HILBERT CIRCLE THEATRE

KRZYSZTOF URBAŃSKI MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR

La La Land: In Concert The Golden Age of Broadway: Rodgers & Hammerstein Gershwin & Tchaikovsky Joshua Bell American Masters: Bernstein & Copland Frankie Moreno: Under the In uence Augustin Hadelich Returns

SEPTEMBER & OCTOBER | VOLUME 1 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, pro Fromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. pro tto taking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local boardand Marque eof directors, trulyand CCAC is the accreditation,place to be. To learn more, call, visit our websiteand Marque e or stop truly by isour the community. place to be. To learn more, call, visit our website or stop by our community. To learn more, call, visit our website or stop by our community. 8140 Township Line Rd. | Indianapolis, IN 46260 To learn more, 8140call, Township visit our Line website Rd. | Indianapolis, or stop IN by 46260 our community. phone (317) 875-9700 | www.marqueeseniorliving.org phone8140 (317) Township 875-9700 Line Rd.| www.marqueeseniorliving.org | Indianapolis, IN 46260 phone8140 (317) Township 875-9700 Line Rd.| www.marque | Indianapolis, eseniorliving.org IN 46260 phone (317) 875-9700 | www.marqueeseniorliving.org 698887 2 698887 698887 Careful planning, talent and passion are on display at today’s performance.

At Citizens Energy Group, we understand the value of working hard behind the scenes to deliver quality on a daily basis. We strive to replicate that ensemble effort in our work and are proud to support the productions that bring live theatre to our community.

Congratulations to the cast, crew and theater staff on a job well done!

CitizensEnergyGroup.com 3 TABLE OF CONTENTS

Programs Artists 13 September 13, 17, 2017 14 Jack Everly 17 September 15, 16, 2017 15 Alan Steinberger 23 September 29, 30, 2017 18 Kelli O’Hara 33 October 5–7, 2017 19 Ted Keegan 43 October 13, 2017 20 Ben Crawford 47 October 15, 2017 21 Indianapolis Symphonic Choir 57 October 20, 21, 2017 24 Krzysztof Urbański 61 October 27, 28, 2017 25 Jean-Yves Thibaudet 34 Jun Märkl Featured Articles 35 Joshua Bell 6 Music in My Life 48 Michael Francis 7 New Musicians 49 Orli Shaham 10 Musicians Around Town 59 Frankie Moreno 11 Inside the Usher Corps 62 Andrey Boreyko 63 Augustin Hadelich The Indianapolis Symphony Orchestra 8 Board of Directors 9 Musicians of the ISO 70 Arts in Indy 71 Endowment 74 Lynn Society 76 Annual Fund 80 Why I Give 81 Tribute Gifts 82 Corporate Sponsors 83 Indianapolis Symphony Orchestra Association 84 Administration 85 Hilbert Circle Theatre Information

4 WELCOME

Dear Friends,

It is my great pleasure to welcome you to a new season of phenomenal concerts here in the historic Hilbert Circle Theatre. The 2017–2018 season is filled with exciting collaborations, once-in-a-lifetime experiences, and the family traditions you’ve all come to enjoy over the years with us.

There is so much to celebrate in our 88th season. The Lilly Classical Series begins with an evening of Gershwin and Tchaikovsky under the baton of Maestro Krzysztof Urbański with captivating pianist Jean-Yves Thibaudet, and our Printing Partners Pops Series kicks off with Broadway superstar Kelli O’Hara presenting highlights from the Rodgers and Hammerstein songbook under the baton of Maestro Jack Everly.

Our beloved IPL Yuletide Celebration continues in its 32nd year with Hoosier legend Sandi Patty returning as the host of our spectacular holiday tradition. Artists-in-residence Time for Three continue their appearances at the popular Stella Artois Happy Hour at the Symphony Series. We’re also looking forward to special guest headliners throughout the season including Tony Award winner Leslie Odom, Jr., Movin’ Out’s Michael Cavanaugh, and more.

There truly is something for everyone in our new season here at the Hilbert Circle Theatre. Highlights throughout 2018 include:

· John Williams’ soaring score to E.T. the Extra-Terrestrial performed live with the film in November · Brahms’ Double Concerto, featuring the talents of concertmaster Zach De Pue and principal cellist Austin Huntington, in November · A once-in-a-lifetime opportunity to see all five ofProkofiev’s Piano Concertos performed in one weekend in November · Six-time Tony winner Audra McDonald performs her favorite works in February · A special Bon Voyage Concert before the ISO heads to Washington, D.C., to participate in the Kennedy Center’s SHIFT Festival in April

Our season culminates with a two-week festival programmed by Maestro Urbański—an in-depth look at Mozart’s Final Year. In his last year, Mozart simultaneously worked on two remarkably different works: his haunting Requiem, and the timeless operaThe Magic Flute. The ISO will present both over the two-week festival, including a fully staged performance of The Magic Flute!

On behalf of Music Director Krzysztof Urbański, Principal Pops Conductor Jack Everly, and the musicians and staff of the ISO, we hope you enjoy the start of our 2017–2018 season! Thank you for your patronage and continued support of the Indianapolis Symphony Orchestra.

Sincerely, Steve L. Hamilton Interim Chief Executive Officer Vice President of Finance and Chief Financial Officer

5 MUSIC IN MY LIFE LOUISE ALEXANDER, Violin

Louise Alexander was born in Victoria, British Columbia, Canada. She began her study of the violin at age three and later earned degrees from McGill University and the Cleveland Institute of Music, studying with Stephen Rose and Stephen Majeske at the latter institution.

Before joining the second violin section of the Indianapolis Symphony Orchestra in March 2006, she played in the New World Symphony (Florida), the Orquesta Sinfonica de Galicia (Spain) and the Winnipeg Symphony (Canada). Louise recently married Rob Simonds, also a violinist. If you see two bicyclists with violins on their back riding the streets of downtown Indianapolis, you’ll know who they are.

How did you get involved with music? My mom claims that I told her I wanted to play the violin when I was 2, but we all know that that is a lie. She had to bribe me with licorice until I was 13 and finally decided I liked it.

Tell me about your family. My parents are both english teachers. My mum plays violin and viola as an amateur and spends all of her time in orchestra rehearsals, concerts, and chamber music sessions. My brother has a Ph.D. in math and now works in the tech industry. Enough said. He’s much smarter than me.

What do you enjoy doing when you are not performing? My husband and I are buying rental properties and I love having two parts of my brain engaged during the day. Real estate is about numbers and music is emotional.

Other than classical music, what kind of music do you enjoy? I’ve recently been listening to an album of Eddie Vedder’s where he just sings and plays the ukulele. I’ve been thinking of buying a ukulele since I found that album. I suspect it would come easier than the violin.

What is your most rewarding musical experience thus far? My most rewarding musical experience was playing in Carnegie Hall with James Levine and the Verbier Orchestra.

What was your very first job? I played in a church and got paid $50. It blew my mind.

Tell me something about you that most people don’t know and wouldn’t expect. I like to build things out of wood. Mostly furniture. I know that its incongruous to be a violin playing woodworker, but I’m very careful with my fingers when I use my power tools!

What works are you looking forward to playing with the ISO this season? Definitely the concert with Renée Fleming. I was in university when I first played with her and I’d never played with a singer of her caliber before. I didn’t even know they existed. She opened her mouth and I nearly fell off my chair.

6 NEW MUSICIANS

Please join the Indianapolis Symphony Orchestra in welcoming our five new musicians as they begin their first full season with the orchestra.

Michelle Black studied violin at Rice University, the Cleveland Institute of Music, and the Uni- versity of Southern California’s Thornton School of Music. She has performed in festivals with the National Repertory Orchestra, Heifetz International Music Institute, and Quebec’s Domaine Forget. Michelle previously served as associate concertmaster of the National Repertory Or- chestra and co-concertmaster of the USC Symphony and USC Chamber Orchestra.

Sophia Cho most recently played violin with the Sarasota Opera Orchestra and the Juilliard Orchestra. In addition to Juilliard, she studied at Rice University and the Cleveland Institute of Music. Sophia has performed as a solo artist and with chamber ensembles in France, Israel, Switzerland, and Norway. A YoungArts National Merit Award winner, Sophia has performed on NPR’s From the Top and at the Palace of Fontainebleau.

Violist Zachary Collins comes to Indianapolis from New York, where he was a member of the Buffalo Philharmonic Orchestra since 2012. He studied at the Cleveland Institute of Music before becoming assistant principal viola of the Canton Symphony Orchestra. Zachary has also served with the Akron Symphony Orchestra, Atlanta Symphony Orchestra, and Cleveland Orchestra.

Violist Yu Jin joins the ISO from Ohio, where she was an assistant professor at Kent State University and a member of the Verve Chamber Players. She has served as principal viola of the Canton Symphony Orchestra and Citymusic Cleveland, and as guest principal viola of the Cincinnati Symphony Orchestra. Upon graduation from the Cleveland Institute of Music, she became the violist for the Miami String Quartet. She won first prize in the 2006 Washington International Competition in 2006.

Han Xie studied violin at the Peabody Institute of the Johns Hopkins University and the East- man School of Music. He most recently performed as principal violin for the Peabody Sympho- ny Orchestra, and was a member of several chamber groups at Peabody and Eastman. He has performed in recent years at the Summit Music Festival, as well as Tanglewood Music Center.

We are honored to have these talented and dedicated musicians as members of the ISO!

SPECIAL EVENTS | WEDDINGS | MEETINGS

For more information visit IndianapolisSymphony.org or call 317.231.6798

7 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 Steve Hamilton, Interim 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 Brandon Russell Charlene Barnette* David Kleiman Alice K. Schloss Michael Becher* Liz Kyzr Yvonne H. Shaheen* Barry J. Bentley* Sarah L. Lechleiter Christopher Slapak Christina Bodurow, Ph.D. Greg Loewen J. Albert Smith Jr. John A. Bratt Karen Mangia Mary Solada Bryan Brenner Scott Martin Marianne Williams Tobias Vincent Caponi* Morrie Maurer Pete Ward Kiamesha Colom Bruce McCaw David Wilcox Trent Cowles Karen H. Mersereau Ralph V. Wilhelm* Andrea Davis* David Morgan C. Daniel Yates Craig Fenneman Peter A. Morse Jr. James C. Zink Sr. Steve Hamilton* Gerald L. Moss Jennifer Zinn Peter W. Howard, Ph.D. 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.

8 MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate First Violin Jian-Wen Tong Trumpet Zachary De Pue, Concertmaster Conrad Jones, Principal The Ford-West Chair Contrabass The W. Brooks and Wanda Y. Alexander Kerr, Principal Guest Ju-Fang Liu, Principal Fortune Chair Concertmaster Robert Goodlett II, Assistant Principal Robert Wood Philip Palermo, Associate Nami Akamatsu Marvin C. Perry II, Assistant Principal Concertmaster L. Bennett Crantford Peter Vickery, Assistant Gregory Dugan Trombone Concertmaster , The Meditch Chair Peter Hansen James Beckel, Principal Michelle Kang, Acting Assistant Brian Smith K. Blake Schlabach, Assistant Concertmaster Principal Barbara Fisher Agresti Flute Riley Giampaolo Michelle Black Karen Evans Moratz, Principal Sophia Cho The Sidney and Kathy Taurel Chair Bass Trombone Sarah Drake ** Robin Peller Riley Giampaolo Sherry Hong Rebecca Price Arrensen, Assistant The Dr. and Mrs. Charles E. Test Vladimir Krakovich Principal Chair Joseph Ohkubo ** Han Xie Piccolo Tuba Rebecca Price Arrensen Anthony Kniffen, Principal Second Violin The Janet F. and Dr. Richard E. Barb Konstantin Umansky, Principal Chair Timpani Mary Anne Dell’Aquila, Jack Brennan, Principal Acting Associate Principal Oboe The Thomas N. Akins Chair Jennifer Greenlee, Jennifer Christen, Principal Craig A. Hetrick, Assistant Principal Acting Assistant Principal The Frank C. Springer Jr. Chair The Taurel Chair Sharon Possick-Lange Percussion The Dick Dennis Fifth Chair* Roger Roe, Assistant Principal Braham Dembar, Principal Louise Alexander Craig A. Hetrick Victoria Griswold English Horn Pedro Fernandez Patrick Dalton-Holmes Roger Roe Hua Jin The Ann Hampton Hunt Chair Harp Jayna Park Diane Evans, Principal Lisa Scott Clarinet The Walter Myers Jr. Chair Oleg Zukin David A. Bellman, Principal The Robert H. Mohlman Chair Keyboard Viola Cathryn Gross, The Huffington Chair The Women’s Committee Chair The Schlegel Chair Samuel Rothstein, Assistant Principal Endowed in honor of Dorothy Mike Chen, Acting Principal/ Munger Associate Principal Bass Clarinet Beverly Scott, Assistant Principal Samuel Rothstein Personnel Zachary Collins K. Blake Schlabach, Manager Emilee Drumm ** Bassoon L. Bennett Crantford, Assistant Yu Jin John Wetherill, Principal Manager Amy Kniffen Michael Muszynski Terry E. Langdon Mark Ortwein, Assistant Principal Library Eva Lieberman James Norman, Principal Librarian Stephanie Tong Contrabassoon Laura Cones, Assistant Principal Mark Ortwein Librarian Cello Susan Grymonpré, Assistant Librarian Austin Huntington, Principal Horn Perry Scott, Associate Principal Robert Danforth, Principal Stage Chair Anonymously Endowed The Robert L. Mann and Family Quentin L. Quinn, Manager Sarah Boyer Chair Kenneth Bandy, Technician Ingrid Fischer-Bellman Richard Graef, Assistant Principal P. Alan Alford, Technician The Randall L. Tobias Chair Julie Beckel Yager Steven A. Martin, Technician Mark Maryanovsky Jerry Montgomery Anne Duthie McCafferty The Bakken Family Chair The Dr. and Mrs. Robert L. Jill Boaz Rudesill Chair *The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. 9 ** One-year position MUSICIANS AROUND TOWN

SUMMER ADVENTURES On June 24, Pedro Fernandez, Percussion, participated in a chamber recital at the Texas Music Festival in Houston where he played the Verne Reynolds’ Fantasy-Etudes for bassoon and percussion with Elise Wagner and Matthew Strauss (Houston Symphony bassoonist and percussionist respectively). He sat in for a week as a Percussion Sub with the Chautauqua Symphony Orchestra in upstate New York from July 25 through the 29th playing 3 different programs in that week. Pedro also plays in a salsa band in town called Project 54.

This summer, Conrad Jones, Principal Trumpet, performed in the Mainly Mozart Festival Orchestra in San Diego, CA. He also returned to the Britt Festival in late July for his fourth year with the Britt Festival Orchestra along with Sherry Hong, Violin, Michelle Black, Violin, and Sophia Cho, Violin. Conrad also performed a brass ensemble concert at the Strings Music Festival in Steamboat Springs, CO, led by Music Director and Principal Trumpet of the Cleveland Orchestra, Michael Sachs.

This summer, Karen Moratz, Principal Flute, and Rebecca Price Arrensen, Assistant Principal Flute, drove to Minnesota to attend the National Flute Association Convention. During the conference, Karen judged an Orchestral Audition Competition and hosted a signing of her book Flute for Dummies.

This summer, Anne Duthie McCafferty, Cello, and her husband Dennis, also a cellist, spent three weeks in July participating in the Bellingham (WA) Festival of Music under the leadership of Music Director (and Indianapolis native) Michael Palmer. The Festival includes musicians from major orchestras in the U.S. and Canada as well as seasoned and emerging soloists who play five orchestral concerts and several chamber music performances. Anne has participated in the Festival, which celebrates its 25th anniversary in 2018, since 2005.

On August 11 and 13, Jennifer Christen, Principal Oboe, performed in the production of Tosca with the Finger Lakes Opera at Canandaigua Academy.

This summer, Roger Roe, English Horn, performed at the Illinois Chamber Music Festival and the Staunton Music Festival in Virginia.

FUTURE DATES On September 10, at 2 p.m. several ISO musicians will be performing at the Indianapolis Central Library. Included are Jennifer Christen, Oboe, Vladimir Krakovich, Violin, Beverly Scott, Viola, and Perry Scott, Cello.

On September 1, Amy Kniffen, Viola, will perform as a part of the Duke Divinity School’s Home, Away, and Home Again: The Rhythm of the Gospel in Music, a multi-media event featuring a unique weaving together of teaching and music.

On October 21, the Lafayette Symphony will perform Jim Beckel’s (Principal Trombone) In the Mind’s Eye: Images for Horns and Orchestra conducted by Nicholas Palmer at the Long Center for the Performing Arts, Lafayette, IN.

On October 29, Roger Roe, English Horn, will join IU horn professor Jeff Nelsen and Illinois Wesleyan piano professor R. Kent Cook for a free chamber music program benefitting the Wheeler Mission at 2 p.m.

10 MARIOL LUDDY 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 Kroger Symphony on the Prairie patrons. Read the experience first-hand from one of our dedicated ISO volunteers—Mariol Luddy. You can usually find Mariol Luddy volunteering every weekend at Symphony on the Prairie working her usual spot, serving our patrons at the Table section and at Oval Prom Left in our Hilbert Circle Theatre. Mariol is often hailed as the ISO sweetheart. Stop by and say hello, she has many stories to share!

Tell us a little about your background. Where are you from and where do you work? I am originally from Hammond, Indiana situated in the Northwest of the state. I moved to Indianapolis area in 1961, and it has been my home ever since. However, we did move to Monteral in the1970s for eight years but found our way back home. I studied at Indiana University and received my Bachelor of Science degree in Elementary Education. I presently work as a Realtor in Indianapolis.

What motivated you to become an ISO usher? After the passing of my husband, I wanted to fill a void. Ushering allowed me to attend concerts and help enhance the patron experience while expanding the ISO family.

Who is your favorite composer? I love the works of Beethoven, Gershwin, and John Williams. Truly there are too many to list. Life is better with music!

What has been your favorite experience with the ISO so far? I would say my time with the ISO has broadened my life experience. I have been with the ISO for so long, it feels like family. I may have been a package deal to come with the building.

Why is volunteering with the ISO important to you? I joined the usher corps in 1996, since then I feel like it filled a void in my life. I have a better understanding of the hard work of the ISO team, and how that impacts a patrons experience. It is very rewarding for me to serve our patrons. I believe I give a little, but receive a lot in return.

What would you tell someone that is considering volunteering with the ISO? Come on down! We’ll save a seat for you. Your life will be more enriched for it.

11 ISO VOUCHERS You Buy, You Pick Your Concerts, You Save!

When you buy ISO Symphony on Demand vouchers, you can then exchange them for any Classical or Pops performance of your choice! Buy a six-pack or twelve-pack and save over 25% on the regular price!

SEASON HIGHLIGHTS INCLUDE Joshua Bell with the ISO | Jean-Yves Thibaudet, Gershwin & Tchaikovsky | Zach De Pue & Austin Huntington: Brahms’ Double Concerto | E.T. The Extra-Terrestrial: Film + Orchestra | The Magic Flute | Karen Gomyo, Music For the Royal Fireworks | Frankie Moreno: Under the In uence | Josh Kaufman | Audra McDonald

SUBSCRIBE NOW

And gain access to the October 16 presale for

Buy now at IndianapolisSymphony.org or call 317.639.4300 LA LA LAND IN CONCERT SEPT 13, 17, 2017

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

Special Wednesday, September 13, 2017, at 7:30 p.m. Sunday, September 17, 2017, at 3 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor ALAN STEINBERGER, Piano

Justin Hurwitz La La Land

Length of performance is approximately two hours and fifteen minutes. Recording or photographing any part of this performance is strictly prohibited.

13 SEPT 13, 17 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 Overtures Of Jule Styne. Orchestra, and the National Originally appointed by Mikhail Baryshnikov, Arts Centre Mr. Everly was conductor of the American Orchestra (Ottawa). He has conducted the Ballet Theatre for 14 years, where he served Los Angeles Philharmonic at the Hollywood as Music Director. In addition to his ABT Bowl, the New York Pops at Carnegie Hall, tenure, he teamed with Marvin Hamlisch on and appears regularly with the Cleveland Broadway shows that Mr. Hamlisch scored. Orchestra at Blossom Music Center. Maestro He conducted Carol Channing hundreds Everly will conduct over 90 performances of times in Hello, Dolly! in two separate in more than 20 North American cities this Broadway productions. season. Maestro Everly, a graduate of the Jacobs As Music Director of the National Memorial School of Music at Indiana University, is Day Concert and A Capitol Fourth on PBS, a recipient of the 2015 Indiana Historical Maestro Everly proudly leads the National Society Living Legends Award and holds an Symphony Orchestra in these patriotic Honorary Doctorate of Arts from Franklin celebrations on the National Mall. These College in his home state of Indiana. He concerts attract hundreds of thousands of is a proud resident of the Indianapolis attendees on the lawn, and the broadcasts community for over 14 years, and when not reach millions of viewers and are some of on the podium you can find Maestro Everly at the very highest-rated programming on PBS home with his family, which includes Max the television. wonder dog.

