County (CA) symphonies, as well as program. At NEC he studies with Donald A Far Cry and the Staatstheater Orchester in Weilerstein and Miriam Fried on the Charlotte Cottbus, Germany. F. Rabb Presidential Scholarship. Former teachers include Wei He, Jenny Rudin, and He has given recitals at the Kennedy Center Natasha Fong. in Washington, D.C., Jordan Hall and the Isabella Stewart Gardner Museum in Boston, Alexi plays on the “Joachim-Ma” Stradivari Napa’s Festival del Sole, Chicago’s Dame Myra of 1714, the violin used by Joseph Joachim Hess series, and the Mondavi Center for the for the premiere performance of the Brahms Performing Arts, and he has been featured Concerto, through the generosity of the New on Performance Today, WQXR-NY’s Young England Conservatory. Artists Showcase, WFMT-Chicago, and NPR’s From the Top. Recent concerto engagements include the Santa Fe Symphony, Las Vegas Philharmonic and Roswell Symphony in New Mexico, the Hofheim Academy Orchestra in Bad Soden, Germany, and the NEC Philharmonia at Symphony Hall in Boston.

A passionate chamber musician, Alexi has performed at Caramoor, “Chamber Music Connects the World” at the Kronberg

34 PAUL GROVES, Tenor / SASHA COOKE, Mezzo-Soprano JAN 20–22

American tenor Paul Groves enjoys an impressive international career performing on the stages of all the world’s leading opera houses and concert halls.

Paul Groves begins his 2016/17 season with his return to the Opéra national de Paris for a rare role debut singing Alessandro Cesare in Cavalli’s Eliogabalo this September. Groves returns to his native New Orleans later in the season singing the title role of Faust with the New Orleans Opera. An avid concert performer, Groves’ season is filled with debuts and return engagements with symphonies across the United States. He can be seen singing Mahler’s Das Lied von der Erde with the Cleveland Orchestra and the Indianapolis Symphony, Berlioz’ Requiem with the San Francisco Symphony under Charles Dutoit, as well as Stravinsky’s Perséphone with the Oregon Symphony. Highlights of recent seasons for the American tenor include his first performances in the title role of Wagner’s Parsifal with Lyric Opera Chicago led by Sir Andrew Davis, appearances as Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thais with the Los Angeles Opera, and Pylade in Iphigénie en Aulide with Theater an der Wien. Groves returned to the Metropolitan Opera last season for Berg’s Lulu, and was seen in the East Coast premiere of Jennifer Higdon’s Cold Mountain with Opera Philadelphia.

Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (New York Times) and “equal parts poise, radiance, and elegant directness” (Opera News). Ms. Cooke appears frequently this season singing Mahler, whose works she has sung to great acclaim on four different continents. Sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music, Ms. Cooke’s season continues to bring world premiere performances and unique artistic collaborations.

A frequent performer of contemporary works, Ms. Cooke performed five world premieres last season including the first transgender opera, Laura Kaminsky’s As One with American Opera Projects at Brooklyn Academy of Music as well as a new cycle by Kevin Puts at Carnegie Hall. She sang Mary in Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera, Jan Arnold in Joby Talbot’s Everest at Dallas Opera as well as Kitty Oppenheimer in John Adams’ Doctor Atomic at the Metropolitan and English National Operas. The coming season features the world premieres of Marc Neikrug’s Canta-Concerto with the New York Philharmonic conducted by Alan Gilbert, and Mark Grey’s operatic adaption of Frankenstein at La Monnaie in Brussels.

35 JAN 20–22 Notes

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

The Four Seasons Recomposed Max Richter is a German Max Richter born British composer Born March 22, 1966 in Hamelin, Germany who was classically trained but has become One of the most famous works of the Baroque well known in post- period (1600–1750) is a set of virtuosic pieces minimalist styles, by Antonio Vivaldi titled The Four Seasons, influenced by punk and published in 1785 within a twelve part set of electronic, and popular violin concerti titled Il cimento dell’armonie e music of the twenty-first century. His work is dell’inventione (the Contest between Harmony well known in movies. He has composed 25 film and Invention.) In the original format, scores since 2000, and he has written many Vivaldi called for solo violin, string quartet works for stage, opera, ballet, and orchestras. and basso continuo. Each musical season The Four Seasons Recomposed was composed was accompanied by an evocative sonnet, in 2011, and premiered at the Barbican Centre attributed to Vivaldi. There is no other author on October 31, 2012, performed by the Britten identified, and each sonnet is tripartite and Sinfonia. follows the form and spirit of the music. In the context of music history, these are among the The Four Seasons Recomposed combines earliest examples of program music — music Richter’s own music, electronics, with small depicting a narrative or extra-musical event. elements (quotes and articulations) saved from the original (the violin horn calls from The Four Seasons has been popular for hundreds Autumn and the birdsong from Spring, for of years, not only in its original form but also example) which reflect Vivaldi’s voice but with in many arrangements and transcriptions a twenty-first century spin. Richter explained specifically for piano, a harp ensemble, jazz that his method was “throwing molecules of groups, recorders, concert band, and many the original Vivaldi into a test tube with a bunch other assorted groups. The work has been sliced of other things and waiting for an explosion… and diced over the years to provide background There are times I depart completely from the music for advertisements such as Peugeot’s 308 original, yes, and there are moments when it Coupe Cabriolet in 2009. pokes through. I was pleased to discover that Vivaldi’s music is very modular. It is pattern Max Richter’s “recomposition” did more than music, in a way, so there is a connection with transcribe and rearrange. He absorbed Vivaldi’s the whole post-minimalist aesthetic I am a part original “into his own musical bloodstream” and of.” His method was “to open the original score has noted that he discarded 75% of Vivaldi’s on a note by note level, and working through original work. The composer stated that “The it was like digging mineshaft through an Four Seasons is something we all carry around incredibly rich seam, discovering diamonds and with us. It is just everywhere. In a way, we not being able to pull them out. That became stop being able to hear it. So this project is frustrating. I wanted to get inside the score at about reclaiming this music for me personally, the level of the notes and in essence re-write it, by getting inside it and rediscovering it for recomposing it in a literal way.” (Nick Kimberley: myself… and taking a new path through a well- program notes for the Recomposed Release) known landscape.” One of his most interesting ignition points for his endeavor was the fact In the final result, Richter achieves his goal that he was simply “irritated” by how often — respect for Vivaldi and preservation of the he heard it. “You hear it in the supermarket original, while creating a splendid evocation regularly you are confronted with it in adverts of seasonal dramas in our current, re-wired or hear it as music when on hold…slowly you musical language. His intent never was to begin to blank it out.” jettison Vivaldi or patronize his masterpiece. 36 Notes JAN 20–22

“Hats off to him!” Richter stated. “That is what In this regard, he commented to Maestro Walter I am really pleased with. My aim was to fall (who conducted the premiere on November in love with the original again — and I have.” 20, 1911, six months after his death), “If I am to Answering the question; “If you could hear find my way back to myself, I have got to accept anyone admit they’re a huge fan of the piece the horrors of loneliness. I speak in riddles, who would it be?” the composer answered, since you do not know what has gone on and is “Vivaldi!” His answer is not only clever, but very going on within. It is surely no hypochondriac much in keeping with baroque practices of a fear of death, as you might suppose. I have composer borrowing other composer’s works, long known that I must die... without trying to re-arranging, and recasting musical ideas which explain or describe something for which there had been generated by someone else. The are probably no words, I simply say that at a Four Seasons Recomposed is not plagiarism, but single stroke I have lost any calm and peace of a demonstration of the potential of Vivaldi’s mind that I have ever achieved. I stand vis-à-vis concepts in modern discourse and imaginative de rien [face to face with nothingness], and now, outcomes for our time. at the end of my life, have to learn again to walk and stand.” This is the ISO’s first perfomnce ofThe Four Seasons Recomposed. In 1908, Mahler read Hans Bethge’s translations of a set of poems written three thousand years before during the T’ang dynasty titled “Die chinesische Flöte” (The Chinese Flute) by Li Das Lied von der Erde (Song of the Earth) Tai-Po, Mong Kao-Yen, Wang Wei, and Tchang Gustav Mahler Tsi. The poems not only comforted him, but also Born July 7, 1860 in Kaliste, Bohemia kindled his creativity and another investigation Died May 18, 1911 in Vienna, Austria into life and the living of it. In fact, he was so energized by this collection that his wife noted Das Lied von der Erde (Song of the Earth) was he wrote Das Lied von De Erde in only two one of Mahler’s last completed works, and he months during the summer and orchestrated it explained to Bruno Walter, it occupied a very in the winter. At first, Mahler had considered a special place in his oeuvre. On September six-part song cycle, based on selected poems to 1, 1908, he wrote to the conductor, “I have be titled “The Jade Flute” but later changed to been hard at work…I do not know what the “The Song of Earth’s Sorrow.” whole thing could be called. I have been granted a time that was good, and I think it is The composer subtitled his work Das Lied von the most personal thing I have done so far.” It De Erde, a Symphony for tenor, contralto (or was completed one year after his diagnosis of baritone) and Orchestra. This would have been congenital heart disease (1907), and three years his ninth symphony, but it was alleged by his before his death in 1911. Mahler was afraid of wife, Alma, that he was superstitious about this diagnosis, and thought often about his that number, being aware that Beethoven, mortality during these final years. Schubert, and Bruckner all died after writing nine symphonies. Hence he did not give Das Thus, this gigantic synthesis of symphony and Lied von De Erde an ordinal number. However, song has often been considered as his farewell before his death, he did lay aside the “curse of to life. The year 1907 had been a dreadful, the ninth,” wrote another completed symphony depressing time for Mahler. Not only the heart designated “the Ninth,” and a tenth lay diagnosis, but also the death of his daughter uncompleted in his desk. Maria from diphtheria and his dismissal from the Vienna Opera fueled his despair. Although There are six movements in Das Lied von der he had confronted death before in his music, Erde, derived from the life experiences of a at this point death was no longer an abstract single person. Note that Mahler altered many of concept but imminent. And he decided to react the poems to suit his message: life is brief and to that realization. death is all-powerful and inevitable. Credit for

