HILBERT CIRCLE THEATRE KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR Music for the Royal Fireworks Leslie Odom, Jr. with the ISO Harry Potter and the Goblet of FireTM — In Concert Classic Hollywood Ohlsson Plays Tchaikovsky Beethoven’s “Pastoral” Saint-Saëns’ Violin Concerto No. 3 Audra McDonald Romantic Songs with Michael Cavanaugh Kirill Gerstein Plays Beethoven’s “Emperor”

JANUARY & FEBRUARY | VOLUME 4 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 Careful planning, talent and passion are on 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 prof t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromtof 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 Marquet e truly is the place to be. protof ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazinglyt e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. prof t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marquet e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stopt e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community. the productions that bring live performances to 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.marquet eseniorliving.org Congratulations to the musicians, crew and staff on a job well done! phone8140 (317) Township 875-9700 Line Rd.| www.marque | Indianapolis,t eseniorliving.org IN 46260 phone8140 (317) Township 875-9700 Line Rd.| www.marque | Indianapolis,t eseniorliving.org IN 46260 phone (317) 875-9700 | www.marquet eseniorliving.org 698887 698887 CitizensEnergyGroup.com 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 performances to our community.

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

CitizensEnergyGroup.com TABLE OF CONTENTS

Programs Artists 11 January 4, 6, 2018 12 Nicholas McGegan 23 January 5, 2018 14 Karen Gomyo 27 January 11, 14, 2018 24 Jack Everly 31 January 12–13, 2018 25 Leslie Odom, Jr. 33 January 19–20, 2018 29 Justin Freer 41 January 26–27, 2018 32 Krzysztof Urbański 59 February 2–3, 2018 34 Garrick Ohlsson 69 February 9–10, 2018 40 Thomas Hampson 71 February 14, 2018 42 Kelley O’Connor 73 February 23–24, 2018 60 Bramwell Tovey 61 Benjamin Beilman Featured Articles 68 Audra McDonald 7 Music in My Life 72 Michael Cavanaugh 7 Musicians Around Town 74 Nikolaj Znaider 75 Kirill Gerstein The Indianapolis Symphony Orchestra 8 Board of Directors 9 Musicians of the ISO 80 Arts in Indy 81 Endowment 84 Lynn Society 86 Annual Fund 89 Tribute Gifts 90 Why We Give 91 Corporate Sponsors 92 Administration 93 Hilbert Circle Theatre Information 94 Indianapolis Symphony Orchestra Association

4 WELCOME

Dear Friends,

One of my favorite ways to stay warm in these cold winter months is attending a concert right here in the historic Hilbert Circle Theatre. Thank you for bundling up and joining us for today’s performance!

We have so many phenomenal concerts throughout the months of January and February. From Broadway stars Audra McDonald, Leslie Odom, Jr., and Michael Cavanaugh to classical power players including Garrick Ohlsson, Thomas Hampson, Kirill Gerstein, and more—there is a lot to look forward to this winter.

I am also delighted as we have a pair of exciting special events in February; the legendary John Williams is conducting the ISO as a special beneft for our organization, and our annual Celebration of Black History concert honors the 50th anniversary of Dr. Martin Luther King, Jr.’s passing—along with the special place in history Indianapolis holds for the nonviolent gathering at what is now Kennedy-King Memorial Park.

As we look ahead to the announcement of our 2018–19 season in late February, I hope you will consider joining us for one or more of the exciting concerts we have coming up this spring.

Thank you, as always, for your continued support of the ISO.

Sincerely,

Steve L. Hamilton Interim Chief Executive Ofcer Vice President of Finance and Chief Financial Ofcer

5 FRIDAY, MARCH 16, 8PM Hilbert Circle Theatre BRENT HAVENS, CONDUCTOR BRODY DOLYNIUK, VOCALS On St. Patrick's Day weekend, the ISO and a full rock band take a musical journey spanning four decades of unforgettable hits including “With or Without You,” “I Still Haven’t Found What I’m Looking For,” “Pride (In the Name of Love),” “Sunday Bloody Sunday,” “Desire,” “One,” and many more. Formed in 1976 in Dublin, Ireland, U2 quickly climbed the charts and became one of the premiere rock bands of all time, selling more than 150 million records worldwide and earning 22 GRAMMY® Awards — more than any other band.

WEDNESDAY, JULY 11, 7:30PM THURSDAY, JULY 12, 7:30PM HILBERT CIRCLE THEATRE

JACK EVERLY, CONDUCTOR

The winner of three Academy Awards® and one of the most thrilling science fiction adventures ever made comes to life on the big screen at the Hilbert Circle Theatre, with the ISO performing John Williams’ iconic and FILM + ORCHESTRA beloved score. Welcome… to Jurassic Park!

6 PHILIP PALERMO, Violin MUSIC IN MY LIFE

Philip Palermo joined the Indianapolis Symphony Orchestra in January 1985, following in the footsteps of his father, George, who had been a member of the ISO from 1938 to 1940. A native of Barrington, Illinois, he studied violin with his father as well as Morris Gomberg, Franco Gulli, and Dorothy DeLay. He made his concerto debut with the Chicago Symphony at age 15 and has appeared as soloist with the Pittsburgh, Baltimore, Houston, and Milwaukee symphony orchestras in addition to numerous times with the ISO.

Palermo is artist in residence at the University of Indianapolis and is heard regularly with the Ronen Chamber Ensemble and the Canale Quartet. A recitalist in many countries throughout Europe and numerous parts of the United States, he participates in music festivals from San Diego to Maine and enjoys tennis and high-performance automobiles.

What was your frst musical instrument? Piano was my frst instrument, which I started at age 7. I took up the violin at age 8. What was your frst experience hearing classical music? My mother performed Beethoven’s 9th with the Chicago Symphony while she was pregnant with me! She also was a singer—she worked with Frank Sinatra, the Chicago Symphony, and Erich Leinsdorf. What is your favorite part about living in Indianapolis? The Indianapolis Motor Speedway and all it has to ofer. And I love go-karting! What is your favorite memory with the Indianapolis Symphony? It was a Mitch Miller pops weekend in late 1996. My now-wife attended the show, and I asked her out for the frst time afterward. What is your favorite performance thus far? Performing at the Wiener Musikverein on the ISO’s 1993 European tour. What was your very frst job? Playing in the pit orchestra for the touring Bolshoi Ballet in Chicago when I was 17 years old. Tell us something about you that most people don’t know. I have a black and white pet snake named Tux because he looks like he’s wearing a tuxedo.

MUSICIANS AROUND TOWN

Northminster Presbyterian Church’s Sound and Spirit series will feature the Philatroi string trio on February 11, 2018, at 4 p.m. Phillip Palermo, violin, and Concertmaster Zach De Pue will be joined by violist Michael Isaac Strauss for a concert of diverse chamber repertoire.

Readers voted Mark Ortwein as the number three Best Instrumentalist in the 2017 Best of Indy listing and the Ortwein JazzTet as number three in the Best Jazz Group category. Ortwein recently held a Bassoon Masterclass at Wright State University in Dayton, Ohio.

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 Ofcer CHARLENE BARNETTE, Secretary JOSEPH M. KESSLER, Treasurer

Yvonne H. Shaheen, Chair

BOARD OF DIRECTORS Wendy Adams Ann Hampton Hunt Jackie Nytes* Hon. Alex M. Azar II Phil Kenney* Michael P. O’Neil* Deborah Ware Balogh Joseph M. Kessler Alice K. Schloss Charlene Barnette* David Kleiman Carson Shadowen Michael Becher* Liz Kyzr Yvonne H. Shaheen* Barry J. Bentley* Martha D. Lamkin* Christopher Slapak Christina Bodurow, Ph.D. Sarah L. Lechleiter J. Albert Smith Jr. John A. Bratt Greg Loewen Mary Solada Bryan Brenner Karen Mangia Marianne Williams Tobias Vincent Caponi* Scott Martin Pete Ward Kiamesha Colom Morrie Maurer David Wilcox Trent Cowles Bruce McCaw Ralph V. Wilhelm* Andrea Davis* Karen H. Mersereau C. Daniel Yates Craig Fenneman David Morgan James C. Zink Sr. Steve Hamilton* Peter A. Morse Jr. Jennifer Zinn Peter W. Howard, Ph.D. Gerald L. Moss 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 Contrabass Trumpet Zachary De Pue, Concertmaster Ju-Fang Liu, Principal Conrad Jones, Principal The Ford-West Chair Robert Goodlett II, Assistant Principal The W. Brooks and Wanda Y. Alexander Kerr, Principal Guest L. Bennett Crantford Fortune Chair Concertmaster Gregory Dugan Robert Wood Philip Palermo, Associate Peter Hansen Marvin C. Perry II, Assistant Principal Concertmaster Brian Smith Peter Vickery, Assistant Trombone Concertmaster , The Meditch Chair Flute James Beckel, Principal Michelle Kang, Acting Assistant Karen Evans Moratz, Principal K. Blake Schlabach, Assistant Concertmaster The Sidney and Kathy Taurel Chair Principal Barbara Fisher Agresti Robin Peller Riley Giampaolo Michelle Black Rebecca Price Arrensen, Assistant Sophia Cho Principal Bass Trombone Sarah Drake ** Riley Giampaolo Sherry Hong Piccolo The Dr. and Mrs. Charles E. Test Vladimir Krakovich Rebecca Price Arrensen Chair Joseph Ohkubo ** The Janet F. and Dr. Richard E. Barb Han Xie Chair Tuba Anthony Knifen, Principal Second Violin Oboe Konstantin Umansky, Principal Jennifer Christen, Principal Timpani Mary Anne Dell’Aquila, The Frank C. Springer Jr. Chair Jack Brennan, Principal Acting Associate Principal Sharon Possick-Lange The Thomas N. Akins Chair Jennifer Greenlee, Roger Roe, Assistant Principal Craig A. Hetrick, Assistant Principal Acting Assistant Principal The Taurel Chair English Horn Percussion The Dick Dennis Fifth Chair* Roger Roe Braham Dembar, Principal Louise Alexander The Ann Hampton Hunt Chair Craig A. Hetrick Victoria Griswold Pedro Fernandez Patrick Dalton-Holmes Clarinet Hua Jin David A. Bellman, Principal Harp Jayna Park The Robert H. Mohlman Chair Diane Evans, Principal Lisa Scott Cathryn Gross, The Hufngton Chair The Walter Myers Jr. Chair Oleg Zukin Samuel Rothstein, Assistant Principal Keyboard Viola Bass Clarinet The Women’s Committee Chair Yu Jin, Principal, The Schlegel Chair Samuel Rothstein Endowed in honor of Dorothy Mike Chen, Associate Principal Munger Beverly Scott, Assistant Principal Bassoon Zachary Collins John Wetherill, Principal Personnel Emilee Drumm ** Michael Muszynski K. Blake Schlabach, Manager Amy Knifen Mark Ortwein, Assistant Principal L. Bennett Crantford, Assistant Terry E. Langdon Manager Eva Lieberman Contrabassoon Stephanie Tong Mark Ortwein Library James Norman, Principal Librarian Cello Horn Laura Cones, Assistant Principal Austin Huntington, Principal Robert Danforth, Principal Librarian Perry Scott, Associate Principal The Robert L. Mann and Family Susan Grymonpré, Assistant Librarian Chair Anonymously Endowed Chair Sarah Boyer Richard Graef, Assistant Principal Stage Ingrid Fischer-Bellman Julie Beckel Yager Quentin L. Quinn, Manager The Randall L. Tobias Chair Jerry Montgomery Kenneth Bandy, Technician Mark Maryanovsky The Bakken Family Chair P. A l a n A l fo r d , Technician Anne Duthie McCaferty Jill Boaz Steven A. Martin, Technician The Dr. and Mrs. Robert L. Rudesill Chair Jian-Wen Tong

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. 9 ** One-year position ASSOC ATION PEOPLE WITH A PASSION FOR MUSIC

VOLUNTEER OPPORTUNITIES

Duke Energy Discovery Concerts are designed for students in grades 3-6. Teachers receive custom curriculum to prepare their students, and the culminating experience is attending a live performance by the Indianapolis Symphony Orchestra. ISOA members act as greeters and ushers.

Symphony in Color is an art contest in which elementary students create works of visual art that are inspired by excerpts of classical music featured on the current ISO season. The ISOA oversees this contest.

The Michael Ben & Illene Komisarow Maurer Young Musicians Contest is an opportunity for Indiana's middle and high school instrumentalists to compete for the grand prize: the chance to be a soloist with the Indianapolis Symphony Orchestra.

The Side-by-Side Concert ofers high school musicians the opportunity to rehearse and perform with their professional counterparts from the ISO on stage of the Hilbert Circle Theatre. The ISOA provides the rehearsal luncheon.

The Metropolitan Youth Orchestra is a youth and family develop- ment program of the ISO. The program is designed to use the life skills learned through music instruction to engage youth in activities that discourage at-risk behaviors and keep them committed to staying in school. The ISOA volunteers at MYO events, activities, and receptions.

BECOME A MEMBER OF THE ISOA... Please contact us at 317.231.6726 or [email protected] Music for the Jan 4, 2018 royal fireworks

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

† Cofee Classical Series/Program Three Thursday, January 4, at 11 a.m. Hilbert Circle Theatre

NICHOLAS MCGEGAN, Conductor | KAREN GOMYO, Violin

Wolfgang Amadeus Mozart Concerto No. 3 in G Major for Violin and Orchestra, K. 216 (1756–1791) Allegro Adagio Rondo: Allegro Karen Gomyo, Violin

Felix Mendelssohn The Hebrides Overture, Op. 26 (“Fingal’s Cave”) (1809–1847)

Franz Joseph Haydn Symphony No. 103 in E-fat Major (“Drumroll”) (1732–1809) Adagio – Allegro con spirito Andante più tosto allegretto Menuet Allegro con spirito

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

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

11 JAN 4, 6 NICHOLAS MCGEGAN, Conductor

McGegan’s prolifc discography includes more than 100 releases spanning fve decades. Having recorded over 50 albums of of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, and more. Since the 1980s, McGegan has As he embarks on his ffth decade on the released more than 20 recordings with podium, Nicholas McGegan—long hailed as Hungary’s Capella Savaria on the Hungaroton “one of the fnest baroque conductors of his label, the latest being a two-CD set of the generation” (The Independent) and “an expert complete Mozart violin concerti. in 18th-century style” (The New Yorker)—is recognized for his probing and revelatory English-born Nicholas McGegan was explorations of music of all periods. The educated at Cambridge and Oxford. He is 2017–18 season marks his 32nd year as music an honorary professor at the Georg-August director of Philharmonia Baroque Orchestra University in Göttingen and also was given and Chorale and he is also Principal Guest an honorary Doctorate of Music at the Conductor of the Pasadena Symphony. San Francisco Conservatory of Music. In 2010, he was made an Ofcer of the Most Best known as a baroque and classical Excellent Order of the British Empire (OBE) specialist, McGegan’s approach—intelligent, “for services to music overseas.” He also was infused with joy, and never dogmatic—has awarded the Verdienstkreuz (am bande) from led to appearances with many of the world’s Niedersachsen (Germany) in 2011. major orchestras. At home in opera houses, McGegan shone new light on close to In 2016 he was the Christoph Wolf twenty Handel operas as the Artistic Director Distinguished Visiting Scholar at Harvard and conductor at the Göttingen Handel and is a frequent visitor to Yale. Festival for 20 years and the Mozart canon as Principal Guest Conductor at Scottish Visit Nicholas McGegan online at Opera in the 1990s. At the same time, he was www.nicholasmcgegan.com. principal conductor of the Drottningholm Opera in Sweden.

Business Law Family Law

Indianapolis | 101 W. Ohio Street, Suite 1600 | www.lawmg.com Estate Planning

12 Music for the Jan 6, 2018 royal fireworks

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

Lilly Classical Series/Program Seven Saturday, January 6, at 5:30 p.m. Hilbert Circle Theatre

NICHOLAS MCGEGAN, Conductor | KAREN GOMYO, Violin

George Frideric Handel Music for the Royal Fireworks (1685–1759) Overture Bourrée La Paix La Réjouissance Menuet I and II

Wolfgang Amadeus Mozart Concerto No. 3 in G Major for Violin and Orchestra, K. 216 (1756–1791) Allegro Adagio Rondo: Allegro Karen Gomyo, Violin

INTERMISSION — Twenty Minutes

Felix Mendelssohn The Hebrides Overture, Op. 26 (“Fingal’s Cave”) (1809–1847)

Franz Joseph Haydn Symphony No. 103 in E-fat Major (“Drumroll”) (1732–1809) Adagio – Allegro con spirito Andante più tosto allegretto Menuet Allegro con spirito

Premier Sponsor Associate Sponsor

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

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

13 JAN 4, 6 KAREN GOMYO, Violin

Praised by Jörg Widmann, Olli Mustonen, and Sofa the Chicago Gubaidulina. Tribune as “a frst-rate artist In recital and chamber music, Gomyo has of real musical performed in festivals throughout the U.S. command, and Europe. She recently toured with the vitality, Australian Chamber Orchestra and fellow brilliance, guest artist, the mezzo-soprano Susan and intensity,” Graham. In 2018 she appears at the Seattle Canadian Chamber Festival and the Australian Festival violinist of Chamber Music in Townesville, Australia. Karen Gomyo continues Gomyo has worked with the New York to captivate Philharmonic, Cleveland Orchestra, San audiences Francisco Symphony, Philadelphia Orchestra, worldwide. the City of Birmingham Symphony, Vienna Chamber Orchestra, Danish National Gomyo recently performed with the City of Symphony, Bamberg Symphony, Stuttgart Birmingham Symphony Orchestra conducted Radio Symphony, Sydney Symphony, and by Karina Canellakis and the WDR Orchestra Tokyo Symphony among others and with Cologne and the Orchestre symphonique many well-known conductors. de Radio France, both conducted by Jakub Hrusa. She also performed the Glass Concerto Recently, NHK Japan produced a No. 1 with Hugh Wolf and the Minnesota documentary about Antonio Stradivarius Orchestra, and the Pintscher Concerto called The Mysteries of the Supreme Violin No. 2 with Mr. Pintscher conducting the and featured Gomyo as violinist, host, and Dallas Symphony. narrator. The flm was broadcast worldwide on NHK WORLD. Highlights of the 2017–18 season include a recital at the Sydney Opera House, a tour Gomyo is deeply interested in the Nuevo with Edo de Waart and the New Zealand Tango music of Astor Piazzolla, and performs Symphony, followed by performances with with Piazzolla’s longtime pianist and tango WASO Perth and the Tasmanian Symphony. legend Pablo Ziegler and his partners Hector She returns to the St. Louis Symphony, the del Curto (bandoneon), Claudio Ragazzi NACO, and the symphony orchestras of (electric guitar), and Pedro Giraudo (double Milwaukee, Montreal, Cincinnati, and Detroit bass). She also performs regularly with among others. She also performs in recital at the Finnish guitarist Ismo Eskelinen, with the Louisiana Museum in Denmark. whom she has appeared at the Dresden and Mainz Festivals in Germany, and in recitals in Strongly committed to contemporary works, Helsinki and New York. A recording with Mr. Gomyo performed the North American Eskelinen is planned for release soon. premiere of Matthias Pintscher’s Concerto No. 2 Mar’eh with the composer conducting Gomyo plays on the “Aurora, exFoulis” the National Symphony of Washington D.C., Stradivarius violin of 1703 that was bought as well as Peteris Vasks’ Vox Amoris with the for her exclusive use by a private sponsor. Lapland Chamber Orchestra conducted by John Storgårds, and has collaborated in chamber music compositions with

14 reater indianapolis is our only stage.