The 2018 Indianapolis Early Music Festival 52nd Season: June 22 through July 15 at the Indiana History Center

Get ready to be amazed! Details coming soon at… Season opener Ayreheart ~ directed by Grammy-nominated lutenist Ronn McFarlane www.IEMusic.org ~ 317-577-9731

14 ALAN STEINBERGER, Piano SEPT 13, 17

Alan Credited and prominent throughout the Steinberger score for the Academy Award-winning serves as documentary March of the Penguins, Principal Piano/ Steinberger regularly plays piano, celesta Keyboard and synthesizer for film scores by John for both the Williams, Randy Newman and many other top Hollywood Hollywood composers. He has been a surly Bowl Orchestra mall entertainer on The Simpsons, a ragtime- and the playing elephant in Cats Don’t Dance, and the Pasadena surrogate pianist for the one-handed thug in Symphony, and Tangled who sings of his dream of leaving the is frequently life of crime to become a concert pianist. featured in performances Steinberger also regularly works as a with the Los Angeles Philharmonic, LA Opera composer, arranger, and orchestrator, Orchestra, LA Chamber Orchestra, Pacific performs on virtually every keyboard Symphony and Long Beach Symphony. instrument from accordion to pipe organ, Although having recently been a guest artist and is likely the only artist both to have been with the San Francisco Symphony, the Seattle named a Freunde des Hauses Bösendorfer Symphony, and the National Symphony and to have been caricatured on a Warner Orchestra, Steinberger’s very first professional Brothers cartoon. orchestra appearance, upon his graduation from Indiana University’s Jacobs School of Music, was with the Indianapolis Symphony Orchestra.

INDIANAPOLIS SYMPHONY ORCHESTRA #MyISOStory

At the ISO, we love to tell stories, especially those of our patrons and fans like you. After all, we couldn't do what we love – playing beautiful music – without your support and patronage. We want to know: when was your very first ISO concert? Did you meet your spouse at the Hilbert Circle Theatre? IndySymphony Indy_Symphony Indy_Symphony Did a Teddy Bear Concert or symFUNy Sunday inspire your child to become a musician? Every member of our ISO family has a story, and we want to share yours!

15 SANDI PATTY IS BACK!

Indiana’s best holiday tradition for families returns! Ring in the holidays with Jack Everly and Sandi Patty, as they bring to life the magic of tap dancing Santas, festive carols, and larger-than-life puppetry alongside the ISO.

SUN MON TUE WED THR FRI SAT 1 2 DECEMBER 2017 YULETIDE PERFORMANCES 8PM Opening Night! 2PM, 8PM 3 4 5 6 7 8 9

2PM*, 6PM 7:30PM** 7:30PM 2PM, 8PM 2PM, 8PM 10 11 12 13 14 15 16

2PM, 6PM SOLD OUT 7:30PM 2PM, 8PM 2PM, 8PM 17 18 19 20 21 22 23

2PM, 6PM 2PM, 8PM 2PM, 8PM 2PM, 8PM 2PM, 8PM 2PM, 8PM 24 25 26 27 28 29 30

Times in red denote SuperSaver performances. Times in green denote Premium Priced performances. *symFUNy Sundays presented by Dow AgroSciences performance is December 3 at 2pm. **Audio & Visual Impaired performance THE GOLDEN AGE OF BROADWAY: RODGERS & HAMMERSTEIN SEPT 15, 16, 2017 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate

Printing Partners Pops Series/Program One Friday, September 15, 2017, at 11 a.m. † Friday, September 15, 2017, at 8 p.m. Saturday, September 16, 2017, at 8 p.m.

JACK EVERLY, Conductor | KELLI O’HARA, TED KEEGAN, BEN CRAWFORD, Vocalists INDIANAPOLIS SYMPHONIC CHOIR ­— ERIC STARK, Artistic Director

Richard Rodgers & Oscar Hammerstein II Golden Age of Broadway: Rodgers & Hammerstein The Sound of Music Oklahoma! Main Title Oh, What a Beautiful Mornin’ People Will Say We’re in Love Carousel Waltz Soliloquy The King & I Main Title I Have Dreamed Getting to Know You Something Wonderful Shall We Dance?

INTERMISSION - Twenty Minutes

South Pacific Main Title A Cockeyed Optimist A Wonderful Guy Some Enchanted Evening Younger Than Springtime There is Nothing Like a Dame Flower Drum Song Main Title The Sound of Music Main Title Rex Admirabilis My Favorite Things Something Good Climb Ev’ry Mountain

Premier Sponsor

Children’s Choir coordinated by Booth Tarkington Civic Theatre Directors: Brent E. Marty and Holly Stults Haas

† The Coffee Concert is an abbreviated performance. There is no intermission Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s bio on page 14. 17 SEPT 15, 16 KELLI O’ HARA, Vocalist

as well as the Fred Astaire Nomination for dance.

Kelli has worked regionally & Off-Broadway in Far from Heaven at Williamstown Theater Festival & Playwrights Horizons, King Lear at the Public Theater, Bells Are Ringing at City Center Encores, Sunday in the Park with George at Reprise, My Life With Albertine at Playwrights Horizons and Beauty at the La Jolla Playhouse. Kelli received critical acclaim for her performances at the New Kelli O’Hara has unequivocally established York Philharmonic’s productions of Carousel herself as one of Broadway’s great leading and My Fair Lady as both Julie Jordan & Eliza ladies. Her portrayal of Anna Leonowens Doolittle respectively. She has sold out her in the critically acclaimed revival of The solo show at Carnegie Hall & Town Hall and King and I recently garnered her a Tony performed with symphonies and orchestras Award for Best Leading Actress in a Musical, across the country. She is a frequent guest along with Drama League and Outer Critics artist on the PBS Memorial Day and July 4th nominations. telecast and has performed several times

as part of the Kennedy Honor tributes for A native of Oklahoma, Kelli received a Barbara Cook, Jerry Herman, and Barbra degree in opera, and after winning the Streisand. State Metropolitan Opera Competition, moved to New York and enrolled in the Lee Among her film and television credits areSex Strasberg Institute. She made her Broadway & The City 2, Martin Scorsese’s short The Key debut in Jekyll & Hyde and followed it with to Reserva opposite Simon Baker; The Dying Sondheim’s Follies, Sweet Smell of Success Gaul, Blue Bloods (NBC pilot), All Rise (NBC opposite John Lithgow, and Dracula. In pilot), Alexander Hamilton (Maria Reynolds) 2003, Kelli committed to a production of starring Brian F. O’Byrne (PBS), NUMB3RS The Light in the Piazza at Seattle’s Intiman (CBS), All My Children, the animated series Theatre. The show landed on Broadway in Car Talk, and numerous live performances 2005 and earned Kelli her first Tony and on national television shows. Kelli’s voice can Drama Desk Award nominations. She moved be heard on many cast album recordings from one critical and commercial success including The Bridges of Madison Country, Nice to another when she joined Harry Connick, Work if You Can Get it, South Pacific(Sony), Jr. on Broadway in the 2006 Tony award- The Light in the Piazza (Nonesuch records; winning production of The Pajama Game, Grammy nomination), The Pajama Game for which Kelli received Tony, Drama Desk, (Sony; Grammy nomination), The Sweet and Outer Critics Award nominations. Kelli Smell of Success (Sony), My Life with Albertine starred in the Tony Award-winning revival of (PS Classics), Dream True (PS Classics), Jule South Pacific at Lincoln Center, enrapturing Styne Goes Hollywood (PS Classics). She has audiences and critics alike with her soulful released two solo albums including Always and complex interpretation of Nellie and Wonder in the World. Forbush, and garnering Tony, Drama Desk, and Outer Critics Award nominations. She Kelli currently resides in New York City. later teamed up with Matthew Broderick in Broadway’s musical comedy Nice Work if You Can Get it, earning Tony, Drama Desk, Drama League and Outer Critics Circle nominations, 18 TED KEEGAN, Vocalist SEPT 15, 16

Ted Keegan Washington, DC, which The New York Times is proud to be reviewed as one of the ten best musical Broadway’s events of the year. Number 12 Phantom! Ted is a native of Ted has also sung Gershwin with Audra Watertown, McDonald in New York and with Marin Mazzie New York at the opening of the Santa Fe Chamber with an Music Festival. He appeared in the Frank undergraduate Loesser Celebration at Symphony Space in degree from New York City and was a soloist at Lincoln Ithaca College Center’s Avery Fisher Hall, singing Unheard and a graduate Bernstein and also hosted the Yuletide degree Celebration here at the ISO. A few of the from UNC-Greensboro. He was last seen orchestras Ted has performed with as a solo as the Phantom in Phantom the Las Vegas performer include the Detroit, Syracuse, Spectacular. He starred in the National Tour Charleston WV, Portland, Pittsburgh, of The Phantom of the Opera following a very Ottawa, Omaha, Baltimore, Las Vegas, Fort successful run in the Broadway Company. Worth, Edmonton Symphonies, the Naples Philharmonic and Dayton Philharmonic, Ted has performed the role in over 24 States as well as the National Symphony at the across the country. He has had the great Kennedy Center. Ted made his Broadway pleasure of appearing as The Phantom of the debut in the highly acclaimed revival of Opera on television, performing live from Sweeney Todd, where he was seen as Rockefeller Center for the Today Show on Anthony. Other Broadway and National Tour NBC. He also has the distinction of being credits include Cyrano: The Musical, Mordred the actor who has sung the role in front of in Camelot with Robert Goulet, Kander the largest audience ever, when he made a and Ebb’s The World Goes ‘Round and the spectacular flying entrance from the dome of European Tour of The Phantom of the Opera. Madison Square Garden singing The Phantom Follow Ted at TedKeegan.com. of the Opera during the half-time show of the NBA All-Star Game. Ted was deeply involved in the George Gershwin Centennial Celebration. He performed unpublished Gershwin at the opening of the George and Ira Gershwin Room at the National Archives in

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19 SEPT 15, 16 BEN CRAWFORD, Vocalist

Ben Crawford Madden), Titanic (Frederick Barrett), Chasing began his Rainbows (Frank Gumm), Guys and Dolls Broadway (Sky Masterson), Carousel (Billy Bigelow), A career when New Brain (Gordon), Oklahoma! (Jud), Oliver! he covered the (Bill Sykes), Merrily We Roll Along, 35MM, roles of Javert Jasper In Deadland (Mister Lethe), & Irma La & Jean Valjean Duce. Concerts include performances with in the original the Baltimore, Cleveland, Pittsburgh, Grant revival of Les Park, and Chicago Symphony Orchestras, Misérables. Rochester and Naples Philharmonics, and The Since then National Arts Centre in Ottawa. Soundtracks his Broadway include On the Twentieth Century, Big credits include Fish, Merrily We Roll Along, 35MM, Writing this season’s Kevin Taylor, and Frozen. Ben also appears Charlie & The Chocolate Factory (Mr. Salt), in the filmThe Standbys, a documentary Shrek the Musical (Shrek), Big Fish (Don Price, focusing on Broadway swings, standbys, and Ed Bloom u/s), and On The Twentieth Century understudies. @crawdady21 starring Kristin Chenoweth & Peter Gallagher (Bruce Granit u/s, Max Jacobs u/s). Other credits on stage include Evita (Che),110 In The Shade (Starbuck), Next to Normal (Dr.

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20 Indianapolis Symphonic Choir SEPT 15, 16

Soprano

Molly Abrams Bronwen Fetters Patricia K. Johnson Emily Nickels Anna Pranger Sleppy Deborah E. Anderson Kia Frank Debbie Jones Shari Norris Deborah Smith Juliana P. Anthony Amanda Guieb Quay Kester Diana Pannell Valerie Stevens Shallen Atkins Deborah Mongold-Habing Kendra Kirby Erin Quandt Coleen Walker Marilyn Baumgardt Diane Hall Heather Lapham Kuhn Julie Query Pamela Walters Laura Brueckmann Danielle Hartman Brianne Lindsay Joanna Luisi Reinhardt Bethany Watson Emily Christine Carson Anna Hassler Kennedy Luton Micci Richardson Faedra Weiss Emily Cline Ann Hill Christina Merriott Lauren Richmond Suellen Williams Michelle Cohen Karen Jacobs Rebecca Mickelson Ingrid E. Rockstrom Judith Ann Wilson Cindy Colter Kathy L. Jensen Mary Jo Moss Jennfer Ryan Mary Jo Wright Suzie Dodds Jessica Johnson Laura Nagle Olesya Savinkova Isabella Ferrari Kasey Marie Needham Stephanie Shaw Alto

Gretchen Andsager Holly Erickson Jan Kennicutt Yvonne Nichols Leeann H. Vrabel Carole S. Arthur Ann M. Gerritsen Susan Kniola Kathy Martin O’Neil Renee Wargel Reba Baker Dana Goot Beth Kurth Julie L. Paavola Elaine Weiss Deana Beecher Mary Gosling Katherine T. Landschultz Becky Peterson Lydia Wells Janice Bilby Jane E. Gosling Mary Leslie Judy Roudebush Donna K. White Katherine Bolinger Ruth Smith Green Suzanne Lodato Sydney Schafer Terran Williams Kara Bougher Molly DuMontelle Harris Claudia J. MacRae Carol Love Selby Dixie L. Williams Melissa Brown Katie L. Hilton Rachel Malinsky Katherine Sinclair Sandy Winter Marie Butz Janet Hock Lisa Marchal Margaret Strodtbeck Ann Carlson Laura Howie-Walters Jaclyn Martin Gwen Swart Kathy Dean Kristin Ingersoll Mujinga Rose Massela Carol Gossett Thorne Rachel DeMuth Faith Justiniano Phyllis McCormack Dana L. Voigt Kimberly DiCamilla Julia Keller-Welter Rose M. Mullen Valerie Voigt Tenors Brad Arthur John Champley Donald Mains, Jr. Daniel Rains Paul E. Swanson Christopher Borm Terion Cooper Brandon Miller David Rose Gregg A. Sweeney John A. Brewer Dr. Michael Davis Tom Nichols Roland Schaffer James R. Toombs Jordan Brewer David Doty Cameron Oehler DavidMichael Schuster Daniel Scott Watson Joe Brown Robbie Foote Eric Oehler Nate Shadday Tommy Wells Christopher Brush Loran Hill Ian Paul Oehler Karl E. Snider Barrie Zimmerman Robert C. Campbell Alexander Lalov Richard Perry Larry Stout Basses Benjamin P. Anthony Brett Deery Redmond P. Hogan Jon E. Lewis James Anthony Plenty Joshua Ashbaugh Daniel Dixon Phillip E. Johnston Mark Lund David Rosenfield Jeffrey Bick Franklin R. Drumwright Ian Justiniano Rodney Martin Charles Schafer Robert Bolyard Nate Foley Lee Kingery Bob Massie Richard Thorne Jeffrey Bower Charles Gardner Nicholas Kohne Greg McGowan Tom Woo Wes Colter Dale E. Gwin Timothy S. Kroeker Bill Paraskevas K. Allen Davis Dennis Hardin Bennett C. Laguzza, PhD Patrick Pauloski

The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and dynamic musical institution, and 2017–2018 marks its 81st season. Among the most active symphonic choruses in the nation, this organization reaches in excess of 25,000 persons each season with more than 25 performances and a comprehensive educational/outreach program. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each 42-week season. The organization is led by a professional staff and governed by a volunteer Board of Directors. Michael Pettry, Eric Stark, The Symphonic Choir is the choral partner of the Indianapolis Executive Director Artistic Director Symphony Orchestra, having been founded in 1937 at the Orchestra’s request to perform the great choral-orchestral repertoire. Over the years, the partnership between the Orchestra and the Choir has remained at the core of our existence. This partnership exhibits the very best of collaborative ideals—two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. Beyond performances with the Orchestra, the Symphonic Choir also produces a complete season of performances and educational initiatives. The Symphonic Choir is dedicated to educational opportunities for persons of all ages and is proud to serve as the “choral partner” for Indianapolis Public Schools. Other outreach initiatives include side-by-side partnerships with area high school choirs, roundtables for area congregation, school, and community choral directors, and an annual Scholar in Residence series advancing the choral art form. For more information about the Indianapolis Symphonic Choir, visit indychoir.org and follow us on Facebook and Twitter at @IndyChoir. 21 INDIANAPOLIS SYMPHONY ORCHESTRA THE LEARNING COMMUNITY BY THE NUMBERS This season, the Indianapolis Symphony Orchestra provided education and engagement opportunities for Indiana residents of all ages. Here are some highlights from the year.

The ISO Learning Community reaches over 25,000 people each year.

Over 15,000 elementary students come Over 1,000 high school musicians have interacted to the Hilbert Circle Theatre each year for with the ISO through masterclasses, workshops, the Discovery Concert Series. and the Side-by-Side program.

ADMIT ONE Thanks to the Next Generation Program, TICKET over 700 students attended FREE classical concerts free of charge last season. MYO serves over 200 children ages 5-18 per year. Over 1,200 people enjoyed 5-6 the debut of The Garden Symphony, the newest Teddy 7-8 35 Bear Series story written by 9-10 ISO violinist Victoria Griswold. 11-12 With the help of 5 ISO musicians and 13-14 35 drums, corporate professionals across numerous industries explored 15-16 leadership principles through music in our Art of Leadership program. 17-18 WEEKENDGERSHWIN TITLE & TCHAIKOVSKY SEPT 29, 30, 2017

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

Lilly Classical Series/Program One Friday, September 29, 2017, at 8 p.m. Saturday, September 30, 2017, at 7 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | JEAN-YVES THIBAUDET, Piano

Wolfgang Amadeus Mozart Overture to Die Zauberflöte, K. 620 [The Magic Flute] (1756–1791)

George Gershwin Concerto in F for Piano and Orchestra (1898–1937) Allegro Adagio - Andante con moto Allegro agitato Jean-Yves Thibaudet, Piano INTERMISSION - Twenty Minutes

Piotr Ilyich Tchaikovsky Symphony No. 5 in E Minor, Op. 64 (1840-1893) Andante - Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso - Allegro vivace

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This performance is endowed by the Francis W. and Florence Goodrich Dunn Fund.

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

23 SEPT 29, 30 KRZYSZTOF URBAŃSKI, Conductor

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 “wholly 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 2017, Tonkünstlerorchester, Philharmonia Orchestra, entered the seventh 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 led 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 In September 2015, Urbański formally returned to conduct the Schleswig-Holstein became Principal Guest Conductor of NDR Akademie at the Schleswig-Holstein Festival. Elbphilharmonie Orchester, and this season, Notably, he is the first conductor to have ever in addition to concerts in Hamburg, they tour received this award. Japan with soloists Alice Sara Ott and Sayaka Shoji.

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Indianapolis | 101 W. Ohio Street, Suite 1600 | www.lawmg.com Estate Planning 24 JEAN-YVES THIBAUDET, Piano SEPT 29, 30

For more than In 2017–18 the Colburn School extends three decades, Thibaudet’s Artist-in-Residency an additional Jean-Yves three years and has announced the Jean-Yves Thibaudet Thibaudet Scholarships to provide aid for has performed Music Academy students, whom Thibaudet world-wide, will select for the merit-based awards, recorded more regardless of their instrument. than 50 albums, Thibaudet’s recording catalogue of more and built a than 50 albums has received two Grammy reputation as nominations, the Preis der Deutschen one of today’s Schallplattenkritik, the Diapason d’Or, the finest pianists. Choc du Monde de la Musique, the Edison He plays a Prize, as well as Gramophone and Echo range of solo, awards. He was the soloist on the award- chamber, and orchestral repertoire—from winning and critically acclaimed films Beethoven through Tchaikovsky, Grieg, and Atonement, Pride and Prejudice, Extremely Saint-Saëns; to Khachaturian and Gershwin, Loud & Incredibly Close, and Wakefield. and to contemporary composers Qigang His concert wardrobe is designed by Chen and James MacMillan. From the very Vivienne Westwood. In 2010 the Hollywood start of his career, he delighted in music Bowl honored Thibaudet for his musical beyond the standard repertoire, from jazz achievements by inducting him into its to opera, which he transcribed himself to Hall of Fame. Previously a Chevalier of the play on the piano. His profound professional Ordre des Arts et des Lettres, Thibaudet friendships crisscross the globe and have led was awarded the title Officier by the French to spontaneous and fruitful collaborations in Ministry of Culture in 2012. film, fashion, and visual art.

This season takes Thibaudet to 14 countries, including extensive concerts in Asia with the Singapore, NHK, and Guangzhou symphony orchestras; the Malaysian, Hong Kong, and China philharmonics, and the Yu Long Orchestra. As Artist-in-Residence at the Boston Symphony Orchestra, he plays the Bach Triple Concerto with Thomas Adès and Kirill Gerstein, Ravel, chamber music with symphony musicians, and Bernstein’s Age of Anxiety Symphony both in Boston and at Carnegie Hall. Thibaudet is considered one of the premiere interpreters of the solo part for this symphony, which he will also perform with the Atlanta and National symphony orchestras; the San Francisco and Houston symphonies; the China Philharmonic, and the Philadelphia Orchestra at home and on tour in Germany, Austria, and Israel, throughout Bernstein’s centennial season.