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Pantone 554 JAN 20–22 Notes the poems’ translations as quoted is given to the Their silken caps perch gaily on the back of doctoral Thesis of Shioh-Ni Sun. their necks On the pool’s still surface The first song is titled “Das Trinklied vom Jammer Everything appears fantastically in a mirror der Erde (The Drinking Song of the Earth’s image Sorrow)” based on one of 1,000 extant poems, The upside down arch of the bridge by Li Tai-Po, aka Li Bai, a jolly member of the Appears like a half moon group known as “Eight Immortals of the Wine Friends, beautifully dressed, are drinking Cup” who (it was said) drowned in a drunken and chatting state, falling from a boat, while trying to lift Everything is standing on its head a shimmering moonbeam on the water. The In the pavilion of green and while text speaks of wine’s ability to shake off fear, porcelain encourages the drinker to “drain the goblet” but each of three stanzas concludes “Dark is life, and This is the shortest of the movements and so is death.” In Mahler’s setting, this foreboding, includes Chinese inflections, such as pentatonic frightening refrain is sung on a higher pitch on scales and tam- tam participation. In a piano each iteration. version, Mahler indicated directions: “Leicht und phantastisch (light and fantastic).” There are The second song “Der Einsame in herbst” (The four basic themes, only the final theme casting Solitary One in Autumn) is attributed to Tchang a serious and deeper effect for contemplation. Tsi, also written and known as Qian Qi and Notice the writing for bassoon which in its Zhang Ji. The mood is sad and depressing as the repetitive display imitates quick conversations. female protagonist (a seamstress) reflects on the everlasting death of flowers and beauty during a Von der Schönheit (Beauty) by Li Tai-Po. The quiet, dark night. scene describes young girls gathering lotus flowers on a riverbank. One of them falls in Bethge’s paraphrase reads: love with a young man, only to have her heart The lonely one in autumn broken: My heart is weary… My little lamp has burnt out with a splutter On the riverbank, maidens pluck flowers It puts me in mind to sleep by the river’s edge I come to you, beloved resting place Amid the bushes and leaves they sit, Yes, give me sleep, I need refreshment gathering flowers I weep much in my loneliness Autumn in my heart is lasting too long Sunlight weaves around their forms, Sun of love, will you never shine again mirrors them in shining water, and mirrors To dry my bitter tears? their slender limbs and sweet eyes

Note the rocking figure in the cellos which The breeze lifts with wheedling caresses creates a resigned, contemplative mood. Muted the fabric of their sleeves violins create a soft background for solo oboe And bears the magic of their fragrance and soloist in a lyrical duet. through the air Oh look: racing along, what handsome lads The third song “Von der Jugend” brings us to There on the riverbank, on spirited horses.. a party where friends are together in Mr. Tao’s lads in the flush of youth green pavilion to drink and converse together. They trample in sudden onslaught the fallen The poem was written by Li Tai-Po. In translation, flowers the text reads: Look at the mane flapping, its nostrils Youth, steaming Beautifully dressed, drinking and chatting And the loveliest of the maidens sends long Several are writing down verses glances of yearning after him Their silken sleeves slip backwards

40 Notes JAN 20–22

Her proud bearing is only pretence distant space….Forever…forever…. In the flashing of her large eyes, in the darkness of her passionate glance The music opens with tam tam and oboe The tumult of her heart still surges painfully supported by deep orchestral responses, towards him. creating a stark resigned mood before the soloist begins the first text. The orchestration in The music is happy, and notice the frequent this part will move from thick and multifaceted trills and dotted, jaunty rhythms which to very thin and delicate. Notice the intricate animate the scene. It is likely that Mahler was blending of Eastern and Western musical remembering happier moments in his own life. elements…lingering melodies, drifting melodies, unusual dissonances, high drama Der Trunkene Im Frühling (The Drunkyard in with lush coloration and crescendi. Between Spring) reverts to a grim aspect of life: solitude, the two poems Mahler provides an orchestral alienation, and sadness. Alcoholic happiness interlude, allowing the listener to contemplate has given way to reality. The source was from Li messages from both poets. Tai-Po. Das Lied von der Erde departs on a note of The drunkard in spring: If existence is but a acceptance after a massive tracing of the life dream, cycle. “Mahler realizes that life and death are Why then toil and fret? only a natural part of living, not a unique, I drink till I can drink no longer the whole individual tragedy.” At the close, the word evig live-long day (forever) is repeated nine times. Forever there And when I can drink no longer…Then will be beauty, sadness, and the inexorable stagger to my door march of time as the same existential elements And sleep wonderfully will be repeated and repeated. There will What do I hear when I awake? forever be tears and happiness in personal The bird sings in a tree. remembrances and experiences. Mahler’s I ask him if the spring is here; I feel as if I quiet conclusion is breathtaking in its truth, were dreaming… revelation, and wisdom. The bird twitters yes!... I fill my glass again, and drain it… From this perspective, Der Abschied can be seen For what does spring matter to me? Let me as revealing the future as well as embracing be drunk! the past. As Mahler has eloquently transmitted solitude and persistent questions of life he Notice the bird references in the music (often has concluded that “plus ça change, plus c’est from the piccolo) and the contrast of deep la même chose.” The more things change, the introspection characterized by slower tempi in more they remain the same. As he faced his the bird/human conversations. own death, Mahler rallied to produce work of profound impact and influence as we all Der Abschied (The Farewell) confront the ending of our own life and what This final section is the longest of the preceding, we can foresee for those who follow us. comprising over fifty percent of the entire work. Mahler derives this setting from two poems by The ISO’s last performance of Mahler’s Song Mong Kao-Yen “Staying at a Teacher’s Mountain of the Earth was May of 1994, conducted by retreat and Awaiting a Friend in Vain” and Wang Raymond Leppard. Wei’s “Farewell”. The final lines are from Mahler.

I shall no longer seek the far horizon Still is my heart and awaits its hour…. The lovely earth everywhere blossoms and grows anew Everywhere and forever the luminous blue of

41 JAN 27, 28 THE FIREBIRD

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

Lilly Classical Series/Program Nine Friday, January 27, 2017, at 8 p.m. Saturday, January 28, 2017, at 7 p.m. Hilbert Circle Theatre

ROBERTO ABBADO, Conductor ZACH DE PUE, Violin

Modest Mussorgsky Prelude to Khovanshchina (Dawn on the Moskva River) (1839-1881) Orch. Rimsky-Korsakov

Dmitri Shostakovich Concerto No. 1 in A Minor for Violin and Orchestra, Op. 77 (1906-1975) Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante Burlesca: Allegro con brio Zach De Pue, Violin

INTERMISSION - Twenty Minutes

Igor Stravinsky L’Oiseau de feu (The Firebird) (1882-1971)

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43 JAN 27, 28 ROBERTO ABBADO, Conductor

Recently in Rossini’s Ermione (Rossini Opera Festival, appointed Pesaro); and for the rare Der Vampyr of as the Music Heinrich Marschner (Teatro Comunale Director Bologna).” at Palau de les Arts A popular figure in the United States, Mr. Reina Sofía Abbado’s most extensive relationship in Valencia, is currently with the St. Paul Chamber Roberto Orchestra, where he is an Artistic Partner, a Abbado’s position that has now been extended into crisp, dramatic an unprecedented third three-year term. He music-making, has performed regularly with the Atlanta instinctive and St. Louis Symphony Orchestras and has lyricism, and appeared often with the Boston Symphony evocative command of varied composers Orchestra, Philadelphia Orchestra, Houston and styles have made him an esteemed Symphony, and San Francisco Symphony, as conductor among orchestras and opera well as with New York City’s Orchestra of St. companies today. He is both a sophisticated Luke’s. and energetic conductor, which, combined with superb communication skills have made Born into a dynastic musical family, his him a favourite among musicians and public grandfather was a famous pedagogue of alike. violin, his father was director of the Milan Conservatory, and uncle is Claudio Abbado, In 2009, Mr. Abbado was honoured with the esteemed Maestro. Roberto Abbado the “Franco Abbiati” award of the National studied with renowned conducting teacher Association of Italian Music Critics — Italy’s Franco Ferrara at Venice’s La Fenice and most prestigious classical music award — Rome’s Accademia Nazionale di Santa Cecilia, as Conductor of the Year, “for the maturity where he was the only student in the the of interpretation and for his breadth and Accademia’s history to be invited to conduct curiosity of repertoire, in which he has the Orchestra di Santa Cecilia. delivered remarkable results and an intensity which was manifested in La Clemenza di Tito by Mozart (Teatro Regio Torino) executed using classical period performance practices; in the contemporary opera Phaedra by Hans Werner Henze (Maggio Musicale Fiorentino);

Serving the Indianapolis Symphony Orchestra for more than 45 years.

OneAmerica® is the marketing name for the companies of OneAmerica. OneAmerica® is the marketing name for the companies of OneAmerica. © 2016 OneAmerica Financial Partners, Inc. All rights reserved. C-28628 08/09/16 © 2016 OneAmerica Financial Partners, Inc. All rights reserved. C-28628 08/09/16 44 ZACH DE PUE, Violin JAN 27, 28

Known for Curtis, he attended the Cleveland Institute of his virtuosic, Music, where he studied with William Preucil, high‐energy concertmaster of the Cleveland Orchestra. performances, violinist With an innate talent for improvisation and Zach De Pue arranging, Zach found much of his inspiration successfully from his three older brothers, all violinists and balances his fiddlers. In 1985, the four classically‐trained roles as ISO brothers formed their own acclaimed group, concertmaster, The DePue Brothers, which combines classical soloist, and bluegrass for an eclectic, fun concert chamber experience. The group’s father is Wallace musician, DePue, a composer and professor emeritus at fiddler, Bowling Green State University. community leader, and mentor with passion and dedication. Zach was also a founding member of Time for Three, ISO’s first ever ensemble-in-residence, A rising star among both classical and alongside his fell Curtis colleagues, violinist crossover music fans, he was appointed Nick Kendall and double bassist Ranaan concertmaster of the Indianapolis Symphony Meyer. Orchestra in 2007 and became one of the youngest concertmasters in the country. He Zach is a member of the 40th Class of graduated in 2002 from the Curtis Institute of the Stanley K. Lacy Executive Leadership Music in Philadelphia, where he studied with Series, a prestigious program that connects renowned violinists Ida Kavafian and Jaime Indianapolis’ emerging leaders to the issues Laredo. He earned a full‐tuition scholarship and needs of the community. to Curtis and he also held the David H. Springman Memorial Fellowship. He served Zach’s violin was made by Ferdinand as concertmaster of the Curtis Symphony Gagliano of Naples, Italy, in 1757. Orchestra before becoming a violinist in The Philadelphia Orchestra. Prior to entering