The largest locally-owned national bank is proud to be a major supporter of the Arts.

317-261-9000

©2018 The National Bank of Indianapolis www.nbofi.com Member FDIC CLASSICAL | POPS | COFFEE CLASSICAL

JOSH KAUFMAN TCHAIKOVSKY’S FOURTH MOZART’S WITH THE ISO LUTOSLAWSKI’S CELLO CONCERTO THE MAGIC FLUTE HAPPY HOUR JOSH KAUFMAN ALISA WEILERSTEIN, CELLO KRZYSZTOF URBAŃSKI, CONDUCTOR TIME FOR THREE

FOR MORE DETAILS CALL 317.639.4300

16 OR VISIT INDIANAPOLISSYMPHONY.ORG LILLY Classical Series Program Notes

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

MUSIC FOR THE ROYAL FIREWORKS, HWV 351 this was not an auspicious beginning, but a GEORGE FRIDERIC HANDEL month later (now rescored for full orchestra), Born: February 23, 1685, Halle, Saxony, Germany Music for the Royal Fireworks re-appeared at Died: April 14, 1759, London, England a beneft for Handel’s favorite charity, The Year Composed: 1749 Foundling Hospital, and it was a fabulous Length: c. 18 minutes success. World Premiere: April 27, 1749, Green Park, London Music for the Royal Fireworks begins with Last ISO Performance: September 2006 with a large, tripartite overture in French style: Maestro Raymond Leppard double dotted rhythms, stately themes, and Instrumentation: 3 oboes, 2 bassoons and a slow pace. It also includes several big fan- contrabassoon, 3 horns, 3 trumpets, fares displayed by winds, heavy brass, three timpani, harpsichord, and strings kettledrums, and a contrabassoon. Later, Handel added violins and a harpsichord in When George Friedrich Handel, Composer of the second minuet. Note the concerto grosso the Royal Chapel, was asked by King George II texture in which instrumental groupings for music to celebrate the Treaty of Aix-la-Cha- contrast with one another and the terraced pelle, he agreed enthusiastically. dynamics. This suite was the essence of baroque style in one of Handel’s last major Britain was still in a celebratory mood a year orchestral works. later when Handel’s suite, Music for the Royal Fireworks, premiered in London. To be diplo- The second movement is a bourrée, a popu- matic to their former enemy, Handel included lar French clog dance, emanating from the an Overture in the French Style, a French Bour- seventeenth century. rée, a couple of Menuets, and titled two move- ments in French: La Paix and La Réjouissance. La Paix (The Peace), in honor of the treaty CLASSICAL | POPS | COFFEE CLASSICAL itself, fows serenely in a Largo allla siciliana On April 27, 1749, the spectacle was underway style, including nine French horns in the frst in grand style. More than 100 cannons were edition. Violins begin softly and are joined on hand to strike a pose of great power and, by lower strings in a relaxed, gentle tune of course, to render a massive salute. Colorful reminiscent of pastoral settings. freworks were to be launched in London’s Green Park from a huge structure called “the La Réjouissance announces a bright trumpet machine,” which was 410 feet long and 114 theme with soft drum accompaniment. feet high. Violins enter in responsive behavior for a sprightly celebration, which focuses on the Handel’s Suite served as a prelude to the can- opening idea throughout. nons’ roar. Fireworks rocketed into the air to the delight of the huge assemblage, and Two minuets follow: the frst is subdued, then proceeded to burn down a large section cast in D minor. The second moves to D of the great structure. Handel’s music, per- major for a festive conclusion. Handel’s frst formed by 100 musicians, was successfully version used only oboes and bassoons; later received, but upstaged by the disaster, and the winds were blended with violins and the audience of 12,000 fed the scene. Clearly, harpsichord.

17

LILLY Classical Series Program Notes

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

VIOLIN CONCERTO NO. 3 IN G MAJOR, K. 216 op’s pleasure and parties. Coupled with these WOLFGANG AMADEUS MOZART responsibilities, the speed of such concerto Born: January 27, 1756, Salzburg, Austria output was startling, but as a teenager he was Died: December 5, 1791, Vienna, Austria flled with energy, bravura, confdence, and a Year Composed: 1775 bit of defance. Defance was aimed at the man Length: c. 25 minutes whom he called “Archbishop Booby” who had World Premiere: Unknown deservedly earned the hatred of the citizenry, Last ISO Performance: June 2016 with especially of Mozart, not only for his tyran- conductor David Danzmayr and violinist nical, autocratic attitudes, but also because Caroline Goulding he treated Mozart as an uppity servant, paid Instrumentation: 2 futes, 2 oboes, 2 horns, him a paltry sum of 150 guilders, and insist- strings, and solo violin ed that he eat with the maids and footmen. Constant tension and fghting were inevitable. Johann Andreas Schachtner, a friend of the When Mozart visited Vienna in 1781, he was Mozarts, recalled that at age seven, Wolfgang fnally sacked by Count Arco, the archbishop’s appeared with his little violin to join a party steward. making music in his home. He had been taking violin instruction from his father for a couple Even though he considered playing the violin of years. Challenging his father’s demands to to be “an unpleasant chore,” it is likely that leave the guests, the child responded: “But you Mozart wrote his violin concerti for himself don’t need to have studied in order to play as soloist. The Third, however, was written for second violin” (my apologies to second violin- his friend Antonio Brunetti. In 1781, Mozart ists in the ISO). The story goes on to report that decided to quit playing the violin. Henceforth, the little boy joined the group anyway, played if playing a string instrument at all, he played beautifully, and Herr Schachtner, with tears viola for the last ten years of his life. streaming down his face, fnally laid down his own violin to listen to the prodigy. It is not known when K. 216 premiered, but a good guess is that it was sometime soon Although he did not like it, Mozart continued after its completion in September. Only one his violin studies, and during the 1770s, performance with Mozart as soloist has been became an acclaimed soloist. Since the violin verifed. The Third Violin Concerto has three was the most popular instrument of that time, movements. In the frst, Mozart adheres the concertizing provided money and import- to conventional sonata form. The opening ant background for future string writing. introduction begins with a chipper theme displayed by frst violins, based on an aria from In 1775 when he was nineteen, Mozart penned Il Re Pastore (The Shepherd King, a light opera four more violin concerti, having composed Mozart had completed one year previously). A the frst in 1773. While writing his violin con- second theme is also included in the opening certi, he was also working as concertmaster section before the soloist enters with a lightly and fulltime section player for Hieronymous perfumed version of the frst subject. A bold Colloredo, Prince-Archbishop of Salzburg’s oboe struts into the soloist’s initial presenta- royal orchestra. Mozart’s duties were exten- tion, but is quickly dismissed by the leading sive, including co-conducting, playing, and violin. The development ofers virtuosic solo composing special requests for the archbish-

18

and collaborative opportunities while focus- THE HEBRIDES OVERTURE, OP. 26 ing on the secondary subject. Texture and FELIX MENDELSSOHN mood change with a diversionary recitative, Born: February 3, 1809, Hamburg, Germany bridging to the traditional recapitulation. A Died: November 4, 1847, Leipzig, Germany solo cadenza is followed by a coda. Year Composed: 1830–1832 Length: c. 10 minutes The second movement (Adagio) presents an World Premiere: May 14, 1832, London intimate, slow-moving lyrical cantilena sung Last ISO Performance: May 2011 with frst by muted violins and then the soloist, Maestro Krzysztof Urbański underscored with triple metered accom- Instrumentation: 2 futes, 2 oboes, paniment from second violins and violas. 2 clarinets, 2 bassoons, 2 horns, Muted strings are joined with pizzicato bass- 2 trumpets, timpani, and strings es and gentle, sustained wind harmonies. Flutes replace the reedy oboes to soften Fingal’s cave was a Scottish tourist attraction the texture. Occasionally the winds have a on Stafa Island in the Hebrides archipel- dialogue with the soloist, but orchestration ago. The cave was spectacular: located at at all times remains light and discrete. This sea level, it was over 200 feet deep and 35 backdrop provides a steady yet quiet foun- feet high with colorful basalt pillars. At the dation against which the soloist projects the entrance to the cave, the columns provided fnal restatement of the tender theme at the an opening of 150 feet. close. Noted Mozart scholar Alfred Einstein described this section as “an adagio that On his twentieth birthday, Mendelssohn seems to have fallen straight from heaven.” celebrated with a trip to England (the frst of nine visits) invited by his friend Carl Klinge- The third movement is a bright rondo in a mann, who introduced the young composer triple meter (3/8). After the orchestra opens to London society. After the London concert the scene with a lilting tune, the soloist season, Mendelssohn traveled to Scotland, happily joins in the frst episode. A series where he visited Sir Walter Scott and the of episodes follow before a return of the stunning cave. He was taken in a small boat, initial rondo theme. Suddenly, the music is and was spellbound with the beauty and stopped mid-fight as Mozart drops in two drama of the scene. Klingemann, also in the slower ideas—one based on a Hungarian skif, wrote that “its amazing pillars made it folk tune, shifting to 2/2 meter in gavotte look like the inside of an immense organ, style, in the middle of the last movement. black and resounding, absolutely without purpose, and quite alone, the wide grey sea The tune presented was known as “The within and without.” Strassburger,” hence this concerto is some- times nicknamed “The Strassburg.” Known Mendelssohn frst titled the work Die as a movement within a movement, this einsame Insel (Lonely Island) but when he unexpected intrusion was a familiar practice completed the score on June 20,1832, he of the baroque. Mozart’s surprise episode changed the name to Die Hebriden (the closes as suddenly as it began, and the jolly Hebrides) using the name Fingal’s Cave on opening returns as if nothing had hap- the orchestra parts. Although he began the pened. At the conclusion, winds are given a work in Scotland, it was completed in Rome prominent role in saying goodbye. It is likely in 1830. It premiered, after revision, on May that this concerto also included a harpsi- 14, 1832, in London. Before its publication chord during early performances. in 1835 it was revised yet again and titled “Fingal’s Cave.”

19 LILLY Classical Series Program Notes

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

In 1761 Haydn began to work for the Esterhazy FUN FACT family, one of the richest and deeply infuential In December of 1930, Mendelssohn gave families in the Austro-Hungarian Empire. Their the Hebrides Overture to his father family wealth had been initially garnered for as a birthday present. supporting the Habsburgs in the Austro- Turkish wars and they now sported assorted The Overture has two main themes: the frst, castles, lands, and power over their principali- very short, is played by violas, celli, and bas- ties in addition to elevated positions. soons, meant to capture the beauty and mas- siveness of the cave and the loneliness within For thirty years, Haydn was employed by Prince it; the second refects rolling waves that fowed Nicholas I, an avid music lover and expert into the cave. The music begins with a restless baryton and cello player. H.C. Robbins Landon one measure motif that repeats 46 times over in Haydn and Eighteenth Century Patronage continually changing harmonies, orchestra- in Austria and Hungary has noted that Prince tion, and dynamics. The larger secondary idea Nicholas adored Haydn, made him Kapellmeis- follows in bassoons and celli. ter, provided him with his own orchestra, a choir, full artistic control, a nice salary of 400 A development emerges via violas and celli gulden to which was added a “secret” addition- trading the opening idea, evolving into a huge al 200 gulden, time to compose, and even gave climax before futes summon the recapitula- him bonuses of gold coins if he liked certain tion. Gradually the turbulence relaxes, another pieces (especially the operas and the sympho- fast moving climax ensues, and the Overture nies). Haydn was loyal and admired the prince concludes with a recall of the opening sung and was by any metric in a fortunate place. quietly by clarinets in duet coupled with rising commentary from the fute. When Prince Nicholas I completed the palace ______at Esterhazy in 1766, Haydn (although ranked as a servant) found a splendid, magnifcent SYMPHONY NO. 103 IN E-FLAT MAJOR, setting for his career and his life. He wrote that “My prince was satisfed with all my work; I “DRUMROLL” received applause. [Since] I was cut of from FRANZ JOSEPH HAYDN the world, I was forced to become original” Born: March 31, 1732, Rohrau, Austria (Griesinger). In a letter of July 6, 1776, Haydn Died: May 31, 1809, Vienna, Austria wrote “This is where I wish to live and to die.” Year Composed: 1793 Length: c. 30 minutes However, after Prince Nikolaus died on World Premiere: March 1, 1795, London September 28, 1790, this hope was not to be Last ISO Performance: February 1967 with granted. Haydn found his position to be sud- conductor Izler Solomon denly titular; responsibilities and salary were Instrumentation: 2 futes, 2 oboes, greatly reduced under the new Prince Anton, 2 clarinets, 2 bassoons, 2 horns, who did not care much for music at all. In fact, 2 trumpets, timpani, and strings the composer was suddenly and shockingly retired. After this professional demise, the impresario Johann Peter Salomon invited Haydn on a providential trip to London.

20 They arrived together on January 1, 1791. Both ry theme has not been discarded: it makes men were enthusiastically received, and Haydn cameo appearances as the movement had landed on his feet professionally. London develops. At the conclusion, the big drum- was thrilled to have such a famous composer roll interrupts the fun and summons the in their midst and his music was well known opening idea for one last utterance before a and appreciated. Eventually he became friends crisp ending. with the royal family as well as the aristocrats. Salomon was delighted, of course, because The second movement, Andante piu tosto he stood to proft by bringing Haydn to the allegretto, displays variation format, built on English world. two main subjects quoting two folksongs heard in the region around the Esterhazy Between 1791 and 1795, Haydn wrote a set estate: one in C major, the other in C minor. of twelve symphonies known as “the London Strings open the scene with a quiet state- Symphonies,” of which Number 103 is next to ment that becomes magnifed dynamically last. After the premiere on March 2, 1795, the as the movement progresses. At measure 84, Morning Chronicle had this to say: listen for the concertmaster’s delicate solo, which is a delightful inclusion. The whole Another new Overture by the fertile and orchestra is pulled back to move into the enchanting Haydn was performed, which fnal segment that boasts increased as usual had continual strokes of genius, dynamics, increasing virtuosity, and heavier both in air and harmony.” [Overture and scoring. Notice the fast tremolos in low- symphony meant the same thing at this er strings that add drama and busyness time in England]. The introduction before uniting in four fortissimo chords. This excited the deepest attention, the Allegro movement was so successful that the frst charmed, the Andante encored, the Men- audience demanded a repeat on the spot! uets, especially the Trio, were playful and sweet, and the last movement was equal, The third movement is a tripartite, stately if not superior to the preceding. minuet, opening with the futes proclaiming a nicely accented theme. Clarinets are pro- The Drumroll Symphony begins with a vided prominence throughout this move- kettledrum roll (marked Solo Intrada) which ment, especially in the central Trio section. is followed immediately by a slow (adagio), ponderous theme displayed by low strings and The Finale is marked Allegro con spirito: it bassoons. Small cadential fgures are added by begins softly and delicately with the horns futes and oboes in the ffth and sixth mea- sounding an invitation, to which strings sures before the violins move to the forefront, respond, moving at a rapid pace in a cheer- carrying the heavy theme for thirty-eight ful theme with conspicuous repeated notes, measures. It was a strange beginning that colored by continued horn participation. certainly merited “the deepest attention.” Even Suddenly, the dynamics shift to fortissimo more curious was the fact that Haydn gave no and the zest begins. But, not for long—a instructions on how the stunning drumroll was sudden denouement, brings back the to be played. delicacy. Quickly we are treated to a plan of quickly moving alternating dynamics (louds An Allegro con spirito quickly erases the and softs) that add dramatic propulsion to ominous beginning with a vivacious melody Haydn’s animated conclusion. Notice that that scampers, twirls, and has been likened Haydn considers that herein one idea is to “a pop tune” as it raises the curtain into a sufcient for the fnal movement: one might lighthearted world. A similar jolly subsidiary have expected a more complex ending, but theme is also added. But the deep introducto- Haydn’s wit and discretion has the last word.

21 Join us for our annual Student Appreciation Concert! This year’s performance will feature Op. 96 70 high school musicians from central Indiana, sitting side-by-side with their | Festive Overture, Indianapolis Symphony Orchestra counterparts to perform works by ShostakovichShostakovich and (Pathétique) Tchaikovsky. Arrive early for pre-concert entertainment| Symphony and No. activities. 6 Tchaikovsky , Conductor Matthew Kraemer

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG Leslie Odom, Jr. with the ISO jan 5, 2018

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

Special Friday, January 5, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | LESLIE ODOM, JR., Vocalist

Selections will be announced from the stage.

Associate Sponsor

Recording or photographing any part of this performance is strictly prohibited.

23 JAN 5 JACK EVERLY, Conductor

Jack Everly Mr. Everly is also the Music Director of the IPL is the Yuletide Celebration, now a 32-year tradition. Principal Pops He led the ISO in its frst Pops recording, Conductor Yuletide Celebration, Volume One, that of the included three of his own orchestrations. Indianapolis Some of his other recordings include In The and Baltimore Presence featuring the Czech Philharmonic Symphony and Daniel Rodriguez; Sandi Patty’s Broadway Orchestras, Stories; the soundtrack to Disney’s The Naples Hunchback of Notre Dame; and Everything’s Philharmonic Coming Up Roses: The Complete Overtures Of Orchestra, and Jule Styne. the National Arts Centre Originally appointed by Mikhail Baryshnikov, Orchestra (Ottawa). He has conducted the Mr. Everly was conductor of the American Los Angeles Philharmonic at the Hollywood Ballet Theatre for 14 years, where he served Bowl, the New York Pops at Carnegie Hall, as Music Director. In addition to his ABT and appears regularly with the Cleveland tenure, he teamed with Marvin Hamlisch on Orchestra at Blossom Music Center. Maestro Broadway shows that Mr. Hamlisch scored. Everly will conduct over 90 performances He conducted Carol Channing hundreds in more than 20 North American cities of times in Hello, Dolly! in two separate this season. Broadway productions.

As Music Director of the National Memorial Maestro Everly, a graduate of the Jacobs Day Concert and A Capitol Fourth on PBS, School of Music at Indiana University, is Maestro Everly proudly leads the National a recipient of the 2015 Indiana Historical Symphony Orchestra in these patriotic Society Living Legends Award and holds an celebrations on the West Lawn of the U.S. Honorary Doctorate of Arts from Franklin Capitol. These concerts attract hundreds of College in his home state of Indiana. He thousands of attendees on the lawn and the is a proud resident of the Indianapolis broadcasts reach millions of viewers, making community for over 15 years, and when not them some of the highest-rated programs on the podium you can fnd Maestro Everly at on PBS. home with his family, which includes Max the wonder dog.

.Ö¬¬ÁÍːW?Ë?ÁÍÄË~ÁÖ¬ÄË͆ÁÖ~† ?aÜjÁ͉ĉ™~ˉ™Ë͆j‰ÁˬÁ~Á?”ı

Contact [email protected] to place a program ad.