25 LILLY Classical Series Program Notes

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

were a hallmark of his dramatic fare. At this

Overture to Die Zauberflöte , K. 620 time, Mozart was in dire need of money, was Wolfgang Amadeus Mozart in bad health, and his wife was also very sick. He needed a hit, and eagerly collaborated with Born on January the prominent Schikaneder to create one of 27, 1756, in the greatest operas of all time, The Magic Flute. Salzburg, Austria Finally, Mozart had his success. The Magic Flute Died on became an enormous triumph. During its first ten years, it was presented 233 times in the December 5, original theater, and then radiated out over 1791, in Vienna, Europe. Its American premiere occurred in Austria New York on April 17, 1833. Composed: 1791 Length: 7 The story, presented in Singspiel [with spoken minutes dialogue], is a mixture of fun and high ideals, World Premiere: September, 1791 in Vienna, of Masonic philosophy and high jinx, of Austria, conducted by Mozart brotherhood and love affairs, of melodrama Last ISO Performance: October, 2011 and serious thought. Within this context conducted by Gilbert Varga Mozart sent his final message of personal Instrumentation: 2 flutes, 2 oboes, 2 conviction and standards of living, which had clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 been confirmed by his membership in the trombones, timpani, strings. Freemasons which he had joined on January 7, 1785. There, he was in familiar company. Other contemporary members of his Lodge were Two months before his death, Mozart Joseph Haydn, his patron Prince Lichnowsky, completed his Overture to The Magic Flute. his father Leopold, Michael Puchberg and He conducted the Overture’s premiere on Gottfried van Swieten, two of his most September 28, 1791 at the Theater auf der important patrons, Anton Stadler (clarinetist) Wieden. The opera’s premiere occurred and Angelo Soliman, a good friend. on September 30, 1791, also conducted by Mozart. He managed to conduct two Mozart strongly identified with the rationalist successive productions before ill health forced and enlightenment component of Masonic him to take to his bed. The opera ran for 100 philosophy, represented by the group performances, and it was said that Mozart known as the Illuminati. Since Freemasonry often held a watch on his sickbed, timing the was implicit and explicit throughout The opera as it unfolded even though he could Magic Flute, the opera and its popularity not be present. He died after performance became a matter of concern to the Austrian number 67. monarchy which was anxiously noting the revolutionary events in France. The regime The libretto by the playwright, actor, producer, sniffed revolution. Brotherhood, tolerance, and Mozart’s personal friend—Emmanuel and freedom were not monarchical values. Schikaneder—had been completed in 1789. Two more of these “dangerous ideas” were that His machine comedies produced by his nobility could be shared by those born in low rowdy group of actors had been very popular circumstances and that nobility automatically throughout Austria and Germany. Hilarity, accorded to the aristocrats by birth could be slapstick comedy, and heavy special effects a fraud.

26 Alfred Einstein observed that The Magic Flute Before the development section, three chords “symbolized the struggle and victory of all (dreimalige Akkord) are sounded in precisely mankind.” The opera’s ethical symbolism was the rhythm (sixteenth note followed by two provocative, memorable, and contagious. half notes) used to greet new members into a It also seemed that the characters in the Masonic Lodge. At the end, jollity and good opera were covers for members of the times are revived; the fugal episode returns; government (the prince, for example was and the Overture ends in splendor and high really Emperor Joseph II). Consequently, the spirits. Viennese government sought and encouraged any new interpretation of The Magic Flute which would divert attention from Masonic content. In 1794, an important “interpretation” (pleasing to the government) appeared under FUN FACT the title “The grand opera, The Magic Flute, Music Director Krzysztof Urbański clearly explained so as to understand its true chose to open this program with meaning.” Mozart’s Overture to The Magic Flute, as he felt it would be the perfect way Like the libretto, Mozart’s music was filled to open a season that closes with with references to Freemasonry and ethical symbolism starting with the trio of chords performances of the entire opera on which begin the Overture. The number three June 8 and 10, 2018. and 33 are very important in Freemasonry. The initiation ceremony for a Freemason begins with the applicant knocking three times on the door of a Lodge. There are many Concerto in F for Piano and Orchestra other occurences of the number three in George Gershwin Freemasonry; the Freemason Magic Square is 3x3, there are three degrees of membership, Born on September three candles stand next ot the altar, and 26, 1898, in there are 33 degrees in the Scottish Rite New York, NY Freemasonry. Died on July 11, 1937, in The number three appears constantly Los Angeles, CA throughout the opera. For example, the Composed: 1925 opening key of E-flat major (three flats), the Length: 31 minutes three Ladies (attendants to the Queen), the World Premiere: December 3, 1925, at Carnegie three Spirits, and the tri-partite dissection Hall in New York, with Walter Damrosch of the serpent. Three couples dominate the conducting the New York Symphony Society plot. Three boys announce the three ordeals and the composer as piano soloist. the lovers, Tamino and Pamina, must endure Last ISO Performance: February, 2015 featuring before they unite. There are also three temples: conductor and pianist Jeffrey Kahane Wisdom, Reason, and Nature. The connection Instrumentation: 2 flutes, 2 oboes, English is unmistakable. horn, 2 clarinets, bass clarinet, 2 bassoons, Three dramatic chords proclaim the opening 4 horns, 3 trumpets, 3 trombones, tuba, of the Overture followed by a slow reflective timpani, percussion (bass drum, cymbals, section, before the music dances into a light- gong, orchestral bells, snare drum, wood block, hearted, glittering, contrapuntal Allegro. After slapstick, xylophone), strings, solo piano this swift fugal style setting, led by second violins, the music moves into classical sonata- allegro form with an added second theme.

27 LILLY Classical Series Program Notes

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

During his lifetime he would continue to FUN FACT capture the soul, personality, and sound of Gershwin’s original title for his piano America in his wonderful Broadway songs concerto was New York Concerto; later he and musicals. He entered our hearts and our changed it to the Concerto in F. psyche, our concert halls, and theatres. George Gershwin became America’s “I am a man without traditions.” quintessential Broadway composer… but that was not his complete destiny. Despite his mother’s strong desire that he become a businessman or a lawyer, George George Gershwin had another side to his Gershwin left high school in 1914, and took compositional intent and talent: he was a three-year job at Jerome H. Remick and fascinated by and drawn to Carnegie Hall and Company as a song plugger: a demonstrator classical music. He took composition lessons of popular music recently published in sheet with Henry Cowell; He even went to Paris to music form. Between 1917–1919, he became study with Nadia Boulanger (she refused him) a rehearsal pianist on Broadway, and wrote and asked successful composers for lessons his first Broadway musical La La Lucille. Life, (Vareses, Schoenberg, Bloch and Toch), but so far, for the young composer was steady these did not work out. Ravel reputedly said but unexceptional. He once reflected that “why should you be a second rate Ravel when “Whatever I know about music I have you can be a first-rate Gershwin?” Gershwin wrenched out for myself. I had no parents to wanted classical polish, he wanted to be more stand over me and encourage me in the tunes than a song spinner, he wanted to understand that I made up.” and produce classical music. In 1924, he did just that. Then: fate intervened…He met Al Jolson. Paul Whiteman asked him to write a piece In 1919, after Al Jolson presented Gershwin’s for a special concert, titled an Experiment song “Swanee” into the second half of his in Modern Music, February 12, 1924, which musical review Sinbad, the composer rocketed would display modern American music in its to fame and popularity. One of those “tunes major facets. Gershwin accepted, although he made up,” Swanee hit the big time. The worried about his orchestration skills, and first year, he earned $10,000 in royalties, and wrote, “Suddenly an idea occurred to me. the song sold one million sheet music copies There had been so much chatter about the and approximately two million records. The limitations of jazz, and I resolved, if possible, to composer explained his initial attraction to the kill that misconception with one blow.” idea. “[At first] I was fascinated by the sound of the word “Swanee”, I am happy to be told His Rhapsody in Blue was not only a blueprint that the romance of that land [the Southland] for the future but the work of a genius. Critics is felt in it and that at the same time the spirit were thrilled. Also important was the fact and energy of our United States is present. that the audience included Jascha Heifetz, We are not all business or all romance…and Fritz Kreisler, Leopold Stokowski, Serge real American music should represent these Rachmaninoff, Walter Damrosch, and Igor two characteristics which I tried to unite in Stravinsky. In one concert he dazzled all of “Swanee” and make represent the soul of this them. On February 13, Damrosch offered country.” a commission to the composer to write a

28 piano concerto for the New York Symphony section (based on elements of the main Orchestra, and to be the soloist. This would be theme) comes from the English horn and his piano Concerto in F, which first had the title strings before a development section, and “New York Concerto.” recapitulation: a typical classical sonata allegro structure. The close is dazzling and virtuosic. He completed the concerto in November of 1925, noting that “Many persons thought that The Adagio-Andante con moto second the Rhapsody was only a happy accident… movement is blues-like, featuring a trumpet I went out to show them that there was solo played with a felted mute, accompanied plenty more where that came from. “Like his by three clarinets. This blues mood is Rhapsody in Blue, the composer wedded jazz carried over to the soloist with banjo-like and classical elements (such as the traditional accompaniment strummed by the strings. three movement form, contrapuntal textures.) Keeping the Andante pace, the composer This would be his only large-scale instrumental offers a gentle third idea: sultry and tender. work, and he never lived to hear to a recording The close refers back to the opening theme, of his concerto which appeared in 1940 under and offers a beautiful flute solo sung over a the baton of Arthur Fiedler and the Boston string quartet. Pops. The first score was written for two pianos and later orchestrated. His third movement, Allegro Agitato, is cast in a rondo format. Herein melodies give way As a guideline, he wrote, “The first movement to intense rhythmic content from sixteenth employs the Charleston rhythm. It is quick note activity until the xylophone summarizes and pulsating, representing the young, with recollections of preceding ideas from the enthusiastic spirit of American life. It begins first two movements. Coming full circle, the with a rhythmic motif given out by the concerto is sealed by bold strokes from the timpani, supported by the other percussion timpani. instruments and with a Charleston motif introduced by bassoon, horns, clarinets, and The Concerto in F premiered on December 3, violas.” The principal theme is announced 1925, at Carnegie Hall. Although some critics, by the bassoon. Later, a second theme is and composers (such as Prokofiev) called the introduced by the piano. The second has a Concerto in F “only a jazz concerto and trivial,” poetic, nocturnal atmosphere which has come Gershwin insisted that it was serious music. to be referred to as the American blues, but “My concerto is unrelated to any program in a purer form than that in which they are and that is exactly how I wrote it.” His intent usually treated. was clear: this concerto heralded the future in the special identity of American music. The final movement reverts to the style of the Gershwin would go on to pen his tone poem first. It is an orgy of rhythms, starting violently “An American in Paris” and his opera Porgy and and keeping the same pace throughout. Bess. There undoubtedly would have been more works of this stature, but he died of a The concerto opens with big, brash timpani brain tumor in 1937. strokes and winds which introduce Charleston rhythms (the signature dance of the jazz age) and a short tune (using the pentatonic scale.) The main first theme is presented by piano with echoing snippets emerging from the orchestra. Together the two forces combine into a full statement, followed by a short cadenza. Notice throughout the first movement how the Charleston rhythm is frequently varied. A more relaxed contrasting

29 LILLY Classical Series Program Notes

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

Still, I am hoping to collect little by little, Symphony No. 5 material for a symphony.” By August, while in E Minor, summering in Frolovskoe, he had completed Op. 64 the work, and at first felt cheered: “I have not Piotr Ilyich blundered, it has turned out well.” Tchaikovsky The Fifth Symphony is glued together by Born on May an obsessive repeating motif (small musical 7, 1840, in theme or idea) which was identified as the Votkinsk, Russia “Fate Motif.” It derived from a passage in Died on November 6, 1893, in Glinka’s opera A Life for the Tsar, which was St. Petersburg, Russia set to the words “turn not into sorrow”. The Composed: 1888 motif appears in assorted guises in all the Length: 47 minutes movements. Edward Downs observed, “The World Premiere: November 17, 1888 Symphony is unified by a striking theme Last ISO Performance: January, 2015 conducted which reappears so dramatically in all four by Han-Na Chang movements that a ‘plot’ of some sort is Instrumentation: 2 flutes, piccolo, 2 oboes, 2 strongly suggested.” At every chance, even clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 at brighter moments, this stern Fate Motif trombones, tuba, timpani, strings intrudes to spoil the fun or temper the optimism.

Ten years separate Tchaikovsky’s Fourth and Tchaikovsky’s introspective, despairing nature Fifth Symphonies. In August of 1888, when he was a natural fit for the idea of fateful controls did complete the Fifth, he was self-denigrating and intrusion. For years Tchaikovsky had and uncertain about its stature. After the St. been preoccupied with such notions and Petersburg premiere in the Hall of Nobility on a scribbled note by the first sketches to on November 6, he wrote to his patroness the Grand Duke Konstantin Konstantinovich Mme. Von Meck saying, “It is obvious to me during the creation of the Fifth Symphony he that the ovations I received (for the Fifth) writes, “Introduction. Total submission before were promoted more by my earlier work Fate- or what is the same thing, the inscrutable and that the symphony itself did not really designs of Providence. Allegro. 1. Murmurs, please the audience. Am I really played out doubts, laments reproaches….2. Shall I cast as they say?” He continued in the same mood myself into the embrace of Faith?” saying, “I have come to the conclusion that it is a failure. There is something repellent in it, The introduction of the first movement some over-exaggerated color, some insincerity immediately proclaims the foreboding Fate of fabrication which the public instinctively symbol in the low range of clarinets. This area, recognizes. “ Tchaikovsky explained, was to demonstrate “a complete resignation before fate, which is the He had reservations long before the same as the inscrutable predestination of fate.” completion of Opus 64. In May of 1888 he After this small introduction, clarinets and had written to his brother Modeste, “to speak bassoons present the first theme, derived from frankly, I feel as yet no impulse for this work. a Polish folksong, in a bright allegro setting. What does this mean? No ideas, no inclination. Strings follow with a lyrical melody, marked

30 molto cantabile ed espressivo, which comprises The finale comes to grips with the Fate the second theme. He proceeds to add other Motif. Herein, the music begins as in the first ideas before the long development. A solo movement with iteration of the Fate idea. bassoon announces the recapitulation which As the music gains momentum, the Fate reviews all of the topics of the exposition. The idea changes character, more heroic than movement concludes with a coda, which leads threatening, the topic of a triumphant march. steadily, slowly, and quietly to the lowest area The music shifts gears into exuberance. of the orchestra. Winds dance and fall over each other, and the atmosphere is positive. Two other themes The composer was said to have written in the emerge, one derived from the first theme of manuscript of the second movement, “Oh how the first movement, and then the symphony I love…if you love me…” the spirit and mood concludes with trumpets stating the Fate Motif is that of a romanza. The first horn opens the in a triumphant stance. The four concluding scene, singing one of the most famous themes chords, following an exciting Presto, however, in the orchestral repertoire. (In 1939, Mack might suggest that defeat is inevitable. As one David, Mack Davis, and Andre Kostelantez used Russian observed, “If Beethoven’s Fifth is Fate it for their song Moon Love.) A second horn knocking at the door, Tchaikovsky’s Fifth is Fate eventually joins, enriching and thickening the trying to get out.” texture and adding contrapuntal commentary. A subsidiary melody spins from the oboe, Tchaikovsky had conducted the premiere and then the Fate Motif screams intrusively on November 17, 1888, in St. Petersburg. from the trumpets. The music is shocked into Although the audience was enthused, the first silence. Pizzicato chords restart the movement, critics affirmed his inner doubts. Some did feel and the violins sing the main theme. Sweet that the work was “unworthy” of Tchaikovsky. substantive themes return only to be elbowed But later assessments have been far more aside by trombones insisting on the Fate motif. complimentary and receptive. As the years This insistence tramples the tenderness into a passed, the beauty and power of the Fifth quiet close. Symphony have been heralded and acclaimed by critics and audiences alike. The third movement features a luxurious waltz presented by the first violins. Tchaikovsky had heard the tune in Florence years before, and Enjoying Symphony No. 5? Compare now felt that he had found just the right spot Tchaikovsky’s works by joining the ISO for it. Again, in the midst of this delight, the for performances of his Fate Motif appears, “ghostly”, still insisting on Symphony No. 4 on April 5 and 6, 2018. its omnipresence and power.

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31 THE MUSIC OF

SATURDAY, OCTOBER 14, 8PM HILBERT CIRCLE THEATRE

Amanda Cole joins the Indianapolis Symphony Orchestra to celebrate the extraordinary talent and career of Whitney Houston, performing hits like “Saving All My Love,” “How Will I Know?,” Where Do Broken Hearts Go?,” and “I Will Always Love You.”

BUY NOW AT 317.639.4300 OR AT INDIANAPOLISSYMPHONY.ORG

WITH THE Friday, November 3, 11AM & 8PM Saturday, November 4, 8PM Sunday, November 5, 3PM Don’t miss Steven Spielberg’s cinematic masterpiece E.T. The Extra-Terrestrial with John Williams’ Academy Award®-winning score performed live to picture, and experience the magic once more!

BUY NOW AT 317.639.4300 OR AT INDIANAPOLISSYMPHONY.ORG 32 JOSHUA BELL OCT 5–7,TEXT 2017

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

Lilly Classical Series/Program Two Thursday, October 5, 2017, at 11:15 a.m. † Friday, October 6, 2017, at 8 p.m. Saturday, October 7, 2017, at 5:30 p.m. Hilbert Circle Theatre

JUN MÄRKL, Conductor | JOSHUA BELL, Violin

Franz Liszt Les Préludes (1811–1886)

Max Bruch Scottish Fantasy for Violin and Orchestra, Op. 46 (1838–1920) Prelude: Grave Adagio cantabile Allegro Andante sostenuto Finale: Allegro guerriero

Joshua Bell, Violin INTERMISSION - Twenty Minutes

Robert Schumann Symphony No. 3 in E-flat Major, Op. 97 (“Rhenish”) (1810–1856) Lebhaft Scherzo: Sehr mässig Nicht schnell Feierlich Lebhaft

Premier Sponsor Associate Sponsor

This performance is endowed by The Paul Family: Dorit, Gerald, Eloise, and Alison Paul. Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com) and IMG Artists (www.imgartists.com). Mr. Bell records exclusively for Sony Classical. † The Coffee Concert is an abbreviated performance. 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.

33 OCT 5–7 JUN MÄRKL, Conductor

and the Melbourne Symphony (Australia), and had made important debuts with the Malaysian Philharmonic Orchestra, the Seoul Philharmonic and the National Symphony Orchestra of Taiwan.