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45 JAN 27, 28 Notes

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

Prelude to Khovanshchina (Dawn over the political success but Moskva River) his murder as well. Modest Mussorgsky Sofia was arrested, cast Born March 21, 1839 in Karevo, District of out, and confined in Pskov, Russia seclusion to a cell in the Died March 28, 1881 in St. Petersburg, Russia Novodevichy Convent for the remaining six In September 1874, Mussorgsky completed years of her life. At a piano score for Dawn over the Moskva age seventeen, Peter succeeded her and was River. It was intended to open his last opera, eventually proclaimed Emperor in 1721. Khovanschina (The Khovansky Affair), which lay uncompleted upon his death from alcohol The music critic Vladimir Stasov brought this poisoning on March 28, 1881. matter to the attention of the composer, who was fond of Russian history as a suitable The topic of the opera was the rebellion of operatic topic, and Mussorgsky agreed, Prince Ivan Khovansky focused against the dedicating the work to him. Stasov noted, “It regent Sofia Alekseyevna (1682–1689) and seemed to me that struggle between the old the Westernizing reforms instituted by Tsar and new Russia, the passing of the former Peter the Great and Ivan IV. Plump. Assertive from the stage and the birth of the latter, was Sofia had wiled her way into the regency after rich soil for drama.” Between 1872 and 1880, her brother, Tsar Feodor III, a feeble and weak Mussorgsky worked hard on the project, leader, died leaving succession matters in wrote the libretto for his four act opera, bloody political and familial confusion. She duration of about five hours, which was never was lucky that the Moscow Uprising of 1682 performed, never completed and never scored supported her successful candidacy. She was for orchestra. After the composer’s death, actually well trained in government, and many Rimsky-Korsakov took over, finishing the said Feodor did her bidding during his reign. opera (to his liking) and scoring. The Prelude She was supported in this ascendancy by premiered in St. Petersburg on February 21, the Miloslavsky party and her own conniving 1866. Shostakovich, as well, took a turn and strengths to gain the position. She immediately completed the opera in his own version in appointed Prince Vasily Galitzine (said to have 1959. A Ravel-Stravinsky orchestral version been her lover, in spite of having a wife and was also written but was not successful. large family) to handle political affairs. The Prelude to Act I was described by the Sofia lasted for seven years, the first woman composer as “depicting dawn over the to rule her country, said to have governed Moscow River, matins at cock crow, the patrol, effectively. Russia, for example, became the first and the taking down of the chains (on the city “western” country to sign a trade agreement gates).” It is short but very effective — it begins with Imperial China. However, she was tried delicately and soon a beautiful tune emerges. by a special tribunal, summoned by her half This grows until the oboe has the tune against brother Peter who suspected her of planning rising scales in the violins, the curtain rises, a coup against him to prevent his “rightful” and we see not the Moscow River but Red ascension. To his mind, her many portraits in Square. As the music becomes more animated, full regal attire and her minting of coins with we see the church domes lit by the rising sun. her image on them meant she was in it for the The bells sound for early mass. The bells die long haul. The trial was a culmination of his away, and the music dissolves like the mist paranoia which included not only fears for his from the river. ”

46 Notes JAN 27, 28

The atmospheric beauty and gentle nature denominator of Soviet music audiences to of the Prelude stands in sharp contrast to the easily enjoy. vicious political strife in Russia. A single, folk- like melody is proclaimed at the beginning The decree was not limited to an artistic and then treated to small variations. It stands critique. It also meant direct persecution and apart from the searing governmental wars; possible expulsion to the Siberian Gulag and for Mussorgsky, the real Russia lay in what forced labor camps. The term GULAG was the he called the “black, unfertilized earth of its acronym for Main Administration of Corrective people.” (Mark Rohr). labor Camps. It was easy to get a one way ticket on the Trans-Siberian railroad during The ISO’s last subscription performance of Stalin’s regime, and during his dictatorship, Mussorgsky’s Prelude to Khovanschina was in over a million people would lose their lives in March 2010, conducted by Hannu Lintu. exile to one of the camps. And Shostakovich and Stalin did not get along. The composer was suspect. In 1948 he was condemned for Concerto No. 1 in A Minor for Violin and formalist perversions and antidemocratic Orchestra, Op. 77 tendencies in music, alien to the Soviet people Dmitri Shostakovich and its artistic tastes. Born September 25, 1906 in St. Petersburg, Russia “Shostakovich’s First Violin concerto is a Died August 9, 1975 in Moscow, Russia veritable “iron man” concerto, calling on everything in the violinists’ technical arsenal, Shostakovich wrote his two violin concerti for as well as vast physical and emotional stamina. his friend, master violinist David Oistrakh, who Even Oistrakh begged the composer to give was very helpful to him in the writing of the the opening of the finale to the orchestra solo parts. The First Violin Concerto, written in so that ‘I can at least wipe the sweat off my 1947-48, lay hidden in a desk drawer until its brow’ after the daunting solo cadenza that premier October 29, 1955, with the Leningrad concludes the third movement.” (Program Philharmonic and the dedicatee as soloist. notes, Baltimore Symphony Orchestra)

It was not safe to bring it out until two There are four movements in Opus 77 years after Stalin’s death. The 1946 Zhdanov (sometimes also called opus 99 after its Doctrine, named after his “Witchfinder publication in 1956.) At one time, Shostakovich General” Andrew Zhdanov, had stated that the noted that his concerto was “a symphony for post war world was divided in two camps: the solo violin and orchestra.” imperialist United States and the democratic Soviet Union, and it included a thinly The first movement is titled Nocturne, disguised warning: “The only conflict that is beginning in a low register, a slow pace, and possible in the Soviet culture is the conflict producing a haunting atmosphere. The soloist between good and best.” begins with a long expansive melody which is based on the orchestra’s introduction, a part Although a decree on music was not which seems to meditate on the introductory specifically issued until February 10, 1948, ideas. From time to time the bassoon offers Shostakovich knew that the meaning of contrapuntal commentary, and the winds the Zhadanov Doctrine would apply to offer complimentary color. The focus remains his work; that “best” meant adherence to steadily on the violinist who is given biting, specific government cultural standards. And dissonant heavy discourse. “Only in the central he also knew that his First Violin Concerto episode where the soft celesta chimes, does would not have been acceptable: it was too the music give way and there is a glimpse individualistic. Too complicated. Too novel. Too of lightness or freedom.” At the close, the atonal. Too incomprehensible for the lowest opening eerie mood returns, continuing what 47 JAN 27, 28 Notes

Oistrakh called “suppression of feelings.” L’Oiseau de feu (The Firebird) Igor Stravinsky The second movement, Scherzo, bounces out Born June 18, 1882 in Oranienbaum, Russia quickly from the winds, followed by a sassy, Died April 6, 1971 in New York City, New York rough answer from the soloist, likened to “unruly vodka-fed folk dance.” Rhythms are The legend of a large glowing firebird brusk, crude, and uneven, set within frenetic with magical feathers and crystal eyes had tempi. There is nothing playful or happy appeared in many Russian fairy tales, and herein; if anything, we find a sardonic parody several of these involve Prince Ivan, son of the of jollity. For added impudence, Shostakovich Tsar. In the early twentieth century, the great inserts his own musical initials in the second Russian impresario Sergei Diaghilev, founder section, (the tones D, E flat, C, B) the first time of the famous Ballet Russes, had introduced he put this four-note pattern into his music: Russian culture and stories to life via ballet a ploy he would use in other future works as to Europe, and in 1909 he decided that a well. setting of The Firebird would be a fine choice after his success with the Polovtsian Dances The third movement, Andante, is a passacaglia, from Borodin’s Prince Igor in May of that year. producing a set of nine variations over the For his new topic, he mixed a Russian story repeated baseline pattern of seventeen “Koschei the Deathless” and a child’s poem measures. From time to time, this baseline is from A Winter’s Journey: passed along to other parts of the orchestra, aside from the low strings and tuba, such as And in my dreams I see myself on a wolf’s the English horn. At the close of the ninth back variation, the orchestra freezes on a long-held Riding along a forest path F: preparing for the gigantic cadenza, which To do battle with a sorcerer-tsar (Koschei bridges to the finale. In that land where a princess sits under lock and key, The finale continues with wild abandon Pining behind massive walls. in a Burlesca marked allegro con brio. A There gardens surround a palace all of brisk tune moves relentlessly forward with glass; heavy timpani accents, sometimes called a There Firebirds sing by night “kicking Stalin gopak.” The soloist enters And peck at golden fruit. in a brilliant, fast-paced statement. Some elements of Stravinsky’s Petrushka are also In this version, the fairy tale narrates that quoted, lending a celebratory element in what Prince Ivan becomes lost while hunting and could be liked to a crazed Shrovetide festival. finds himself in a magic garden filled with Dynamics remain loud most of the time; golden apples and the exquisite firebird which orchestra and soloist combine with frequent he captures. For her freedom, she offers him interactions, which each performing force a golden feather to give him aid should he seizes aggressively. The passacaglia theme ever need it. He does not know that he has makes another appearance, but this time with actually trespassed into a garden owned by a fast-paced presto running below it. There is the evil Koschei, who can, at will, turn people no let up in the inferno as the concerto ends in into stone. Continuing on, he finds himself scorching conflagration. in front of a large castle, Koschei’s residence. On the front lawn, he meets 13 princesses The ISO’s last subscription performance of (falling in love with number 13: Tsarevna) Shostakovich’s Violin Concerto was in February who are prisoners of Koschei: though allowed 2001, with soloist Paul Daniel. to play outside, they are turned into stone every day. Although he is captured by castle guards, he is saved from being turned to stone

48 Notes JAN 27, 28 by the magic feather. The firebird then leads Stravinsky’s music followed the narrative Koschei and his supporters in a wild dance, so closely per Diaghilev’s instructions, but it exhausting that they fall asleep. The firebird was his orchestral coloration, sound effects, tells him that Kostchei’s soul is housed in a intoxicating themes, and novel rhythms that large egg hidden in a casket. He destroys the electrified the audience and illumed the fairy egg, and therefore, the spell. The princesses tale. In the final scene, the firebird does not are saved and he is betrothed to Tsarevna. appear. Apparently, she has flown away.