24 LESLIE ODOM, JR., Vocals JAN 5

Multifaceted Acting. Additional theatre credits include performer Les- Leap of Faith on Broadway, for which he won lie Odom, Jr. the 2012 Astaire Award for Outstanding Male completed his Dancer on Broadway and was nominated run on Broad- for a Drama League Award; the 2014 way starring musical Venice, which also played at The as ‘Aaron Burr’ Public Theater; and the Encores! Of Center in the original production of Tick, Tick... Boom! which was his cast of the frst time working with Hamilton creator, Lin - blockbuster hit Manuel Miranda. musical Hamil- ton, a role that On the small screen, Odom, Jr. is best known earned him the for his portrayal of ‘Sam Strickland’ in the NBC 2016 Tony Award for Lead Actor in a Musical. musical series Smash, and his recurring role He is also a Grammy Award-winner as a prin- as ‘Reverend Curtis Scott’ on Law & Order: SVU. cipal soloist on Hamilton’s Original Broadway He’s also appeared in episodes of Gotham, Cast Recording, which won the 2016 award Person of Interest, Grey’s Anatomy, House of for Best Musical Theater Album. Lies, Vanished, and CSI: Miami. He also starred in the 2012 flm Red Tails and the 2017 movie He made his Broadway debut at the age of Murder on the Orient Express. His solo album 17 in Rent before heading to Carnegie Mellon Leslie Odom, Jr. was released in 2016. University’s prestigious School of Drama, where he graduated with honors. He is the Odom, Jr. was raised in Philadelphia, and recipient of a 2002 Princess Grace Award for resides in New York City.

The 34th annual Celebration of Black History concert with your Indianapolis Symphony Orchestra

As we near the 50th anniversary of Dr. Martin Luther FREE CONCERT King, Jr.'s death, the ISO presents a program focused on the historic nonviolence in Indianapolis on the TUESDAY, FEBRUARY 6 • 7:30PM night of his assassination.

HILBERT CIRCLE THEATRE Join us for an evening of music celebrating the life of Dr. King!

RESERVE YOUR TICKETS BEGINNING JANUARY 15!

SPONSORED BY: 25 THE ISO’S YOUNG PROFESSIONALS GROUP

• 50% off Happy Hour tickets THE ISO’S • 20% off Classical and Pops Series tickets • Exclusive invites to concerts and ISO parties • Discounts on special events RECEIVE all this FOR A GROUP $50 yearly membership fee! To sign up and start receiving benefits, visit IndianapolisSymphony.org/FORTE!

LET US HELP PLAN YOUR SUMMER OUTING!

• RESERVED LAWN SEATING • FLEXIBLE PAYMENTS • DISCOUNTED TICKETS & WAIVED FEES

Group events are great for family gatherings, meetups, company picnics and more! We'll work directly with your group to guarantee a memorable night GROUP SALES for you and your guests. Groups of 30+ can take advantage of these great benefits and discounted tickets!

Begin planning your outing by contacting Joshua Shuck, Director of Sales, at 317.231.6788 or [email protected].

26 HARRY POTTER AND jan 11, 14, 2018 THE GOBLET OF FIRE

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

Specials and Presentations Thursday, January 11, at 7:30 p.m. Sunday, January 14, at 3 p.m. Hilbert Circle Theatre

JUSTIN FREER, Conductor

John Williams Harry Potter and the Goblet of Fire™ IN CONCERT

Harry Potter and the Goblet of Fire In Concert Produced by CineConcerts

Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Jennifer Wootton, Production Associate David Hofs, Sound Engineer/Production Supervisor Ed Kalnins, Playback Operator and Synthesizer Production Marketing Director: Molly Haydon Press Manager: Andrew P. Alderete Worldwide Representation: WME Entertainment

Music Preparation: JoAnn Kane Music Service Music Editing: Ramiro Belgardt and Ed Kalnins Sound RemixingJustin Moshkevich, Igloo Music Studios

A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

Recording or photographing any part of this performance is strictly prohibited.

2727 REGISTER TODAY!

INDIANAPOLIS SYMPHONY ORCHESTRA 15TH ANNUAL

PRESENTED BY CENTAUR GAMING

JUNE 4, 2018 THE FORT GOLF COURSE 6002 N POST RD INDIANAPOLIS, IN 46216

Contact Carol Ann Arnell for details; [email protected] or 317.262.5225 CINE CONCERTS JAN 11, 14

CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by producer/conductor Justin Freer and producer/writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefne the evolution of live experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, and Breakfast at Tifany’s. Justin Freer has quickly become one of the most sought-after conductors of flm music with a long list of full symphonic live to projection projects. He has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.

JUSTIN FREER, Conductor JAN 11, 14

American Major League Soccer Championship Cups in composer/ Los Angeles. He has served as composer for conductor several independent flms and has written Justin Freer motion picture advertising music for Avatar, is a highly The Day the Earth Stood Still, Dragonball sought-after Evolution and Aliens in the Attic. conductor and producer of flm In upcoming seasons Freer will guest music concerts conduct the Minnesota Orchestra as well as around the the orchestras of Chicago, Dublin, London, world. Freer Paris, Philadelphia, San Francisco, Sydney, began his Toronto and others. He has been recognized formal studies with numerous grants and awards from on trumpet, organizations including ASCAP, BMI, the playing in wind ensembles, marching bands, Society of Composers and Lyricists and the and community orchestras. He composed his Henry Mancini Estate. Freer also spent several frst work for wind ensemble at age eleven years as one of the principal conductors for and saw multiple performances of his music The Lord of the Rings Trilogy In Concert and while still a teenager. He gave his professional conducted the European concert run conducting debut at age sixteen. of Titanic.

Continually composing for various diferent Freer earned both his BA and MA degrees mediums, he has written music for world- in Music Composition from UCLA, where his renowned trumpeters Doc Severinsen and principal composition teachers included Paul Jens Lindemann and is in demand as a Chihara and Ian Krouse. In addition, he was composer and conductor for everything from mentored by legendary composer/conductor orchestral literature to chamber music. Major Jerry Goldsmith. League Soccer called upon Freer to compose and conduct music for the 2011 and 2012

29 PROUD TITLE SPONSOR OF THE PRINTING PARTNERS POPS SERIES SINCE 2008 Origami model by Philip Kuhns.

At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indianapolis Symphony Orchestra aren’t just organizations, but educational journeys to a broadened mindset and an open heart. And we’re proud to support it.

Printing • Mailing Services • Publishing • Signage • Promotional Products • Marketing

PrintingPartners.net 30 Classic hollywood jan 12–13, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Four Friday, January 12, 2018, at 8 p.m. Saturday, January 13, 2018, at 8 p.m. Hilbert Circle Theatre

JUSTIN FREER, Conductor Alfred Newman “Conquest” from Captain from Castile Dimitri Tiomkin Suite from Big Sky Prelude Forest at Night (Nocturne) The Wide Missouri (Epilogue) Jerry Goldsmith Suite from Planet of the Apes Apes The Search Continues The Clothes Snatcher The Hunt Max Steiner “Tara’” from Gone With The Wind Bernard Herrmann Prelude from Vertigo Franz Waxman Suite from Sunset Boulevard Ad Prelude Norma Desmond The Studio Stroll The Comeback: Norma as Salome INTERMISSION — Twenty Minutes Erich Korngold “March of the Merry Men” from The Adventures of Robin Hood Jerry Goldsmith Suite from Islands In The Stream The Island The Marlin It Is All True (End Title) Jerry Goldsmith Overture from Capricorn One Ennio Morricone Theme from Cinema Paradiso Jerry Goldsmith “Love Theme” from Forever Young Miklos Rozsa Suite from Ben-Hur Prelude Love Theme Parade of the Charioteers Premier Sponsor

Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce Lengthads that of performance don’t bleed is approximately to be at oneleast hour 0.25” and f ftyfrom minutes. edge. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s biography on page 24.

31 JAN 19–20 KRZYSZTOF URBAŃSKI, Conductor

Berliner Philharmoniker. Krzysztof Urbański simultaneously maintains an international presence by appearing as guest conductor for numerous orchestras around the world, including the Münchner Philharmoniker, Staatskapelle Dresden, London Symphony Orchestra, Philharmonia Orchestra, Tonhalle Orchestra Zürich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Radio France, New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, National Symphony In September 2017, Krzysztof Urbański Orchestra Washington and Toronto Symphony entered the seventh season of his highly Orchestra, among others. Next season sees acclaimed tenure as Music Director of the his debut with the Leipzig Gewandhaus Indianapolis Symphony Orchestra. Orchestra, Accademia Nazionale di Santa Cecilia Orchestra and Orchestre de Paris. In 2015, Urbański became Principal Guest Urbański served as Chief Conductor and Conductor of the NDR Elbphilharmonie Artistic Leader of the Trondheim Symphony Orchestra succeeding Alan Gilbert. In addition Orchestra from 2010 until 2017 and embarked to concerts in Hamburg last season, they on a concurrent four-season tenure as toured Japan and Europe. Alongside these Principal Guest Conductor of Tokyo Symphony performances, they released for Alpha Classics Orchestra in 2012. In 2017 he was appointed ‘wholly excellent renderings’ (Gramophone) Honorary Guest Conductor of the Trondheim of Lutosławski works and Dvořák’s Symphony Symfoniorkester & Opera. No. 9 and A Hero’s Song. His discography also includes Chopin small pieces for piano In June 2015 Urbański received the prestigious and orchestra with Jan Lisiecki and the NDR Leonard Bernstein Award at the Schleswig- Elbphilharmonie Orchestra for Deutsche Holstein Musik Festival; notably, he is the frst Grammophon which received an ECHO Klassik conductor to have ever received this award. award, and Martinu’s Cello Concerto No.1 recorded for Sony with Sol Gabetta and the

32 IndianapolisBallet-ISO-Program-Jan18_OUTLINES.indd 1 12/1/17 1:12 PM ohlsson plays tcHaikovsky Jan 19–20, 2018

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

Lilly Classical Series/Program Eight Friday, January 19, at 8 p.m. Saturday, January 20, at 7 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | GARRICK OHLSSON, Piano

Alexander Borodin “Polovtsian Dances” from Prince Igor (1833–1887) Dance of the Polovtsian Maidens Polovtsian Dance

Piotr Ilyich Tchaikovsky Concerto No. 1 in B-fat Minor for Piano and Orchestra, (1840–1893) Op. 23 Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Garrick Ohlsson, Piano

INTERMISSION — Twenty Minutes

Dmitri Shostakovich Symphony No. 6 in B Minor, Op. 54 (1906–1975) Largo Allegro Presto

Premier Sponsor Associate Sponsor

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

33 JAN 19–20 GARRICK OHLSSON, Piano

in New York’s Tully Hall, Seattle, Denver, Houston, Los Angeles, and Puerto Rico. He appeared once this season already with the Indianapolis Symphony—playing two Prokofev concerti in a weekend in which all fve were programmed.

An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, and Tokyo string quartets, and toured last fall with the Takacs Quartet. Together with Pianist Garrick Ohlsson has established violinist Jorja Fleezanis and cellist Michael himself worldwide as a musician of Grebanier, he is a founding member of the magisterial interpretive and technical San Francisco-based FOG Trio. Ohlsson can prowess. Although long regarded as one of be heard on the Arabesque, RCA Victor Red the world’s leading exponents of the music Seal, Angel, BMG, Delos, Hänssler, Nonesuch, of Chopin, Ohlsson commands an enormous Telarc, Hyperion, and Virgin Classics labels. repertoire ranging over the entire piano literature and has come to be noted for A native of White Plains, N.Y., Ohlsson began his masterly performances of the works of his piano studies at the age of 8 at the Mozart, Beethoven, and Schubert, as well as Westchester Conservatory of Music; at 13 the Romantic repertoire. To date he has at his he entered The Juilliard School in New York command more than 80 concertos, ranging City. He has been awarded frst prizes in the from Haydn and Mozart to works of the Busoni and Montreal Piano competitions, 21st century. the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery This season, that vast repertoire can be Fisher Prize (1994), the University Musical sampled in concerti ranging from Chopin, Society Distinguished Artist Award in Ann Mozart, Beethoven, Brahms, Barber, Arbor, Mich. (1998), and the Jean Gimbel and Busoni in cities including St. Louis, Lane Prize in Piano Performance from the Washington D.C., Cincinnati, San Francisco, Northwestern University Bienen School of Portland, Ore., Prague, Stockholm, Wroclaw, Music (2014). and Strasbourg. In recital he can be heard

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

Alkemie Bach Society of Minneapolis directed by Matthias Maute Ayreheart performing J.S. Bach’s Ascension Oratorio, BWV 11 Bach Society of Minneapolis Ensemble Caprice (Montreal) www.IEMusic.org Ronn McFarlane & Paul O’Dette 317- 577- 9731 Tempesta di Mare (Philadelphia)

34 LILLY Classical Series Program Notes

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

“POLOVTSIAN DANCES” FROM PRINCE IGOR scene, becoming thoroughly enamored by ALEXANDER BORODIN the music of Wagner, Liszt, Schumann, and Berlioz. Upon Borodin’s return to Russia, a Born: November 12, 1833, friendship with Balakirev bridged his entry St. Petersburg, Russia into the group of composers known as “The Died: February 27, 1887, St. Petersburg, Russia Mighty Five.” Years Composed: 1874–1875 Length: c. 14 minutes “I told him that composition was his real World Premiere: November 4, 1890 business,” Balakirev recalled. Amazingly, Last ISO Performance: May 2009 with Borodin managed to keep both medicine conductor Carlo Rizzi and music consistently in his life. Between Instrumentation: piccolo, 2 futes, 2 oboes, 1868 and 1870 he also found time to serve English horn, 2 clarinets, 2 bassoons, 4 horns, as music critic for the Petersburg Gazette. All 2 trumpets, 3 trombones, tuba, timpani, of this took place in what has been called a percussion (bass drum, cymbals, glocken- chaotic household: children, a few mistress- spiel, orchestra bells, snare drum, suspended es, relatives, assorted birds, cats, and dogs. cymbal, tambourine, triangle), harp, And a tolerant wife. and strings, Borodin was devoted to his country, its his- Alexander Borodin was tremendously gifted in tory, and its culture; these became import- two widely separated felds. His life refected ant wellsprings for musical inspiration. The that dualism, responding to the two creative Russian critic and conductor Vladimir Stasov forces within him. On the one hand, Alexander once stated, “He was our epic poet.” The Borodin was internationally respected as an outcome was music of enormous propor- experimental research chemist, was a noted tions with splendid orchestration, which surgeon, founded the frst Russian School of had a superb ability to evoke historical and Medicine for Women, and authored the defn- sometimes exotic grandeur. He gathered itive study The Solidifcation of Aldehydes and ideas, infections, and topics from many pri- Researches upon the Fluoride of Benzole. mary and secondary sources, and his travels produced operas, symphonies, songs, and On the other hand, he gained his lasting fame tone poems, revealing and encapsulating an in the feld that was more like a hobby: music enchanting Russian world. composition. Sometimes these activities were separate, and sometimes they converged. For His opera, Prince Igor, was based on the example, while writing treatises on chemical medieval Russian account of Igor Svya- groupings, he might suddenly write down a toslavich in The Tale of Igor’s Campaign, musical tune or idea, and then continue on also known as the Lay of Igor’s Host. After with the treatise. “For me, composing is an following Stasov’s encouragement to write indulgence that distracts me from my principal an opera on this narrative, the composer work,” he explained. concluded, “Prince Igor is essentially a national opera, interesting only to us Rus- Music had been Borodin’s constant companion sians who love to steep our patriotism in the during his youth and his medical training. In sources of our history and to see the origins 1859 when he traveled to Germany for scien- of our nationality again on the stage.” After tifc purposes, he was dazzled by that musical eighteen years of working intermittently

35 LILLY Classical Series Program Notes

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

on Prince Igor, it still lay unfnished at the time CONCERTO NO. 1 IN B-FLAT MINOR FOR PIANO of his unexpected death in 1887. In 1890 the AND ORCHESTRA, OP. 23 opera premiered at the Mariinsky Theater in St. PIOTR ILYICH TCHAIKOVSKY Petersburg, thanks to three years of untiring work by Glazunov and Rimsky-Korsakov who Born: May 7, 1840, Votkinsk, Russia orchestrated the second part of the score. Died: November 6, 1893, St. Petersburg, Russia Years Composed: 1874–1875 The “Polovtsian Dances,” originally a sequence Length: c. 32 minutes of choral dances, appear at the end of the sec- World Premiere: October 5, 1875, Boston ond act when Prince Igor and his son are taken Last ISO Performance: June 2015 with prisoner by the Polovtstian leader, Khan Kon- conductor Fawzi Haimor and pianist chak. Konchak calls on his slaves to perform Nareh Arghamanyan the exhilarating dances to boost Prince Igor’s Instrumentation: 2 futes, 2 oboes, 2 clarinets, spirits. There are four dances, which combine 2 bassoons, 4 horns, 2 trumpets, 3 trom- in a recapitulatory fnale. In order these are: bones, timpani, strings, and solo piano Andantino (Dance of the Maidens): Christmas Eve 1874 was a terrible day in female slaves Tchaikovsky’s life. He was hoping that his Allegro vivo (Dance of the Men): male slaves close friend Nicholai Rubinstein—director of Allegro (General Dance): in praise of Khan, the Moscow Conservatory and noted pia- who in this part ofers Igor “the woman nist—would premiere his First Piano Concerto. of his choice.” Hoping for the best, the composer previewed Presto (Dance of the Boys) the new work for him on December 24. Piu animato Finale (sometimes described as pandemonium) After the frst movement, there was silence. After the second movement, there was anoth- er horrible, seemingly eternal silence. Clearly something was very wrong. After the third movement, Rubinstein exploded, declaring FUN FACT the work “derivative, unplayable, vulgar, chaot- In the orchestrated version, the ic, and utterly worthless.” “Polovtsian Dances” have been frequent- ly excerpted to become one of Borodin’s In a letter three years later to his patroness, most popular works. Parts of this music Nadezzha von Meck, the composer vividly were adapted for the 1953 Broadway described the scene: “The chief thing I cannot musical Kismet; the most familiar tune, reproduce is the tone in which all this was “Stranger in Paradise,” is sung uttered. In a word, a disinterested person in by the oboe in the opening the room might have thought I was a maniac, Dance of the Maiden. a talented senseless hack who had come to submit his rubbish to an eminent musician.”