Märkl has been a regular guest at the State Operas of Vienna, Munich and Semper Oper Dresden, and was Permanent Conductor of the Bavarian State Opera in Munich until 2006. He made his Royal Opera House debut Jun Märkl has long been known as a highly with Götterdämmerung in 1996 and at the respected interpreter of the core Germanic Metropolitan Opera with Il Trovatore in 1998. repertoire from both the symphonic and He has conducted complete Ring Cycles at operatic traditions, and more recently for the Deutsche Oper and at the New National his refined and idiomatic explorations of the Theatre in Tokyo, and toured to Japan in 2007 French impressionists. His long-standing with the Semper Oper Dresden (Tannhäuser). relationships at the state operas of Vienna, In 2016, he conducted Die Liebe der Danae by Berlin, Munich and Semperoper Dresden R. Strauss in Tokyo and Fidelio in Cincinnati. have in recent years been complemented In February 2018, he will conduct a new by his Music Directorships of the Orchestre production of Lohengrin in Tokyo. National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). From Born in Munich, his (German) father was 2014-17 seasons, he was Chief Conductor a distinguished Concertmaster and his to the Basque National Orchestra. He guests (Japanese) mother a solo pianist. Märkl with the world’s leading orchestras, including studied violin, piano, and conducting at the the Cleveland Orchestra, Philadelphia Musikhochschule in Hannover, going on to Orchestra, NHK Symphony Orchestra, Czech study with Sergiu Celibidache in Munich Philharmonic, Munich Philharmonic, Oslo and with Gustav Meier in Michigan. In 1986, Philharmonic, and Tonhalle Orchester Zürich. he won the conducting competition of the Deutsche Musikrat and a year later won Märkl appears with the Minnesota Orchestra a scholarship from the Boston Symphony and makes important returns in this current Orchestra to study at Tanglewood with season to the orchestras he maintains a very Leonard Bernstein and Seiji Ozawa. Soon close relationship to such as the Baltimore afterwards he had a string of appointments Symphony, the St Louis Symphony, the in European opera houses followed by his Dallas Symphony, the Atlanta Symphony, first music directorships at the Staatstheater the Indianapolis Symphony Orchestra, in Saarbrücken (1991-94) and at the the Milwaukee Symphony, the Colorado Mannheim Nationaltheater (1994-2000). Symphony and the Vancouver Symphony Jun Märkl is represented by Ron Merlino, in North America and in Europe to the Musicvine. Brussels Philharmonic, the Tonkuenstler Orchestra Vienna, the Netherlands Radio Philharmonic, the Helsinki Philharmonic, and many others. In the Pacific Rim he returns to the Hong Kong Philharmonic

34 JOSHUA BELL, Violin OCTTEXT 5–7

With a career that take them to the Philharmonie de Paris, spanning more Tonhalle-Orchester Zürich, and beyond. On than 30 years February 7, 2018, Bell reunites with longtime as a soloist, collaborator pianist Jeremy Denk for a recital chamber broadcast live from Carnegie Hall. Further musician, season highlights include the Philadelphia recording artist, Orchestra conducted by Yannick Nézet- and conductor, Séguin and Cristian Măcelaru, the Danish Joshua Bell is National Symphony with Măcelaru, and an one of the most all-Beethoven play/direct program with the celebrated Orchestre National de Lyon. violinists today. An exclusive On August 18, 2017, Sony Classical released Sony Classical Joshua Bell­—The Classical Collection, a 14- artist, Bell has recorded more than 40 albums CD set of albums of classical repertoire that garnering Grammy, Mercury, Gramophone, displays Bell’s unique breadth, versatility and and Echo Klassik awards. Named the Music breathtaking virtuosity. Director of the Academy of St. Martin in the Fields in 2011, he is the only person to hold The year 2017 saw the release of the this post since Sir Neville Marriner formed the illustrated children’s book The Dance of the orchestra in 1958. Violin, recalling a seminal moment in Bell’s 12-year-old life when, after initially making a In summer 2017, Bell lead the Academy mistake at the Stulberg International String of St. Martin in the Fields in residency Competition, he is given a second chance. appearances at the Edinburgh Festival and Published by Annick Press, the book was the Bravo! Vail Festival. He performs as soloist written by Kathy Stinson and illustrated at the BBC Proms in London with the Royal by Dušan Petričić. This marks Bell’s second Philharmonic Orchestra and Charles Dutoit, appearance in a children’s book. The first was at Lincoln Center’s Mostly Mozart Festival, The Man With the Violin, released a year ago and at Tanglewood and the Hollywood by the same author and illustrator, retelling Bowl. In the fall he joins the Los Angeles the story of Bell’s famous experiment in Chamber Orchestra and partakes in the New Washington, D.C.’s Metro station 10 years ago. York Philharmonic’s celebration of Leonard Bernstein’s centennial, performing Bernstein’s A dedicated arts advocate, Bell is involved Serenade led by Alan Gilbert. A nine-city with Education Through Music and North American recital tour with pianist Turnaround Arts, a partnership between The Alessio Bax includes Chicago’s Symphony President’s Committee on the Arts and the Center and Washington, D.C.’s Strathmore Humanities and the John F. Kennedy Center Center. He makes appearances with the for the Performing Arts. Vienna Symphony and the Monte-Carlo Philharmonic and performs multiple concerts at London’s Wigmore Hall with the Academy of St Martin in the Fields. In spring 2018, Bell continues with the Academy in tours covering the United Kingdom, the United States, and Asia, with highlights in London, New York, San Francisco, Tokyo, Seoul, Beijing, and Shanghai. With pianist Sam Haywood, he performs 10 recitals in Europe and America

35 LILLY Classical Series Program Notes

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

In 1848, Raff, Conradi, and Liszt all took a hand Les Préludes at orchestrating the Overture (Le Prélude) to Franz Liszt Liszt’s cantata for male voices titled Les quatres elemens (The Four Elements). This work was Born on October 22, based on four poems: La Terre (The Earth), Les 1811, in aquilons (North Winds), Les flots (The Floods), Raiding, Austria and Les astres (Heavenly Bodies) by the French Died on July 31, poet Joseph Autran. A complicated history 1886, in Bayreuth, followed the fate of the cantata and the Germany ultimate orchestral production of Les Preludes, Composed: 1848 once freed from the cantata setting. (For those interested see Lina Ramann’s study of Liszt.) Length: 16 minutes World Premiere: February 23, 1854, in Between 1852–54, the composer revised Weimar, Germany the first orchestration (completed in 1850), Last ISO Performance: March, 1996 and premiered Les Préludes, now connected conducted by Raymond Leppard to the more prestigious poet Lamartine, on Instrumentation: 2 flutes, piccolo, 2 oboes, February 23, 1854, in Weimar. A review in the 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, Weimarische-Zeitung referred to the work 3 trombones, tuba, timpani, snare drum, as “Les Préludes-symphonische Dichtung” (a cymbals, bass drum, harp, strings symphonic poem), possibly the first time this term was used in a review to identify this new, single-movement genre of orchestral music. Liszt first used the term on April 19, 1954, in a letter to Hans von Bulow to describe Les Preface to the score: Préludes and Orpheus. “What is our life but a succession of preludes to that unknown song whose first solemn note is In his final setting ofLes Préludes, Liszt pulled sounded by death? Love is the enchanted dawn ideas from three of the orchestrated poems: of every heart, but what mortal is there, over a three note motif from Les astres, a second whose first joys and happiness does not break theme from La Terre and a beautiful trumpet some storm, dispelling with its icy breath his call from Les flots. ”Structurally, there is an fanciful illusions, and shattering his altar? What introduction followed by an episodic string of soul thus cruelly wounded does not at times try events describing human life. “Liszt’s preface to dream away the recollection of such storms clearly does provide an attractive way of in the solitude of country life? And yet man, it hearing the piece: from an enchanted dawn, seems, is not able to bear the languid rest on through a brief storm, a longer episode of Nature’s bosom, and when the trumpet sounds pastoral peace, to a final battle and glorious the signal of danger, he hastens to join his victory.” comrades, no matter what the cause that calls him to arms. He rushes into the thickest of the A small, three note opening motif (from Les fight, and amid the uproar of the battle regains astres) is sounded first by the strings. This confidence in himself and his powers.” provides a central musical skeleton, steadily –Lamartine “Nouvelle Meditations Poetiques” fleshed out, transforming itself, uttered in varied permutations, gluing the work together.

36 (This idea proved to be potent: César Franck Max Bruch was born eleven years after used the same figure in his Symphony in D the death of Beethoven, hit his stride as a Minor.) contemporary (and adoring fan) of Brahms, outlived Debussy and was acquainted with Les Préludes moves steadily into its process jazz. This longevity witnessed major changes of describing life, climaxing in a roaring in western classical music, but Bruch resisted component of life’s inevitable storms, finally their allure. He condemned the Wagnerian arriving at a stirring march and reiteration of Music of the Future ideas, sniffed at twentieth the seminal three note idea. The technique century explorations into atonality and of growing a work from a seminal motif is impressionism, and remained loyal to the one of the best examples of Liszt’s organic traditions of Schumann and Mendelssohn. conception of “transformation of themes” “The violin can sing a melody better than a which lay in direct contrast to the classical piano, and melody is the soul of music,” he concept of contrast between thematic proclaimed. His trio of violin concerti became material. In this new compositional logic, very popular. In particular, the G minor Violin an original idea grows from a small seed Concerto was a huge success, and the Scottish manifesting itself in different garb throughout Fantasy, arriving fourteen years later, though the work. In Les Préludes, notice how the not a concerto, shared the reflected glory. In a initial idea assumes differing shape, moods, letter to his publisher on July 30, 1880 Bruch and extensions as the listener traverses the stated “the title ‘Fantasy’ is very general and as stages of life, moving ultimately to death. This a rule refers to a short piece rather than to one concept of transforming a theme would prove in several movements…However, this work most attractive and useful to later composers cannot properly be called a concerto because in the nineteenth century. the form of the whole is so completely free and because folk-melodies are used.”

Bruch adored Scotland, (some called him a Scottish Fantasy for Violin and Orchestra, Op. 46 Scotophile), read Sir Walter Scott, sometimes Max Bruch set Scottish poets to music, and collected Scottish folk songs (as well as those of Sweden Born January 6, 1838, and Russia) long before folksong collecting in Cologne, Germany became fashionable or seriously researched Died October 2, as fodder for classical music. In 1863, he 1920, in Friedenau, published twelve Scottish folk airs in four- part settings; while conductor in Liverpool Germany (1878–1880) he also assiduously studied the Composed: 1879–80 indigenous music of Great Britain. Length: 30 minutes World Premiere: The Scots Musical Museum, a six volume September 1880, in Hamburg, Germany compendium of Scottish songs, appeared Last ISO Performance: September, 2013 between 1787 and 1803. This collection featuring violinist Hilary Hahn and conducted was a primary source for many 19th century by Krzysztof Urbański composers (including Beethoven) and it Instrumentation: 2 flutes, 2 oboes, 2 clarinets, was natural that Max Bruch turned to The 2 bassoons, 4 horns, 2 trumpets, 3 trombones, Scots Musical Museum to obtain authentic tuba, timpani, bass drum, cymbals, strings. musical ideas for Opus 46, written for the Spanish virtuoso Pablo de Sarasate. From the collection, Bruch pulled three songs with poetry by Robert Burns, and the fourth by an unknown source. Bruch wrote his Scottish

37 LILLY Classical Series Program Notes

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

Fantasy while snuggly ensconced in his Andante sostenuto. The soloist begins slowly Berlin studio during the winter of 1879–1880. and wistfully with “I’m a Doun for the lack-o Sarasate premiered Opus 46 in September, -Johnnie” followed by variations. 1880 at the Bach Festival in Hamburg. The finale explodes into fireworks with Opus 46 has four movements, preceded by quotes from “Scots wha he”, commemorating a lenghtly, slow prelude. The first opens in the Scottish victory (guaranteeing their E flat minor with a brooding introduction, independence) at Bannockburn. This tune reminiscent of the cloudy Scottish weather. also became an unofficial national anthem Harps and Scottish rhythmic snaps are liberally of Scotland. Lyrics were written by Robert sprinkled throughout to evoke the Scottish Burns in 1793, in the form of a speech atmosphere and musical presence. Low given by Robert the Bruce. Burns allowed brass murmur support as the solo violinist the publication of the song in the Morning sings a sad tune. Sunshine emerges in the Chronicle of May 8, 1794, saying, “let them Adagio cantabile section which presents the insert it as a thing they have met with by Scottish tune Auld Rob Morris, now discretely accident and unknown to me.” The text reads: harmonized in muted strings. “Scots, wha hae wi Wallace bled The second movement (Allegro) begins with Scots, wham Bruce has aften led; small pieces of a musical idea which coalesce Welcome to your gory bed, into the tune The Dusty Miller (with bagpipe Or to victory!” drones (sung by the basses) and country fiddling). Bruch allows this to morph into a A secondary theme also emerges. After a Scottish dance The music relaxes toward the moment to catch one’s breath, the soloist end, quoting Old Robin Morris before leading takes off in virtuosic display which is quieted into an andante based on “I’m a-doun for lack momentarily by a calming interlude, with of Johnnie.” (text source unknown) “Hey the memories of the opening movement. Led Dusty Miller” was written by Robert Burns in by the orchestra, the war mood is quickly re- 1788. invigorated and the violinist enthusiastically joins the martial music before gleefully A tiny recall of Auld Rob Morris in recitative producing its own fiery cadenza. style bridges into the third movement,

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38 Program Notes

whereupon Simrock immediately attached Symphony No. 3 in E-flat Major, Op. 97 the subtitled “Rhenish” as a public relations (“Rhenish”) introduction. For complicated reasons of Robert Schumann publication, his “Third Symphony” is actually the Fourth and last of his symphonic set. Born on June 8, 1810, in Saxony, Germany There are five movements. The first is cast Died on July in traditional sonata-allegro form, opening 29, 1856, Bonn, immediately without introduction with a Germany highly rhythmic first theme, mixing two and Composed: 1850 three beat patterns. Specifically, Schumann Length: 32 minutes begins in ¾ meter and then stretches the World Premiere: February 6, 1851, in rhythm into sets of two beats (hemiola Düsseldorf, Germany treatment) within a 3 bar context. The first Last ISO Performance: February, 2010 major theme is exuberant, moving quickly conducted by Gilbert Varga followed by a significantly contrasting lyrical Instrumentation: 2 flutes, 2 oboes, 2 idea, both beginning with a distinctive leap clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 of a fourth. The second idea is sung first trombones, timpani, strings by oboe and clarinet before violins assume proprietorship. The movement came easily to For hundreds of years, the Rhine River, which the composer, and finished it within the short flows through six countries and measures 722 span of one week. After the development, miles, figured prominently in German legend, Schumann builds a dramatic intro to the art, and music. Once the Schumanns had recapitulation with a dominant pedal (long moved to Dusseldorf in 1850, the composer held note) before unleashing the full orchestra was inspired by the heady atmosphere of this with four horns restating the major first theme. famous river right in his own backyard and An energetic coda has the final word. the nearby Gothic Cologne Cathedral. He now held the post of Municipal Music Director, A landler-like scherzo follows the first succeeding Ferdinand Hiller, and it seemed movement, reflecting a joyous morning fitting to write a work inspired by his new on the Rhine. Herein Schumann quotes home. Schumann felt happy and elated by his “Rheinweinlied” (Rhine-wine Song) and then new post. In fact, he felt wonderful: finally, pops in an a-minor trio providing color to the at home with his beloved Clara and seven basic C major tonality. The music begins with children, away from the musically stultifying the country-style tune sung by violas, cellos, Dresden and its bad climate. Fueled by these and bassoons, soon to be shared with the full new circumstances, he quickly (between orchestra. A full brass coda and soft pizzicato November 2 and December 9, 1850) wrote his in the strings closes this section. Rhenish Symphony, ultimately to become one of the greatest German musical landscapes. A smaller adagio (only 54 measures) follows. Winds chant a lyrical melody, which is Previously, while living in Dresden, Schumann then continued by the strings. Violas and had considered writing a symphony relating bassoons add a new idea within the center to a Rhineland Festival, jotting down sketches section before the main idea returns for and notes, but the idea did not come to a quiet ending, setting the stage for the fruition until he was actually breathing stunning fourth movement “In the style of Rhenish air. Writing to his publisher, Simrock, an accompaniment to a solemn ceremony.” he noted that, “my symphony perhaps mirrors (Schumann later deleted this explanation from here and there something of Rhenish life,” the score.)

39 LILLY Classical Series

FRIDAY, JANUARY 5, 2018 8PM | HILBERT CIRCLE THEATRE

Leslie Odom, Jr., best known for originating the Tony-winning role of Aaron Burr in the original cast of Broadway’s Hamilton, makes his Hilbert Circle Theatre debut with the ISO in this special one-night-only event!

BUY NOW AT . .  OR VISIT INDIANAPOLISSYMPHONY.ORG LILLY Classical Series Program Notes

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

His fourth movement is marked Feierlich The Rhenish Symphony premiered (solemn) and references a special event he on February 6, 1851, with Schumann attended with Clara in the Cologne Cathedral. conducting. Shortly thereafter he was Schumann was mesmerized by its soaring relieved of his post due to poor conducting. architecture, elegant atmosphere, and the Little did anyone know that in only a few effect of witnessing a special ceremony in years, the composer would attempt suicide which Archbishop von Geissel was made by throwing himself into the Rhine, and Cardinal. He paints his musical memory with would be sent to the private asylum in the two main ideas: one soaring and formal nearby town of Endenich, suffering from (similar to the soaring towers of the cathedral), schizophrenia, the unstoppable ringing of the other short and succinct. These are the tone A in his ears, and bipolar disorder. woven into a highly developed contrapuntal He died on July 29, 1856, with his wife Clara structure, matching intricate Gothic designs. and Johannes Brahms by his side. Schumann colors his orchestration with three trombones, adding gravitas and majesty to the musical evocation; their stirring chorale FUN FACT: immediately evokes the serious church setting. The title Rhenish was not given to the Later, horns and bassoons are added to the work by the composer himself, but rich palette. A sturdy, striding new theme by the publisher, and this is often the moves the music directly into the bright case with works that have acquired celebration of the fifth movement. “nicknames” after publication.

The last movement (Lebhaft) is one of Schumann’s happiest, filled with references to local tunes and dance rhythms. At the climax of the movement, a stunning recall of music from the fourth movement reappears in winds and brass. An elaborate coda summons previous themes for a final bow amid flashing hunting calls from the horns.

41 41 THIS MONTH IN ISO HISTORY

• On September 19, 1987, the ISO performed its last concert under John Nelson as Music Director in Nuremberg, Germany during the final stop on the ISO’s first European tour.

• On October 18, 1963, the ISO’s had its debut performance at Clowes Memorial Hall, which was funded by the Clowes Fund, Inc. and the Irwin-Sweeney- Miller-Fund of Columbus, Indiana on the campus of Butler University with the intention of the ISO becoming it’s primary tenant. Opening night featured Maurice Evans serving as Master of Ceremonies and Maestro Izler Solomon presenting a program of a specially- commissioned work by IU professor Bernhard Heiden entitled Envoy for Orchestra, built on a theme that used four notes­—g h, (b natural), a, and c—Dr. George Henry Alexander Clowes’ initials. Brahms’ Second Piano Concerto with Grant Johannsen as soloist and Sibelius’ Symphony No. 2 made up the rest of the program. This initial concert began a 10-day celebratory festival.

• After a renovation project that took two years to complete at a cost of $9.2 million, the ISO performed its first concert at the Circle Theatre on October 12, 1984. Conducted by John Nelson, the program featured violinist Itzhak Perlman. The program included The Star Spangled Banner, the world premiere of Ellen Taaffe Zwilich Celebration, Mendelssohn’s Violin Concerto, Saint-Saëns’ Introduction and Rondo Capriccioso, and Brahms’ First Symphony.

ISO History courtesy of Crescendo by Thomas N. Akins. AMERICAN MASTERS: BERNSTEIN & COPLAND OCT 13, 2017

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

Lilly Classical Series/Program Three Friday, October 13, 2017, at 8 p.m. Hilbert Circle Theatre

MICHAEL FRANCIS, Conductor | ORLI SHAHAM, Piano

Leonard Bernstein Symphony No. 2, The Age of Anxiety (1918–1990) Part I The Prologue: Lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: Largo The Masque: Extremely fast The Epilogue: L’istesso tempo- Adagio-Andante-con moto Orli Shaham, Piano

INTERMISSION - Twenty Minutes

Aaron Copland Symphony No. 3 (1900–1990) Molto Moderato, with simple expression Allegro molto Andantino quasi allegretto Molto deliberato - Allegro risoluto

Premier Sponsor Associate Sponsor

This performance is endowed by the Mr. and Mrs. William L. Fortune Fund.

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

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©2017 The National Bank of Indianapolis www.nbofi.com Member FDIC AMERICAN MASTERS: BERNSTEIN & COPLAND OCT 15, 2017

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

Telamon Palladium Series Sunday, October 15, 2017, at 3 p.m. Palladium at the Center for the Performing Arts

MICHAEL FRANCIS, Conductor | ORLI SHAHAM, Piano

Leonard Bernstein Symphony No. 2, The Age of Anxiety (1918–1990) Part I The Prologue: Lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: Largo The Masque: Extremely fast The Epilogue: L’istesso tempo- Adagio-Andante-con moto Ad Orli Shaham, Piano INTERMISSION - Twenty Minutes

Aaron Copland Symphony No. 3 (1900–1990) Molto Moderato, with simple expression Allegro molto Andantino quasi allegretto Molto deliberato - Allegro risoluto

Supported by

Note: Ad Lengthsizes ofspec’d performance were is only approximately 0.125” one from hour outerand forty edge, minutes. had to reduceRecording ads or that photographing don’t bleed any part to ofbe this at performance least 0.25” is strictly from prohibited. edge.