Diaghilev first asked Nikolai Tcherepnin for “I am more proud of the orchestration than the a score, but the composer fought with the music itself.” Stravinsky stated. choreographer, Michael Fokine, and quit. Diaghilev then asked Anatoly Lyadov to Some listening points: write the music but Lyadov for one reason or another (Procrastination? Confusion about In the beginning, the strings are asked to whether he ever signed a commission to do play sul ponticello (near the bridge), giving so?) never seemed to get around to it and a special effect with shuddering repetitions was basically fired. Thirdly, he gambled on (tremolos) lots of harp glissandi throughout the young, unknown Igor Stravinsky. The (there are three harps) which add a swirling composer recalled: “The Firebird did not de-stabilized atmosphere. At the end of the attract me as a subject. Like all story ballets introduction (the Magic Garden), notice the it demanded descriptive music of a kind I did fairy-like effect of the string sliding notes not want to write. I had not yet proved myself (glissandi) at the close. as a composer...in truth my reservations about the subject were a defense for my not being Notice herein, the Firebird’s depiction, in the sure I could… I was flattered, of course, by introduction, Stravinsky’s use of chromatic the promise of a performance of my music lines which add a shimmering sound, in Paris…” He turned away from his work on reflecting glittering bird feathers. his opera, The Nightingale, to address this opportunity. As it turned out, in one night, In the Firebird’s solo dance, syncopations add Firebird launched Stravinsky into enormous birdlike behavior in rendering a musical bird prominence and was transformative in his portrait. career. “Mark him well...he is a man on the eve of celebrity,” Diaghilev had prophesized to the In the big Infernal Dance, listen for the brutal ballerina Tamara Karsavina who was dancing rhythms, the simultaneous combinations the starring role, and he was right. Three very of different rhythms to create an unsettling popular orchestral suites were later derived and disorienting effect. The scoring is heavy from the original score in 1911, 1919, and with loud dynamics marked fff…Trombone 1945. glissandi add to the frenzy, and the harps sometimes play on top of the strings to The lavish Firebird premier on June 25, 1910, generate strange harmonic overtones. was a huge success in every respect. The dancers, costumes, choreography, stage sets, At the conclusion, revel in the huge and music dazzled Parisian audiences and orchestration, and the extended seven- critics alike. Stravinsky remembered, “The first measure closing. night audience at the Paris opera glittered indeed… I sat in Diaghilev’s box where at The Stravinsky score has the following main intermissions a stream of celebrities, artists, parts: dowagers, writers, balletomanes appeared…I was called to the stage to bow at the conclusion and was recalled several times…”

49 JAN 27, 28 Notes

Introduction (Dialogue of Kastchei and Prince Ivan) First Tableau Intercession des princesses Le Jardin enchanté de Kachtcheï (Intercession of the Princesses) (The Enchanted Garden of Kastchei) Apparition de l’Oiseau de feu Apparition de l’Oiseau de feu, poursuivi par Ivan (Appearance of the Firebird) Tsarévitch Danse de la suite de Kachtcheï, enchantée par (Appearance of the Firebird, Pursued by l’Oiseau de feu Prince Ivan) (Dance of Kastchei’ Retinue, Enchanted by the Danse de l’Oiseau de feu Firebird) (Dance of the Firebird) Danse infernale de tous les sujets de Kachtcheï Capture de l’Oiseau de feu par Ivan Tsarévitch (Infernal Dance of All Kastchei’s Subjects) (Capture of the Firebird by Prince Ivan) Berceuse (L’Oiseau de feu) (Lullaby) Supplications de l’Oiseau de feu Réveil de Kachtcheï (Supplication of the Firebird) (Kastchei’s Awakening) Apparition des treize princesses enchantées Mort de Kachtcheï (Appearance of the Thirteen Enchanted (Kastchei’s Death) Princesses) Profondes ténèbres Jeu des princesses avec les pommes d’or (Profound Darkness) (The Princesses’ Game with the Golden Apples) Second Tableau Brusque apparition d’Ivan Tsarévitch Disparition du palais et des sortilèges de (Sudden Appearance of Prince Ivan) Kachtcheï, animation des chevaliers pétrifiés, Khorovode (Ronde) des princesses (Khorovod allégresse générale (Round Dance) of the Princesses) (Disappearance of Kastchei’s Palace and Lever du jour (Daybreak) Magical Creations, Return to Life of the Petrified Ivan Tsarévitch pénètre dans le palais de Knights, General Rejoicing) Kachtcheï Rejoicing (Prince Ivan Penetrates Kastchei’s Palace) Carillon Féerique, apparition des monstres- The ISO’s last performance of Stravinsky’s gardiens de Kachtcheï et capture d’Ivan Firebird was in March 2003, conducted by Tsarévitch Mario Venzago. 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Indy Fringe 2017 Indianapolis Winter Magic Festival casts its spell. MAGIC, MENTALISM, MYSTERY on Thursday, January 19 – Sunday January 22, 2017. The Winter MagicFest is designed to bring back to the stage amazing, live, magic shows by bringing together master magicians and future stars of magic. The sixth annual Winter MagicFest will be headlined by Kosmo, one of the world’s leading street magicians, and will include millennials Trent James, the hipster magician, along with Alex Boyce, a rising star who regularly performs at NYC Monday Night Magic. For show times and tickets, visit www.indyfringe.org, or call 317.522.8099.

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

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

New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Join us for our next concert at the Hilbert Circle Theatre February 12, 5:00 p.m., featuring Rimsky-Korsakov’s Scheherazade. For more information, please visit www.nwyso.org.

To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812 54 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 Frank C. Springer Jr. Principal Oboe Chair The Ford-West Concertmaster Chair Endowed by Frank C. Springer Jr. Endowed by Richard E. Ford in honor of his mother, Jennifer Christen, Principal Oboe Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt The Meditch Assistant Concertmaster Chair Roger Roe, English Horn Endowed by Juliette, Dimitri, Marian and Boris Meditch The Robert H. Mohlman Principal Clarinet Chair Peter Vickery, Assistant Concertmaster Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox The Huffington Assistant Principal Clarinet Chair Dean Franke, Assistant Concertmaster Endowed in memory of Robert Huffington by Clarena Huffington The Taurel Assistant Principal Second Violin Chair Cathryn Gross, Assistant Principal Clarinet Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal The Robert L. Mann and Family Principal Horn Chair Second Violin Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Dick Dennis Fifth Chair Endowed in memory of Richard F. Dennis by The Bakken Family Horn Chair Carol Richardson Dennis Endowed by a gift from Dawn, Ruth and Darrell This Second Violin Section Chair is Seated Using Bakken Revolving Seating Jerry Montgomery, Horn

The Jane and Fred Schlegel Principal Viola Chair The W. Brooks and Wanda Y. Fortune Endowed by Jane and Fred Schlegel Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune The Assistant Principal Cello Chair Conrad Jones, Principal Trumpet Endowed anonymously The Dr. and Mrs. Charles E. Test Trombone Chair The Randall L. Tobias Cello Chair Endowed by Dr. and Mrs. Charles E. Test Endowed by Randall L. Tobias Ingrid Fischer-Bellman, Cello The Thomas N. Akins Principal Timpani Chair Endowed anonymously The Dr. and Mrs. Robert L. Rudesill Cello Chair Jack Brennan, Principal Timpani Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. The Sidney and Kathy Taurel Principal Flute Chair Diane Evans, Principal Harp Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the The Janet F. and Dr. Richard E. Barb Piccolo Chair Indianapolis Symphony Orchestra Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo

55 ENDOWMENT

Endowed Performances April 21-22, 2017 — Brahm’s Requiem The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias The Performance of New Music September 30 and October 1, 2016 — André Endowed by LDI, Ltd. Watts April 28, 2017 — Mozart and Salieri

The Francis W. and Florence Goodrich Dunn Annual The Dennis T. Hollings Performance of Classical Music Classical Series Opening Concerts Endowed by the Dennis T. Hollings Fund Endowed by the Florence Goodrich Dunn Fund May 5, 2017 — Rachmaninoff October 7-8, 2016 — Hilary Hahn The William L. and Jane H. Fortune Guest Conductor The Paul Family Performance of Classical Music Chair Endowed by Dorit, Gerald, Eloise, and Alison Paul Endowed by Mr. and Mrs. William L. Fortune November 4-5, 2016 — Gil Shaham and Jennifer June 2–3, 2017 — Bertrand Chamayou Christen The Paul and Roseann Pitz Performance of Classical Frank and Irving Springer Piano Performance Music Endowed by Frank C. Springer Jr. Endowed by the Paul and Roseann Pitz Fund November 12, 2016 — Jan Lisiecki June 9–10, 2017 — Carmina Burana

Yuletide Celebration Opening Night Performance The Performance of a Summer Series Concert Endowed by Marianne Williams Tobias Endowed by Mrs. William P. Cooling December 2016 — Opening Night Summer 2017 — Marsh Symphony on the Prairie Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias The Marilyn K. Glick Young Composer’s Showcase December 2016 — Closing Night Endowed by Mr. and Mrs. Eugene B. Glick

The Performance of ISO Principal Chair Musicians Special Endowments Endowed by the Eugene B. Hibbs Fund Hilbert Circle Theatre January 13-14, 2017 — Krzysztof Urbański Endowed by Stephen and Tomisue Hilbert

The Mohlman Performance of Classical Music The Tobias Green Room Endowed by a gift from Ina M. and Robert H. Endowed by Randall L. Tobias Mohlman January 20-21, 2017 — Mahler’s “The Song of The Maestro Society the Earth” August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett The Performance of a Young Professional Artist Mrs. Walter Myers Jr. Endowed by Roche Diagnostics Randall L. Tobias January 27–28, 2017 — Zach De Pue Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon The Performance of a Guest Artist Mr. and Mrs. Richard D. Wood Endowed by the Jean D. Weldon Guest Artist Fund Mr. Raymond Leppard February 17–18, 2017 — Tim McAllister Dr. John C. Bloom Edna Woodard-Van Riper The Mrs. Earl B. Barnes Memorial Fund in support of a Marianne Williams Tobias Guest Artist Endowed Anonymously The Marianne Williams Tobias Program Annotator Chair February 24, 2017 – Katia and Marielle Labèque Endowed anonymously Marianne Williams Tobias, Program Annotator The Performance of Classical Music including Major Liturgical and Choral Music Artist in Residence Endowment Endowed in memory of Elmer Andrew and Marguerite Endowed in memory of Hortense and Marvin Lasky Maass Steffen by E. Andrew Steffen 56 ENDOWMENT

The Paul E. and Martha K. Schmidt Conducting Study Orchestra Box C1 Fellowship This Orchestra Box Endowed by Mrs. Bailey (Gladys) Endowed by Paul E. and Martha K. Schmidt Swearingen