But later that same night, Tchaikovsky remem- bered, “He did agree that he would do me the honor of playing the concerto if I reworked it

36

according to his demands.” Shocked and hurt Witnessing such successes, Rubinstein by Rubinstein’s reaction and conditions, the changed his tune and included it in his per- hypersensitive composer corralled his anger formance repertoire in 1879, but it was too and summoned the strength to reply, “I shall late for him to share in the concerto’s initial not alter a single note. I shall have the concer- triumphs. Rubinstein apologized to the to printed exactly as it stands.” composer and performed the work at the Paris Exhibition in 1878 and several years The only thing at that time that Tchaikovsky henceforth until his death. He ofered to pre- did change was to erase the dedication to miere Tchaikovsky’s Second Piano Concerto, Rubinstein and substitute the extraordinary but died on March 23, 1881. German pianist Hans von Bulow. He had heard von Bulow in Moscow in March 1874 and had The gigantic frst movement of the piano been deeply impressed. His choice was a good concerto opens with massive horn fan- one. Rubinstein had been known as a careful, fares before a stunning melody for violins, powerful, and talented pianist, but also an “in- supported by thundering chords from tellectual” one; von Bulow had these attributes the piano. This is followed by a virtuosic as well, but also was passionate to his core. re-statement from the soloist with pizzicati Opus 23 demanded, required, and fortunately accompaniment and a cadenza based on did receive the needed drama and romantic the same material. (The theme later became expression. One critic noted that “von Bulow the source of a popular song from the 1940s rode to the rescue.” called “Tonight We Love”). The full orchestra re-embraces the melody enhanced by rum- Not only was von Bulow delighted to be bling timpani, which gradually and softly the dedicatee, but he also proceeded to decline. One could be fooled that this long introduce the Concerto in a series of Boston introduction of 106 measures contains the concerts. At the premiere, October 25, 1875, main theme of the concerto, but such is not the American audience was thrilled and even the case. demanded a repeat of the last movement. The pianist immediately cabled the good news to The actual frst theme, marked Allegro con Tchaikovsky in Moscow and this was said to spirito, is a snippy, energetic idea based on a be the “frst cable sent between Boston and tune heard by Tchaikovsky at a country fair Moscow” (Michael Allsen). More importantly, in Kamenko, where it was sung by a blind von Bulow promoted the Concerto at 139 of beggar. The pianist takes the lead with the 172 concerts in that season to great acclaim. introduction combined with tiny orchestral responses. A second, slowly moving lyrical theme sung by horns and winds (clarinet) FUN FACT follows. The soloist gets a chance at it before After the Sputnik launch of 1957, the the strings reabsorb the melody and play United States countered with a huge gently with keyboard arpeggios and dec- cultural victory. The Cold War was at its orations and some sharing of parts of the height in 1958 when American pianist theme. From this point on, the structure Harvey “Van” Cliburn won the frst qua- adheres to sonata-allegro pattern. drennial International Tchaikovsky Piano Tchaikovsky builds a complex develop- Competition in Moscow playing Opus ment featuring intense interaction between 23. At the close, the crowd stood and orchestra and soloist. His recapitulation con- clapped for eight minutes! Van Cliburn’s tains no references to the gorgeous opening recording of Tchaikovsky’s First Piano melody, using only the two vetted main Concerto with RCA Victor was the frst themes, and a brilliant cadenza that precedes classical recording to go platinum. the fnal close.

37 LILLY Classical Series Program Notes

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

A poetic second movement is cast in a SYMPHONY NO. 6 IN B MINOR, OP. 54 three-part format (ABA) marked Andantino DMITRI SHOSTAKOVICH semplice – prestissimo – tempo primo. The frst Born: September 25, 1906, St. Petersburg, Russia section features a beautiful, limpid melody Died: August 9, 1975, Moscow, Russia sung by solo fute over muted, plucked strings. Year Composed: 1939 The theme immediately becomes subject to Length: c. 30 minutes variations: the frst in decorated format by the World Premiere: November 21, 1939, soloist, and then echoed by celli. Tchaikovsky’s St. Petersburg, Russia interior section (B) produces a light, dashing, Last ISO Performance: Feburary 2007 scherzo-like section with a tune based on the with conductor Vassily Sinaisky French song, titled, “Il faut s’amuser, danser, Instrumentation: piccolo, 2 futes, 2 oboes, et rire,” which had been popularized by the English horn, 3 clarinets, bass clarinet, 2 bas- soprano Désirée Artôt (with whom Tchaikovsky soons, contrabassoon, 4 horns, 3 trumpets, had a brief fing in 1868–69). The third section 3 trombones, tuba, percussion (bass drum, recalls the lyrical subject of the opening. cymbals, snare drum, tam tam, tambourine, triangle, xylophone), timpani, harp, celesta, The third movement, Allegro con fuoco, is and strings a vigorous hybrid rondo, beginning with a crisp idea from the orchestra, completed by a Shostakovich began his Sixth Symphony on response from the piano. Inspiration for this April 15, 1939, three years after his frst gov- idea came from a Ukrainian folksong, titled, ernment public condemnation in 1936. A lot “Vidyi, Vidyi Ivanku” (“Come, Come Ivanku”). had happened in those three years. His Fifth Tchaikovsky allows for an unfettered Cossack Symphony (1937), which the composer had style dance to emerge, steadily enhanced by ironically titled “a Soviet Artist’s Reply to Just pianistic development. A contrasting episode Criticism,” had signifed his rehabilitation and follows from the violins opening with a huge apology for his musical sins of being bour- romantic melody accompanied by horns. Not geois, decadent, and westernized. Privately the to be denied, however, the original idea pops composer nursed his disdain and hatred for back, now tantalizing with rhythmic ambigu- Stalin. On the leader’s 61st birthday on Decem- ities. Together, the two ideas roar to an enor- ber 21, 1939, he did not attend the grand party mous climax before Opus 23 closes with three nor ofer a musical tribute such as Myaskovsky massive chords from the soloist and orchestra. and Prokofev had done. He explained that he was too busy re-orchestrating his opera, The Concerto grew to international fame and Boris Godunov. acclaim and remains a cherished part of piano concerto repertoire. Tchaikovsky did revise Among many changes in that three-year the concerto in 1889 and this is the version period, the musical doctrines of Socialist on this concert. Realism were softened and demands for light patriotic music were minimized. Realizing that he had to gain cultural international prestige, Stalin decided a limited amount of artistic free expression could be tolerated. This loosening was sometimes identifed as a “musical NEP” (derived from the New Economic Policy).

38 Politically, between 1936 and 1939, things order predominates. I want to convey in it were strange. Stalin was pragmatically nego- the moods of spring, joy, and youth.” tiating and even concluded a non-aggression pact with Hitler. Nazis were called “fraternal la- The frst movement (Largo) is long, expan- borers.” Thousands of people were executed as sive, grave, and ponderous. Harmonies part of Stalin’s Purges. Shostakovich in Testimo- are unusual, and orchestration is heavily ny: The Memoirs of Dmitri Shostakovich recalled weighted in favor of a melancholy English these times to be “difcult, mean, unbelievably horn combining with the dark neighbor- mean, and hard; I was so lonely and afraid.” hood of celli, violas, clarinets, and bassoons. In these terrible, ambivalent circumstances, Although the opening is impressive, it is Shostakovich began to write Opus 54. also ominous. This mood yields to heavy desolation and sadness. It was unusual, confounding to many critics, and some said that its “lopsidedness, while The second movement (Scherzo) is busy, deliberate, vitiates its value as a work of art light, fast, lightly scored, and completely once divorced from its historical context.” diferent from the frst. A menacing joie However, the premiere of the Sixth Symphony de vivre drives the music. Ian McDonald on November 21, 1939, was a huge success described this outcome saying “If you want and the fnale was encored. Sadly, Shostakov- light music, you are going to get it — and ich was not able to attend, but he did listen with a vengeance.” on the radio. Music critics were not so en- chanted, particularly focusing their vitriol on The third movement continues the playful the enormous length of the frst movement, jollity. At this point, Shostakovich opts for a the change in traditional symphonic structure boisterous, no-holds-barred eruption. The (i.e. three movements), and a “chaotic” fnale. mood is endlessly optimistic, energetic, and And, they were bafed and furious about thrilling. After playing the last movement Shostakovich’s failed promise, stated in 1938, for his friends— music critic Ivan Sollertin- to write a symphony to honor Lenin. In that sky and historian Isaak Glikman—Shosta- the composer had stated, “I have set myself a kovich stated, “This is the frst time I have task fraught with tremendous responsibility, written such a successful fnale. It seems to to express in sound the immortal image of me not even the sternest of critics will be Lenin as a great son of the Russian people able to fnd fault with it.” and as a leader of the masses. I have received numerous letters from all over the Soviet How is this explained? During his lifetime, Union with regard to my future symphony. The Shostakovich said less about this symphony most important advice contained therein was than all others in his oeuvre. Speculation to make considerable use of musical folklore” endures, but in the end, a true explanation (Defning Russia Musically by Richard Taruskin). will remain Shostakovich’s secret. It could In the Sixth Symphony, there is no folksong, no be that he feared a terrible judgment grandeur, and no follow-through on his stated with horrendous consequences. He had a intentions. justifed paranoia. For many years he had been rebuked and punished by the Soviet Shostakovich spoke about changes from his government (climaxed by two ofcial previous works, writing: “The musical char- condemnations and censorship in 1936 and acter of the Sixth Symphony will difer from 1948) and he led a life of violent see-saw- the mood and emotional tone of the Fifth ing between acceptance and denigration. Symphony, in which moments of tragedy and Living within constant instability and tension were characteristic. In my latest sym- variable re-enforcement, the composer’s phony, music of a contemplative and lyrical mental, physical, emotional, and artistic resilience was phenomenal.

39 JAN 26–27 THOMAS HAMPSON, Baritone

Advisor to the Study and Performance of Music in America. Furthermore, he has received the famed Concertgebouw Prize, and was named ECHO Klassik’s “Singer of the Year” in 2011 for the fourth time in 20 years. Hampson was made honorary professor at the Faculty of Philosophy of the University of Heidelberg and holds honorary doctorates from Manhattan School of Music, New England Conservatory, Whitworth College, and San Francisco Conservatory, as well as Thomas Hampson, America’s foremost being an honorary member of London’s baritone, has received many honors and Royal Academy of Music. He carries the titles awards for his probing artistry and cultural of Kammersänger of the Vienna State Opera leadership. Honored as a Metropolitan Opera and Commandeur dans l’Ordre des Arts et Guild “Met Mastersinger” and inducted into des Lettres of the Republic of France, and was both the American Academy of Arts and awarded the Austrian Medal of Honour in Sciences and Gramophone’s “Hall of Fame,” Arts and Sciences. In 2017 Hampson received Hampson is one of the most respected and the Hugo-Wolf-Medal from the International innovative musicians of our time. With an Hugo-Wolf-Academy together with his long- opera repertoire of more than 80 roles sung time musical companion Wolfram Rieger for in all the major opera houses of the world, his their outstanding achievements in the art of discography comprises more than 170 albums, song interpretation. which include multiple nominations and winners of the Grammy Award, Edison Award, Thomas Hampson enjoys a singular and the Grand Prix du Disque. international career as an opera singer, recording artist, and “ambassador of song,” He received the 2009 Distinguished Artistic maintaining an active interest in research, Leadership Award from the Atlantic Council education, musical outreach, and technology. in Washington, D.C., and was appointed Through the Hampsong Foundation, which the New York Philharmonic’s frst Artist-in- he founded in 2003, he employs the art of Residence. In 2010 he was honored with song to promote intercultural dialogue and a Living Legend Award by the Library of understanding. Congress, where he has served as Special

40 beethoven’s “pastoral” Jan 26–27, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Krzysztof Urbański, Music Director Raymond Leppard, Conductor Laureate Jack Everly, Principal Pops Conductor RaymondLilly Leppard,Classical Series Conductor/Program Laureate Nine Friday, January 26, at 8 p.m. LillySaturday, Classical January Series 27,/Program at 5:30 Seven p.m. Saturday, JanuaryHilbert 6,Circle at 5:30 Theatre p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | THOMAS HAMPSON, Baritone KELLEY O’CONNOR, Mezzo Soprano Gustav Mahler Songs from Des Knaben Wunderhorn NICHOLAS(1860–1911) MCGEGAN, Conductor Des | KAREN Antonius GOMYO, von Padua Violin Fischpredigt (St. Anthony of Padua’s Sermon to the Fish) Handel SymphonyVerlor’ne No. Müh 101 (Labor in D Lost)Major (“The Clock”) (1732–1809) LobAdagio des hohen - Presto Verstandes (Praise of Lofty Intellect) WerAndante hat dies Liedlein erdacht? (Who Thought Up This Song?) DerMenuet: Schildwache, Allegretto Nachtlied (The Sentinel’s Nightsong) RevelgeVivace (Reveille) Rheinlegendchen (Rhine Legend) Mozart ConcertoLied des in Verfolgten A minor for im Violin, Turm Cello, and Orchestra, Op. 102 (1833–1897) (“Double (Song Concerto”) of the Persecuted in the Tower) WoAllegro die schönen Trompeten blasen (WhereAndante the Fair Trumpets Sound) DerVivace Tamboursg’sell non troppo (The Drummer Boy) Das irdischeZach De Leben Pue (The, Violin Earthly Life) Urlicht Austin (Primeval Huntington Light) , Cello

INTERMISSION — Twenty Minutes Ludwig van Beethoven Symphony No. 6 in F Major, Op. 68 (“Pastoral”) (1770–1827) Awakening of cheerful feelings on arriving in the country: Allegro ma non troppo Scene by the brook: Andante molto mosso Premier Sponsor Merry assembly of countryAssociate folk: Sponsor Allegro Thunderstorm: Allegro Shepherd’s Song – Happy, grateful feelings after the storm: Allegretto Premier Sponsor Associate Sponsor

This performance is endowed b yXXXXXXXXXXX

Length of performance is approximately XXXXXXX This performanceRecording is orendowed photographing by a gift any from part Ina of M.this Mohlman performance and is the strictly late prohibited. Robert H. Mohlman.

Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Urbański’s biography on page 32.

41 JAN 26–27 KELLEY O’CONNOR, Mezzo-Soprano

Possessing Chicago Symphony Orchestra, with the a voice of Minnesota Orchestra, and with the Berliner uncommon Philharmoniker and the Tonhalle-Orchester allure, musical Zürich among many others. sophistication far beyond her years, Recent seasons include performances with and intuitive and the Indianapolis Symphony Orchestra, the innate dramatic Detroit Symphony, the Atlanta Symphony artistry, the Orchestra, the Budapest Festival Orchestra, Grammy Award- the Philharmonia Orchestra, the London winning mezzo- Symphony Orchestra, and the New York soprano Kelley Philharmonic. She has appeared in recital O’Connor has emerged as one of the most in Boston’s Jordan Hall, at the Collaborative compelling performers of her generation. Arts Institute Chicago in Cincinnati, and in Jackson Hole. During the 2017–18 season, the artist’s impressive symphonic calendar includes O’Connor has appeared numerous times with performances of Bernstein’s “Jeremiah” Gustavo Dudamel and enjoys a rich musical Symphony with the New York Philharmonic collaboration with Franz Welser-Möst and and with the San Diego Symphony, the Cleveland Orchestra. With the National Beethoven’s Missa Solemnis with the St. Symphony Orchestra, she has given the world Louis Symphony, and Mahler’s Eighth premiere of a vocal work written for her by Symphony with the Tonkünstler-Orchester the legendary Indian musician Zakir Hussain. Niederösterreich. She returns to the stage of the Kennedy Center for performances of Operatic highlights include Donizetti’s John Adams’ The Gospel According to the Other Anna Bolena at the Lyric Opera of Chicago, Mary marking her frst collaboration with Madama Butterfy in a new production by Gianandrea Noseda, and sings Beethoven’s Lillian Groag at the Boston Lyric Opera and Ninth Symphony with the Milwaukee at the Cincinnati Opera, Berlioz’s Béatrice et Symphony. O’Connor gives the world Bénédict at Opera Boston, Falstaf with the premiere of a song cycle by Bryce Dessner Santa Fe Opera, and A Midsummer Night’s at Carnegie Hall with the Orchestra of St. Dream at the Lyric Opera of Chicago and the Luke’s and, later in the season, she joins the Canadian Opera Company. Atlanta Symphony for the world premiere of a new work written for her by Michael Kurth. O’Connor has received unanimous The American mezzo brings Carmen into her international, critical acclaim. For her repertoire with presentations by Opera Bufs debut with the Atlanta Symphony, she and the Los Angeles Opera. joined Robert Spano for performances and a Grammy Award-winning Deutsche John Adams wrote the title role of The Gospel Grammophon recording. Her discography According to the Other Mary for O’Connor and includes Mahler’s Third Symphony with the she has performed the work in concert and Dallas Symphony Orchestra, Lieberson’s in the Peter Sellars fully staged production. Neruda Songs with the Atlanta Symphony, She has sung the composer’s El Niño with Adams’ The Gospel According to the Other the London Philharmonic Orchestra and Mary with the Los Angeles Philharmonic, continues to be the eminent living interpreter and Beethoven’s Ninth Symphony with the of Peter Lieberson’s Neruda Songs, having Cleveland Orchestra. given this moving set of songs with the National Symphony Orchestra, with the

42 TEXT JAN 26–27

Gustav Mahler: Songs from Des Knaben Wunderhorn

Des Antonius von Padua Fischpredigt St. Anthony of Padua’s Sermon to the Fish Antonius zur Predigt At sermon time Anthony die Kirche fnd’t ledig! fnds the church empty! Er geht zu den Flüssen He goes to the rivers und predigt den Fischen! and preaches to the fsh! Sie schlag’n mit den Schwänzen! They fap with their tails! Im Sonnenschein glänzen, sie glänzen. They gleam in the sunshine, they gleam. Die Karpfen mit Rogen The carp with roe sind all hierher zogen; have all congregated; hab’n d’Mäuler aufrissen, their jaws gaping, sich Zuhör’n’s befissen. intent on listening. Kein Predigt niemalen Never did a sermon den Fischen so g’fallen! so please the fsh! Spitzgoschete Hechte, Sharp-snouted pike, die immerzu fechten, that fence continually, sind eilends herschwommen, swam up in a hurry zu hören den Frommen! to hear the holy man! Auch jene Phantasten, Even those odd creatures die immerzu fasten, that continually fast: die Stockfsch ich meine, I mean the codfsh, zur Predigt erscheinen! appear for the sermon! Kein Predigt niemalen Never did a sermon den Stockfsch so g’fallen! so please the codfsh! Gut’ Aale und Hausen, Good eels and sturgeon die Vornehme schmausen, that people of quality relish, die selbst sich bequemen, even they condescend die Predigt vernehmen. to attend the sermon. Auch Krebse, Schidkroten, Crabs, too, and turtles, sonst langsame Boten, usually slowboats, steigen eilig vom Grund, climb hurriedly from the depths zu hören diesen Mund! to hear this voice! Kein Predigt niemalen Never did a sermon den Krebsen so g’fallen! so please the crabs! Fisch’ große, Fisch’ kleine! Fish big and fsh small! Vornehm’ und gemeine! Of quality and common! Erheben die Köpfe They raise their heads wie verständ’ge Geschöpfe! like rational creatures! Auf Gottes Begehren At God’s command Die Predigt anhören! they listen to the sermon. Die Predigt geendet, The sermon fnished, ein Jeder sich wendet! each one turns away! Die Hechte bleiben Diebe, The pike remain thieves, die Aale viel lieben the eels great lovers, die Predigt hat g’fallen, the sermon was pleasing, sie bleiben wie Allen! they all stay the same! Die Krebs’ geh’n zurücke, The crabs go backwards, die Stockfsch’ bleib’n dicke, the codfsh stay fat, die Karpfen viel fressen the carp gorge a lot, die Predigt vergessen! the sermon’s forgotten! Die Predigt hat g’fallen, The sermon was pleasing, sie bleiben wie Allen! they all stay the same!

Verlorne Müh’! Labour Lost Sie: She: Büble, wir – Laddie, we – Büble, wir wollen auße gehe! Laddie, we want to go out! Wollen wir? Shall we? Unsere Lämmer besehe? Look at our lambs? 43 JAN 26–27 TEXT

Komm’, lieb’s Büberle, Come, dear laddie! komm’, ich bitt’! Come, I beg you! Er: He: Närrisches Dinterle, Silly lassie, ich geh dir holt nit! I won’t go with you at all!