47 47 47 OCT 13, 15 MICHAEL FRANCIS, Conductor

Michael Working with young musicians has always Francis been a priority for Maestro Francis. Aside has quickly from a six-city Canadian tour with the established National Youth Orchestra of Canada, Francis himself as an has made frequent visits to Miami’s New international World Symphony and recently performed conductor, with the National Youth Orchestra of forging Scotland. collaborations with the After several years as a tenured double-bass world’s leading player in the London Symphony Orchestra orchestras. (LSO), he came to prominence as a conductor Known for in January 2007, replacing an indisposed maintaining Valery Gergiev for concerts with the LSO a diverse repertoire while paying particular during the BBC’s Gubaidulina festival at the homage to the composers of his native Barbican Centre. Just one month later, Francis Britain, Francis enjoys a great reception was asked, this time with only two hours’ throughout North America, Europe, and Far notice, to replace the composer/conductor East Asia. John Adams in a performance of his own works with the LSO at the Philharmonie This season, Francis debuts with Atlanta Luxembourg and soon after in January 2009, and Montreal Symphony Orchestras and he replaced André Previn leading a German Cincinnati’s May Music Festival, and returns to tour of the Stuttgart Radio Symphony. Toronto Symphony Orchestra with Emanuel Ax. Abroad, he appears with Deutsche Radio Francis’ discography includes the Philharmonie Saarbrücken, Komische Oper Rachmaninov piano concertos with Berlin, Dresden Philharmonic, Tampere Valentina Lisitsa and the London Symphony Filharmonia, and Trondheim Symphony Orchestra, Wolfgang Rihm’s Lichtes Spiel Orchestra. with Anne-Sophie Mutter and the New York Philharmonic and the Ravel and Gershwin Other guest appearances have included piano concertos with Ian Parker. Cleveland Orchestra, New York and Royal Philharmonic, with return engagements Now entering his second season as Music to the BBC National Orchestra of Wales, Director of The Florida Orchestra, Michael BBC Philharmonic, RTÉ National Symphony Francis’ contract has already been extended of Dublin, Ulster Orchestra, Dresden to 2021. He is also Music Director of the Philharmonic, and the symphonies of Mainly Mozart Festival in San Diego, where Cincinnati, Ottawa, Oregon, Houston, he has launched an ambitious multi-year Indianapolis, and Pittsburgh. His European exploration of Mozart’s life. He was recently engagements have included the London Chief Conductor and Artistic Advisor of the Symphony, BBC Scottish Symphony, Norrköping Symphony Orchestra from 2012 Orquesta Sinfónica de RTVE Madrid, Helsinki to 2016. Philharmonic, Mariinsky Orchestra, Orchestre Philharmonique de Monte-Carlo, and Francis makes his home outside of Tampa, Stuttgart Radio Symphony. In Asia, Maestro FL with his wife Cindy and two-year-old Francis has conducted the NHK Symphony, daughter Annabella. and has returned to Malaysia and Seoul philharmonics.

48 ORLI SHAHAM, Piano OCT 13, 15

A consummate 2012 and 2013 she served as the host of musician America’s Music Festivals, a radio program recognized nationally broadcast to over 100 stations. for her grace, From 2005 to 2008 she was host of “Dial-a- subtlety and Musician,” a feature she created especially brilliance, Orli for The Classical Public Radio Network. The Shaham has concept of the program was to enhance established listeners’ experiences of music and musicians an impressive by directing listeners’ questions about international classical music to internationally renowned reputation as musicians, calling them on the phone to one of today’s discuss the topic. Ms. Shaham has taught most gifted music literature at Columbia University, and pianists. Hailed contributed articles to Piano Today, Symphony by critics on four continents, Ms. Shaham is in and Playbill magazines and NPR’s Deceptive demand for her prodigious skills and admired Cadence blog, and was artist in residence on for her interpretations of both standard National Public Radio’s Performance Today. and modern repertoire. The New York Times called her a “brilliant pianist,” The Chicago Orli Shaham was recognized early for her Tribune recently referred to her as “a first- exceptional talents. She received her first rate Mozartean” in a performance with the scholarship for musical study from the Chicago Symphony, and London’s Guardian America-Israel Cultural Foundation at age said Ms. Shaham’s playing at the Proms was five to study with Luisa Yoffe at the Rubin “perfection.” Academy of Music in Jerusalem. By age seven, she traveled to New York with her Orli Shaham has performed with the Los family to begin study with Nancy Stessin, Angeles Philharmonic and the Atlanta, and became a scholarship student of Herbert Baltimore, Boston, Chicago, Cleveland, Dallas, Stessin at The Juilliard School a year later. She Detroit, Houston, Philadelphia, St. Louis, won the Gilmore Young Artist Award and the San Francisco, Seattle, San Diego and Utah Avery Fisher Career Grant, two prestigious symphony orchestras; and internationally prizes given to further the development of with the BBC Symphony Orchestra, Bilbao outstanding talent. In addition to her musical Symphony, Filarmonica della Scala, education at the Juilliard School, Orli Shaham Israel Philharmonic Orchestra, Malaysian holds a bachelor’s degree in history from Philharmonic, Orchestra della Toscana, Columbia University and pursued a master’s Orchestre National de France, Orchestre degree in musicology from Columbia. Orli National de Lyon, Stockholm Philharmonic, Shaham lives in New York and St. Louis with Sydney Symphony Orchestra, and the Taiwan her husband, conductor David Robertson, Philharmonic. A frequent guest at summer stepsons Peter and Jonathan, and twin sons festivals, she has performed at Amelia Island, Nathan and Alex. Aspen, Bravo Vail, Caramoor, La Jolla, Mostly Mozart, Music Academy of the West, Orcas Island, Peninsula, Ravinia, Spoleto, Sun Valley, Tanglewood, and Verbier music festivals.

Driven by a passion to bring classical music to new audiences, Ms. Shaham has maintained an active parallel career as a respected broadcaster, music writer and lecturer. In

49 LILLY Classical Series Program Notes

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

long soliloquies) in a New York bar on 52nd Symphony No. 2 Street and Third Avenue continues to strike a The Age of Anxiety, powerful response in our time. Gradually, their Leonard Bernstein conversations overlap.

Born on August 25, The characters are: Emble, a Navy recruit; 1918, in Lawrence, Quant, an Irish businessman; Malin, a retired MA Canadian medical officer; and Rosetta, a Died on October 14, Jewish department store buyer. In their 1990, in New York, NY discussions, they coin the term “Age of Composed: 1947-1949; revised 1965 Anxiety” as they talk about the history of Length: 30 minutes humanity and their lives within it.

World Premiere: April 8, 1949, with Serge Bernstein read “the fascinating and hair– Koussevitzky conducting the Boston raising poem” during the summer of 1947, Symphony Orchestra and the composer as the and he wrote, “When I first read the book piano soloist I was breathless…and the composition of Last ISO Performance: September, 2001 a symphony based on The Age of Anxiety featuring pianist Misha Dichter, conducted by acquired an almost compulsive quality.” His James Judd Second Symphony was commissioned by Instrumentation: piccolo, 2 flutes, 2 oboes, Serge Koussevitsky, the dedicatee, and it English horn, 2 clarinets, bass clarinet, 2 premiered on April 8, 1949, with Bernstein as bassoons, contrabassoon, 4 horns, 3 trumpets, the piano soloist. He explained that, “I imagine 3 trombones, tuba, timpani, percussion (bass that the conception of a symphony with piano drum, cymbals, drum set, glockenspiel, snare solo emerges from the extremely personal drum, tam-tam, temple blocks, tenor drum, identification of myself with the poem. In triangle, xylophone), 2 harps, pianino this sense, the pianist provides an almost (= celesta), strings, and solo piano autobiographical protagonist, set against an orchestral mirror in which he sees himself, analytically, in the modern ambience. The Bernstein’s subtitle for his Second Symphony work is therefore no concerto in the virtuosic was taken from an eighty page, booklength sense, although I regard Auden’s poem as poem by W.H. Auden, written between July one of the most shattering examples of pure 1944 and November 1946. In 1948, “The virtuosity in the history of British poetry. “ Age of Anxiety: A Baroque Eclogue,” won the Pulitzer Prize for poetry, and would be the last There are six sections in two parts, performed of Auden’s long poems. without pause: Part I: Written at the end of the Second World War, Prologue: lento moderato many would agree that it is also relevant in The Seven Ages: Variations 1–7 describing aspects of our twenty-first century The Seven Stages: Variations 8–14 life. Although Auden wrote, “Now is the Age of Anxiety,” its description of loneliness, The group begins to talk to one another in lack of purpose, fear, despair, and matters a dream like odyssey, each describing his/ of faith as discussed by four strangers (in her life, and find that they are united in their

50 experiences. The Seven Stages refer to the stages of life from infancy to death. FUN FACT: On this program, we will also hear a Part II The Dirge: Largo (introduced by solo piano) work by another famous American The Mask: extremely fast composer, Aaron Copland. Bernstein The Epilogue: L’istesso Tempo-Adagio-andante- first met Copland during his Harvard con moto years at a concert in 1938, and at a birthday party for Copland that night, The group takes a cab to the girl’s apartment Bernstein played Copland’s Piano for a nightcap, and at this point, the four of Variations, a work that he loved before them are united in a quest for a Father figure ever meeting the composer himself. (identified as “the colossal Dad”) who could While he never studied with Copland, give the right answers to their quests for the he became a major influence on his meaning of life. But the Dad is lost to them. career as a composer. After arriving at the apartment, the group tries to have a party (The Mask) but they are tired (note the lack of energy via a pianino). The self-satisfied, and vociferous.” When the Epilogue emerges, with the idea that “what is orchestra joins in for four bars of “hectic jazz,” the left is faith.” “traumatized” piano protagonist stops playing, effecting “a kind of separation of the self from For the premiere, Bernstein wrote the the guilt of escapist living,” and “is free again to following notes: examine what is left beneath the emptiness.” In “The Epilogue,” the melancholy strings finally join In “The Prologue,” two clarinets engage in the winds’ repeated statements of “something a lonely, pianissimo duet, one overlapping pure,” leading to “a positive statement of the and echoing the other, followed by a long newly-recognized faith.” The piano-protagonist descending scale on the flute, which, Bernstein remains a detached observer until the very end, explained, “acts as a bridge into the realm of when he plays a single chord, symbolizing the the unconscious, where most of the poem takes unity of man and God. place.” “The Seven Ages” begins with a piano solo, followed by a series of variations in which And, he included the following: “each variation seizes upon some feature of the preceding one and develops it.” Continuing with “I had not planned a ‘meaningful’ work, at more variations in a broad range of moods and least not in the sense of a piece whose meaning textures, the symbolic odyssey of the “The Seven relied on details of programmatic implication. Stages” leads to “a hectic, though indecisive, I was merely writing a symphony inspired by a close.” poem and following the general form of that poem. Yet, when each section was finished I Part Two begins with “The Dirge,” which discovered, upon re-reading, detail after detail “employs, in a harmonic way, a twelve-tone of programmatic relation to the poem—details row out of which the main theme evolves. that had ‘written themselves’, wholly unplanned There is a contrasting middle section of almost and unconscious…. If the charge of ‘theatricality’ Brahmsian romanticism, in which can be felt in a symphonic work is a valid one, I am willing the self-indulgent, almost negative, aspect of to plead guilty. I have a deep suspicion that this strangely pompous lamentation.” Next, every work I write, for whatever medium, is really the desperate late-night party of “The Masque” theatre music in some way. “is a kind of scherzo for piano and percussion alone… in which a kind of fantastic piano-jazz Is it important to have read the poem? NO! is employed, by turns nervous, sentimental, Bernstein explained “At the time I wrote it. I

51 LILLY Classical Series Program Notes

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

thought it was absolutely necessary; the poem and an about-face by starting work on his Third the Symphony were mutually integral. That’s why I Symphony in 1944, completing what would be stuck so literally to the form of the poem. But now his longest work in 1946. Noting the length, I don’t think so. The Symphony has acquired a life the composer described it as “fat grand” rather of its own.” The composer revised the Dirge in than “lean grand.” His “lean grand” symphony 1965, saying “I am now satisfied that the work is requires 15 minutes for performance; the “fat in its final form.” Bernstein’s revision specifically grand” symphony requires 45 minutes. included a big part for the solo pianist, a cadenza, and a coda. The Third Symphony was a tremendous and immediate success, a reaction ignited by general audiences largely because of its Symphony No. 3 accessibility, vast instrumental color via a huge orchestra, and unabashed American spirit. Aaron Copland Although some critics thought it “too populist, Born on November or a pale imitation of Prokofiev,” their opinion 14, 1900, in did not prevail, nor did it prevent the Third Brooklyn, NY Symphony from winning the New York Music Critic’s Circle Award of the 1946–47 season. Died on December 2, 1990, in NY, NY It has been said that sometimes the speed of Composed: 1944–1946 musical gratification and recognition deeply Length: 45 minutes influences understanding and audience World Premiere: October 18, 1946 in approval. In Music as Social Text, John Boston, Massachusetts conducted by Serge Shepherd wrote, “The idea that different Koussevitzky groups and societies create and appreciate Last ISO Performance: October, 2000 their own stylistically distinguishable kinds of conducted by Marin Alsop music is not one that would be likely to invite Instrumentation: piccolo, 3 flutes, 3 oboes, dissent from sociologists or musicologists.” 2 clarinets in B-flat, E-flat clarinet, bass Copland would have agreed. Familiarity with clarinet, 2 bassoons, contrabassoon, 4 horns the elements of the Third Symphony’s content in F, 4 trumpets, 3 trombones, tuba, timpani, have been very important in making it a percussion(cymbals, bass drum, tenor drum, friendly piece. In What to Listen for in Music, snare drum, triangle, tam-tam, glockenspiel, Copland defined three planes of listening: xylophone, anvil, claves, ratchet, whip, tubular The sensual, the expressive, and the “sheerly bells, wood block), piano, celesta, 2 harps, and musical” (the latter being “the plane wherein strings. most musicians, conductors, critics, and judges listen). For this, Copland emphasized the first two planes.

In 1933, Aaron Copland produced his Second Leonard Bernstein understood this public Symphony, titled “Short Symphony” in an embrace of this music and stated, “This attempt to write “with an economy of material symphony has become an American and transparence of texture.” It premiered in monument, like the Washington Monument Mexico City in 1934. After a ten-year hiatus from or the Lincoln Memorial.“ In this work you will large scale orchestral works, Aaron Copland did also find jazz rhythms, directness, spacious,

52 nostalgic themes which further identify us. American DNA is everywhere in the fabric, The third movement Andantino begins with rhythms, verve, and content. For example, violins in unison, singing in soft harmonics, note his partial quotes and full statements of referencing the third theme of the first Fanfare for the Common Man. Copland had movement. This serves as an introduction to became very dedicated to writing in and a solo flute lyrical tune which will be treated defining our American style. Bernstein hailed by carefully wrought variations. Copland his success saying, “He’s the best we’ve got!” explained that this movement “was built up in sections and the various sections are intended While working on the Third Symphony, to emerge from one to the other in continuous Copland explained, “I knew exactly what flow, in the manner of a closely knit series Koussevitzky [who commissioned the work] of variations. “The closure features violins wanted, what he liked to conduct…I knew the drifting off into their high registers, leaving sound of his orchestra… I was determined that only a solo violin and piccolo with the last this piece would be a major work.” (Douglas word, sung over harps and celesta. The music Lee: Masterpieces of the Twentieth Century) moves directly into the Finale, marked molto Koussevitsky was wildly enthusiastic with deliberato. Copland begins with his Fanfare for the outcome and after the Boston premiere the Common Man, but not with a high octane on October 18, 1946 he declared it to be “the flurry. He displays it first by clarinets and flutes greatest American symphony ever written.” playing quietly and slowly. After their delicate In postwar America, this affirmation was just beginning, the brass and timpani state the what we needed. Copland recognized that, majestic theme in fortissimo dynamics. and explained that this symphony was “to reflect the euphoric spirit of the country at the After this stunning introductory contrast, time.” dynamics shift to a quiet level with the fanfare tune subjected to motivic gestures before the The composer described his musical music zooms into rapidly paced enthusiasm architecture as a four-part arch: the first two with dance-like rhythms, then Copland movements framing a two-part center section showcases his iconic Fanfare atop a rapidly comprised of an Allegro molto and Andantino. moving orchestra. The first movement offers three main themes: the first sung slowly and gently by violins with This highly dramatic episode is followed by wind and brass coloration, growing steadily in reduction of volume and heavy orchestration drama, speed, and volume; the second comes into swirling melodic content and delicate in quietly from the English horn and viola; the textures. A new theme pops in which will third is provided by trombones. The tempo become subject for the development. Notice is marked molto moderato, coupled with an the overall informality mixed with grandeur. interesting directive: “with simple expression.” Steadily the music moves to a glamorous Simplicity is apparent from the very conclusion. Herein Copland unleashes his beginning: the tender first theme is hymn-like, full orchestral resources, with unstinting uncomplicated, and gently presented. determination. He holds nothing back in his vivid portrait encapsulating American sound, The tri-partite second movement is a fine taste, and musical identity. It has been said scherzo, moving quickly and zestfully. Listen that along with his Fanfare for the Common for the dramatic fanfare—like first theme, Man, Copland’s Third Symphony could share setting up for a predominant mood which that title as Symphony for the Common Man. is happy, exhilarating, thrilling. Notice the contrasting mid-section singing what could very well be a folk tune, although it is not a quote. In the final section, Copland brings back the opening style in a majestic closure.

53 For the third consecutive year, one of the world’s most prestigious piano competitions is holding preliminary auditions in North America—at Ball State University in Muncie, Indiana.

With a £15,000 first prize, the Hastings International Piano Concerto Competition is a major source of exposure for its top prizewinners. The preliminary round will take place November 10–12 at Ball State’s acclaimed Sursa Performance Hall.

For tickets, call 765-285-1539 or 877-99-EMENS. bsu.edu/music/hastings

bsu.edu/music/events We believe in supporting the arts. Every step of the way.

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broadened mindset and an open heart. heart. open an and mindset broadened Symphony Orchestra aren’t just organizations, but educational journeys to a a to journeys educational but organizations, just aren’t Orchestra Symphony hard work into something tangible. Similarly, organizations like the Indianapolis Indianapolis the like organizations Similarly, tangible. something into work hard putting ink on paper. It’s the act of transforming your thoughts, feelings and and feelings thoughts, your transforming of act the It’s paper. on ink putting At Printing Partners, we look at the bigger picture. To us, print is more than simply simply than more is print us, To picture. bigger the at look we Partners, Printing At POPS SERIES SINCE2008 SERIES POPS PARTNERS PRINTING THE OF SPONSOR TITLE PROUD PP - 6x9.25 ISO Ad 2016-17.indd 1 FRANKIE MORENO: UNDER THE INFLUENCE OCT 20, 21, 2017

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

Printing Partners Pops Series/Program Two Friday, October 20, 2017, at 11 a.m. Friday, October 20, 2017, at 8 p.m. Saturday, October 21, 2017, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | FRANKIE MORENO, Vocalist

Selections to be announced from the stage.

Premier Sponsor

† The Coffee Concert is an abbreviated performance. There is no intermission

Length of performance is approximately one hour and forty minutes. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s bio on page 14.

57 Over 23,000 volunteer hours help the Indianapolis Symphony Orchestra open its doors to our patrons!

Learn more about how to join our ISO volunteer family by contacting Volunteer Services Manager Donna Finney at d [email protected] or 317-231-6792 FRANKIE MORENO, Vocalist OCT 20, 21

Singer, vision for his music, so it’s a fun and exciting Showman, process,” says Pat. Songwriter, Musician… Frankie’s collaboration for Sony Records Frankie with world-renowned violinist Joshua Bell Moreno is all reached No. 1 on the Billboard charts in two of these things separate categories. Other artists included and more. on this album were Sting, Josh Groban, Chris Botti, Kristin Chenoweth, and Regina Spektor. As a child Together they filmedGreat Performances: Live prodigy on the at Lincoln Center for PBS. Frankie and Joshua piano and a have since recorded another album together, gifted multi- which hit the Top Ten on the Billboard charts, instrumentalist, featuring Placido Domingo, Gloria Estefan, Frankie was first introduced to American Allison Krauss, Chick Corea, and many more. audiences at the age of ten with his debut on CBS’s Star Search. Since then, the twice Frankie toured the U.S. with Grammy named “Las Vegas Headliner of the Year,” nominated country artist Billy Currington and Frankie has been wowing audiences from country superstars Sugarland. Frankie has coast to coast performing his own brand of also joined multi-platinum artists Air Supply piano-pounding Rock n’ Roll. for their world tour as musical director, and wrote their recent radio single Dance with Me, Frankie’s performance on ABC’s Dancing With reaching No. 7 on the Top 40 Billboard charts. The Stars brought him into America’s living rooms again performing his self-penned hit In addition to touring the world from Paris to Tangerine Honey. He has continued with more Oslo, and Tokyo to Seoul, Frankie is writing television appearances, magazine covers, and producing music for other artists, and sold-out concerts including Carnegie and has established Angel Town Spirits, a Hall, The Kennedy Center, and The Hollywood signature line of premium wines and liquor. Bowl. The recipient of an Emmy Nomination The line is distributed nationally, and his for his national TV special Songs at Home, wines have become top sellers regionally. Frankie is now starring in his own nationwide special for PBS titled Frankie Moreno In Frankie Moreno continues to command Concert. audiences with his highly contagious music and playful stage antics. His songs Reaching one million record sales worldwide, are cleverly crafted and his musicianship is Frankie has been collaborating on new music virtuoso. He is unquestionably a unique artist with producer, engineer, and guitar legend and an all-around talent who puts his heart Pat Thrall (Katy Perry, Christina Aguilera, and soul into his music. Beyoncé, Justin Bieber). “Frankie is one of the most naturally gifted musicians I’ve ever worked with. We both share the same

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59 SANDI PATTY IS BACK!