The Michael Ben and Illene Komisarow Maurer Young Orchestra Box C2 Musicians Contest This Orchestra Box Endowed by Saundra Lee and H. Endowed by Michael Ben and Illene Komisarow Maurer Tuck Schulhof

The Instrument Petting Zoo Orchestra Box C3 Endowed by Dr. and Mrs. Gordon E. Mallett This Orchestra Box Endowed by Herschel and Angela Porter The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller Orchestra Box C4 The Indianapolis Symphony Orchestra Vice President of This Orchestra Box Endowed by E. Andrew Steffen Education Endowed by Mr. and Mrs. William L. Fortune Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in The Marilyn K. Glick Young Composer’s Showcase honor of her late husband, James L. Kittle Endowed by Mr. and Mrs. Eugene B. Glick The Oval Promenade The ISO Pre-School Music Education Programs Named to Recognize the Generous Gift of the Eli Underwritten by Friends of Ava Button Lilly and Company Foundation to the Indianapolis Symphony Orchestra The Sarah McFarland Endowment October 1984 Endowed by the Sarah McFarland Fund First Monday Music Club The Pitz Leadership Award Endowed anonymously Endowed by the Paul and Roseann Pitz Fund Stage Terrace Seating The Installation and Maintenance of a Theatre Pipe Organ Endowed anonymously Endowed by the Sally Reahard Fund Special Acknowledgements The J.K Family Foundation Words on Music Performance of the Wurlitzer Pipe Organ Endowed by Marianne Williams Tobias, President, Generously underwritten by David and Eleanor J.K. Family Foundation Wilcox

The Outer Lobby The New Steinway Concert Grand Piano Named to Recognize the Generous Gift of Ruth Lilly Given in memory of Mr. and Mrs. William H. Ball by to the Indianapolis Symphony Orchestra 1984 Mrs. Lucina B. Moxley

The Grand Lobby The Music Library Office Endowed by Marianne Williams Tobias Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of The Box Office Lobby Richard Grymonpré Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. The ISO Association Office “The Art and Science of Music are an Enduring Endowed by Peggy & Byron Myers Reflection of the Thoughts & Experiences of Humankind,” June 1991

Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune 57 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 Dr. & Mrs. Larry C. Franks John & Carolyn Mutz Earleen M. Ashbrook Bradley S. & Teresa G. Fuson Peggy & Byron Myers Ms. Nancy Ayres Dr. & Mrs. Richard W. Garrett Mr. & Mrs. Charles J. O’Drobinak Dawn, Ruth* & Darrell* Bakken David & Deloris “Dee”* Garrett Dorit & Gerald Paul Janet F. & Dr. Richard E. Barb Ms. Patricia Garrity Joan S. Paulin Frank & Katrina Basile Cy* & Pris Gerde Dr.* & Mrs. Bruce Peck Dr.* & Mrs. Paul F. Benedict James E. & Judith A. Gillespie Marian Pettengill and Family Dale & Barb Benson David & Julie Goodrich Mrs. Joseph D. Pierce Dr. John C. Bloom Mrs. Anne M. Greenleaf Dr. & Mrs. George Rapp Rosanne Bonjouklian John S. Griffin Josette Rathbun Mrs. Charlotte Bose Mary & George Harless Mr.* & Mrs. Elton T. Ridley Charles & Cary Boswell Mike & Noel Heymann Dr. & Mrs. Robert L. Rudesill Dr. Ella H. & Mr. Robert Tom & Nora Hiatt Henry & Vel* Ryder R. Bowman Clarena Huffington Jane & Fred Schlegel Mr. & Mrs. Charles H. Boxman Ann Hampton Hunt Paul & Martha Schmidt John Charles Braden & Ty A. Johnson Carl & Laurel Schnepf Denton Raubenolt Joan & David F.* Kahn H. Tuck & Saundra L. Schulhof Donald & Barbara Broadlick Swadesh & Sarla Kalsi Margaret A. Shaw Philip J. Burck Bob & Rhonda Kaspar Jean & Clifton Smith Alex. S. Carroll Patricia Kilbury Mr. & Mrs. Clark L. Snyder Nancy & Chris* Christy Ms. Peg Kimberlin Sue K. Staton Ms. Patricia C. Chunn Ms. Marie E. Kingdon Dr.* & Mrs. James B. Steichen Norman I.* & Maxine Cohen John J. Kloss, JD Ann R. Strong John & Ulla Connor Kay F. Koch Kathryn* & Sidney Taurel Chris W. & Lesley J. Conrad H. Jean Jones Kyle Carol E. Taylor Peter Cooney James E. & Patricia J. LaCrosse Mrs. David Thiel Mr. & Mrs. Ronald A. Cox Dr. Ned & Martha Lamkin William & Karen Thompson Mr. & Mrs. Thomas E. Dapp Lawrence & Vivian Lawhead Marianne Williams Tobias Lou & Kathy Daugherty Mr. & Mrs. Richard L. Ledman Ann Vaughan Andrea Davis Raymond Leppard Dan & Doris Weisman Edgar* & Joanne Davis Mr. L. Robert Lowe Jr. Anna S. & James P. White Carol Richardson Dennis Dr. & Mrs. Gordon E. Mallett Mildred M. Wiese Rollin & Cheri Dick Dr. & Mrs. Karl L. Manders David E. & Eleanor T. Wilcox Mr. & Mrs. Richard A. & Helen J. Mr.* & Mrs.* Michael Ben Maurer Mr. & Mrs.* Charles D. Williams, III Dickinson Stacy Maurer Richard D. & Billie Lou* Wood Clarita Donaldson Janice & John F. McHenry Mr. & Mrs. C. Daniel Yates Mrs. Lewis A. Enkema W. Jean McCormick Mike & Phyllis* Zimmermann Mr.* & Mrs. Richard Felton Robert B. & Eleanor S. McNamara Anonymous (15) Mr. Murray R. Fischer Marian Y.* & Boris E. Meditch Dr.* & Mrs. W. Brooks Fortune William F. Murphy, CPA *Deceased THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Allen E. & Mary Crum Mr. & Mrs. William L. Fortune Mrs. Raymond A. Basso John H. Darlington Nelle Godio Miss Helen F. Bernheisel J. Richard Delbauve Mr. Raymond K. Gretencord Betty Thorp Boyd Vivian F. Delbrook Carol E. Gruen Mrs. Elba L. Branigin Jr. Suzanne S. Dettwiler Gail H. & Robert H. Hall 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 Walter Chroniak Mr. Francis E. Fitzgerald Mr. David A. Jacobs Edgar L. Conn Mr. Richard E. Ford Frances M. Johnson 58 LYNN SOCIETY

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

Remembering The ISO In Your Will

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

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

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

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

59 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 October 20, 2016. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. $100,000 and Above Anonymous Joseph & Kathy Kessler Founders’ Society Anonymous Anthem Blue Cross and Blue Cindy L. & Timothy J. Konich ($5,000-$9,999) Ms. Christel DeHaan Shield James E. & Patricia J. LaCrosse Anonymous (9) Kay F. Koch Arthur Jordan Foundation Drs. W.H. & K.T. Landschulz Mr. & Mrs. Jeffrey M. Adams Sarah & John Lechleiter Barnes & Thornburg LLP Mr. & Mrs. Bruce McCaw Thomas N. Akins B. M. “Marti” Ripberger BMO Harris Bank Mr. E. Kirk McKinney, Jr. Teresa & Don Altemeyer Yvonne H. Shaheen Budweiser Zink Distributing Karen Mersereau & Dr. Michael Bob & Pat Anker Marianne Williams Tobias Co, LLC Helms Mr. Aasif Bade Randall & Deborah Tobias Chase Mrs. Nancy Ann Morris Drs. Douglas & Deborah The Clowes Fund Dorit & Gerald Paul Balogh Community Health Network Mel & Joan Perelman Trudy W. Banta Anonymous Duke Energy Walt & Mary Prouty Ms. Sarah Barney Arts Council of Indianapolis and The Glick Fund, a fund of Central Mary Frances Rubly Alpha Blackburn the City of Indianapolis Indiana Community Foundation Phyllis & Gary Schahet Suzanne B. Blakeman The Christel DeHaan Family Ice Miller Marlyne Sexton Terry & Robert L Bowen Foundation Indiana Arts Commission Jeff & Cassandra Short Charles & Joyce Boxman Efroymson Family Fund Ann and Gordon Getty Foundation Mr. Kevin D. Taylor Mr. & Mrs. John Bratt Eli Lilly and Company and the League of American Mr. & Mrs. Daniel O. Weisman Donald & Barbara Broadlick Indianapolis Power & Light Orchestras Kathy & Ralph Wilhelm Charles W. Brown Company MacAllister Machinery Company, Roberta & Bill Witchger Michael & Mary Ann Lilly Endowment, Inc. Inc. Dr. Christian Wolf & Elaine Browning The Margot L. and Robert S. Eccles National Endowment for the Arts Holden-Wolf Mr. & Mrs. Walter P. Bruen, Jr. Fund, a fund of CICF Nicholas H. Noyes Jr. Memorial Hsiu-Chiung Yang & Marian Mosior Mike & Pat Byers Marsh Supermarkets, LLC. Foundation Jim & Rita Zink Ms. Jane Conley OneAmerica Financial Partners, Dexter & Rosemary Cooley Founders’ Society, Music Director Inc. Andrea Davis ($50,000+) R.B. Annis Educational Foundation ADL Charitable Trust David & Consuelo Davis Anonymous Raymond James & Associates, Inc. Ann & Gordon Getty Foundation Erin & Scott Dorsey Mr. & Mrs. Michael Becher Roche Diagnostics Buckingham Foundation Inc. Dr. Thomas & Paula Elam Rollin & Cheri Dick Salesforce Care Institute Group, Inc. Jack Everly & Ty A. Johnson Phil & Colleen Kenney Scott A. Jones Foundation Citizens Energy Group Ms. Carol J. Feeney Ann M. & Chris Stack St.Vincent Health CNO Financial Group George R. Flexman Richard D. Wood Telamon Corporation Delaware Community Foundation Dr. & Mrs. Richard W. Garrett Terry Lee Hyundai Dow AgroSciences Michael & Beth Gastineau The Martin D. & Mary J. Walker Elba L. & Gene Portteus Branigin Gary Ginstling & Marta EPI Charitable Foundation Foundation Inc. Lederer Printing Partners Erie Insurance Larry C. & Lee A. Glasscock The Rock Island Refining Founders’ Society, First Chair The Glick Family Foundation Charles & Susan Golden Foundation ($10,000-$19,999) Fenneman Family Foundation Mr. & Mrs. Thomas W. & Mary Ruth Lilly Philanthropic Anonymous (2) Fifth Third Bank P. Grein Foundation The Honorable & Mrs. Alex M. Hendricks County Community John & Chichi Guy Azar II Foundation Steve L. Hamilton & Keith O. Founders’ Society, Concertmaster Mr. & Mrs. Robert Bader Indiana Members Credit Union Norwalk ($20,000-$49,999) Charlene & Joe Barnette The Indiana Rail Road Company Richard & Elizabeth Holmes Christina Bodurow Mr. & Mrs. Barry J. Bentley Indiana University Health Partners Mr. & Mrs. W. Seymour Holt Trent & Amy Cowles Maestro Raymond Leppard & Dr. Industrial Dielectrics Holdings Dr. Sharon Hoog Dawn M. Fazli John C. Bloom The Kroger Company Dr. Ann H. Hunt Dr. & Mrs. E. Henry Lamkin, Jr. Bryan & Elaine Brenner Lacy Foundation Dr. & Mrs. Ronald Iacocca Dr. Gordon & Carole Mallett Dr. & Mrs. Thomas A. Broadie Macy’s Dr. & Mrs. Raymond V. Mrs. F. Bruce Peck, Jr. Vincent & Robyn Caponi McCaw Family Foundation Ingham Dr. Jeffrey Vanderwater-Piercy Mr. & Mrs. Daniel P. Carmichael Navient Carlyn Johnson Dr. Kenneth & Mrs. Debra Renkens Mr. Daniel Corrigan NextGear Capital Kimra Kidd & Thomas Robert & Alice Schloss Mr. & Mrs. James E. Dora Ronald McDonald House Charities Buethner Christopher A. Slapak & Michael J. Craig & Mary Fenneman of Central Indiana and Drs. Sandra & Charles Robertson Don & Carolyn Hardman McDonald’s of Central Indiana Kinsella Dr. & Mrs. Eugene Van Hove Mr. Kent Hawryluk The Sells Group Ned & Wendy Kirby Martin & Mary Walker Emily & Peter Howard Vectren Corporation Mrs. James L. Kittle, Sr. David & Eleanor Wilcox Allan & Kathy Hubbard Don & Jen Knebel Bob & Rhonda Kaspar Dr. & Mrs. Eugene P. Kroeff 60 ANNUAL FUND