Sie: She: Willst vielleicht? You want perhaps? Willst vielleicht ä bissel nasche? You want perhaps a little bit to nibble? Hol’ dir was aus meiner Tasch’! Fetch yourself something out of my bag! Hol’, lieb’s Büberle, Fetch it, dear laddie! hol’, ich bitt’! Fetch it, I beg you! Er: He: Närrisches Dinterle, Silly lassie, ich nasch’ dir holt nit! I’ll nibble nothing of yours at all! Sie: She: Gelt, ich soll – You mean, I should – gelt, ich soll mein Herz dir schenke!? You mean, I should give you my heart!? Immer willst an mich gedenke!? Always will you want to think on me!? Immer!? Always!? Nimm’s! Lieb’s Büberle! Take it! Dear laddie! Nimm’s, ich bitt’! Take it, I beg you! Er: He: Närrisches Dinterle, Silly lassie, ich mag es holt nit! I don’t care for it at all! Nit! Nothing!

Lob des hohen Verstands Praise of Lofty Intellect Einstmals in einem tiefen Tal Once in a deep valley Kukuk und Nachtigall the cuckoo and the nightingale täten ein’ Wett’ anschlagen: struck a wager: Zu singen um das Meisterstück, whoever sang the masterpiece, gewinn’ es Kunst, gewinn’ es Glück: whether won by art or won by luck, Dank soll er davon tragen. thanks would he take away. Der Kukuk sprach: “So dir’s gefällt, The cuckoo spoke: “If you agree, hab’ ich den Richter wählt.“ I have chosen the judge.” Und tät gleich den Esel ernennen. And he at once named the ass. “Denn weil er hat zwei Ohren groß, “For since he has two large ears, so kann er hören desto bos! he can hear all the better! Und, was recht ist, kennen!“ And recognize what is right!” Sie fogen vor den Richter bald. Soon they few before the judge. Wie dem die Sache ward erzählt, When he was told the matter, schuf er, sie sollten singen. he decreed that they should sing. Die Nachtigall sang lieblich aus! The nightingale sang out sweetly! Der Esel sprach: “Du machst mir’s kraus! The ass spoke: “You muddle me up! Ija! Ija! Heehaw! Heehaw! Ich kann’s in Kopf nicht bringen!“ I can’t get it into my head!” Der Kukuk drauf fng an geschwind There upon the cuckoo began quickly sein Sang durch Terz und Quart und Quint. his song in thirds and fourths and ffths. Dem Esel g’fels, er sprach nur: “Wart! It pleased the ass, he spoke but: “Wait! Dein Urteil will ich sprechen, I will pronounce thy judgment, ja sprechen. yes, pronounce. Wohl sungen hast du, Nachtigall! You have sung well, nightingale! Aber Kukuk, singst gut Choral! But, cuckoo, you sing a good chorale! Und hältst den Takt fein innen! And hold the beat precisely! Das sprech’ ich nach mein’ hoh’n Verstand! I speak from my higher understanding! Und kost’ es gleich ein ganzes Land, And even if it cost a whole country, 44 TEXT JAN 26–27 so laß ich’s dich gewinnen!“ I thus pronounce you the winner!” Kukuk, kukuk! Ija! Cuckoo, cuckoo! Heehaw!

Wer hat dies Liedlein erdacht?! Who Thought up this Song?! Dort oben am Berg Up there on the mountain, in dem hohen Haus! in the high house! In dem Haus! In the house! Da gucket ein fein’s lieb’s Mädel heraus! There peers out a fne, dear maiden! Es ist nicht dort daheime! There is not her home! Es ist des Wirt’s sein Töchterlein! She is the innkeeper’s daughter! Es wohnet auf grüner Haide! She lives on the green heath! Mein Herzle is’ wundt! My heart has a wound! Komm’, Schätzle, mach’s g’sund! Come, sweetheart, make it well! Dein’ schwarzbraune Äuglein, Y our dark brown little eyes, die hab’n mich verwund’t! they have wounded me! Dein rosiger Mund Your rosy mouth macht Herzen gesund. makes hearts well. Macht Jugend verständig, It makes young people rational, macht Tote lebendig, brings the dead back to life, macht Kranke gesund, makes the ill healthy, ja gesund. yes, healthy. Wer hat denn das schön Who then thought up this schöne Liedlein erdacht? pretty, pretty little song? Es haben’s drei Gäns’ über’s Wasser gebracht! Three geese have brought it over the water! Zwei graue und eine weiße! Two grey and one white! Und wer das Liedlein nicht singen kann, And whoever cannot sing this little song, dem wollen sie es pfeifen! to him they will whistle it! Ja – Yes –

Der Schildwache Nachtlied The Sentinel’s Nightsong Ich kann und mag nicht fröhlich sein! I cannot and will not be cheerful! Wenn alle Leute schlafen! When everyone is asleep! So muß ich wachen! Then I must keep watch! Ja, wachen! Yes, keep watch! Muß traurig sein! Must be sorrowful! Ach Knabe, du mußt nicht traurig sein! Ah, lad, you mustn’t be sad! Will deiner warten I’ll wait for you im Rosengarten! In the rose-garden! Im grünen Klee! In the green clover! Zum grünen Klee da komm ich nicht! To the green clover, there I do not come! Zum Wafengarten! To the weapons garden! Voll Helleparten! Full of halberds! Bin ich gestellt! I am posted! Stehst du im Feld, so helf’ dir Gott! If you are on the battlefeld, may God help you! An Gottes Segen On God’s blessing ist alles gelegen! is everything dependent! Wer’s glauben tut! Whoever believes it! Wer’s glauben tut, ist weit davon! He who believes it is far away! Er ist ein König! He’s a king! Er ist ein Kaiser! He’s an emperor! Er führt den Krieg! He wages war! Halt! Wer da!? Halt! Who’s there? Rund’! Patrol! Bleib’ mir vom Leib! Stand back! Wer sang es hier? Wer sang zur Stund’? Who sang here? Who sang just now? Verlorne Feldwacht A solitary feld sentinel sang es um Mitternacht! sang it at midnight! Mitternacht! Midnight! Feldwacht! Field sentinel!

45 JAN 26–27 TEXT

Revelge Reveille Des Morgens zwischen drei’n und vieren, In the morning between three and four, da müssen wir Soldaten marschieren we soldiers must march das Gäßlein auf und ab, up and down the alley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, mein Schätzel sieht herab! my sweetheart looks down! Ach Bruder, jetzt bin ich geschossen, Oh, brother, now I’ve been shot, die Kugel hat mich schwere, schwer getrofen, the bullet has struck me hard, trag’ mich in mein Quartier, carry me to my billet, trallali, trallaley, trallalera, trallali, trallaley, trallalera, es ist nicht weit von hier! it isn’t far from here! Ach Bruder, ich kann dich nicht tragen, Oh, brother, I can’t carry you, die Feinde haben uns geschlagen, the enemy has beaten us, helf’ dir der liebe Gott! may the dear God help you! Trallali, trallaley, Trallali, trallaley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, ich muß, ich muß marschieren bis in’ Tod! I must, I must march on until death! Ach Brüder, ach Brüder, Oh, brothers, oh, brothers, ihr geht ja mir vorüber, you go on past me als wär’s mit mir vorbei, as if I were done with, als wär’s mit mir schon vorbei! a as if I were already done with! Trallali, trallaley, Trallali, trallaley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, ihr tretet mir zu nah! you’re treading too near to me! Trallali, trallaley, trallali, trallaley. Trallali, trallaley, trallali, trallaley. Ich muß meine Trommel wohl rühren, I must nevertheless beat my drum, trallali, trallaley, trallali, trallaley, trallali, trallaley, trallali, trallaley, sonst werd’ ich mich verlieren. otherwise I will lose myself. Die Brüder, dick gesät, My brothers, thickly covering the ground, sie liegen wie gemäht. lie as if mown down. Er schlägt die Trommel auf und nieder, Up and down he beats the drum, er wecket seine stillen Brüder, he wakes his silent brothers, trallali, trallaley, trallali, trallaley, trallali, trallaley, trallali, trallaley, sie schlagen und sie schlagen ihren Feind, they battle and they strike their enemy, trallali, trallaley, trallalerallala, trallali, trallaley, trallalerallala, ein Schrecken schlägt den Feind! a terror smites the enemy! Er schlägt die Trommel auf und nieder, Up and down he beats the drum, da sind sie vor dem Nachtquartier schon wieder, there they are again before their billets, trallali, trallaley, trallali, trallaley. trallali, trallaley, trallali, trallaley. In’s Gäßlein hell hinaus! Clearly out into the alley! Sie zieh’n vor Schätzleins Haus. They draw before sweetheart’s house, Trallali, trallaley, trallali, trallaley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, sie ziehen vor Schätzeleins Haus, they draw before sweetheart’s house, trallali. trallali. Des Morgens stehen da die Gebeine In the morning there stand the skeletons in Reih’ und Glied, sie steh’n wie Leichensteine in rank and fle, they stand like tombstones, in Reih’, in Reih’ und Glied. in rank, in rank and fle. Die Trommel steht voran, The drum stands in front, daß sie ihn sehen kann, so that it can see him, trallali, trallaley, trallali, trallaley, trallali, trallaley, trallalera, trallali, trallaley, trallalera, daß sie ihn sehen kann! so that it can see him!

Rheinlegendchen Rhine Legend Bald gras’ ich am Neckar, Now I mow by the Neckar, bald gras’ ich am Rhein; now I mow by the Rhine; bald hab’ ich ein Schätzel, now I have a sweetheart, bald bin ich allein! now I’m alone! Was hilft mir das Grasen, What good is mowing 46 TEXT JAN 26–27 wenn d’Sichel nicht schneid’t; if the sickle doesn’t cut; was hilft mir ein Schätzel, what good is a sweetheart, wenn’s bei mir nicht bleibt! if he/she doesn’t stay with me! So soll ich denn grasen So should I then mow am Neckar, am Rhein; by the Neckar, by the Rhine; so werf’ ich mein goldenes then I will throw Ringlein hinein! my little gold ring in! Es fießet im Neckar It will foat in the Neckar und fießet im Rhein, and foat in the Rhine, soll schwimmen hinunter it shall swim right down in’s Meer tief hinein! into the deep sea! Und schwimmt es, das Ringlein, And when it swims, the little ring, so frißt es ein Fisch! then a fsh will eat it! Das Fischlein soll kommen The fsh will land auf’s König’s sein Tisch! on the king’s table! Der König tät fragen, The king would ask, wem’s Ringlein sollt’ sein? whose ring can it be? Da tät mein Schatz sagen: Then my sweetheart would say: “Das Ringlein g’hört mein!“ “The ring belongs to me!” Mein Schätzlein tät springen My sweetheart would spring Berg auf und Berg ein, up hill and down hill, tät mir wied’rum bringen would bring back to me das Goldringlein fein! the fne little gold ring! Kannst grasen am Neckar, You can mow by the Neckar, kannst grasen am Rhein! you can mow by the Rhine! Wirf du mir nur immer You can always toss in dein Ringlein hinein! your little ring to me!

Lied des Verfolgten im Turm Song of the Persecuted in the Tower Der Gefangene, leidenschaftlich eigenwillig The prisoner, vehemently determined Die Gedanken sind frei, Thoughts are free, wer kann sie erraten; who can guess them; sie rauschen vorbei they rush past wie nächtliche Schatten, like nocturnal shadows, kein Mensch kann sie wissen, no man can know them, kein Jäger sie schießen; no hunter can shoot them; es bleibet dabei: it remains thus: die Gedanken sind frei! thoughts are free! Das Mädchen, verzagt schmeichlerisch The maiden, disheartenedly cajoling Im Sommer ist gut lustig sein, Summer is a time for merriment, auf hohen, wilden Haiden. on high, wild heaths. Dort fndet man grün’ Plätzelein, There one fnds a green place, mein Herz verliebtes Schätzelein, my heartily loving little sweetheart, von dir mag ich nicht scheiden! from you I do not wish to part! Der Gefangene The Prisoner Und sperrt man mich ein And if they lock me up in fnstere Kerker, in a dark dungeon, dies Alles sind nur all this is but vergebliche Werke; efort in vain; denn meine Gedanken for my thoughts zerreißen die Schranken tear the bars apart und Mauern entzwei, and the walls in twain, die Gedanken sind frei! thoughts are free! Das Mädchen The Maiden Im Sommer ist gut lustig sein Summer is a time for merriment, auf hohen, wilden Bergen. on high, wild mountains. Man ist da ewig ganz allein There one is always quite alone, auf hohen, wilden Bergen, on high, wild mountains. man hört da gar kein Kindergeschrei. There one hears no children yelling. 47 The Oaks, our newest neighborhood, takes people by surprise. With an unmatched sense of The size and the finishes are expected in luxury homes, but not in senior communities. Why do we offer excellence? Because selective style, The Oaks provides upscale, individuals who want the freedom of maintenance free living and maintenance-free living. outstanding services and amenities shouldn’t have to compromise.

Now accepting waiting list applications for future phases of The Oaks! For more information or to schedule a tour of our model home, call (317) 873-3349.

www.hoosiervillage.com 9875 Cherryleaf Drive • Indianapolis, IN 46268 • 317-873-3349 The Oaks, our newest neighborhood, takes people by surprise. With an unmatched sense of The size and the finishes are expected in luxury homes, but not in senior communities. Why do we offer excellence? Because selective style, The Oaks provides upscale, individuals who want the freedom of maintenance free living and maintenance-free living. outstanding services and amenities shouldn’t have to compromise.

Now accepting waiting list applications for future phases of The Oaks! For more information or to schedule a tour of our model home, call (317) 873-3349.

www.hoosiervillage.com 9875 Cherryleaf Drive • Indianapolis, IN 46268 • 317-873-3349 JAN 26–27 TEXT

Die Luft mag einem da werden, There the air invites one to himself, die Luft mag einem werden. The air invites one to himself. Der Gefangene The Prisoner So sei’s, wie es will! So may it be the way it is! Und wenn es sich schicket, And if it happens, nur Alles, Alles sei in der Stille, may it all happen in the silence, nur All’s in der Still! only everything in the silence! Mein Wunsch und Begehren, My wish and desire Niemand kann’s wehren! can be restrained by no one! Es bleibt dabei, It remains thus, die Gedanken sind frei! thoughts are free! Das Mädchen The Maiden Mein Schatz, du singst so fröhlich hier, My sweetheart, you sing as cheerfully here wie’s Vögelein im Grase; as a little bird in the grass; ich steh’ so traurig bei Kerkertür, I stand so sadly at the prison door, wär’ ich doch tot, wär ich bei dir, if I only were dead, if I only were with you, ach muß ich immer denn klagen? alas, must I then always complain? Der Gefangene The Prisoner Und weil du so klagst, And since you complain so, der Lieb’ ich entsage, I’ll renounce love, und ist es gewagt, and if I dare, so kann mich Nichts plagen! t then nothing can worry me! So kann ich im Herzen Then in my heart I can always stets lachen und scherzen; laugh and be jovial; es bleibet dabei: it remains thus: Die Gedanken sind frei! Thoughts are free! Die Gedanken sind frei! Thoughts are free!

Wo die schönen Trompeten blasen Where the Fair Trumpets Sound Wer ist denn draußen und wer klopfet an, Who then is outside and who is knocking, der mich so leise wecken kann? that can so softly awaken me? Das ist der Herzallerlieble dein, It is your dearest darling, steh’ auf und laß mich zu dir ein! get up and let me come to you! Was soll ich hier nun länger steh’n? Why should I go on standing here? Ich seh’ die Morgenröt’ aufgeh’n, I see the red of morn arise, die Morgenröt’, zwei helle Stern’. the red of morn, two bright stars. Bei meinem Schatz da wär ich gern’! I long to be with my sweetheart! Bei meinem Herzallerlieble! With my dearest darling! Das Mädchen stand auf und ließ ihn ein, The maiden got up and let him in, sie heißt ihn auch willkommen sein. she bade him welcome, too. Willkommen trauter Knabe mein! Welcome, my fne lad! So lang hast du gestanden! You have been standing so long! Sie reicht’ ihm auch die schneeweiße Hand. She ofered him too her snow-white hand. Von ferne sang die Nachtigall, From far away the nightingale sang, da fängt sie auch zu weinen an! then began she too, to weep! Ach weine nicht, du Liebste mein! Ah, do not weep, beloved mine! Auf’s Jahr sollst du mein Eigen sein. After a year you will be my own. Mein Eigen sollst du werden gewiß, My own you shall certainly become, wie’s Keine sonst auf Erden ist! as is no other on earth! O Lieb auf grüner Erden. Oh love on the green earth. Ich zieh’ in Krieg auf grüne Haid; I’m of to war, on the green heath; die grüne Haide, die ist so weit! the green heath is so far away! Allwo dort die schönen Trompeten blasen, Where there the fair trumpets sound, da ist mein Haus, there is my home, mein Haus von grünem Rasen! my house of green grass!

50 TEXT JAN 26–27

Der Tamboursg’sell The Drummer Boy Ballade Ballad Ich armer Tamboursg’sell! I, poor drummer boy! Man führt mich aus dem G’wölb! They are leading me out of the dungeon! Wär ich ein Tambour blieben, If I’d remained a drummer, dürft ich nicht gefangen liegen! I would not lie imprisoned! O Galgen, du hohes Haus, Oh, gallows, you tall house, du siehst so furchtbar aus! you look so frightening! Ich schau dich nicht mehr an! I don’t look at you any more! Weil i weiß, daß i g’hör d’ran! Because I know that’s where I belong! Wenn Soldaten vorbeimarschier’n, When soldiers march past, bei mir nit einquartier’n, that are not billeted with me, wenn sie fragen, wer i g’wesen bin: when they ask who I was: Tambour von der Leibkompanie! Drummer of the frst company! Gute Nacht, ihr Marmelstein! Good night, you marble rocks! Ihr Berg’ und Hügelein! You mountains and hills! Gute Nacht, ihr Ofzier, Good night, you ofcers, Korporal und Musketier! corporals and musketeers! Gute Nacht! Good night! Ihr Ofzier, Korporal und Grenadier! You ofcers, corporals and grenadiers! Ich schrei’ mit heller Stimm’: I cry out with a clear voice: Von Euch ich Urlaub nimm! I take leave of you! Gute Nacht! Good night!

Das irdische Leben The Earthly Life “Mutter, ach Mutter, es hungert mich! “Mother, oh mother, I’m hungry! Gieb mir Brod, sonst sterbe ich!“ Give me some bread or I shall die!” “Warte nur! Warte nur, mein liebes Kind! “Just wait! Just wait, my dear child! Morgen wollen wir ernten geschwind!“ Tomorrow we shall hurry to harvest!” Und als das Korn geerntet war, And when the grain was harvested, rief das Kind noch immerdar: the child still cried out: “Mutter, ach Mutter, es hungert mich! “Mother, oh mother, I’m hungry! Gieb mir Brod, sonst sterbe ich!“ Give me some bread or I shall die!” “Warte nur! Warte nur, mein liebes Kind! “Just wait! Just wait, my dear child! Morgen wollen wir dreschen geschwind!“ Tomorrow we shall hurry and go threshing!” Und als das Korn gedroschen war, And when the grain was threshed, rief das Kind noch immerdar: the child still cried out: “Mutter, ach Mutter, es hungert mich! “Mother, oh mother, I’m hungry! Gieb mir Brod, sonst sterbe ich!“ Give me some bread or I shall die!” “Warte nur! Warte nur, mein liebes Kind! “Just wait! Just wait, my dear child! Morgen wollen wir backen geschwind!“ Tomorrow we shall hurry and bake!” Und als das Brod gebacken war, And when the bread was baked, lag das Kind auf der Totenbahr! the child lay on the funeral bier!