DECEMBER 1-23 • HILBERT CIRCLE THEATRE

Celebrate the season with family, friends and colleagues and save! Groups purchasing 20 or more tickets enjoy the following benefits: • 10% off the single ticket price • Waived handling fee • Payment flexibility • Personal concierge

WEDNESDAY, FEBRUARY 14, 2018 7:30PM | HILBERT CIRCLE THEATRE

Made famous for his piano/lead vocals in the Broadway musical Movin’ Out, Michael Cavanaugh returns to the Hilbert Circle Theatre for a special one-night-only Valentine’s Day concert performing romantic ballads and classic love songs. The ISO will not perform at the concert.

BUY NOW AT . .  OR VISIT INDIANAPOLISSYMPHONY.ORG AUGUSTIN HADELICH RETURNS OCT 27, 28, 2017

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

Lilly Classical Series/Program Four Friday, October 27, 2017, at 8 p.m. Saturday, October 28, 2017, at 5:30 p.m. Hilbert Circle Theatre

ANDREY BOREYKO, Conductor | AUGUSTIN HADELICH, Violin

Gustav Mahler What the Wild Flowers Tell Me (1860–1911) Adapted by Benjamin Britten

Benjamin Britten Concerto for Violin and Orchestra, Op. 15 (1913–1976) Moderato con moto Vivace Passacaglia: Andante lento (un poco meno mosso) Augustin Hadelich, Violin INTERMISSION - Twenty Minutes

Dmitri Shostakovich Symphony No. 9 in E-flat Major, Op. 70 (1906–1975) Allegro Moderato Presto Largo Allegretto

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

61 OCT 27, 28 ANDREY BOREYKO, Conductor

Andrey Royal Stockholm Philharmonic Orchestra Boreyko has this season, debuts with the Gothenburg been Music Symphony, and returns to the Sinfonica Director of Nazionale della RAI and the Helsinki the Naples Philharmonic Orchestra. Philharmonic in Florida since Boreyko has also conducted orchestras September such as the Berliner Philharmoniker, 2014. He has Deutsches Symphonie-Orchester Berlin, brought a new Münchner Philharmoniker, Staatskapelle intensity to the Dresden, Gewandhausorchester Leipzig, Orchestra with Wiener Symphoniker, Filharmonica della his inspired Scala, Orchestra del Maggio Musicale leadership, Fiorentino, Royal Concertgebouw, Orchestre commissioning new works, and attracting de Paris, Orchestre Philharmonique de soloists of the highest caliber. The driving Radio France, Tonhalle-Orchester Zürich, force behind the continued artistic growth of London Symphony, the Philharmonia and the Orchestra, Boreyko balances traditional Rotterdam Philharmonic. In North America, repertoire with imaginative, diverse he recently appeared at the Ravinia Festival programming for which he has gained a with the Chicago Symphony Orchestra, and distinguished reputation worldwide. worked with the New York and Los Angeles philharmonics, The Cleveland and The Boreyko has forged strong long-term Philadelphia orchestras and the Toronto, relationships with the most prestigious Chicago, Boston, San Francisco, Baltimore, orchestras across Europe. This leads Detroit and Pittsburgh symphony orchestras. him to appearances next season with the Konzerthausorchester Berlin, Royal From 2012 Andrey Boreyko was Music Stockholm Philharmonic Orchestra, Director of the Orchestre National de Rundfunk-Sinfonieorchester Berlin, and Belgique, a post не held with great Bamberger Symphoniker, amongst others. commitment for five years, expanding Much sought-after as a guest conductor the Orchestra’s activities nationally and in North America, Boreyko’s versatility and internationally. He was Music Director of broad repertoire take him to the National the Düsseldorf Symphoniker (2009–14) Arts Centre Orchestra, Ottawa, as well as and Chief Conductor of the Jenaer re-invitations to San Francisco Symphony, Philharmonie (of whom he is now Honorary Indianapolis, Cincinnati, and Houston Conductor), Winnipeg Symphony, and Berner symphony orchestras where he is regular Sinfonieorchester. He received awards for guest. A prolific conductor of the great the most innovative concert programming symphonic repertoire and a passionate in three consecutive seasons from the advocate for less widely known works, Deutscher Musikverleger-Verband—the first Andrey Boreyko champions compositions in the history of the prize. by Victoria Borisova-Ollas in an extensive concert and recording project with the

62 AUGUSTIN HADELICH, Violin OCT 27, 28

Among Orchestra, NHK Symphony/Tokyo, Royal Augustin Scottish National Orchestra, RTE National Hadelich’s Symphony Orchestra/Dublin, São Paulo 2017–18 Symphony, Seoul Philharmonic, Stuttgart season Radio Orchestra, as well as a tour of China highlights will with the San Diego Symphony. be a return to the Boston An enthusiastic recitalist, Mr. Hadelich’s Symphony, numerous engagements include multiple playing the appearances at Carnegie Hall, the Ligeti Concerto Concertgebouw/Amsterdam, The Frick with Thomas Collection/New York, Kennedy Center/ Adès on Washington, Kioi Hall/Tokyo, the Louvre, the podium. the Wigmore Hall/London, and the For this performance, he will play the chamber music societies of Detroit, La Jolla, U.S. premiere of Adès’s new cadenza Philadelphia, Seattle, and Vancouver. He will for the concerto. Additional highlights appear this summer in Portugal and in Aspen include performances with the symphony with colleagues Martin Helmchen, piano, and orchestras of Atlanta, Detroit, Fort Worth, Marie-Elisabeth Hecker, cello, as the “H3 Trio.” Houston, Indianapolis, Madison, Milwaukee, Nashville, Oregon, Pittsburgh, San Francisco, Gold Medalist at the 2006 International Violin Seattle, St. Louis, and Utah, and (debuts) Competition of Indianapolis, Mr. Hadelich’s with the Polish National Radio Orchestra in numerous other distinctions include Lincoln Katowice, Lahti Symphony/Finland, Royal Center’s Martin E. Segal Award; the inaugural Scottish National Orchestra, Dortmund Warner Music Prize; and a 2016 Grammy Symphony, The Hallé in Manchester, and the Award for his recording of Dutilleux’s Violin Orquesta Sinfónica de Castilla y León/Spain. Concerto, “L’arbre des songes,” with the Seattle Symphony and Ludovic Morlot. Among recent international appearances are the London Proms, BBC Philharmonic/ Augustin Hadelich plays the 1723 “Ex- Manchester, BBC Symphony/London, Kiesewetter” Stradivari violin, on loan from Bournemouth Symphony, Danish National Clement and Karen Arrison through the Symphony, Finnish Radio Orchestra, German Stradivari Society of Chicago. Radio Philharmonic/Saarbrücken, Hong Kong Philharmonic, London Philharmonic, Netherlands Philharmonic, Norwegian Radio

63 LILLY Classical Series Program Notes

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

What the Wild Flowers Tell Me FUN FACT: Gustav Mahler At a time when Mahler’s music was (arr. Britten) not appreciated, Britten’s publisher encouraged the English composer to Born on July 7, 1860, write this arrangement, in an effort to in Kaliště, Czech make Mahler’s music more accessible, Republic and also to make it possible for English Died on May 18, 1911, chamber orchestras to perform it also in Vienna, Austria as a reduced version. Composed: (1893–96, arr.1941) ­—2nd movement from Symphony No. 3, version for reduced orchestra by Britten removed at the time of the first publication, Length: 10 minutes and this piece was simply called “Minuet. World Premiere: November 14, 1942, BBC Very moderate. Don’t hurry! Graceful.” Mahler Scottish Orchestra, conducted by Guy noted that, “A stormy wind blows across the Warrack. field…the leaves and flowers moan and cry Last ISO Performance: This is the first time the out on their stems, begging the superior ISO has performed this work. powers for deliverance.” Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 1 trombone, Mahler explained in a letter to the conductor percussion (glockenspiel, suspended cymbal, Josef Krug-Waldsee: triangle, tambourine, rute), harp and strings “Those titles were an attempt on my part to provide non-musicians with something In the summer of 1895, Mahler visited the to hold on to and with a signpost for Attersee with his sister Justine and his friend the intellectual, or better, the expressive (and lover) Natalie Bauer-Lechner, a time content of the various movements and which has been called the “richest summer for their relationships to each other and of his life.” Next door to his cabin was a large to the whole. That it didn’t work (as, in fact, field of wildflowers. it could never work) and that it led only to misinterpretations of the most horrendous While there he wrote a five-part work which sort became painfully clear all too quickly. he revised five times during his month at the It’s the same disaster that had overtaken me lake. At first it was titledThe Happy Life, then on previous and similar occasions, and now changed to My Happy Science coupled with A I have once and for all given up Midsummer Noon’s Dream. The five character commenting, analyzing all such pieces eventually found their place as the expediencies of whatever sort. These titles second movement of his Third Symphony, . . . will surely say something to you after the longest of all his symphonic works. you know the score. You will draw intimations from them about how I One of the parts in the final revision was imagined the steady intensification of What the Wild Flowers Tell Me. (All of the feeling, from the indistinct, unbending, parts had titles at this time.) The titles were elemental existence (of the forces of nature)

64 to the tender formation of the human heart, tunes in it!” which in turn points toward and reaches a —Benjamin Britten in a letter to his publisher region beyond itself (God).” regarding the first Violin Concerto

When Benjamin Britten came to the United Concerto for Violin and Orchestra, Op. 15 States in 1939, he described himself as, “A Benjamin Britten discouraged young composer muddled, fed- up, looking for work and longing to be used.” Born on November He was fed up with the Tory government’s 22, 1913, in capitulating attitudes toward Hitler and Lowestoft, United Mussolini, the recognition and legitimizing Kingdom of Franco in Spain, the social problems of Died on December being homosexual and a political left winger/ 4, 1976, in pacifist in England of that time, lack of Aldeburgh, United Kingdom musical success, and fear of growing fascism. Composed: 1938–1939 When he arrived he brought with him Length: 33 minutes two unfinished scores: The Rimbaud song World Premiere: March 29, 1940, by cycle “Les Illuminations” and his First Violin violinist Antonio Brosa with the New York Concerto. Years later, in July 1976, the tide Philharmonic conducted by John Barbirolli had turned for him in England, and he was Last ISO Performance: This is the first time the the first composer to receive a life peerage. ISO has performed this work. Instrumentation: 3 flutes, 2 oboes, 2 clarinets, Upon his arrival in America, Britten was 2 bassoons, 4 horns, 3 trumpets, 3 trombones, very upset about the Spanish Civil War, in tuba, timpani, percussion (glockenspiel, which 600,000 died. Some of these were cymbals, triangle, bass drum, side drum, tenor his friends who had volunteered to fight drum), harp, strings and solo violin. for the Republicans. His sadness and anger extended also to the atrocities committed by both sides, during the war and after, and In 1941, Benjamin Britten arranged this part the vision of Spain in shambles. As dictator, for reduced orchestra upon the suggestion Franco would eventually rule the country of his publisher Erwin Stein. Mahler was not for 36 years. These emotions are powerful in great favor at this point, and Britten’s work elements of Opus 15…hence the frequent was not published until 1950. The purpose designations of concerto funebre and of the reduction was to popularize and give requiem. access to Mahler’s music on a smaller scale. Knowing the historical context of the The opening moves at a relaxed pace with concerto is important for audiences and a sweet tune sung from the oboe above performers in grasping and rationalizing pizzicati violins. Soon the delicate melody its behavior, its sounds, and intent. In moves to violins for their turn. Then: as memorializing the ferocious Guerra Civil, Mahler described, a blustery wind blows the composer included many Spanish across the scene and the tempo quickens. musical references. He selected the Spanish But the wind is momentary, and the scene violinist Antonio Brosa as soloist for the first relaxes once again moving back to the first performance, and also asked him for editing tempo. Agitation returns via a brisk tempo, help as well. Among his editing efforts Brosa which again relaxes as violins assume the packed in more virtuosic segments, and leadership role leading to a tiny soft closure. these were later expunged in his revisions of “So far, it is without question my best piece. 1950 and 1958. It’s rather serious, I’m afraid, but it’s got some

65 LILLY Classical Series Program Notes

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

Opus 15 languished for many years, and then wrote “What we hear in the matter of sheer gained in stature and traction. As a strong color is the most amazing music in the proponent of this work, Dutch violinist Janine concerto.” Jansen commented in an interview on March 30, 2010, that, “in playing it one experiences The caustic scherzo bursts open with sharp the incredible strength of it. You must give chords from the violin against spinning everything to it through the whole piece, it’s trills and sharp motivic commentary from such a tension from beginning to end. And the orchestra. After a few moments, the everybody has an important role to play…” violinist presents a widely spaced theme (moving over two octaves) with distinctive The first movement moderato( con moto) Eastern coloration. The pace gains speed, opens with a five-note Spanish rhythm weight, and fury. One of the most interesting sounded by timpani and cymbals. It is components is a tuba solo with “piccolos repeated three times, the third time bringing dancing giddily in the stratosphere.” The in soft orchestral responses. Upon the theme tries to return in the orchestra: the soloist’s entry, we hear a beautiful lyric orchestra stops. And the soloist continues theme which becomes elaborated and varied in a highly emotional segment, marking the by winds. The soloist follows this with an beginning of a superb, virtuosic cadenza introduction of another theme (a march) which bridges directly to the last movement. and another Spanish rhythm. The orchestra The transitional moment is marked by is held in abeyance. After a twisting, boiling trombones, sounding the theme for the final development, Britten moves forward in a movement while the soloist is completing his passage via solo violin, now supported by final measures. Maestro Raymond Leopard, slowly moving chords, closing with soft who has conducted this work many times, reminders of the Spanish rhythm from the stated, “it is as if the other two movements drums. The recapitulation is marked by were preparing for this splendid, formidable harp glissandi, violins and violas singing a Finale.” The shape is theme and variations, in poignant melody (marked espressivo and passacaglia texture, a baroque format which pianissimo). This becomes combined with the continually repeats the theme or selected soloist, basses, and drums (with the harp now pattern with simultaneously sounded assuming an angry personality) recalling the variations or new material. Among these opening rhythms of the beginning. Finally, variations you will hear an oboe solo, a the movement closes quietly in the high bassoon solo, a flip of the main theme with register of the violin with Spanish rhythms the soloist playing in octaves, and variations, gently sounded. and emotional statements from the violin.

A vicious scherzo follows. Conductor Barbara The last variation is marked lento e solenne: Jones noted, “The image I had before my eyes featuring a chant-like event, with the violin before plunging into the scherzo was the singing extremely high on the lowest string. view from atop an Olympic ski jump track- “Singing at this range is nearly impossible once you launch yourself you just better and the violin seems to be choking, hang in there and ‘go for it’ fully committed or desperately supplicating.” Britten has now you will completely derail.” Michael Steinberg arrived at the point of intense grieving and

66 sorrow, including in a dirge-like march. He ends in an ambiguous tonal closing: leaving FUN FACT: us to wonder if it is in major or minor Shostakovich was asked to write his mode. The orchestra gives no clue with its Symphony No. 9 as a majestic and indeterminate chord; the soloist alternates monumental work to stand on a par between two pitches without resolution: F with Beethoven’s Symphony No. 9 and F sharp. and to celebrate the Russian regime. In revolt of the Russian authorities, Although he was only 27 when he wrote Shostakovich wrote the very opposite Opus 15, Britten clearly had profound talent – purposefully lighter and shorter than and technical mastery of orchestration his others, full of sarcasm and irony. coupled with a sensitive, pacifist conscience. In this dark, anguished concerto Macbeth of the Mtsensk District” which he held the mirror up to the horrors of war condemned him for writing “muddle instead and its consequences. He concluded “It is in of music” and again, most severely, in 1948. times like this that work is so important- so By the time of his Ninth Symphony, he that people can think of other things than had been in and out of trouble for a long blowing each other up. I try not to listen to time. With the Ninth Symphony he offered the radio very much.” A potent lesson for our no apotheosis, no dedication to Stalin, no time. grandeur, and all these were reasons for the next condemnation. The offense was specified as “ideological weakness.” Symphony No. 9, Op. 70 His nemesis wasSpivakov Andrey Zhdanov, a Dmitri Shostakovich long time party leader known for his brutality and commitment to “proper Soviet music” Born on September which would not only be understandable but 25, 1906, in Saint uplifting to the Soviet people. And, soviet Petersburg, Russia music would be cleansed of formalism or Died on August 9, any Western influences. He was officially 1975, in Moscow, appointed by his good friend Stalin to direct Russia (and define) Soviet cultural policy, which Composed: 1945 was known as Zhdanovshchina. To this end Length: 27 minutes he authored the Zhdanov Doctrine which World Premiere: November 3, 1945, by the would influence, censor, banish, purge, and Leningrad Philharmonic, conducted by sometimes kill Soviet artists if they strayed Evgeny Mravinsky from its rules. Last ISO Performance: March, 2004 conducted by Vladimir Spivakov Wisely, Shostakovich dutifully produced Instrumentation: piccolo, 2 flutes, 2 oboes, 2 little bonbons which would not be offensive clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 to the doctrines of Soviet Realism. And he trombones, tuba, timpani, percussion (bass would stay alive. Thanks to government drum, cymbals, snare drum, suspended control of and interference in artistic matters, cymbal, tambourine, triangle), and strings. Russia became flooded with mediocre scores “camouflaged by pompous patriotic programs and with the persistent meddling The rough, oppressive hand of Stalin of incompetent bureaucrats in the creative and his “artistic” thugs cracked down on process.” Shostakovich twice: the first in 1936, after Stalin attended Shostakovich’s opera “Lady

67 INDIANAPOLIS SYMPHONY ORCHESTRA MAESTRO OPEN

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

In 1945, Shostakovich told the press and his opening theme does harken back to Haydn friends that he was writing “ a symphony style, but it has a funny little quirk: a “wrong of victory with a song of praise”, a musical note” in the fourth bar, stressed in a half note monument to honor Russia’s victory, to trill. Quite simply, it is funny. Shostakovich honor the populist struggle, to honor Stalin. then inverts the theme, and passes it around “Everyone praised Stalin and now they to flute, violins, and oboe. Following sonata- wanted me to join in this unholy affair. They allegro structure, second theme is tweeted wanted me to write a majestic symphony by a piccolo, singing on top of the orchestra. with chorus, soloists, massive numbers of instrumentalists [to live up to the great A bouncy development follows, and the Beethoven Ninth Symphony.] Then Stalin recapitulation recalls the main themes, could say ‘this is our national ninth.” closing with a jolly coda. Many have noted the likeness to Prokofiev’s Classical However, when it appeared in August 1945, Symphony. it was a shock. Shostakovich had teased and fooled everybody. He had said one thing in The moderato tri-partite slow movement public, but in private he had his revenge. features a soft clarinet solo in ¾ meter Opus 70 was just the opposite of a symphony which turns into a duet and then into a trio of victory: in fact, it was sometimes called a with a flute. The strings offer a contrast (via “symphonic comedy.” And it was short: about mutes) in the second section before the half the size of the Eighth Symphony (which opening returns, in the third section with portrayed the horrors of the Nazis) and only remembrances of the first idea sung by solo a third of the Leningrad Symphony (another flute. wartime work focusing on the experiences of living in Leningrad when surrounded by the His third movement introduces a vibrant Nazis.) In the case of the Ninth Symphony, scherzo, which some have called a “free for there was nothing grand or reverential about all” for the orchestra. This moves directly it. into a fourth movement Largo. Listen herein for solo bassoon singing a thoughtful, The government was quick to discredit Opus contrasting idea, which relaxes the preceding 70, along with any critics who had written tension and energy of the scherzo. favorably about it. The composer intended this slap. Speaking of the Ninth Symphony, The bassoon starts off the fifth movement in the composer noted in his book Testimony, a peppy rising scale. When this is followed “It is a merry little piece. Musicians will love by a lyrical tune from the violins, we find to play it, and critics will delight in blasting ourselves again in sonata-allegro format. The it!” He was right. Stalin was furious and development is rapid, and eventually coils offended. Shostakovich eventually explained, itself into a huge climactic point in which “I couldn’t write an apotheosis to Stalin, I the opening bassoon idea is shared by all simply couldn’t.” forces. Opus 70 concludes with a zippy coda, accelerating to a glittering ending. Bernstein called the Ninth Symphony “very Haydnesque” and you will hear that in the opening Allegro movement. A tidy four-bar

69 ARTS IN INDY

Indianapolis Children’s Choir The Indianapolis Children’s Choir is now auditioning new singers for its 2017- 2018 season! Join us for a fantastic year of music, friendship, and FUN! Visit our website to find out how schedule an audition. The ICC’s excellent music educa- tion 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 “It’s never too early to make your holiday plans! Celebrate the upcoming holiday season with the Indianapolis Symphonic Choir’s Festival of Carols with performances at The Palladium and The Schrott Center (Butler University campus). This year, the 150-voices of the Symphonic Choir are joined by full symphony orchestra and Tony Award Winner singer Alice Ripley. Classic carols like “Joy to the World” and “Hark! The Herald Angels Sing” make for the perfect family gathering or holiday party for your office. Act fast: Tickets sell out quickly. Tickets and more information at www.indychoir.org or by calling (317) 843- 3800.”