Mr. & Mrs. Joseph C. Lanning Merrill Lynch Peg Kimberlin South Mr. & Mrs. Eli Lilly II SHC – Senior Home Companions Larry & Rose Kleiman Region Dr. Richard E. Lindseth MusicCrossroads Dr. Gwen & Mr. Robert Krivi DB Engineering LLC Gregory & Alexandra Loewen The National Bank of Indianapolis Peg Lavagnino Donovan CPAs & Advisors Dr. & Mrs. Carlos Lopez PNC Andrew & Lynn Lewis Firestone Building Products and Andrew J. Macht Regions Bank Jim & Sarah Lootens Industrial Products Mr. & Mrs. Morris Maurer Skiles Detrude Malcolm & Joyce Mallette First Person Boris E. Meditch Winners Circle Mr. & Mrs. David Malson Franklin Symphonic Council, Inc. Virginia Melin Mary & Charles Matsumoto Hoosier Park at Anderson Mr. & Mrs. Dayton Molendorp Conductor’s Circle Dr. & Mrs. Ronald Maus Horace Mann Ellie, Weber & Emaline Morse ($2,500-$4,999) The Alice Greene McKinney & Indiana American Water Co., Inc. Jerry & Anne Moss Anonymous E. Kirk McKinney Jr. Fund, a Indiana Farm Bureau Insurance Dr. & Mrs. Daniel H. Mowrey Dr. Albert Allen & Ms. Kathryn fund of CICF The Indianapolis Recorder John & Carolyn Mutz Maeglin Susanah M. Mead The Indy Star Mr. Carl and Dr. Loui Nelson Mr. & Mrs. Michael Alley Flip & Cindy Miller Indy Eleven Mr. & Mrs. Charles J. O’Drobinak J. Dara & Sherry Amlung Jim Miller InterDesign Michael P. & Leanne M. O’Neil Dr. & Mrs. Richard Barb Milton & Margaret Miller Indianapolis Symphony Orchestra Kay Pashos & Neal Steinbart Mary Ruth Barnard Jim & Jackie Morris Association South Group Donald & Karen Perez Frank & Katrina Basile Elizabeth & William Murphy ITT Technical Institutes Bart Peterson Mr. C. Harvey Bradley Jr. F. Timothy & Nancy Nagler J M Smith Foundation Mr. Robert T. Rice Mary Clare & George Broadbent Timothy S. Needler Dr. Michael J. Helms, DPM Timothy E. Rice Mr. Richard F. Brown & Mrs. Cathy Marc A. Nichols & James E. Mike Watkins Real Estate Group Margaret Cole Russell & Steve Springer-Brown Collins Inc Russell Dr. & Mrs. John T. Callaghan Jackie Nytes Milhaus Development Mr. & Mrs. William N. Salin Mr. & Mrs. Albert Chen Mr. & Mrs. Robert H. Orr RBC Wealth Management Perry & Lisa Scott Nancy Christy Noel & Beth Outland Ricker’s Patrick & Sarah Sells Fred & Alice Croner Jack & Katie Patterson Salin Bank & Trust Drs. Lei Shen and Soomin Park James J. & Barbara Curtis Eloise Paul & Bill Lee St. Richard’s Episcopal School William & Faye Sigman Manuel & Sally Debono Ray and Jim Luther-Pfeil The Stratford Maribeth & Al Smith Rick & Jody Dennerline David and Arden Pletzer Western Reserve Partners, LLC Susanne & Jack Sogard Ms. Andrea Devoe Endowment Fund, a fund of Witham Health Services Mr. & Mrs. John Thornburgh Steve & Mary DeVoe Legacy Fund Pete & Lena Ward Kerry Dinneen & Sam Sutphin Myrta J. Pulliam President’s Club Margaret Watanabe Mr. & Mrs. Craig Doyle Jo & Chris Rathbun ($1,500-$2,499) David P. Whitman & Donna L. Robert W. Dyar, M.D. Tom & Ursula Roberts Anonymous (4) Reynolds Dorothy Schultz Englehart Mrs. John R. Roesch Dr. & Mrs. Wayne Ambrous Lynn & Andy Wiesman Dr. & Mrs. Michael E. Flaugh Nancy Ray Ross Nicholas Barbaro & Sue Ellen Jacquie & Fred Winters Dr. & Mrs. Mark Foglesong Dr. & Mrs. Robert L. Rudesill Scheppke Sara & Michael Zeckel Steve & Lisa Ford Mr. & Mrs. Todd K. Rutledge Mr. Todd Barrett John & Linda Zimmermann Mr. & Mrs. L. D. Foster, Jr. Mr. Gilva F. Sallee Spencer & Marcia Bavender Mary Ann & Gene Zink Dr. & Mrs. Larry C. Franks James & Mary Beth Schafer Jay & Julie Bishop Jennifer & Michael Zinn Stephen F. Fry Jane & Fred Schlegel Benjamin & Ashley Blair Julia & Doug Gard Klaus & Joel Schmiegel Mr. & Mrs. Jesse L. Bobbitt David Gerstein, M.D. Armen & Marie-Claude Carla & George Boder Barefoot Wine Cora A. Gibson Shanafelt Kirk & Sharon Boller -- Bottom The Barrington of Carmel Steven M. Giovangelo & Gerald Eric Siemers & Peggy Edwards Line Performance Inc Bose McKinney & Evans LLP J. Bedard Jackie Simmons & Tom Dr. & Mrs. W. C. Bonifield Chubb Group of Insurance Jim & Roberta Graham Schnellenberger Ms. Marsha Bragg Companies Dr. Christian & Mrs. June Gries Dick & Susan Simon Matt & Janette Brown City of Carmel Bob Hallam Joanne & Gerald Solomon Gordon & Celia Bruder Deloitte & Touche LLP Velda Hamman Mr. & Mrs. Larry Speer Dr. Mark Overhage & Dr. Mary DMC Holdings, Inc. Mr. & Mrs. James Hancock Dee & Tom Spencer Brunner Dorsey Foundation Nancy J. Harrison Michael & Carol Stayton Mrs. Alva Buchholtz Faegre Baker Daniels Mr. Henry Havel & Ms. Mary Sydney L. Steele Kenneth & Patricia Burow The Frenzel Family Charitable Stickelmeyer Drs. Randall & Bonnie Strate Mr. & Mrs. John Campbell Lead Trust Dr. David K. & Clarice F. Hennon James Sweeney John & Ulla Connor Honda Manufacturing of Indiana Marsha A. Hutchins Dr. & Mrs. Reed Tarwater Chris W. & Lesley J. Conrad Hoover Family Foundation Larry & Annette Hutchison Mrs. David Thiel Bill & Angela Corley Howard K. Johnson Fund, a fund Ms. Harriet Ivey & Dr. Richard Dr. & Mrs. Ron Thieme Mr. & Mrs. James M. Cornelius of The Indianapolis Foundation Brashear Jeffrey & Benita Thomasson Dave & Christie Crockett Huntington Bank Mr. & Mrs. John C. Jenkins & Ms. Cathy Turner Mr. & Mrs. Bert Curry Indiana Space Grant Consortium Family Martha Anne Varnes Mr. & Mrs. Gregory C. Davis Indianapolis Chapter of The Scott & Holly Johnson Jane & Hugh Watson Dennis K. Dickos, M.D. Links, Inc. Dr. & Mrs. C. Conrad Johnston Emily A. West Patty Donnelly & Rob Pozzebon James O. & Alice F. Cole Jennifer & John Jokantas Dr. & Mrs. William J. Wheeler Mr. & Mrs. Robert M. Donovan Foundation Daniel H. Joseph & Liu Li Anna S. & James P. White Miss E. Frances Eickhoff Jungclaus-Campbell Co., Inc. Dr. Louis N Jungheim & Dr. Thalia Bob & Marnie Wilken Andrew & Irene Engel The Julia L. and Andre B. Lacy I. Nicas James & Joyce Winner John N. & Julia Luros Failey Charitable Fund, a fund of CICF Dr. & Mrs. John E. Kalsbeck Terence & Margaret Yen Jim & Gracia Floyd Lumina Foundation for Donn & Dot Kaupke Barrie & Margaret Zimmerman Dr. Norm & Adrienne Fogle Education James and Jennifer Kelley 500 Festival, Inc. Dick & Brenda Freije Mallor Grodner LLP Mr. & Mrs. Michael J. Kenniff Community Health Network Marianne Glick 61 ANNUAL FUND