Urlicht Primeval Light O Röschen rot! O little red rose! Der Mensch liegt in größter Not! Man lies in greatest need! Der Mensch liegt in größter Pein! Man lies in greatest pain! Je lieber möcht’ ich im Himmel sein! Even more would I rather be in heaven! Da kam ich auf einen breiten Weg; There I came upon a broad path; da kam ein Engelein und wollt’ mich abweisen. there came an angel and wanted to turn me away. Ach nein, ich ließ mich nicht abweisen! Ah no, I would not be turned away! Ich bin von Gott, und will wieder zu Gott! I am from God and want to return to God! Der liebe Gott wird mir ein Lichtchen geben, The loving God will give me a little of the light, wird leuchten mir bis an das ewig selig’ Leben! will illuminate me to the eternal blessed life!

(Translation: Renate Voit-Stark/Thomas Hampson)

51 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 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 52 LILLY Classical Series Program Notes

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

SONGS FROM DES KNABEN WUNDERHORN What he sensed therein was a notion dear GUSTAV MAHLER to the heart of romantic poets: universal Born: July 7, 1860, Kalischt, Bohemia poetry. This meant that the poetry was Died: May 18, 1911, Vienna, Austria understandable and relevant to all; that it Years Composed: 1892–1893 was not of a “high” nature, but rather was Length: c. 51 minutes closer to folk poetry or romantic realism. World Premiere: unknown Richard Freed has noted: “Mahler identifed Last ISO Performance: February 2013 with himself with Des Knaben Wunderhorn as no conductor Joano Carneiro and baritone other composer has done or is likely to do: Thomas Hampson the substance and character of these verses Instrumentation: 2 futes, 2 oboes, 2 clarinets, and of his music simply suited each other as 2 bassoons, 4 horns, 2 trumpets, timpani, if sprung from the same source.” percussion (cymbals, glockenspiel, triangle), harp, strings, and solo voice The frst nine songs were written for voice and piano between 1887 and 1890; Songs from Des Knaben Wunderhorn (The between 1892 and 1901, he selected ffteen Youth’s Magic Horn) stemmed from an more for voice and orchestra. Later the frst anthology of 723 old German songs and nine were orchestrated by other composers poems, compiled and edited by the romantic with Mahler’s permission. poet/antiquarian Ludwig von Arnim and poet/ dramatist Clemens Brentano between 1805 Songs from Des Knaben Wunderhorn consists and 1808. Their collection came to Mahler’s of twelve songs with orchestral accompa- attention in 1887 when he happened to be vis- niment set from the original texts. Mahler iting with Carl von Weber’s grandson who had began this project in 1892, and it was pub- inherited his grandfather’s estate. They were lished in 1899 under the title Humoresken. together to complete Weber’s unfnished In 1901, two songs, Urlicht and Es sungen opera, Die Drei Pintos. Mahler wrote an addi- drei Engel, were removed and replaced by tional thirteen musical parts to complete the Revelge and Der Tamboursg’sell. opera, based on Weber’s sketches and themes. The Songs are as follows (note: for this week- At one point within his many visits to the end’s performances the songs will be sung Weber household to work on the project, in a diferent order): Mahler pulled a book from the shelf in the library, titled, Alte deutsche Lieder (Old German 1. Der Schildwache Nachtlied (the Sentinel’s Songs.) He was deeply moved, surprised, and Nightsong) is a military-style setting of a inspired by the content, and within three sentinel’s rejection of joy and love while months, he started to sketch songs from these musing on the futility of trying to control his texts. In a letter of 1905 the composer own life. Mahler attached a simple subtitle: explained “I have devoted myself heart and “A Scene from Army Life.” soul to that poetry which is essentially difer- 2. Verlor’ene Müh (Labor Lost) is a serenade ent from any other kind of literary poetry and in 3/8 meter. A young lady tries to attract a might almost be called something more like young man, but fails with his constant rejec- Nature and Life—in other words, the sources tions that grow in intensity as the for all poetry . . . in full awareness of character song unfolds. and tone.”

53 LILLY Classical Series Program Notes

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

3. Trost im Unglück (Solace in Misfortune): The out of the water. I practically saw them reaction of a person to lost or rejected love. in the music, and burst out laughing. Then, the sermon over, the congregants 4. Wer hat dies Liedel erdacht (Who Thought Up swim away in all directions. This Song?): Again in 3/8 meter within a pasto- ral style setting; the topic is admiration of an 8. Rheinlegendchen (Rhine Legend): The text innkeeper’s daughter. is cast in beautiful, relaxed music similar to a Ländler (Austrain folk dance). A young lady 5. Das irdische Leben (the Earthly Life): The throws a ring into the ocean, hoping that her text is a dialogue between mother and child true love would fnd it. A fsh swallows it, is wherein the child asks for food and the mother caught, and is cooked for the King’s dinner. asks for patience. Eventually the child dies of The ring is discovered, of course, and claimed starvation after the last loaf of bread has been by the young lady’s lover, per the ending of baked. The music is grim with divided strings the Tyrolian folk poetry source. providing constant, unsettling motion. 9. Lied des Verfolgten im Turm (Song of the 6. Revelge (Reveille): the most intense song of Persecuted in the Tower): A military-style setting the collection. A fallen drummer boy is left is provided for a dialogue between a prisoner’s for dead by his comrades. Note the constant sweetheart and the prisoner who wishes they military rhythm in trumpets and eerie col legno could be together. The prisoner comes to the (on the wood) playing of the violins. Mahler conclusion that his thoughts, as well as his commented to Natalie Bauer-Lechner, “This is body, are imprisoned, and he sends her away. the most important of all my Lieder.” Mahler later confded to his friends that the melody 10. Wo die schönen Trompeten blasen (Where occurred to him one day in June 1899 while the Fair Trumpets Sound): Two lovers are meet- “on the toilet in Altaussee.” ing before the young man must go to war. Horn calls are distinctive in this setting. The 7. Das Antonius von Padua Fischpredigt (St. man describes his house where “bright trum- Anthony of Padua’s Sermon to the Fish) became pets always play” and then speaks of grass, the scherzo of the Second Symphony. Strings implying his ultimate home is his grave. Muted and winds move in constant motion. The text strings and brass communicate impending describes a saint who, upon fnding a church death; reality comes with the removal of empty, preaches to the fshes (clarinet) who mutes on horns and trumpets at the end. listen in full attention. However, after the saint’s lesson, they simply return to the way 11. Lob des hohen Verstandes (Praise of Lofty they once were. Perhaps this was the mes- Intellect): An ironical take on a singing contest sage Mahler was trying to assign to mortal between the cuckoo and nightingale. The existence when he used it in his symphony. judge is a donkey who declares the cuckoo the Richard Freed writes: winner. Note the wonderful orchestration of the two birds and the braying of the “judge.” A somewhat sweet and sour humor This was used in the fnale of Mahler’s Fifth prevails . . . . Antonious preaches to the Symphony. Mahler noted this to be a “humor- fshes, but he seems to be drunk. And ous mockery of the critics.” what a glittering congregation! The eels and carps and sharp-nosed pikes with 12.Tambourg’sell (The Drummer Boy): Again, their stupid expressions as they look at the topic is another ill-fated drummer, but Antonious, stretching their stif necks this time he is in prison. The music is mourn-

54 ful, leaden, and weighty. Winds trill laments; The Sixth Symphony premiered in a block- drum rolls are slow and ponderous. Again, buster program of Beethoven’s new works Mahler uses the strange sound of col legno in a giant, beneft concert on December (playing with the wooden part of the bow, 22, 1808, in Vienna. Other new pieces on no hair) playing in the violins at the end. It is that program were his Fifth Symphony, the saddest of all the Wunderhorn songs. As Fourth Piano Concerto, three excerpts the boy is marched from his dungeon and he from his Mass in C major, and the aria “Ah, sees the gallows, he speaks a sad goodbye to Perfdo.” It concluded with the Fantasy in C the earth, the ofcers, and the soldiers. Note Minor for piano, chorus and orchestra. In the poignant English horn passage in the fnal that program, the “Pastoral” followed the section. Throughout, the orchestration is grim, Fifth Symphony. without violins and violas and trumpets. This music marathon had additional trials Gustav Mahler composed only in the media for the audience besides the length since of song and symphony, often combining the heating broke down in the concert his songs, or elements of the songs, within hall. The audience remained loyal until the symphonic contexts. In fact, his Second, Third, end of the program. Composer Friedrich and Fourth Symphonies are sometimes known Reichardt reported, “There we sat, in the as the Wunderhorn symphonies. In this regard, bitterest cold, from half past six to half past his First Symphony uses themes from Songs of ten, and experienced that truth that one a Wayfarer. The Second Symphony uses “Primal can easily have too much of a good thing. Light” in the fourth movement, and the third Poor Beethoven, who from this concert movement is an adaptation of one of the Wun- was having the frst and only scant proft derhorn songs. In his Third Symphony, Mahler that he had found in a whole year had also used themes from The Heavenly Life. The found much opposition and little support Fourth Symphony’s last movement uses the in the rehearsals and the performance.” theme from a child’s view of heaven from Des Knaben Wunderhorn, and the last Kindertoten- At this time, Beethoven’s deafness had lieder song and the Sixth Symphony’s fnale reached an advanced stage, a condition are linked. Deryck Cooke noted that “his songs that caused endless pain, emotional fower naturally into symphonic movements, agitation, and despair. Long walks in the being already symphonic in cast.” countryside alleviated his stress. For this ______reason, he particularly liked walking in the countryside, “where nature is so beauti- SYMPHONY NO. 6 IN F MAJOR, fully silent . . . . How happy I am to be able OP. 68 “PASTORAL” to wander among the bushes and grass, under trees and over rocks; no man can LUDWIG VAN BEETHOVEN love the country as I love it.” The serenity Born: December 16, 1770, Bonn, Germany of the countryside ofered refuge, and his Died: March 26, 1827, Vienna, Austria student Therese von Brunswick recalled Years Composed: 1807–1808 that “he loved to be alone with nature, Length: c. 40 minutes to make her his only confdant.” Nature World Premiere: December 22, 1808, relaxed Beethoven, and that relaxation Vienna, Austria and wonderment are found throughout Last ISO Performance: May 2016 with his Sixth Symphony. conductor Giancarlo Guerrero Instrumentation: piccolo, 2 futes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings

55 LILLY Classical Series Program Notes

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

Owen Downes explained that the “Pastoral The frst movement opens with Awakening of symphony suggests that his worship (of Na- Joyful Feelings upon Arrival in the country with ture) had more of love than awe. In the utter the direction that it should be played “cheerful- simplicity and peace of the symphony there is ly but not too fast.” The silence and quietude something beatifc.” Additionally, the compos- he so enjoyed goes on for fve hundred mea- er’s pantheistic philosophy consistently found sures. Owen Downes observed that “At one proximity to God in nature. Mr. Downes contin- point a tiny fve-note fgure derived from the ued, saying, “The way he dwells with tireless, second measure is repeated some eighty times repetitious wonder over the simplest of his without interruption, and yet the whole move- lovely phrases suggest those moments when ment makes an impression of inexhaustibly time stands still for us too, while we watch a fertile imagination.” The music begins with a single autumn leaf, sunlight on the water, or simple theme from frst and second violins that smell the scent of warm grass.” provides the basis of the movement. Beetho- ven eschews any complicated development: The sobriquet “Pastoral” is apt, although Bee- repetitions of the melody and fragments of the thoven had cautioned in sketches for this work melodic served his intent. Several subsidiary that “carried too far, all painting in instrumen- themes are birthed, but none take over the tal music will fail . . . It (the Sixth Symphony) primacy of the opening idea. At all times the is more an expression of feeling than tone pace is unhurried and relaxed. painting.” Nonetheless, the thunderous storm with piccolo providing lightning streaks, bird Scene at the Brook continues the gentleness chirps, fowing streams, and peasant dances of the frst. Second violins set of the watery are so clear that it is impossible to ignore undercurrent in murmuring triplet fgures, imagery. And, in a walk taken with Anton and violins produce two main ideas. A small Schindler, Beethoven did acknowledge, “Here I development ensues before the recap feshes composed the Scene by the Brook and the yel- out the ideas in thicker orchestration. The con- lowhammers up there, the quails, nightingales, clusion features the birds aforementioned with and cuckoos around about composed with the nightingale having the last trill. me.” And, in the score Beethoven did identify the birdcalls: nightingale for the fute, quail The fnal three movements are played for the oboe solo, and cuckoo for the clarinet, without pause. with a little sketch of the bird in the score. A Merry Gathering of Country Folk is embedded There are fve movements: each movement in a boisterous scherzo, sometimes attributed has a descriptive titled provided by the to rustic bands Beethoven heard in Viennese composer. How accurate are they? In an NPR taverns. Anton Schindler commented, “Beetho- interview on December 12, 2012, Christoph ven asked me if I had noticed how village Eschenbach stated, “The titles are only an musicians often played in their sleep, occasion- indication of the sentiment one would fnd in ally letting their instruments fall and keeping these ideas. These are all spiritual attitudes. For quite still, and then waking up with a start, example, the tempest is an interior event as getting in a few vigorous blows or strokes at well exterior event.” a venture, although usually in the right key before dropping to sleep again.”

56 Apparently he had tried to portray these Shepherd’s Song: Gladsome and thankful people in the “Pastoral” Symphony. A special feelings after the storm begins with the image herein is the “village musician” as por- shepherd’s song spun from the clarinet, trayed by bassoon occurring mid-section: at followed by solo horn. The modest ideas are this point, probably inebriated or sleepy, he is seized by the orchestral body that provides only capable of playing two notes. The gaiety extensive development and ornamentation. is interrupted by menacing clouds, a ramming At this point, Beethoven wrote in his score, F minor triad leading to a fearsome storm. “We give Thee thanks for thy great glory.” A muted horn call has the last word. This tempest, Hector Berlioz commented “is no longer just a wind and rain storm: it is a Contemporary reviews often criticized frightful cataclysm, a universal deluge, the end the length of the Sixth. Five years would of the world.” Dissonance abounds; picco- pass before another symphony would be los scream, timpani provide thunderclaps, forthcoming. volcanic rhythmic patterns shift the winds. In a spectacular climax, Beethoven invokes a huge syncopated chord (including trombones) over a six-measure span. Relief comes from the oboe and a staccato fute section, lightening the mood, and promising peace that arrives in the last movement.

INDIANAPOLIS SYMPHONY ORCHESTRA

The Indianapolis Symphony Orchestra will be one of just four orchestras to participate in the John F. Kennedy Center for the Arts’ 2018 SHIFT Festival. The ISO will preview its Kennedy Center program Krzysztof Urbański, featuring music of Krzysztof Urbański’s homeland Conductor in a special “Bon Voyage” concert!

LUTOSŁAWSKI Cello Concerto PENDERECKI Credo Krzysztof Urbański, Conductor Alisa Weilerstein, Cello Indianapolis Symphonic Choir Indianapolis Children’s Choir WEDNESDAY, APRIL 11, 7:30PM Hilbert Circle Theatre Alisa Weilerstein, Cello BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

57 In a world of change, our focus is steadfast.

317-261-1900 www.dmdcap.com

Not FDIC Insured No Bank Guarantee May Lose Value © 2017 Diamond Capital Management

International Violin Competition of Indianapolis 2017-2018 Laureate Series www.violin.org ECCO – East Coast Chamber Orchestra Susie Park, 2002 Laureate Sunday, February 11, 2018, 2:30 PM Tuesday, March 13, 2018 Eugene and Marilyn Glick Kalichstein-Laredo-Robinson Trio Indiana History Center - 450 W. Ohio St. Joseph Kalichstein, Pianist Jaime Laredo, Violinist Bermel Murmurations Sharon Robinson, Cellist Shostakovich Chamber Symphony, Op.110a Tuesday, April 17, 2018 Sarasate Zigeunerweisen, Op. 20 Hot Swing: An Evening of Gypsy Jazz Bartók Divertimento Tessa Lark, 2014 Silver Medalist Michael Thurber, Bassist $5 Student Tickets Gabe Schnider and Use promo code PARK18 Alex Wintz, Guitarists (Must bring valid ID to concert) Tickets available at violin.org or (317) 637-4574 Tuesday, May 15, 2018 Dami Kim, 2014 Laureate Chih-Yi Chen, Pianist

Proudly Sponsored by

58 Saint-saëns’ violin feb 2–3, 2018 concerto no. 3

KrzysztofKrzysztof Urba Urbańński,ski, Music Music Director Director JackJack Everly, Everly, Principal Principal Pops Pops Conductor Conductor RaymondRaymond Leppard, Leppard, Conductor Conductor Laureate Laureate

LillyLilly Classical Classical Series Series/Program/Program Seven Ten Saturday,Friday, January February 6, 2,at at5:30 8 p.m. p.m. Saturday, FebruaryHilbert Circle 3, at Theatre7 p.m. Hilbert Circle Theatre

NICHOLASBRAMWELL MCGEGAN, TOVEY, Conductor Conductor | BENJAMIN | KAREN GOMYO,BEILMAN, Violin Violin

HandelCarl Maria von Weber SymphonyInvitation No. to 101 the in Dance D Major, Op. (“The 65 Clock”) (1732–1809)(1786–1826) Adagio - Presto Arr. Hector Berlioz Andante Menuet: Allegretto Vivace

MozartCamille Saint-Saëns ConcertoConcerto in A minorNo. 3 in for B Violin,Minor forCello, Violin and and Orchestra, Orchestra, Op. Op. 102 61 (1833–1897)(1835–1921) (“Double AllegroConcerto”) non troppo AllegroAndantino quasi allegretto AndanteMolto moderato e maestoso – Allegro non troppo Vivace Benjaminnon troppo Beilman , Violin Zach De Pue, Violin INTERMISSION Austin Huntington — Twenty, Cello Minutes

Igor Stravinsky Pétrouchka (1882–1971) The Shrovetide Fair Pétrouchka’s Cell The Moor’s Cell The Shrovetide Fair (Towards Evening) Premier Sponsor Associate Sponsor

This performanceThis performance is endowed is by endowed the Jean b D. yXXXXXXXXXXX Weldon Guest Artist Fund

Length of performanceLength of performance is approximately is approximately one hour and XXXXXXX thirty-fve minutes Recording or photographing any part of this performance is strictly prohibited.