New World Youth Orchestras The New World Youth Orchestras is central Indianas premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop and nurture the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Join us for our season opening concert at the Hilbert Circle Theatre on October 29 at 5 p.m., featuring guest pianist Jeeyoon Kim. For more information please visit nwyso.org. Dance Kaleidoscope OrthoIndy presents Dance Kaleidoscope in Magical Mystery Tour, with support from Printing Partners. Peace out with an entertaining, wonderfully evocative two acts of dance to the music of The Beatles. Act one is called Innocence and includes the songs “The Fool on the Hill,” “All You Need is Love,” and “Two of Us.” Act two (Decadence) is much more psychedelic and includes “Strawberry Fields,” “Lady Madonna” and “Yesterday.” The wild costumes by Barry Doss range from 1960s-inspired real clothing, to hypnotic over-the-top clothes, and finally to a cleansing simplicity. October 19-22 at IRT. Tickets at DanceKal.org or 317-635-5252.

Indianapolis Opera Indianapolis Opera’s 47th Season in 2017: A SEASON OF DELIGHTS - ALL OVER TOWN For the first time, IO is partnering with IU Jacobs School of Music for the esteemed Metropolitan Opera District Auditions on October 22 at Indiana Landmarks Center. Un Ballo in Maschero, IO’s annual Grand Opera Ball, is scheduled for November 4th at Deer Zink. Truly, an evening of elegance!. Indy Opera’s first mainstage production is La Traviata Nov. 17, 18, & 19 at The Tarkington Theatre in Carmel. Verdi at his finest! For more info and to purchase tickets go to indyopera.org.

To advertise your events in the Arts in Indy section, contact Patrick O’Brien at [email protected] or 317.664.7835 70 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 Riley Giampaolo, Trombone Ingrid Fischer-Bellman, Cello The Thomas N. Akins Principal Timpani Chair The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed anonymously Endowed by Dr. and Mrs. Robert L. Rudesill Jack Brennan, Principal Timpani Anne Duthie McCafferty, Cello The Walter Myers Jr. Principal Harp Chair The Sidney and Kathy Taurel Principal Flute Chair Endowed anonymously in honor of Walter Myers Jr. Endowed by Sidney and Kathy Taurel Diane Evans, Principal Harp Karen Evans Moratz, Principal Flute The Dorothy Munger Principal Keyboard Chair The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by the Women’s Committee of the Endowed by Janet F. and Dr. Richard E. Barb Indianapolis Symphony Orchestra Rebecca Price Arrensen, Piccolo

71 ENDOWMENT

April 6, 2018 Endowed Performances The Dennis T. Hollings Performance of Classical Music Classical Season Opening Concerts Endowed by the Dennis T. Hollings Fund Endowed by Francis W. and Florence Goodrich Dunn April 28, 2018 September 29–30, 2017 The Performance of a Young Professional Artist The Paul Family Performance of Classical Music Endowed by Roche Diagnostics Endowed by Dorit, Gerald, Eloise, and Alison Paul May 4, 2018 October 6–7, 2017 The Performance of Classical Music including Major The William L. and Jane H. Fortune Guest Conductor Liturgical and Choral Music Chair Endowed in memory of Elmer Andrew and Endowed by Mr. and Mrs. William L. Fortune Marguerite Maass Steffen by E. Andrew Steffen October 13, 2017 June 1–2, 2018

The Frank E. McKinney, Jr. Guest Conductor Chair The Performance of ISO Principal Chair Musicians Endowed by Marianne Williams Tobias Endowed by the Eugene B. Hibbs Fund November 10–11, 2017 The Performance of a Summer Series Concert Frank and Irving Springer Piano Performance Endowed by Mrs. William P. Cooling Endowed by Frank C. Springer Jr. Summer 2018 November 17–18, 2017 Special Endowments IPL Yuletide Celebration Opening Night Performance Hilbert Circle Theatre Endowed by Marianne Williams Tobias Endowed by Stephen and Tomisue Hilbert December 2017—Opening Night The Tobias Green Room IPL Yuletide Celebration Closing Performance Endowed by Randall L. Tobias Endowed by Marianne Williams Tobias December 2017—Closing Night The Maestro Society August and Margaret Watanabe The Performance of ISO Principal Chair Musicians Dr. and Mrs. Gordon E. Mallett Endowed by the Eugene B. Hibbs Fund Mrs. Walter Myers Jr. January 6, 2018 Randall L. Tobias Jack Weldon, Maestro Society Founder, given The Mohlman Performance of Classical Music by Penny Ogle Weldon Endowed by a gift from Ina M. Mohlman and the late Mr. and Mrs. Richard D. Wood Robert H. Mohlman Mr. Raymond Leppard January 26, 2018 Dr. John C. Bloom Edna Woodard-Van Riper The Performance of a Guest Artist Marianne Williams Tobias Endowed by the Jean D. Weldon Guest Artist Fund Feb 2, 2018 The Marianne Williams Tobias Program Annotator Chair Endowed anonymously The Mrs. Earl B. Barnes Memorial Fund in support of a Marianne Williams Tobias, Program Annotator Guest Artist Endowed Anonymously Artist in Residence Endowment Feb 23, 2018 Endowed in memory of Hortense and Marvin Lasky

The Performance of New Music The Paul E. and Martha K. Schmidt Conducting Study Endowed by LDI, Ltd. Fellowship March 17, 2018 Endowed by Paul E. and Martha K. Schmidt

The Paul and Roseann Pitz Performance of Classical Music The Michael Ben and Illene Komisarow Maurer Young Endowed by the Paul and Roseann Pitz Fund Musicians Contest

72 ENDOWMENT

Endowed by Michael Ben and Illene Komisarow Maurer Tuck Schulhof The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela The Indiana Series Porter 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, J.K. Generously underwritten by David and Eleanor Family Foundation Wilcox

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

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

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

73 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 Marilyn K. Fourman William F. Murphy, CPA Bot & Pat Anker 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 Toni Bader David* & Deloris “Dee”* Garrett Dorit & Gerald Paul Dawn, Ruth* & Darrell* Bakken Ms. Patricia Garrity Joan S. Paulin Janet F. & Dr. Richard E. Barb Cy* & Pris Gerde Dr.* & Mrs. Bruce Peck Frank & Katrina Basile James E. & Judith A. Gillespie Marian Pettengill and Family Dr.* & Mrs. Paul F. Benedict David & Julie Goodrich Mrs. Joseph D. Pierce Dale & Barb Benson Mrs. Anne M. Greenleaf Dr. & Mrs. George Rapp Dr. John C. Bloom John S. Griffin Josette Rathbun Rosanne Bonjouklian Mary & George Harless Mr.* & Mrs. Elton T. Ridley Mrs. Charlotte Bose Mike & Noel Heymann David Rodgers Charles & Cary Boswell Tom & Nora Hiatt Dr.* & Mrs. Robert L. Rudesill Dr. Ella H. & Mr. Robert Clarena Huffington Henry & Vel* Ryder R. Bowman Ann Hampton Hunt Jane & Fred Schlegel Mr. & Mrs. Charles H. Boxman Ty A. Johnson Paul & Martha Schmidt John Charles Braden & Joan & David F.* Kahn Carl & Laurel Schnepf Denton Raubenolt Swadesh & Sarla Kalsi H. Tuck & Saundra L. Schulhof Donald & Barbara Broadlick Bob & Rhonda Kaspar Margaret A. Shaw Philip J. Burck Patricia Kilbury Jean & Clifton Smith Alex. S. Carroll Ms. Peg Kimberlin Mr. & Mrs. Clark L. Snyder Nancy & Chris* Christy Ms. Marie E. Kingdon Sue K. Staton Ms. Patricia C. Chunn John J. Kloss, JD Dr.* & Mrs. James B. Steichen Norman I.* & Maxine Cohen Kay F. Koch Ann R. Strong John & Ulla Connor H. Jean Jones Kyle Kathryn* & Sidney Taurel Chris W. & Lesley J. Conrad James E. & Patricia J. LaCrosse Carol E. Taylor Peter Cooney Dr. Ned & Martha Lamkin Mrs. David Thiel Mr. & Mrs. Ronald A. Cox Lawrence & Vivian Lawhead William & Karen Thompson Mr. & Mrs. Thomas E. Dapp Mr. & Mrs. Richard L. Ledman Marianne Williams Tobias Lou & Kathy Daugherty Raymond Leppard Ann Vaughan Andrea Davis Mr. L. Robert Lowe Jr. Dan & Doris Weisman Edgar* & Joanne Davis John A. Mainella & Michael Pettry 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 *Deceased Dr.* & Mrs. W. Brooks Fortune Clayton C. Miller THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Helen J. Burnett Francis W. & Florence Goodrich Mrs. Raymond A. Basso H. Earl Capehart Jr. Dunn Dr. John E. Batchelder Walter Chroniak Mr. & Mrs. Don B. Earnhart Miss Helen F. Bernheisel Edgar L. Conn Mr. Robert A. Edwards Florence Bien Allen E. & Mary Crum Mr. Francis E. Fitzgerald Betty Thorp Boyd John H. Darlington Mr. Richard E. Ford Mrs. Elba L. Branigin Jr. J. Richard Delbauve Mr. & Mrs. William L. Fortune John F. Brennan Vivian F. Delbrook Nelle Godio Mrs. Ferne Brewer Suzanne S. Dettwiler Mr. Raymond K. Gretencord Lenore B. Brignall Lillian J. Duckwall Carol E. Gruen Suzanne Swain Brown Gail H. & Robert H. Hall 74 LYNN SOCIETY

Louise W. Hanson Mrs. Walter Myers Jr. Ms. Violet H. Selley Dr. & Mrs. F. R. Hensel Mr. Don Nicholson Macy M. Glendining Simmons Mr. & Mrs. Byron Hollett Louis W. Nie, M.D. Jeannette Soudriette Mr. Dennis T. Hollings Mr. Donald G. Nutter Mr. Frank C. Springer Jr. Emma Stutz Horn Frieda Nyhart Mr. Charles B. Staff Jr. Mr. David A. Jacobs Marcia L. O’Brien Andrew Steffen Frances M. Johnson Mrs. Joanne W. Orr Florence Barrett Stewart Mr. E. Patrick Kane Lois Heuse Otten Mrs. Samuel Reid Sutphin Mr. & Mrs. E.W. Kelley Dr. F. Bruce Peck Dr. & Mrs. Charles E. Test Mr. Donald M. Kercheval Mrs. Joseph D. Pierce H. Richard Unkel Louise Lage Kirtland Mr. & Mrs. Paul G. Pitz Mrs. Helen E. Van Arendonk Peter B. Krieg Dr. Henry Plaschkes Mary Jane Wacker Ruth Lilly Mr. Theodore N. Popoff Virginia M. Wagner Mr. & Mrs. Charles J. Lynn Patricia A. Quinn Margaret Warner Doris L. Lynn Miss Sally Reahard Penny Weldon Mr. Stuart L. Main Mr. Vernley R. Rehnstrom Harriett Denny White Mr. & Mrs. Robert L. Mann Peter C. & Dr. Jeanette P. Reilly Clara M. Wilmeth Marjorie N. McClure George T. & Olive Rhodes Ms. Mary Wratten Sarah Forney McFarland Mary Ann Roman Mildred R. Young Mrs. Judd R. McKay Dr. Mary Avery Root Wilma K. Young Alice & Kirk McKinney Sanford Rosenberg Steven J. Zellman Martha Means Frances M. Schager Karl & Barbara Zimmer Mr. & Mrs. J. Irwin Miller Mrs. Raiford Scott Anonymous (5) Robert H. & Ina Mohlman Mrs. Mary Schulz

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].

75 ANNUAL FUND

The Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of July 25, 2017. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. $100,000 and Above Fred & Bev Ruebeck Ned & Wendy Kirby Founders’ Society Robert & Alice Schloss Cindy L. & Timothy J. Konich ($5,000-$9,999) Anonymous Christopher A. Slapak & Michael J. Dr. & Mrs. Eugene P. Kroeff B. M. “Marti” Ripberger Robertson Ms. Karen Mangia Anonymous (8) Yvonne H. Shaheen Randall & Deborah Tobias Mr. & Mrs. Bruce McCaw Mr. & Mrs. Jeffrey M. Adams Marianne Williams Tobias Dr. & Mrs. Eugene Van Hove The Alice Greene McKinney & E. Thomas N. Akins Martin & Mary Walker Kirk McKinney Jr. Fund, a fund Bob & Pat Anker David & Eleanor Wilcox of CICF Deborah & Douglas Balogh Anonymous Kathy & Ralph Wilhelm Karen Mersereau & Dr. Michael Trudy W. Banta Arts Council of Indianapolis and Helms Bose McKinney & Evans LLP the City of Indianapolis Mrs. Nancy Ann Morris Terry & Robert L Bowen The Christel DeHaan Family Arthur Jordan Foundation Mel & Joan Perelman Mr. & Mrs. John Bratt Foundation Barnes & Thornburg LLP Walt & Mary Prouty Charles W. Brown Efroymson Family Fund BMO Harris Bank Mary Frances Rubly & Jerry Mr. & Mrs. Walter P. Bruen, Jr. Eli Lilly and Company The Clowes Fund Hummer Ms. Jane Conley Indianapolis Power & Light Community Health Network Mr. & Mrs. William N. Salin Mr. & Mrs. James M. Company Foundation Phyllis & Gary Schahet Cornelius The Kroger Co. Duke Energy Jeff & Cassandra Short Andrea Davis Lilly Endowment, Inc. Ice Miller Mr. & Mrs. Richard Skiles Jack Everly & Ty A. Johnson The Margot L. and Robert S. Eccles Indiana Arts Commission Mr. Kevin D. Taylor George R. Flexman Fund, a fund of CICF Johnson County Community Roberta & Bill Witchger Russell Fortune III Foundation, Inc. Jim & Rita Zink Dr. & Mrs. Richard W. Garrett Founders’ Society, Music Director National Endowment for the Arts Gary Ginstling & Marta ($50,000+) R.B. Annis Educational Foundation Lederer Raymond James & Associates, Inc. Anonymous Fund of Central Larry C. & Lee A. Glasscock Anonymous Roche Diagnostics Indiana Community Foundation Charles & Susan Golden Phil & Colleen Kenney Salesforce ADL Charitable Trust Mr. & Mrs. Thomas W. Grein Kay F. Koch Scott A. Jones Foundation Ann & Gordon Getty Foundation John & Chichi Guy Sarah & John Lechleiter Shaheen Family Foundation Anthem Blue Cross Blue Steve L. Hamilton & Keith O. Dr. Kenneth & Mrs. Debra Renkens St.Vincent Health Shield Norwalk Richard D. Wood Telamon Corporation Buckingham Foundation Inc. Richard & Elizabeth Holmes Terry Lee Genesis & Terry Lee Care Institute Group, Inc. Mr. & Mrs. W. Seymour Holt Hyundai City of Carmel Dr. Sharon Hoog The Glick Fund, a fund of Central The Martin D. & Mary J. Walker CNO Financial Group Dr. Ann H. Hunt Indiana Community Foundation Charitable Foundation Community Health Network Dr. & Mrs. Ronald Iacocca Indianapolis Symphony Orchestra Tobias Family Foundation Elba L. & Gene Portteus Branigin Dr. & Mrs. Raymond V. Association Foundation Inc. Ingham Nicholas H. Noyes Jr. Memorial Founders’ Society, First Chair Erie Insurance Carlyn Johnson Foundation ($10,000-$19,999) The Glick Family Foundation Mrs. Joan D. Kahn Printing Partners Anonymous (2) Fenneman Family Foundation Mr. James Kastner Ruth Lilly Philanthropic Mr. & Mrs. Robert Bader The Frenzel Family Charitable Kimra Kidd & Thomas Foundation Charlene & Joe Barnette Lead Trust Buehner Ms. Sarah Barney Indiana Members Credit Union Drs. Sandra & Charles Founders’ Society, Concertmaster Mr. & Mrs. Barry J. Bentley The Indiana Rail Road Company Kinsella ($20,000-$49,999) Suzanne B. Blakeman Indiana University Health Partners Mrs. James L. Kittle, Sr. Charles & Joyce Boxman Industrial Dielectrics Holdings David H. Kleiman & Susan The Honorable & Mrs. Alex M. Bryan & Elaine Brenner Indianapolis Symphony Orchestra Jacobs Azar II Dr. & Mrs. Thomas A. Broadie Association South Group Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Michael Becher Vincent & Robyn Caponi OneAmerica Financial Partners, Mr. & Mrs. Eli Lilly II Christina Bodurow Mr. Daniel Corrigan Inc. Dr. Richard E. Lindseth Mr. & Mrs. Daniel P. Carmichael Craig & Mary Fenneman Ronald McDonald House Charities Gregory & Alexandra Loewen Trent & Amy Cowles Don & Carolyn Hardman of Central Indiana and Dr. & Mrs. Carlos Lopez Rollin & Cheri Dick Mr. Kent Hawryluk McDonald’s of Central Indiana Mr. & Mrs. David Malson Dawn M. Fazli Emily & Peter Howard Vectren Corporation Mr. & Mrs. Morris Maurer James E. & Patricia J. LaCrosse Allan & Kathy Hubbard John & Doris McCullough Dr. & Mrs. E. Henry Lamkin, Jr. Ms. Harriet Ivey & Dr. Richard Boris E. Meditch Dr. Gordon & Carole Mallett Brashear Jim Miller Mrs. F. Bruce Peck, Jr. Bob & Rhonda Kaspar Mr. & Mrs. Dayton Molendorp Mrs. Robert L. Rudesill Joseph & Kathy Kessler Ellie, Weber & Emaline Morse 76 ANNUAL FUND