Dr. Lawrence I. Goldblatt Stephen L. Tracy David & Julie Eskenazi Myron J. McKee Joe & Kathy Grahn Dr. James & Linda Trippi Dr. & Mrs. Harvey Feigenbaum Alan & Ann McKenzie Mr. & Mrs. Robert Gregory Randall Trowbridge & Alice Brown Linda Felton Marni McKinney Ms. Julie Griffith Lynn C. Tyler Ann & David Frick Nancy L McMillan Kenneth & Barbara Hamilton John & Kathy Vahle Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. Richard Menke Joseph L. Hanley Joe & Diane Vande Bosche Mr. & Mrs. James F. Gallagher Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. Richard A. Harrison Don & Coleen Walker Paul & Beth Gaylo Mr. & Mrs. James Miller Ms. Lisa Heid Courtenay & Emily Weldon Mr. & Mrs. Raymond Gibson Mr. & Mrs. Robert E. Miller Gregory Henneke & Martha Mrs. Mary Whalin Mr. Scott & Ms. Amy Goldsmith James E. LeGrand & William O’Connor Mrs. Lucy Wick Mr. & Mrs. Ray E. Gotshall A. Nichols Mr. & Mrs. Gerald V. Hinchman Ken & Wendy Yerkes Mr. Jonathan Gottlieb & Valerie Mr. Bill Moreau Abigail W. Hohmann Josephine A. Yu Omicioli Ann & Jim Murtlow Mr. & Mrs. V. William Hunt Mr. & Mrs. Berl J. Grant Peggy & Byron Myers Mr. Gerald R. Jenn Thomas & Nancy Grembowicz Mr. Reid Nagle Dr. & Mrs. Philip E. Johnston The Ackerman Foundation Peter Grossman and Pauline Don Nead & Caryl Matthews Mrs. Joan D. Kahn Batt Family Foundation Spiegel Paul Nordby Dana & Marc Katz Conrad Indianapolis Jim Gutting Lara Noren Mr. Charles E. Kendall Cornelius Family Foundation, Inc. Jerry & Kathleen Hacker Linda Pence Patricia Kilbury CSO Architects, Inc. Kimberly J. Hadley Pat Perkinson Mr. Doug Klitzke F.A. Wilhelm Construction Co. Dr. & Mrs. Jim Hamby Marian Pettengill Col. A. D. Kneessy Gracia E. Johnson Foundation Mrs. Elizabeth Hamilton Mr. Matthew & Mrs. Christine Tim, Amy & Matthew Konrad The Jenn Foundation Mr. & Mrs. Eugene E. Henn Phillips Dr. Elisabeth Krug Joanne W. Orr Charitable Fund Dr. Stephen & Susan Henson Gayle L. Phillips Dr. & Mrs. Richard Lasbury The Penrod Society Mr. Ronald N. Hermeling Lois Pless Bob & Maureen Lee Pointer Management William & Patricia Hirsch Larry & Nancy Pugh Mr. & Mrs. Allan Litz Van Riper Woodard Family C. Jane Hodge Mrs. Nancy Quest Deborah & Joe Loughrey Foundation Mrs. Ginny Hodowal Roger & Anna Radue John & Ingrid Mail Brenda S. Horn Patricia L. Ragan Mr. Kevin Malley & Mr. Ronald Symphony Club Mrs. Jill Hoyle Richard & Betty Lou Reasoner Nobles ($1,000-$1,499) Ms. Lysiane Huber Barb and Tom Reed Jon D. Marhenke, M.D. Anonymous (5) Clarena Huffington Scott A. Reef Dr. & Mrs. Douglas R. Maxwell Mr. Eric Adolph & Ms. Teresa Beam Meredith & Kathleen Hull Bob & Carol Reynolds, Barnes & Scott & Tiffany McCorkle Kate & Dan Appel Carolyn Humke Thornburg Mr. & Mrs. Robert B. McNamara Mr. Wilbur L. Appel, Jr. Mr. & Mrs. Needham S. Hurst Rick Rezek Mr. & Mrs. Russell Mobley Joan Baker Krisztina & Ken Inskeep Mrs. Mary L. Rice Teresa Morton Nyhart Mrs. Taylor L. Baker Mrs. Ninalou Isaacson Jean & Lamar Richcreek Dr. & Mrs. Phillip G. Mosbaugh Terry & Patricia Balko Ms. Kristine Isenberg Mark & Susan Ridlen Eric Moy Mr. Walter H. Bartz Ethan & Joyce Jackson William R. & Gloria Riggs Sarah Myer Ms. Susan Bates David L. Johnson & Anne Nobles Mr. Larry Roan Jack & Judy Myers Mr. Brett & Mrs. Shari Bayston Catherine Jones N. Clay & Amy Robbins Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Laurens Beyland Dr. & Mrs. Charles E. Jordan Joseph & Leanna Roberts Mr. & Mrs. Guido Neels Jeffrey Stant & Mary Bookwalter Mike & Linda Jordan Peggy L. Robinson Tom & Nancy Newlin Erv & Priscilla Boschmann Terry Kahn Mrs. Lisa M. Sapp Mr. & Mrs. John S. Null Douglas & Angela Braly Mr. and Mrs. Robert P. Kassing Dr. & Mrs. Andreas Sashegyi Thomas & Stacy O’Leary Tiffany & William Browne, Jr. Dr. & Mrs. Frederick M. Kelvin Roderick & Anne Scheele Bill & Jamie Parrish Terri Bruksch Richard & Susan Kent Dr. Richard Schevitz & Ms. Allen H. Pekar Mr. James & Mrs. Joan Burgett Mr. & Mrs. Daniel E Klausner Rosemary Ervin Beverley & Bill Pitts Lorene M. Burkhart David H. Kleiman Roger & Barbara Schmenner Barbara Poulsen Celeste & Derrick Burks Steve & Sharon Klusman Ms. Silvana Schuster Christine & Ken Price Pam & Jack Burks Richard & Roxanne Kovacs Carson & Carla Shadowen Scott & Susan Putney Helen Burnett Terrence & Jodi Kunstek Mr. & Mrs. Henry E. Sleeth Dr. & Mrs. George F. Rapp Donald W. Buttrey Dr. Matthew Landman Mrs. Marian Small Mr. Alan & Mrs. Deborah Rasper Mr. & Mrs. E. M. Cavalier Gene & Carolyn Lausch Nancy C. & James W. Smith Mr. & Mrs. Randall Riggs Betty Chapple Cindy & Rick Leffler Mr. Peter & Mrs. Chris Dr. Merrill Ritter Casey Chell & Daniel Duarte Rev. Richard & Mrs. Nancy Lewer Smithhisler Mr. & Mrs. Byron Robinson Ray and Lisa Childers Dr. Erik L. Lindseth The Sneed Family Dr. & Mrs. Randall G. Rowland Mr. & Mrs. Randall Christie Mr. & Mrs. William Lindstaedt Loren Snyder Mr. & Mrs. John & Vicky Ruhl Dan & Laura Conder Mr. Tom Linebarger Judy A. Springmire Col. & Mrs. Cecil Salter Mrs. Mary C. Crean Grace Long Barb Stang Dave & Marcia Sapp Mr. Douglas Davies Lowell & Penelope Lumley Brian & Martha Steinkamp Dr. & Mrs. John F. Schaefer Joanne Meyer Davis Ralph & Nancy Lundgren Ms. Shelley Stiner Paul & Martha Schmidt Rebecca & Larry Davis Carey Lykins Mrs. Lynn Stocksill John Seest David & Brenda Day Mr. Greg Malone Mr. Bill & Mrs. Linda Strickland Jerry & Rosie Semler Mr. Douglas B. Day Michael & Jill Margetts T.S. Sun Mr. & Mrs. Jeff Smithburn Norman Dean Benton & Sandi Marks Nela Swinehart & Lonn Bayha Christy & Jeffery Soldatis Dr. & Mrs. Frank Deane James R. & Rita E. Martin Mr. John Tan Drs. Pamela Steed & Peter Furno Dr. Tom & Pat DeCoster Elaine M. Mattson Phillip A. Terry Rita & Larry Steinberg Julie & David DeWitt Dr. Rose Mays Mr. Mark Thompson Ed & Barbara Steward Mr. & Mrs. Dan Dumbauld Carson & Betsy McCaw Douglas L. Tillman Jim & Cheryl Strain Stephen Dutton Michael & Patricia McCrory Jerry & Linda Toomer Richard & Lois Surber Joe & Florie Eaton Craig & Kathleen McGaughey Mrs. Clara Trapp Sidney Taurel Mr. & Mrs. Thomas J. Eggers Mr. & Mrs. Thomas McGinley Bob & Sue True 62 ANNUAL FUND