59 FEB 2–3 BRAMWELL TOVEY, Conductor

Charred Skull. Past commissions include the New York and Los Angeles Philharmonics and the Toronto Symphony and Calgary Opera, who premiered his frst full length opera The Inventor in 2011, a recording of which by the VSO with UBC Opera and the original cast has been released on the Naxos label. In 2014 his trumpet concerto, Songs of the Paradise Saloon, was performed by the LA Philharmonic with Alison Balsom as soloist, and was subsequently repeated by the same soloist with the Philadelphia Orchestra in December 2014. Grammy and Juno award-winning conductor/ composer Bramwell Tovey was appointed A talented pianist as well as conductor and Music Director of the Vancouver Symphony composer, he has appeared as soloist with Orchestra in 2000. Under his leadership the many major orchestras including the New York, VSO has toured to China, Korea, across Canada, Sydney, Melbourne, Los Angeles, Pittsburgh, St and throughout the United States. Tovey is Louis, Toronto, and Royal Scottish orchestras. In also the Artistic Adviser of the VSO School of the summer of 2014 he played and conducted Music, a state-of-the-art facility and recital hall Gershwin’s Rhapsody in Blue at the Hollywood that opened in downtown Vancouver in 2011, Bowl with the LA Phil and in Saratoga with the next to the Orpheum, the VSO’s historic home. Philadelphia Orchestra. He has performed his His tenure has included complete symphony own Pictures in the Smoke with the Melbourne cycles of Beethoven, Mahler, and Brahms as and Helsingborg Symphonies and the Royal well as the establishment of an annual festival Philharmonic. dedicated to contemporary music. In 2018, the VSO’s centenary year, he will become the Tovey was Music Director of the Winnipeg orchestra’s Music Director Emeritus. Symphony Orchestra from 1989 to 2001 where he founded the WSO’s now celebrated New The 2017–18 season in Vancouver includes Music Festival. From 2002 to 2006 he was tours in the fall and spring showcasing the Music Director of Orchestre Philharmonique orchestra in their home state as well as key du Luxembourg, leading tours of Europe, east coast Canadian cities. Other engagements the USA, China, and Korea. He opened will take him to the New York Philharmonic, Luxembourg’s Salle Philharmonie with the Philadelphia Orchestra, St. Louis, Houston, world première of Penderecki’s 8th Symphony. Toronto, and Melbourne symphonies as well as returns to summer festivals in Vail, Tovey is a Fellow of the Royal Academy of Tanglewood, and the Hollywood Bowl. Music in London, the Royal Conservatory of Music in Toronto and holds honorary degrees As guest conductor during the 2016–17 from the universities of British Columbia, season he returned to the Los Angeles Manitoba, Kwantlen, and Winnipeg. In 2013 Philharmonic, the Boston and Chicago he was appointed an honorary Ofcer of the Symphonies, the Philadelphia Orchestra, the Order of Canada for services to music. Melbourne and Sydney symphonies, as well as In August 2011 he was described by Musical the Royal Conservatory Orchestra in Toronto. America as “one of the most versatile and charismatic musicians in the world.” An active composer, Tovey won the 2003 Juno Award for Best Classical Composition for his choral and brass work Requiem for a

60 BENJAMIN BEILMAN, Violin FEB 2–3

Benjamin Orchestre National de Capitole de Toulouse Beilman is and Rafael Payare. He also appeared in recital recognized as on a ten-city tour of Australia. one of the fastest rising stars of In recent seasons, Beilman has appeared in his generation, subscription with the Philadelphia Orchestra. winning praise He also made his recital debuts at the Berlin for his passionate Philharmonie, and at Carnegie Hall in a performances program that included the premiere of a new and deep rich work by David Ludwig commissioned for him tone, which the by Carnegie Hall. Washington Post called “mightily impressive” and the New Further recital appearances include York Times described as “muscular with a performances at the Verbier Festival, glint of violence.” The Times also praised his Heidelberg Spring Festival, Louvre, Tonhalle “handsome technique, burnished sound, and Zürich, Wigmore Hall, and Festpiele quiet confdence, which showed why he has Mecklenburg-Vorpommern. Beilman has come so far so fast.” Following his First Prize also previously performed with Tonhalle win at the Montreal Competition, the Strad Orchester Zürich and Sir Neville Marriner, described his performance of the Sibelius l’Orchestre Métropolitain de Montréal and Violin Concerto as “pure poetry.” Yannick Nézet-Séguin, and the Malaysian Philharmonic and Hans Graf. Highlights of Mr. Beilman’s 2017–18 season include performances with the Houston Beilman has received several prestigious Symphony, Oregon Symphony, North awards including a Borletti-Buitoni Trust Carolina Symphony, and Orchestra St. Luke’s, Fellowship, an Avery Fisher Career Grant, and as well as a multi-city tour of California a London Music Masters Award. In 2010 he play-directing the New Century Chamber won First Prize in the Young Concert Artists Orchestra. In recital, he will premiere a new International Auditions, and as First Prize work written for him by Frederic Rzewski and Winner of the 2010 Montréal International commissioned by Music Accord, presented by Musical Competition and winner of the Boston Celebrity Series and Shriver Hall, and People’s Choice Award, Beilman recorded on tour throughout the U.S. in the 2017–18 Prokofev’s complete sonatas for violin on the and 2018–19 seasons. Abroad, Beilman will Analekta label in 2011. In 2016 he released his make his Australian concerto debut with frst disc for Warner Classics titled Spectrum, the Sydney Symphony and debuts with the featuring works by Stravinsky, Janacek, Scottish Chamber Orchestra and Trondheim and Schubert. Symphony. He will also perform the European premiere of Frederic Rzewski’s new work at Beilman studied with Almita and Roland the Heidelberg Spring Festival, and return to Vamos at the Music Institute of Chicago, the Wigmore Hall in recital. Ida Kavafan and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaf In Europe, Beilman has performed with many at the Kronberg Academy. Beilman plays of the major orchestras including the London the “Engleman” Stradivarius from 1709, Philharmonic, Frankfurt Radio Symphony and generously on loan from the Nippon Zurich Tonhalle, and in 2016–17 made his Music Foundation. debut with the Rotterdam Philharmonic and Krzysztof Urbański, the City of Birmingham Symphony and Vassily Sinaisky, and the

61 LILLY Classical Series Program Notes

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

CARL MARIA VON WEBER it deserving of notice; but now that it is attempted to be forced on the respect- INVITATION TO THE DANCE, OP. 65 able classes of society by the civil exam- ARR. HECTOR BERLIOZ ples of their superiors, we feel it a duty to warn every parent against exposing Born: November 18, 1786, Eutin, Germany his daughter to so fatal a contagion. Died: June 5, 1826, London, UK Year Composed: 1819 However, the waltz was not to be denied. It Length: c. 9 minutes thrived because it was delightful, fun, elegant, World Premiere: June 7, 1841, Paris, France beautiful, accessible, addictive, sensual, thrill- Last ISO Performance: September 2004 with ing, and romantic. And it found its way from conductor Mario Venzago parties into the concert halls and major ballets Instrumentation: 2 futes, 2 oboes, 2 clarinets, of the nineteenth century. 4 bassoons, 4 horns, 4 trumpets, 3 trombones, timpani 2 harps and strings One of the most infuential early works in this regard is Carl Maria von Weber’s glittering In the early nineteenth century, an old Aus- Rondo Brilliant, Invitation to the Dance, written trian “turning dance” or “gliding dance” that frst for piano in 1819 and later orchestrated dated from the sixteenth century graduated by Hector Berlioz. His orchestral setting frst from the lower classes into the aristocratic ball- appeared as ballet music for a Paris production rooms, becoming especially popularized after of Weber’s seminal romantic opera, Der Freis- the Congress of Vienna in 1815. The waltz, as it chütz, on June 7, 1841. was known, gained momentum in spite of the fact that moralists criticized the closely held Invitation to the Dance begins with an invita- position of the dancers, and the church con- tion from solo cello: a slowly moving start as sidered such frontal touching sinful and vulgar. the invitation is considered (responses from After the waltz had its London debut on July the winds), and then accepted. At this point, 15, 1816, The Times explained such opinions the frst waltz begins with a dramatic, highly after a party at the English Court was given by accented entrance that gradually sweeps the Prince Regent: throughout the orchestra. Weber then strings together a set of irresistible waltzes, each fol- We remarked with pain that the inde- lowing quickly on the heels of its predecessor. cent foreign dance called the Waltz was Finally, the partners bid farewell to each other introduced (we believe for the frst time) in a quiet ending. at the English court on Friday last . . . it is quite sufcient to cast one’s eyes on the voluptuous intertwining of the limbs and close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinc- tive of English females. So long as this obscene display was confned to prosti- tutes and adulteresses, we did not think

62 CAMILLE SAINT-SAëNS Audiences during the Second Empire in Par- CONCERTO NO. 3 IN B MINOR FOR VIOLIN is were out for musical amusement. German- ic instrumental music or symphonies were AND ORCHESTRA, OP. 61 Born: October 9, 1835, Paris, France considered tedious and “boring.” Opera Seria Died: December 16, 1921, Algiers however was the stylish musique du jour, of- Year Composed: 1880 ten performed in the beautiful Palais Garnier Length: c. 30 minutes and the Imperial Opera theatre. It ofered World Premiere: January 2, 1881, Paris glamour, pageantry, and variety that kept Last ISO Performance: April 2012 with conduc- the citizens thrilled and captivated. Empha- tor Jun Märkl and violinist Alina Ibragimova sis on classical antiquity was very popular. Instrumentation: 2 futes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trom- Most of all, in this lush, vibrant, successful bones, timpani, strings, and solo violin culture, Parisians loved to party in their lavish salons. And so did Camille Saint- ë “For me, art is form, expression and passion se- Sa ns. He hosted many lavish gatherings, duces the amateur above all; for the artist it is sometimes providing hilarious renditions of diferent. An artist who is not fully satisfed by Marguerite (from Gounod’s Faust) in drag. elegant lines, harmonious colors, and beautiful He was, through and through, a witty Pari- harmonic progressions has no understanding sian product, raised by his mother and great of art.” —Camille Saint-Saëns aunt, after his father died. He performed his frst piano concert at age eleven, and Camille Saint-Saëns lived a long life between earlier at age fve had been composing little 1835 and 1921. One of his happiest times must songs. He was formally educated in the Paris have been during the Second Empire, 1852 Conservatoire, graduating in 1853, pursuing to 1870. Under Napoleon III, Paris entered a a stellar career as pianist and conductor as phase of massive change and improvements. well as composer. Georges-Eugene Haussmann added fountains ë and parks, planted 100,000 trees, and began Saint-Sa ns matched the sparkle of Parisian to enlarge the streets that were lit by 56,573 society with his music. The elegance, clarity, gas lamps (hence the nickname “City of Light”). wit, seduction, and brilliance of the social Citizens conveniently traveled by public scene easily migrated into his music. But transport via the Paris omnibus and facre; there was more to the story. Almost single manufacturing grew; the economy grew; ten handedly, he injected life and power into suburbs were annexed and parts of thirteen the decaying Parisian instrumental scene, more, resulting in a population of 1,800,000; reviving it from stagnation. He was a patriot the market for luxury items expanded; the at heart, and after the military defeat of heure verte at 5 p.m. became a popular time for France by Prussia, he founded the National wine and cocktails; the decorative arts four- Music Society, which would become one of ished; painters such as Courbet, Manet, Monet, the most important and infuential institu- Degas, Delacroix, and Sisley produced mas- tions in French musical life. terpieces often displayed in the Louvre, which ë was greatly expanded; forty-one theaters Saint-Sa ns was not a violinist, and when provided consistent dramatic fare with farces, embarking on his Second and Third violin vaudeville, operettas, comedies of manners, concerti, he sought help. In the case of the and ballets. It was a glamorous, fun-loving Second Violin Concerto he was advised by city. However, serious French music did not George Autustus Bridgetower; for his Third share in the furry of artistic joie de vivre. Violin Concerto, he received signifcant guid- ance from his dear friend and great Spanish violinist Pablo de Sarasate. The two had met when they were teenagers (ages 15 and 19).

63 LILLY Classical Series Program Notes

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

When Sarasate requested something more ity for melodic lyricism. In an unusual chorale substantial than crème pufs for his repertoire, section, the soloist moves into an accompani- Saint-Saëns’ First Violin Concerto flled that ment position for a moment, but resumes its request. His Third Violin Concerto was excep- dominant position as the movement develops. tional, and became the most popular of his A coda marked Presto is led by the soloist in a violin concerti. Jonathan Kramer noted, “This headlong dash to a fortissimo conclusion. work, more than any of its seven other pieces ______for violin and orchestra or the eight chamber works for solo violin, shows the subtle and un- IGOR STRAVINSKY derstanding, and brilliance that the composer PÉTROUCHKA learned from Sarasate.” Opus 61 premiered in Born: June 17, 1882, Oranienbaum, Russia 1880 and was performed by Sarasate. Died: April 6, 1971, New York City Years Composed: 1910–1911 The frst movement opens with a passionate Length: c. 34 minutes theme drawn (for thirty measures!) from the World Premiere: June 13, 1911, Paris lower violin register. As the music progresses, Last ISO Performance: April 2014 with the soloist moves steadily into its upper regis- conductor Hans Graf ter, cutting through the orchestra with strong Instrumentation: 3 futes, 2 oboes and English double and triple stops (two and three notes horn, 2 clarinets and bass clarinet, played simultaneously). The coda is a virtuosic 2 bassoons and contrabassoon, four horns, thriller, using every position on the instrument, 3 trumpets, 3 trombones and tuba, timpani, often fnding the violin in its stratosphere, cut- percussion (triangle, cymbal, bass drum, ting through the orchestra with diamond-like tambourine, side drum, tamtam, xylophone), precision, brilliance, and strength. There is celesta, harp, piano, and strings. no cadenza. Following up on his success with Igor Stravin- His second movement, marked andantino qua- sky and The Firebird Ballet, ballet impresario si allegretto, summons the lyrical capabilities of and founder of Ballet Russes Serge Diaghilev the violin in a barcarole with a simple dance- asked for another ballet in 1910. The young like tune. Violin and winds share the stage in a composer was thrilled and grateful for the leisurely setting. At the end, the soloist plays opportunity, and began to consider ideas for arpeggiated harmonics (notes generated by the Rite of Spring. partial depression of the strings) combined with solo clarinet. These provide background Before assuming that task, he wrote: coloration while the oboe recalls the main subject. Before taking (on) the Rite of Spring, which would be a long and difcult task, The third movement is a virtuoso’s dream. I wanted to refresh myself by composing After a recitative-like introduction (nine mea- an orchestral piece in which the piano sures), the violin steps forward with gymnastic would play the most important part, a fips and display with orchestral accompa- sort of Konzertstuck. In composing the niment. Afterward, the movement’s rapidly music, I had in my mind a distinct picture paced main frst theme is presented. An of a puppet, suddenly endowed with life, intensely sweet second theme emerges quiet- exasperating the patience of the orches- ly, demonstrating the violin’s beautiful capabil- tra with diabolical cascades of arpeggios.

64 The orchestra, in turn retaliates with Throughout the score, Stravinsky uses many menacing trumpet blasts. I struggled for dissonances, quotes from Russian folktunes, hours . . . to fnd a title that would express and strong, brutal rhythms. Many of these in a word the character of my music. One ideas would appear later in his Rite of Spring. day I leapt for joy: I had found my title. Petrushka, the immortal and unhappy Herein, Stravinsky also depicted a brutal hero of every fair in all countries. story. Underlying the turbulent narrative is a political message depicting the horrible After showing a partially completed Petrushka lives of the Russian people. A mood of ten- score to Diaghilev, the impresario was so fasci- der compassion for the small and helpless of nated that he decided to create a mimed ballet society and indignation at unjust persecu- based on Stravinsky’s music. The two collabo- tion (in this case resulting in the death of the rated again, and again they had a triumph. puppet) exist as an unmistakable subtext.

Petrushka, conducted by Pierre Monteux, In the suite, there are four parts, following premiered on June 13, 1911, at the Théâtre the four tableaux of the ballet. These are: du Châtelet, with choreography by Mikhail The Shrovetide Fair, Petrushka’s Room, The Fokine. It was an all-star cast, and a brilliant Moor’s Room, and The Shrove Tide Fair synthesis of several art forms. The premiere Towards Evening. was an enormous success and “the last word in musical modernism.” Rapidly changing meters The frst tableau opens on Admiralty Square were a major challenge to the dancers. The in St. Petersburg on a sunny winter day. legendary Vaslov Nijinsky danced the part of Jolly futes and harps invite the people into Petrushka, and some have said that his per- a happy party and celebration. Crowds formance “forever solidifed his fabled career.” assemble for all the festivities. The music is Sets and costumes were by Alexandre Benois. fast, replete with dances, and even an organ The orchestral suite is derived from that score. grinder with a monkey (clarinets). Occa- Stravinsky did this revision so that he could sional rumbles from the timpani preface get copyrights on the music, and justifably, he the underlying dangerous story. Suddenly a wanted some profts. frightening showman appears from a little puppet theater. Petrushka came straight from the heart of Russian folklore: a stock puppet, stufed with His introduction marks a sudden change sawdust and straw, similar to a jester dressed from the revelry. As timpani roll loudly, in red with a red kolpak (the pointed jester hat the music slows to a lento (slow) pace. The topped with fur). He always had a naughty Moor’s scary presence is marked by low personality, was totally anti-authoritarian, and bassoons. As he plays his fute (nine solo a trickster. Dostoevsky wrote: “How trusting he measures marked “cadenza, ad libitum”) the (Petrushka) is. How joyful and straightforward curtain rises at the puppet theater. In the . . . how quickly he becomes angry and throws ballet, three puppets are presented: Petrush- himself against unfairness.” (Petrushka in the ka, the Ballerina, and the Moor, all of whom Context of Russian Modernist Culture by Andrew spring to life as the showman plays his fute. Wachtel). Stravinsky wrote to his mother, “My A slow passage marks the life force transmis- Petrushka is turning out each day completely sion. All three begin a peppy Russian dance, new and there are new disagreeable traits in marked allegro giusto. his character, but he delights me because he is absolutely devoid of hypocrisy.” In the ballet The timpani roar again, and we are within he is identifed by a dissonant polytonal chord: the next tableau, which was the frst part F sharp major and C major played together. Stravinsky composed in his original concep-

65 LILLY Classical Series Program Notes

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

tion. The setting of Petrushka’s dark, humble him, and dances provocatively. Introduced room reveals Petrushka as a little person by the bassoon, the two dance a slow waltz (not just a puppet) who has sufered greatly. (fute solo) with trumpet interjections and He is flled with fear and resentment toward coloration. Suddenly Petrushka, in his jealous his nemesis, the blackamoor. At this point rage, bursts into the love scene amid orches- we hear the famous “Petrushka chord.” His tral turbulence. An agitato section presents loneliness is represented by quietness and a fght between the Moor and Petrushka; the thin orchestration. Emotions run high within ballerina faints. The puppet is thrown down. his heart, with frustration represented by brass, tremolos, and racing passage work. The fnal tableau reverts to Admiralty Square, where the revelry reappears in a sequence of The piano summons the ballerina entrance dances: a wet nurse’s dance, a bear dance, a and she dances for him in a setting of mixed gypsy dance, a mummer’s dance, and quotes meters (3/4 and 2/4). However, instead of from the opening tableau. Clearly, the crowd staying, she quickly runs away. Petrushka is is unaware of the fght going on in the little distraught; he hurls himself against a por- theatre. The Moor’s heavy leitmotif emerges trait of the Moor that is hanging in his cell. ominously. This anger is represented in a loud passage of savage tremolos from winds and violins For a moment, the music resumes its happy with the piano playing the Petrushka chord. pace. The mood changes as Petrushka dashes Notice the emotions attributed to the pup- from the Moor’s room into the crowd, pur- pet: this is truly a little human being. sued by the Moor, where he is quickly decapitated by his scimitar (futes fortissi- In preparation for the next scene a military mo in a fast descending tremolo). Stunned, drum roll presents a rapid four measure pas- the crowd drifts away in softly falling snow. sage followed by a ferocious display of Because he is indestructible, Petrushka’s little anger. Entrance to the Moor’s sumptuous ghost rises over the theatre, a smiling face, room is marked by a slower passage, indicat- thumbing his nose, in a surreal unforgetta- ed to be played pesante (heavy). In the bal- ble closing. In the suite, trumpets sound his let, the Moor’s room is a glamorous setting theme again to indicate his continuing life. featuring bright wallpaper with the Blacka- Righteousness has prevailed. The message moor lounging on a sofa, languidly playing was, in no uncertain terms, a warning for the with a coconut. The ballerina is attracted to Russian government.