Jerry & Anne Moss J. Dara & Sherry Amlung Sydney L. Steele Dr. & Mrs. Daniel H. Mowrey Dr. & Mrs. Richard Barb Drs. Randall & Bonnie Strate Steven M. Giovangelo & Gerald John & Carolyn Mutz Frank & Katrina Basile Richard & Lois Surber J. Bedard Marc Nichols & Jamie Collins Mary Clare & George Broadbent James Sweeney Dr. Lawrence I. Goldblatt Jackie Nytes Elizabeth A. Chamberlin Mrs. David Thiel Mr. & Mrs. Ray E. Gotshall Mr. & Mrs. Charles J. Nancy Christy Jeffrey & Benita Thomasson Joe & Kathy Grahn O’Drobinak James J. & Barbara Curtis Jerry & Linda Toomer Mr. & Mrs. Berl J. Grant Michael P. & Leanne M. O’Neil Manuel & Sally Debono Dr. James & Linda Trippi Mr. & Mrs. Robert Gregory Kay Pashos & Neal Steinbart Rick & Jody Dennerline Ms. Cathy Turner Dr. Kathleen Hacker & Jerry Donald & Karen Perez Steve & Mary DeVoe Joe & Sue Vertin Hacker Bart Peterson Kerry Dinneen & Sam Sutphin Don & Colleen Walker Mr. & Mrs. Gerald V. Hinchman Maribeth & Al Smith Mr. & Mrs. Neil Ellerbrook Jane & Hugh Watson Mr. & Mrs. V. William Hunt Susanne & Jack Sogard Ms. Carol J. Feeney Emily A. West Mr. Gerald R. Jenn Joanne & Gerald Solomon Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. William J. Wheeler Dr. & Mrs. Philip E. Johnston Ann M. & Chris Stack Dr. & Mrs. Mark Foglesong Mr. & Mrs. Clark Williamson Dana & Marc Katz Dr. Pamela A Steed & Dr. Peter Steve & Lisa Ford Terence & Margaret Yen Donn & Dot Kaupke Furno Dr. & Mrs. Larry C. Franks Barrie & Margaret Zimmerman Mr. Doug Klitzke Mr. & Mrs. John Thornburgh Michael & Beth Gastineau Tim, Amy & Matthew Konrad Margaret Watanabe Cora A. Gibson Dr. & Mrs. Richard Lasbury David P. Whitman & Donna L. Jim & Roberta Graham 500 Festival, Inc. Bob & Maureen Lee Reynolds Dr. & Mrs. Christian Gries CharBlue Cindy & Rick Leffler Mr. & Mrs. Daniel O. Weisman Bob Hallam Indianapolis Foundation, a CICF Dennis & Karen Licht Lynn & Andy Wiesman Mr. & Mrs. James Hancock Affiliate on behalf of Mr. & Mrs. Allan Litz Jacquie & Fred Winters Nancy J. Harrison Kiamesha Colom Deborah & Joe Loughrey Dr Christian Wolf & Elaine Mr. Henry Havel & Ms. Mary Donovan CPAs & Advisors Jon D. Marhenke, M.D. Holden-Wolf Stickelmeyer Fifth Third Bank Mr. & Mrs. Ken Matsumoto Diana & Dan Yates Mr. Allan Hubbard First Person Ann & John McGrath Sara & Michael Zeckel Marsha A. Hutchins Harlan Family Foundation Alan & Ann McKenzie John & Linda Zimmermann Larry & Annette Hutchison Heritage Group Mr. & Mrs. Robert B. McNamara Jennifer & Michael Zinn Mr. & Mrs. John C. Jenkins & Indiana American Water Co., Susanah M. Mead Family Inc. Dr. & Mrs. David Miller Daniel H. Joseph & Liu Li The Indianapolis Recorder Mr. & Mrs. Robert E. Miller The Barrington of Carmel Dr. Louis N Jungheim & Dr. Thalia Indy Eleven Dr. & Mrs. Phillip G. Mosbaugh Bose McKinney & Evans LLP I. Nicas Indy Podiatry Sarah Myer Chubb Group of Insurance Mrs. John E. Kalsbeck InterDesign Mr. & Mrs. Daniel Mytelka Companies Mr. Charles E. Kendall Milhaus Development F. Timothy & Nancy Nagler Cornelius Family Foundation, Inc. Mr. & Mrs. Michael J. Kenniff Paul Family Foundation, Inc. Mr. & Mrs. Guido Neels DMC Holdings, Inc. Peg Kimberlin Salin Bank & Trust Jack & Katie Patterson Faegre Baker Daniels Don & Jen Knebel Salin Foundation Allen H. Pekar Garmong Construction Dr. Gwen & Mr. Robert Krivi St. Richard’s Episcopal School Marian Pettengill Haddad Foundation Dr. Elisabeth Krug Western Reserve Partners, LLC Barbara Poulsen Honda Manufacturing of Indiana Andrew & Lynn Lewis Witham Health Services Jeff & Clare Quinn Howard K. Johnson Fund, a fund Nancy Lilly Jean & Lamar Richcreek of The Indianapolis Foundation Jim & Sarah Lootens President’s Club Mark & Susan Ridlen Huntington Bank Malcolm & Joyce Mallette ($1,500-$2,499) Mr. & Mrs. Randall Riggs The Indy Star Mary & Charles Matsumoto Anonymous (4) Dr. Merrill Ritter Jungclaus-Campbell Co., Inc. Dr. & Mrs. Douglas R. Maxwell Nicholas Barbaro & Sue Ellen N. Clay & Amy Robbins The Julia L. and Andre B. Lacy Milton & Margaret Miller Scheppke Mr. & Mrs. Byron Robinson Charitable Fund, a fund of CICF Elizabeth & William Murphy Spencer & Marcia Bavender Dr. & Mrs. Randall G. Rowland M/I Homes Mr. & Mrs. Robert H. Orr Mr. & Mrs. Laurens Beyland Col. & Mrs. Salter MacAllister Machinery Company, Noel & Beth Outland Jay & Julie Bishop Mr. Gilva F Sallee & Ms. Wanda Inc. Jane & Andrew Paine Carole & Sam Bixler L Shafer Macy’s Eloise Paul & Bill Lee Mr. & Mrs. Jesse L. Bobbitt Dave & Marcia Sapp Mallor Grodner LLP Dorit & Gerald Paul Kirk & Sharon Boller -- Bottom Roger & Barbara Schmenner Merrill Lynch Matthew & Christine Phillips Line Performance Inc Jerry & Rosie Semler SHC – Senior Home Companions Myrta J. Pulliam Gordon & Celia Bruder Armen and Marie-Claude MusicCrossroads Scott & Susan Putney Kenneth & Patricia Burow Shanafelt The National Bank of Dr. & Mrs. George F. Rapp Mr. & Mrs. John Campbell William & Faye Sigman Indianapolis Mr. Alan & Mrs. Deborah Rasper Dr. David & Judith Chadwick Nancy C. & James W. Smith NextGear Capital Tom & Ursula Roberts Mr. & Mrs. Albert Chen The Sneed Family Regions Bank Mrs. John R. Roesch John & Ulla Connor Steven A Spaulding & Jennifer C JK Family Fund, A Donor Advised Mrs. Lisa M. Sapp Chris W. & Lesley J. Conrad Hendrian Fund of Renaissance Charitable Dr. & Mrs. John F. Schaefer Bill & Angela Corley Judy A. Springmire Foundation James & Mary Beth Schafer Dave & Christie Crockett Rita & Larry Steinberg Van Riper Woodard Family Jane & Fred Schlegel Cummings Family Ed & Barbara Steward Foundation Klaus & Joel Schmiegel Mr. & Mrs. Bert Curry Mrs. Lynn Stocksill WGU Indiana Marlyne Sexton Mr. & Mrs. Gregory C. Davis T.S. Sun Eric Siemers & Peggy Edwards Mr. & Mrs. Robert M. Donovan Dr. Hadrian Szpurka & Dr. Anna Conductor’s Circle Dick & Susan Simon Dr. & Mrs. Christopher Eddy Jankowska ($2,500-$4,999) Mr. & Mrs. Jeff Smithburn Andrew & Irene Engel Stephen L. Tracy James Adams Mr. & Mrs. Larry Speer John N. & Julia Luros Failey Lynn C. Tyler Mr. & Mrs. Michael Alley Dee & Tom Spencer Dr. Norm & Adrienne Fogle John & Kathy Vahle 77 International Violin Competition of Indianapolis 2017-2018 Laureate Series www.violin.org

October 10, 2017 - 7:30 PM The Eugene and Marilyn Glick Indiana History Center

Mozart Oboe Quartet in F major Chin Kim, 1986 Laureate Schubert Fantasy in C major Chih-Yi Chen, piano Ravel Tzigane Ronen Chamber Ensemble Ysaÿe Caprice d’apres l’etude en forme David Bellman, clarinet de Valse de Camille Saint-Saëns Ingrid Fischer-Bellman, cello Martinu˚ Nonet Mike Chen, viola Jennifer Christen, oboe Leonard Bennett Crantford, bass Proudly Sponsored by Robert Danforth, horn Alistair Howlett, flute Kelly Swensson, bassoon ANNUAL FUND

Joe & Diane Vande Bosche Thomas & Nancy Grembowicz William R. & Gloria Riggs Mrs. Sandy McLean Courtenay & Emily Weldon Peter Grossman & Pauline Spiegel Mr. Larry Roan Mr. & Mrs. Robert Medsker Mrs. Lucy Wick Kenneth & Barbara Hamilton Joseph & Leanna Roberts Ms. Kathleen Munsch Dr. Forrest Williamson Mr. & Mrs. Hayes Peggy L. Robinson Dr. John A. & Cinda Overman Josephine A. Yu Fred & Alice Hecker Dr. & Mrs. Andreas Sashegyi Dr. & Mrs. David Porter Mr. & Mrs. Leslie R. Zimmerman Ms. Lisa Heid Roderick & Anne Scheele Brian & Sabine Quick Mary Ann & Gene Zink Mr. & Mrs. Eugene E. Henn Dr. & Mrs. William Segar Mr. Henry A. Ryan Sue & John Zinser Dr. David K. & Clarice F. Hennon Carson Shadowen Saundra & Tuck Schulhof Dr. Stephen & Susan Henson Mary Solada Michael & Priscilla Shaw Mr. Ronald N. Hermeling Barb Stang Dr. & Mrs. Robert K. Silbert The Ackerman Foundation C. Jane Hodge Betty Stilwell Greg & Linda Sykes Batt Family Foundation Ms. Ginny Hodowal & Mr. J. Mr. Bill & Mrs. Linda Strickland M. C. Tanner BKD Douglas Madeley Mr. John Tan Mrs. Maggie Tatter International Entertainment Jack & Ruth Hoover Phillip A. Terry Rachel Tomasik Bureau Clarena Huffington The Throm Family Ms. Jane Tomlin The Jenn Foundation Drs. Meredith & Kathleen Hull Douglas L. Tillman Mr. Charles Warren Joanne W. Orr Charitable Fund, Carolyn Humke Kenneth L. Turchi Paul & Gretchen Watson a fund of The Indianapolis Mr. & Mrs. Needham S. Hurst Lawrence & Bernice Ulrich Ray & Lucinda Wilson Foundation Krisztina & Ken Inskeep Gareth M Vaughn Thomas & Elizabeth Wright The Penrod Society Mrs. Ninalou Isaacson L. Alan & Elizabeth Whaley Richard E. Ziegler Ms. Kristine Isenberg Meg Williams Symphony Club Larry & Marianne Jacobi Mr. & Mrs. Meredith L. Wilson ($1,000-$1,499) Patrick & Barbara James Bob & Debbie Wingerter Hendricks County Community Anonymous (3) Dr. & Mrs. Charles E. Jordan Mr. & Mrs. Robert Witt Foundation Mr. & Mrs. Bradford H. Arthur Mike & Linda Jordan Mrs. Edna Woodard James O. & Alice F. Cole Mrs. Taylor L. Baker Terry Kahn Turner & Diann Woodard Foundation Terry & Patricia Balko Mr & Mrs. David Kelly Linden & Allison Barber Dr. & Mrs. Frederick M. Kelvin Contributed Goods and Mr. Todd Barrett Richard & Susan Kent The Dr. Lawrence M. and Eldoris J. Services Ms. Susan Bates Mr. & Mrs. Daniel E Klausner Borst Family Fund of the CICF ($5,000 and Above) Mr. Brett & Mrs. Shari Bayston Steve & Sharon Klusman Gracia E. Johnson Foundation Thomas N. Akins Mark & Ann Bear Col. A. D. Kneessy Gregory & Appel Insurance Barefoot Wine Erv & Priscilla Boschmann Richard & Roxanne Kovacs The Humke Foundation, Inc. DCG Charles & Cary Boswell Mr. Jeffrey S Lahr J. Solotken & Company, Inc. Enflora Flowers for Business Ms. Marsha Bragg Mr. & Mrs. William Lindstaedt Marni McKinney Foundation The Indy Star Douglas & Angela Braly Mr. Tom Linebarger Monarch Beverage Company Mr. & Ms. Jian-Wen Tong Dr. Harry D. Brickley Grace Long The Blake Lee & Carolyn Lytle Printing Partners Matt & Janette Brown Tim & Betty Lonis Neubauer Legacy Fund Terri Bruksch Lowell & Penelope Lumley RSE Realty, Inc Celeste & Derrick Burks Ralph & Nancy Lundgren Mr. & Mrs. E. M. Cavalier Alex & Bridget MacAllister Virtuoso Mr. & Mrs. Douglas Church Ms. Barbara E. Mallett ($750-$999) Dan & Laura Conder Mary Lynn Mancinelli Anonymous (5) Dexter & Rosemary Cooley Benton & Sandi Marks Mr. Wilbur L. Appel, Jr. Mrs. Mary C. Crean Ms. Marilyn Martin Mr. & Mrs. Roy & Jan Applegate Joanne Meyer Davis Stacy A. Maurer John & Reita Bertsch Rebecca & Larry Davis Michael & Patricia McCrory Sandra L. Burns David & Brenda Day Craig & Kathleen McGaughey John & Janeen Burrows Mr. Douglas B. Day Myron J. McKee Catherine Clements & Jay Barbus Dr. & Mrs. Frank Deane Marni McKinney Audrey E. Corne RN, EdD Ann Dettwiler Nancy L McMillan Patrick & Jennifer Cross Mr. & Mrs. Erold R. Diller Mr. Allen & Mrs. Deborah Miller Ken & Kitty Decker Patty Donnelly & Robert Pozzebon Earl Miller & Ek-Leng Chua-Miller Mr. Kenneth & Mrs. Ann Dee Casey Chell & Daniel Duarte Dr. & Mrs. Patrick J. Murphy Mr. & Mrs. Frank Delisle Ms. Phyllis Dye Turner Ann & Jim Murtlow Daniel & Virginia Dolezal Mr. & Mrs. Thomas J. Eggers Peggy & Byron Myers Mr. & Mrs. Jerry Gershman Miss E. Frances Eickhoff Jack & Judy Myers Drs. Jean & Gerald Godfrey Dorothy Schultz Englehart Don Nead & Caryl Matthews Brian & Claudia Grant David & Julie Eskenazi Timothy S. Needler Susan C. Guba Dr. & Mrs. Harvey Feigenbaum David & Diane Nesbitt Mr. & Mrs. Thomas G. Harvey Jr. Linda Felton Lara Noren Mr. & Mrs. Jerome T. Henning Dean & Beth Flaris Mr. & Mrs. John S. Null Mike & Noel Heymann Mr. Michael Fleetwood Shirley L. Paddock & Greg Riffe Hannah & Ben Huddleston Gracia & Jim Floyd Linda Pence Sue Johnson Ann S. & David R Frick Gayle L. Phillips Walter G. Justus Mr. & Mrs. James F. Gallagher Beverley & Bill Pitts Mr. Richard & Mrs. Gwen Dr. Karen & Thomas Gallagher Lois Pless Knipstein Mr. Jerome Gassen & Ms. Nicole Christine & Ken Price Craig & Kathy Leafgreen Weaver Larry & Nancy Pugh Jonathan & Lisa LeCrone Mr. & Mrs. Raymond Gibson Roger & Anna Radue Reverend Dr. Joan Malick Marianne Glick Scott A. Reef Jeffrey & Christine Marks Mr. & Mrs. Alexander Goloschokin MaryAnn Ridder Dennis & Anne McCafferty 79 WHY WE GIVE BOB AND TERRI ORR

Bob and Terri Orr have been donors and subscribers to the ISO for more than 25 years. They are loyal fans of both the Lilly Classical Series and Kroger Symphony on the Prairie. Bob previously served as a very active volunteer and member of the ISO Speaker’s Bureau.

Have you always lived in Indiana? I (Bob) was born and raised in Philadelphia, and Terri was born in Donaustauf, Germany. When I retired from military service in 1977, I was hired as an Associate Professor at IUPUI and we established a permanent residency in Indiana.

What was the first ISO concert you ever attended? While there were several performances that stood out for a variety of reasons, nothing surpassed Nathan Milstein performing the Brahms Violin Concerto in 1985.

What has been your favorite musical experience with the ISO so far? My pen pal relationship with Maestro Leppard has been a true wonder and illumination. I wrote initially in response to his radio plea for donations and took the opportunity to ask a couple of questions. I received a polite and informative handwritten letter answering my queries but also leaving the door open. Over the next 20 years we corresponded regularly sharing our musical and life experiences. I learned so much about music in this dialogic manner.

How is your life better with music? Music has always surrounded me. I have been collecting music since I was a child. The worst times in my life were my first six months at West Point and my year of military service in Korea where radio broadcasts and recordings were not accessible.

What would you tell someone who is considering becoming a subscriber to the ISO? Do it, and don’t look back. Have no regrets. If you are inexperienced in the symphonic repertoire, just come on down, sit back, relax, and let the music wash over you.

What led you to donate to the ISO? Why is that important to you? While we had been small contributors from the time of my first letter to Maestro Leppard, when I was invited to join the ISO Speakers Bureau, I was given an extensive tour of the facilities. I noted that all of the facilities were modest; in some cases overcrowded. It seemed obvious that whatever money the ISO was raising was not being spent frivolously or on creature comforts. This convinced us that contributions would be wisely used.

It is important that Central Indiana has a symphony orchestra worthy and complementary. We are fortunate to have such a high quality organization. And it is not just the excellent quality of the playing. The ISO plays an important role in educating our youth. As arts appreciation continues to disappear from our curricula, organizations like the ISO must pick up the slack. We are trying to do our part to help.

80 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 March 17, 2017 – July 25, 2017. Memorial Gifts In Memory of Dorothy Calkins In Memory of Jackie Kalsbeck Ken & Betsy Ingle Richard L. Gilmore Michael J. DeBoe In Memory of Hyla Cartwright Pfaff & Hass families Dr. Rosemary Weir In Memory of Dan McLean In Memory of Melissa Daum Mrs. Sandy McLean Mr. Daniel Daum In Memory of Marilyn Neibergall In Memory of Neal Grundy Mrs. Nancy Ann Morris Emilie Garringer In Memory of Roseann and Paul Pitz In Memory of Mr. Timothy Hall Mr. & Mrs. Michael Pitz Mrs. Diane Hall Marylynne Pitz

In Memory of Mrs. Ann Hanley In Memory of Emily Tally Mr. & Mrs. Chris Hanley Karen L. King

In Memory of Harald Hansen In Memory of Jean Walters Dennis and Anne McCafferty Mrs. Dean Eppley

In Memory of Dr. John and Jacqueline Kalsbeck Dr. & Mrs. Ronald Rice

Honor Gifts

In Honor of Tom Aldridge In Honor of Bob Luddy and our kids Stan Regas Mariol Luddy

In Honor of Dr. Harry Brickley In Honor of Mr. & Mrs. Robert T. McFeely Joshua and Cassandra Lee Market Street Wealth Management Advisors

In Honor of William B. Clark In Honor of Dr. Milton and Ruth Roggenkamp E. Ray and Catherine M. Smith Joshua and Cassandra Lee

In Honor of Allyson Fogerty In Honor of Dr. Larry and Ann-Katrin Roth Anonymous Joshua and Cassandra Lee

In Honor of Professor Larry Jegen In Honor of Dave Schaffer Joshua and Cassandra Lee Mr. James Kulina & Mrs. Andela Lopez

In Honor of Sarah Lechleiter, for her friendship In Honor of Yvonne Shaheen and service to our community Douglas & Angela Braly David & Cindy Petratis 81 CORPORATE SPONSORS

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

btlaw.com

82 JOIN IN ASSOC ATION ON THE PEOPLE WITH A PASSION FOR MUSIC FUN

ISOA’S NORTH GROUP NORTH GROUP FUNDRAISER WITH RUTH’S CHRIS!

September 19, 2017

Join the North Group of the ISOA at a fundraiser to bene t the ISO.

For more information, contact the ISOA oce at 317.231.6726.

ISOA’S WEST GROUP DELPHI OPERA HOUSE October 23, 2017

Is Opera your thing? Join the West Group of the ISOA on a Day Trip to Delphi Opera House.

For more information, contact the ISOA oce at 317.231.6726.

HERE’S HOW... TO BECOME A MEMBER OF ISOA Please contact us at 317.231.6726 or [email protected] 83 ADMINISTRATION

EXECUTIVE OFFICE MARKETING & COMMUNICATIONS Steve L. Hamilton, Interim Chief Executive Officer Sarah Myer, Director of Marketing Laura Irmer, Executive Assistant Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager OPERATIONS Mary Ferguson, Audience Development Manager Danny Beckley, Vice President and General Manager Marci Taylor, Graphic Designer Philomena Duffy, Operations Coordinator Communications Orchestra Operations Kristin Cutler, Director of Communications K. Blake Schlabach, Orchestra Personnel Manager Leila Viera, Publications Manager L. Bennett Crantford, Assistant Personnel Manager Lauren King, Digital Marketing and Communications Bekki Witherell Quinn, Administrative Assistant Manager Marianne Williams Tobias, Program Book Annotator Operations and Facilities Katie Angel, Production Manager Patron Services David Storms, Box Office Manager Audience Services & Events Elizabeth Watts, Senior Customer Care Representative David Armstrong, Director of Audience Services Anita Blackwell Donna Finney, Volunteer Services Manager Janine Knuutila Kalyn Smith, House Manager Nick Neukom Frances Heavrin, Event Coordinator Carolyn Kupchik McKenzie Witherell Artistic Administration Kim McManus Katie McGuinness, Director of Artistic Planning Customer Care Representatives Hannah Reffett, Manager of 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, Metropolitan Youth Orchestra Founder and Artistic Director Emeritus, ISO Community Ambassador DEVELOPMENT Ruth Wolff, Director, ISO Learning Community Casey Chell, Director of Development Krystle Ford, Director, Metropolitan Youth 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 Andrea Fjelde, Learning Community Coordinator Melissa Weseli, Associate Director of Corporate Giving Sally Meyer Chapman, Associate Director of Foundation FINANCE Giving Steve L. Hamilton, Vice President of Finance and Chief Carol Ann Arnell, Special Events and Donor Benefits Manager Financial Officer Allison Gehl, Gift Officer Adam White, Controller Beckie Kern, Development Assistant Teaka Vest, Staff Accountant Tom McTamney, Gift Processing Associate Jennifer Morrell, Accounts Payable Coordinator Catherine Lockhart, Corporate Relations Associate Tori Ramsay, Individual Giving Associate Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology

Human Resources Larry R. Baysinger, Director Melissa Nelis, Human Resource Generalist & Wellness Advocate

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84 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 classical music experts. Grab a drink and mingle with friends Emergency before and after the concert in the Encore In the event of an emergency, please use the 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 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]! 85 17/18 SEASON sponsored by 2017 EVENTs on sale now 2018 EVENTs available with subscription Royal Chris Botti Philharmonic Orchestra Thu Oct 19 | 7:30pm with Pinchas Zukerman The palladium Sun Jan 21 | 7pm THE PALLADIUM scott bradlee’s Staatskapelle postmodern Weimar jukebox orchestra thu Oct 26 | 7:30pm Fri Mar 9 | 8pm the palladium THE PALLADIUM

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