Barbara S. Tully Marni McKinney Foundation Ms. Lauren Guidotti Mr. & Mrs. Timothy J. Riffle Kenneth L. Turchi O’Ryan Law Firm Dan & Vicky Hancock Mr. & Mrs. Jeffrey Schmahl Ms. Phyllis Dye Turner Psi Iota Xi, Iota Tau Mr. & Mrs. Thomas G. Harvey Jr. Saundra & Tuck Schulhof Constance Van Valer, M.D. RSE Realty, Inc Mr. & Mrs. Jerome T. Henning Dr. & Mrs. William Segar Mr. & Mrs. Bradley Warnecke The Saltsburg Fund; Karen Lake Mike & Noel Heymann Michael & Priscilla Shaw Paul & Gretchen Watson Buttrey (deceased), Donald W. Jack & Ruth Hoover Dr. & Mrs. Robert K. Silbert Scott & Sue Webber Buttrey Larry & Marianne Jacobi Mr. & Mrs. Lyman A. Snyder Frank & Sandy Weddle SBC Wealth Management Mr. & Mrs. David Jensen Ms. Sarah Studzinski Mrs. Phyllis West The Toomer Family Foundation Robert & Cindy Kirkpatrick Greg & Linda Sykes L. Alan & Elizabeth Whaley Mr. Richard & Mrs. Gwen M. C. Tanner Meg Williams & Nicole Collins Virtuoso Knipstein Mrs. Maggie Tatter Forrest Williamson ($750-$999) Robbie & Emily Kusz Kirk & Jo Taylor Mr. & Mrs. Meredith L. Wilson Anonymous (6) Mrs. Carl Lesher Mrs. T. Marilyn Trout Bob & Debbie Wingerter John & Reita Bertsch Dennis & Karen Licht Mr. & Mrs. Clark Williamson Mr. & Mrs. Robert Witt Mr. & Mrs. Borissov Mr. Joseph Lime Larry E. Wollert II & Arif Kocabas Mrs. Edna Woodard Mr. & Mrs. Fred Boso Reverend Dr. Joan Malick Ty & Keri Wooten Turner & Diann Woodard Christine & Robert Broughton Jeffrey & Christine Marks Dr. & Mrs. Steve Young Diana & Dan Yates Mr. & Mrs. Tom Cooper Mr. & Mrs. Ken Matsumoto Richard E. Ziegler Mrs. Teresa P. Youngen Daryl, Sherry & Kevin Cox Mr. & Mrs. Ralph McCormick Sue & John Zinser Mr. & Mrs. Leslie R. Zimmerman Patrick and Jennifer Cross Earl Miller & Ek-Leng Chua-Miller Jessica R. Di Santo John & Tara Morse Jack & Connie Douglas Dr. & Mrs. Patrick J. Murphy Contributed Goods and Services Cavalier Family Foundation Constance C. Earle Ms. Brittany Nehman ($5,000 and Above) Cole Hardwood, Inc. Dr. & Mrs. Christopher Eddy David & Diane Nesbitt Blue & Co., LLC Douglas & Angela Braly Family Brian & Sara Eldridge Brian Oakley Catherine Rossi Foundation Mr. & Mrs. Ardith Fleetwood Dr. John A. & Cinda Overman DCG: Digital Color Graphics ASA Concierge Psychological Mr. Kenneth Fraza Anne K. Perry & Marvin C. Enflora Flowers for Business Services, LLC Dr. Karen & Thomas Gallagher Perry, II NUVO Newsweekly Gregory & Appel Insurance Dona & Catherine Gatlin John Mainella & Michael Pettry Printing Partners The Humke Foundation, Inc. Drs. Jean & Gerald Godfrey Janeann M. Pitz & Reinhard Second Helpings Linebarger Janin Family Fund, a Brian & Claudia Grant Pollach Thomas N. Akins fund of Central Indiana John & Mary Ann Grogan The Prible Family Well Done Marketing Community Fdtn Susan C. Guba Diane Richardson WTTS

63 WHY WE GIVE PEGGY AND BYRON MYERS

Lilly Classical Series subscribers for many years, Peggy and Byron Myers realize the importance of supporting the Indianapolis Symphony Orchestra. In addition to supporting the orchestra through their attendance and commitment to the ISO, the Myers are Annual Fund donors and members of the Lynn Society, having made a legacy gift to the orchestra.

Have you always lived in Indianapolis? Byron is from Brazil, IN, and I am from Santa Rosa, CA. We settled in Indianapolis after we were married in 1978.

Did you ever play an instrument? If so, tell us about that experience. I studied piano from age 9 until college and played clarinet in the band and Junior Symphony Orchestra in Santa Rosa. Byron has always enjoyed music and played trombone in his elementary and high school bands. I continue to play piano at home and enjoyed accompanying the choir at Indian Creek Elementary and middle and high school students for ISMAA competition.

Do you remember when you first heard classical music? There was always classical music and opera in my home. That is what my parents enjoyed, too. The classical recordings were played on the record player all day on Sundays! As a family, we were season ticket subscribers to the Santa Rosa Symphony until 2008. Byron’s interest in and appreciation for classical music grew as he and I became regular attendees of the ISO after settling in Indianapolis. I became a member of the Women’s Committee, now the ISOA, as an ISO volunteer in 1983.

What has been your favorite musical experience with the ISO so far? Our favorite musical experience with the ISO is difficult to name. ISOOpening Night Gala is always exciting as we anticipate the new season. Yuletide Celebration and Symphony on the Prairie are also favorites for a year-round ISO enjoyment.

What concerts do you recommend for new patrons to the ISO? For new patrons of the ISO, I would recommend a Beethoven concert, perhaps the Fifth Symphony, for its universal recognition to many people. The live experience is so much better than a recording.

Why is an orchestra important to a community? We understand the importance of the ISO and other cultural attractions as essential elements in creating and growing a well-rounded business environment and an attractive place to live. The Orchestra’s educational programs and community outreach are essential to encouraging young people to play an instrument as well as building our future audiences.

What led you to donate to the ISO? Why is that important to you? We have been Annual Fund donors for decades, and we both feel it is a gift that can continue through making a planned gift to the ISO. We want greatly to see the ISO thrive now and through the years so our wonderful Orchestra can continue to entertain and enthrall its audience.

64 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 October 20, 2016–November 14, 2016.

Honor Gifts In Honor of Martha Anne Varnes’ 100th Birthday Margaret A. Myers Wendy Adams Kathryn D. Patterson Sharon L. Amlung Helen Frances Rudesill Janet F. Barb Ann R. Strong Charlene A. Barnette Anna S. White Nancy C. Christy Karen L. Davis In Honor of Ruth Hoover Dawn M. Fazli Brandy Rodgers Pamela H. Hicks Connie J. Menke

Memorial Gifts In Memory of Dorothy Brown In Memory of Dr. Robert Rudesill Linda Marsh Blue and Co., LLC David Warrick In Memory of Kenneth Dye Barbara A. Dye

ISO VOLUNTEER

LOOKING TO GET INVOLVED? Each year it takes over 23,000 volunteer hours to keep the ISO running and we need you!

Join our ISO family by contacting our Volunteer Services Manager, Donna Finney at d [email protected] or 317.231.6792

65 CORPORATE SPONSORS

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

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66 JOIN US ASSOC ATION IN WHAT WE DO... PEOPLE WITH A PASSION FOR MUSIC

THE METROPOLITAN SYMPHONY IN COLOR YOUTH ORCHESTRA

Symphony in Color is an annual enrichment program of the ISOA which oers a unique blending of symphonic music MYO CLASSICAL CONCERT and visual arts for Indiana School Children, grades 1-6. The ISOA is looking for Volunteers for this event! SUNDAY, JANUARY 15, 3:00PM Join the Metropolitan Youth Orchestra (MYO) as they showcase IMPORTANT DATES: all of their young people and parents in a memorable classical Contest week and judging - February 6-8, 2017 performance that ends with a stunning, signature nale. Hilbert Circle Theatre Exhibit - February 25-March 27, 2017

Free Concert - Open to the Public Call the ISOA oﬃce at 317.231.6726 Call 317.639.4300 for ticket information for more information

MEET VINCE LEE PRESENTS THE LET US ENTERTAIN YOU THE ISO’S ASSOCIATE CONDUCTOR EVENT OF THE YEAR

save the date april 23, 2017 WEDNESDAY, FEBRUARY 8, 11:00AM Join us at the Willows on Westﬁeld for a fabulous evening of Dinner, Dancing and an incredible Auction. Meet and greet the dynamic personality behind ISO’s Discovery Concerts. These concerts educate, entertain, enlighten and All proceeds go to support the ISO's Metropolitan Youth Orchestra and engage Indiana’s school children in grades 3-6. Discovery Concert programs of the Indianapolis Symphony Orchestra.

FOR MORE INFORMATION CALL THE ISO OFFICE AT 317.231.6726 HERE’S HOW TO BECOME A MEMBER OF ISOA... Please contact us at 317.231.6726 or [email protected] 67 ADMINISTRATION

EXECUTIVE OFFICE MARKETING & COMMUNICATIONS Gary Ginstling, Chief Executive Officer Sarah Myer, Director of Marketing Laura Irmer, Executive Assistant Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager OPERATIONS Marci Taylor, Graphic Designer Danny Beckley, Vice President and General Manager Philomena Duffy, Operations Coordinator Communications Leila Viera, Publications Manager Orchestra Operations Lauren King, Digital Marketing and Communications K. Blake Schlabach, Orchestra Personnel Manager Manager L. Bennett Crantford, Assistant Personnel Manager Marianne Williams Tobias, Program Book Annotator Bekki Witherell Quinn, Administrative Assistant Patron Services Operations and Facilities David Storms, Box Office Manager Joanne Bennett, Director of Operations Mary Ferguson Senior Customer Care Representative Audience Services & Events Anita Blackwell David Armstrong, Director of Audience Services Janine Knuutila Donna Finney, Volunteer Services Manager Crystal Black Kalyn Smith, House Manager Nick Neukom Frances Heavrin, Event Coordinator Carolyn Kupchik McKenzie Witherell Artistic Administration Kim McManus 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 Betty Perry, Artistic Director, Metropolitan Youth Orchestra DEVELOPMENT Ruth Wolff, Director, ISO Learning Community Megan Meyer, Executive Assistant to the Vice President Krystle Ford, Associate Director, Metropolitan Youth Casey Chell, Director of Development Orchestra Rita Steinberg, Senior Major Gift Officer Perry A. Accetturo, Program and Communications Missy Eltz, Director of Development Operations Manager Meg Williams, Director of Development, Corporate and Megan Masterman, Education Program Manager Foundation Giving Melissa Weseli, Associate Director of Corporate Giving FINANCE Carol Ann Arnell, Special Events and Donor Benefits Manager Steve L. Hamilton, Vice President of Finance and Chief Sally Meyer Chapman, Associate Director of Foundation Financial Officer Giving Adam White, Controller Allison Gehl, Gift Officer Teaka Vest, Staff Accountant Cindy McHone, Gift Processing Manager Jennifer Morrell, Accounts Payable Coordinator Caily Wolma Lee, Individual Giving Associate Beckie Kern, Development Assistant Information Technology Tom McTamney, Gift Processing Associate Dee Dee Fite, Director of Technology Catherine Lockhart, Corporate Relations Associate Molly Inglish, Manager of Patron Technology

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

68 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 before and In the event of an emergency, please use the after the concert in the Encore Lounge. nearest exit (marked by lighted signs). This is your shortest route out of the theater. Also, join us for a behind-the-scenes discussion with special guests during the First Ushers Mondays: Backstage Pass to the ISO! For questions about Hilbert Circle Theatre For information, please email accessibility, first aid and lost and found, [email protected]. please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.

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

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

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at [email protected]! 69 We Believe You Can.TM

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