66 FAMILY

become a VOLUNTEER join a FAMILY

Learn more about how to join our ISO volunteer family by contacting Volunteer Services ISO VOLUNTEER Manager Donna Finney at dfi[email protected] or 317.231.6792

67 FEB 9–10 AUDRA MCDONALD, Vocals

On television, she was seen by millions as the Mother Abbess in NBC’s The Sound of Music Live! and played Dr. Naomi Bennett on ABC’s Private Practice. She won an Emmy Award for her role as host of PBS’s Live From Lincoln Center and has received nominations for Wit, A Raisin in the Sun, and Lady Day at Emerson’s Bar & Grill.

In 2018, she joins the cast of The Good Fight for the second season of the CBS All-Access original drama series. On flm, she has Audra McDonald is unparalleled in the appeared in Seven Servants, The Object of My breadth and versatility of her artistry as Afection, Cradle Will Rock, It Runs in the Family, both a singer and an actress. The winner The Best Thief in the World, She Got Problems, of a record-breaking six Tony Awards, two Rampart, Ricki and the Flash, Disney’s live- Grammy Awards, and an Emmy Award, she action Beauty and the Beast, and the movie- was named one of Time magazine’s 100 musical Hello Again. most infuential people of 2015 and received a 2015 National Medal of Arts—America’s An exclusive recording artist for Nonesuch highest honor for achievement in the arts— Records, she has released fve solo albums for from President Barack Obama. In addition to the label. McDonald also maintains a major her Tony-winning performances in Carousel, career as a concert artist, regularly appearing Master Class, Ragtime, A Raisin in the Sun, The on the great stages of the world and with Gershwins’ Porgy and Bess, and Lady Day at leading international orchestras. Emerson’s Bar & Grill—the role which also served as the vehicle for her 2017 debut on Of all her many roles, her favorites are London’s West End. the ones performed ofstage: passionate advocate for equal rights and homeless She has appeared on Broadway in The Secret youth, wife to actor Will Swenson, and Garden, Marie Christine (Tony nomination), mother to her children. Henry IV, 110 in the Shade (Tony nomination), and Shufe Along, Or, The Making of the Musical Sensation of 1921 and All That Followed. The Juilliard-trained soprano’s opera credits include La voix humaine and Send at Houston Grand Opera, and Rise and Fall of the City of Mahagonny at Los Angeles Opera.

612 N. Delaware Street Indianapolis, IN 46204 317-636-5040 indianapolis.thegreatframeup.com Custom Framing | Jersey Framing | Mirror Framing Shadowbox Framing | Fine Art Prints 86th & Ditch Road Indianapolis, IN 46260 Proud Sponsor of the 317-872-0900 Indianapolis Symphony Orchestra ditchroad.thegreatframeup.com

68 audra mcdonald feb 9, 10, 2018

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

Printing Partners Pops Series/Program Five Friday, February 9, 2018, at 8 p.m. Saturday, February 10, 2018, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | AUDRA MCDONALD, Soloist

Selections will be announced from the stage.

Ad

Premier Sponsor

Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Everly’s biography on page 24.

69 We believe in supporting the arts. Every step of the way.

lakecitybank.com 70 romantic songs feb 14, 2018 with michael cavanaugh

Special Wednesday, February 14, 2018, at 7:30 p.m. Hilbert Circle Theatre

MICHAEL CAVANAUGH, Piano & Vocals

Selections will be announced from the stage.

Ad

Note: RecordingAd sizes or spec’dphotographing were anyonly part 0.125” of this performance from outer is strictly edge, prohibited. had to reduce ads that don’t bleed to be at least 0.25” from edge.

71 FEB 14 MICHAEL CAVANAUGH, Vocals

and joined him on stage one fateful night in February 2001. It only took 2 songs before Billy was convinced that he had found his new Piano Man. Michael closed up shop at New York, New York and moved to New York City to work alongside Billy Joel and Twyla Tharp to shape the Broadway Musical that would be called Movin’ Out.

With the close of Movin’ Out at the end of 2005, Cavanaugh began touring in his own right, creating a show that reinterprets the Michael Cavanaugh is the new voice of modern pop/rock songbook. Cavanaugh the American Rock & Roll Songbook and a soon became one of the hottest artist’s in charismatic performer, musician and actor, the private events market. He continues to made famous for his piano/lead vocals in the perform worldwide for company and charity Broadway musical Movin’ Out. Handpicked events as well as sporting events including by Billy Joel to star in Movin’ Out, Cavanaugh PGA tour events, the US Open, and the evokes a style rivaling the Piano Man, and Indy 500. It wasn’t long before symphony appeared in the show for three years and orchestras discovered Cavanaugh’s talents more than 1,200 performances, receiving and audience appeal. accolade after accolade, culminating in 2003 with both Grammy and Tony award He accepted his frst orchestral booking, nominations. His latest album, The Way I Hear “Michael Cavanaugh – The Songs of Billy Joel It, was released in April 2017, and debuted and More,” which debuted in April 2008 with at #17 on the Billboard Heatseekers Album the Indianapolis Symphony and continues Chart. to tour today. In October 2008, he signed with Warner/ADA to distribute his frst CD, In Cavanaugh began playing at age 7 when his Color. In June 2010, Cavanaugh debuted his parents bought their frst piano. Encouraged second symphony show in the Generations by family and friends and inspired by his hero of Rock series, titled, “Michael Cavanaugh: Billy Joel, Cavanaugh formed his frst band The Songs of Elton John and More,” and then at age 10 and began playing local functions, debuted his third symphony show, “Singers fne-tuning the craft that would become and Songwriters: the Music of Paul Simon, his chosen career. His frst full-time gig as a Neil Diamond and James Taylor,” in 2012. musician was an extended engagement in In 2015, he debuted his fourth symphony Orlando, Florida, at a piano bar called Blazing show, “Rockin’ Christmas with the Pops.” Pianos. In January 1999, Michael received an He continues to tour all four symphony ofer that would unknowingly change his life, productions along with performing shows with an opportunity to play Las Vegas at the with his band in performing arts centers and famed New York, New York Hotel and Casino. other public venues. It was there that Billy Joel spotted Cavanaugh

72 kirill gerstein plays feb 23–24, 2018 beethoven’s “emperor”

KrzysztofKrzysztof Urba Urbańński,ski, Music Music Director Director JackJack Everly, Everly, Principal Principal Pops Pops Conductor Conductor RaymondRaymond Leppard, Leppard, Conductor Conductor Laureate Laureate

LillyLilly Classical Classical Series Series/Program/Program Eleven Seven Saturday,Friday, FebruaryJanuary 6, 23, at at5:30 8 p.m. p.m. Saturday, FebruaryHilbert 24,Circle at Theatre7 p.m. Hilbert Circle Theatre

NICHOLASNIKOLAJ ZNAIDER, MCGEGAN, Conductor Conductor | KIRILL | KAREN GERSTEIN, GOMYO, Piano Violin

HandelLudwig van Beethoven SymphonyConcerto No. No. 101 5 in DE- Majorfat Major (“The for Clock”) Piano and Orchestra, (1732–1809)(1770–1827) Op.Adagio 73 (“Emperor”) - Presto AndanteAllegro Menuet:Adagio Allegretto un poco moto VivaceRondo: Allegro ma non troppo

Mozart ConcertoINTERMISSION in A minor — for Twenty Violin, MinutesCello, and Orchestra, Op. 102 (1833–1897) (“Double Concerto”) Edward Elgar SymphonyAllegro No. 2 in E-fat Major, Op. 63 (1857–1934) AndanteAllegro vivace e nobilmente VivaceLarghetto non troppo ZachRondo De Pue, Violin AustinModerato Huntington e maestoso, Cello

Premier Sponsor Associate Sponsor

ThisThis performance performance is endowed is endowed by an b yXXXXXXXXXXX anonymous donor.

LengthLength ofof performanceperformance isis approximatelyapproximately two XXXXXXX hours Recording or photographing any part of this performance is strictly prohibited.

73 FEB 23–24 NIKOLAJ ZNAIDER, Conductor

Nikolaj Orchestra, New York Philharmonic, Chicago Znaider Symphony, Royal Concertgebouw, Detroit performs at Symphony, Montreal Symphony, Washington the highest National Symphony, and Munich Philharmonic level as both orchestras. conductor and virtuoso Znaider’s extensive discography includes violin soloist the Nielsen Concerto with Alan Gilbert and with the the New York Philharmonic, Elgar Concerto world’s most- in B Minor with the late Sir Colin Davis and distinguished the Staatskapelle Dresden, award-winning orchestras. recordings of the Brahms and Korngold He has been concertos with Valery Gergiev and the Principal Guest Vienna Philharmonic, the Beethoven and Conductor of the Mariinsky Orchestra Saint Mendelssohn concertos with Zubin Mehta and Petersburg since 2010, and was previously the Israel Philharmonic, the Prokofev Concerto Principal Guest Conductor of the Swedish No. 2 and Glazunov Concerto with Mariss Chamber Orchestra. Jansons and the Bavarian Radio Symphony, and the Mendelssohn Concerto on DVD Following a triumphant return to the BBC with Riccardo Chailly and the Gewanghaus Proms with the Staatskapelle Dresden and Orchestra. Znaider has also recorded the Christian Thielemann, Znaider embarked on complete works of Brahms for violin and piano a new project during the 2016–17 season: with Yefm Bronfman. recording all of the Mozart violin concertos, directed from the violin with the London He is passionate about supporting the next Symphony. He has a particularly strong generation of musical talent and spent ten relationship with the LSO; an orchestra years as Founder and Artistic Director of the he conducts and performs with as soloist annual Nordic Music Academy summer school. every season. Nikolaj Znaider plays the “Kreisler” Guarnerius Both as conductor and as soloist, Znaider “del Gesu” 1741 on extended loan to him is interested in deepening his connections by The Royal Danish Theater through the with key orchestras where he feels a special generosity of the VELUX Foundation and the bond, working regularly with orchestras Knud Højgaard Foundation. such as the Staatskapelle Dresden, Cleveland

McCready and Keene, Inc. | a OneAmerica® company

Serving the Indianapolis Symphony Orchestra for more than 50 years.

www.OneAmerica.com

74 KIRILL GERSTEIN, Piano FEB 23–24

Pianist Kirill Autumn 2017 marked the release of Scriabin’s Gerstein’s Piano Concerto in F-sharp minor with the curiosity and Oslo Philharmonic and Chief Conductor Vasily versatility Petrenko (LAWO Classics), and the recording has led to of Scriabin’s Prometheus: The Poem of Fire with a powerful the same forces. Early 2018 brings Gershwin’s engagement Piano Concerto in F and Rhapsody in Blue with a wide with the Saint Louis Symphony Orchestra range of and David Robertson for Myrios classics, repertoire and joining previous recordings for the label styles. From which include Liszt’s Transcendental Études, Bach to Adès, picked by The New Yorker as one of 2016’s his playing is most notable recordings; Tchaikovsky’s distinguished Piano Concerto No. 1 in the composer’s by its clarity own fnal version from 1879; Imaginary of expression, discerning intelligence Pictures coupling Mussorgsky’s Pictures at an and virtuosity. Gerstein’s energetic and Exhibition with Schumann’s Carnaval; and two imaginative musical personality has rapidly discs with Tabea Zimmerman of sonatas for taken him to the top of his profession. viola and piano by Brahms, Schubert, Franck, Clarke, and Vieuxtemps. An American citizen based in Berlin, Kirill Gerstein’s career is balanced between the U.S. Brought up in the former Soviet Union and Europe. Highlights of his 2017–18 season studying both classical and jazz piano, at in North America include debuts with the 14 Gerstein moved to the U.S. where he was Pittsburgh and National symphonies; the youngest student to attend Boston’s re-engagements with the Minnesota Berklee College of Music. Shifting his focus Orchestra and the Boston, Chicago, San to the classical repertoire, he studied with Francisco, Indianapolis, Houston, Colorado Solomon Mikowsky in New York, Dmitri and Oregon symphonies; and a tour with Bashkirov in Madrid and Ferenc Rados in cellist Clemens Hagen with performances Budapest. Gerstein won the frst of a series of in Philadelphia, Toronto and Montreal. prestigious accolades in 2001: First Prize at Internationally, Gerstein works with the the 10th Arthur Rubinstein Competition. In Leipzig Gewandhaus Orchestra in Leipzig 2002, he won a Gilmore Young Artist Award, and on tour in Paris and Vienna; the BBC and in 2010 both an Avery Fisher Career Proms in London; and the Czech, Rotterdam, Grant and the Gilmore Artist Award, which Stockholm and Oslo Philharmonics. provided the funds for him to commission new works from Timothy Andres, Chick Corea, Gerstein’s recent North American Alexander Goehr, Oliver Knussen, and Brad engagements includes performances with Mehldau. the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, and the St. Louis, Atlanta, Cincinnati, Dallas, Vancouver, and Montreal symphonies. In Europe, Gerstein has played with such prominent European orchestras as the Berlin Philharmonic and the Royal Concertgebouw Orchestra, the Munich and London Philharmonics, Dresden Staatskappelle, Finnish Radio Orchestra, Tonhalle Orchestra in Zurich and the Ochestre National de France. 75 LILLY Classical Series Program Notes

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

LUDWIG VAN BEETHOVEN It is phenomenal that Beethoven was able CONCERTO NO. 5 IN E-FLAT MAJOR FOR PIANO to write anything at all with war engulfng his immediate environs. Once again, we AND ORCHESTRA, OP. 73 “EMPEROR” witness his indomitable artistic spirit and Born: December 16, 1770, Bonn, Germany commitment. As always, in times of despair, Died: March 26, 1827, Vienna, Austria Beethoven escaped this world and turned to Year Composed: 1809–1811 his art. The outer world was but a part of his Length: c. 40 minutes existence; the composer’s greater reality was World Premiere: November 28, 1811, Leipzig the discipline of his calling. Sometimes Bee- Last ISO Performance: September 2015 with thoven mentioned a Latin phrase, which he Krzysztof Urbański conducting referred to as his motto: “Nulla dies sine linea” Instrumentation: 2 futes, 2 oboes, 2 clarinets, meaning “No day without a line of music.” 2 bassoons, 2 horns, 2 trumpets, and timpani And he did exactly that.

Vienna fell for the second time to Napoleon Beethoven cast the Fifth Piano Concerto in Bonaparte between May 10 and 13, 1809. E fat, a key that he reserved for a work of The citizens left behind in the city after the stature and import. John N. Burk wrote that nobility fed to their country castles were this was “music of sweeping and imperious fearful and panicked. Literally, the war was grandeur, unknown to any concerto written on Beethoven’s doorstep. up to1812, and beside which the dignity of emperors or archdukes loses all conse- The composer found refuge in his brother’s quence.” Essayist Robert Simpson observed basement, where he continued his work “Whatever the distractions, this concerto on the Fifth Piano Concerto. Although an must rank among his most unmistakably evacuation order was ordered on May 12, objective creations.” Beethoven remained in the city. Cannons and bombardment were horrendous and Beetho- Opus 73 begins with three huge orchestral ven covered his ears with pillows to protect chords, each separated by pianistic fourishes his hearing loss. His hatred of Napoleon was from the soloist. Immediately afterward, the strong, and the composer wrote, “It is a pity orchestra follows with a sweeping theme, fol- that I do not understand the art of war as lowed by several subsidiary subjects. Strings well as I do the art of music. Then, I would sing the frst main theme quietly and are conquer him [Napoleon].” answered immediately by horns. The pianist soon answers, leading us into a rhapsodic The war continued throughout the summer. world, moving steadily toward the second On July 26, the composer said to his Leipzig main idea. A dramatic and complex develop- publisher, Gottfried Christoph Hartel, “The ment follows with both forces taking equal course of events has attacked me, body and part, thus fusing both performing elements. soul . . . . What a destructive, disorderly life I see and hear around me . . . nothing but The recapitulation is traditional, with major drums, cannons and human misery in themes being restated almost without every form.” change. At the point where one would antic- ipate a cadenza, Beethoven wrote, “Do not play a cadenza, but attack immediately the

76 following.” The pianist does exactly imaginative, and difcult of all exiting that, initiating an episode that introduces concertos,” a German critic summarized. a stunning coda. Three months later the Viennese premiere (Carl Czerny was the soloist) was not such The second movement is a gentle, meditative a success, but the Fifth Piano Concerto nocturne, focused on a hymn-like melody. has become one of the most challenging, Muted violins present the gentle theme popular, virtuosic, and thrilling concerti in followed by piano graceful variations, dec- the repertoire. A sixth piano concerto was orating the tune. Beethoven urged that the partially completed and scored in 1815, but movement not be taken too slowly (“un poco nothing ever came of it. piu mosso”) and assigned two large beats per measure rather than four, giving a pulse that As for the sobriquet: there are two versions. has momentum. Cramer’s frst edition noted, One is that Johann Baptist Cramer, Beetho- “This must not drag.” ven’s publisher in England added it. The other is that a French general, after hearing At the close, listen for a soft bassoon pas- the work, commented, “C’est l’empereur.” sage leading to a single sustained tone. This ______single note (B) drops a semitone (to B fat), establishing a new possibility for modulation: EDWARD ELGAR wherein the piano shapes a new tune, a hint SYMPHONY NO. 2 IN E-FLAT MAJOR, OP. 63 of what is to come. It leads quietly without a Born: June 2, 1857, Broadheath, break into the rondo fnale. United Kingdom Died: February 23, 1934, Worcester, From the soothing tranquility, Beethoven United Kingdom launches into a movement of high rhythmic Year Composed: 1911 propulsion and linear sweeps. The melody Length: c. 55 minutes World Premiere: May 24, 1911, London heard at the outset—the hint from the sec- Last ISO Performance: November 1989 ond movement—becomes the basis for an conducted by Raymond Leppard enormous rondo. The aforementioned hint is Instrumentation: 3 futes, 3 oboes, 4 clari- highly energized, leaping upward in powerful nets, 3 bassoons, 4 horns, 3 trumpets, 3 syncopated rhythms, roaring in its state- trombones, 1 tuba, 1 timpani, percussion, ments, separated by dramatic episodes. and 2 harps

One of the most interesting moments is the Edward Elgar’s came from a simple back- duet for piano and timpani just before the ground. His father tuned pianos and had close. Throughout, the music never loses a small music shop in Worcester. Elgar its impetuous, headlong nature, revealing a was largely self taught as a composer and spontaneous quality that surges to a massive supported himself as a music teacher in closure, marked by soaring piano scale pas- his early years. Things changed radically sages and orchestral fourish. when he married one of his pupils, Caroline Alice Roberts, in 1889, despite the warn- Opus 73 is the largest of the Beethoven piano ings, scorn, and dislike from her siblings concerti, and the only one that Beethoven did who considered him beneath their family not introduce himself. The frst premiere on station and suspected his intentions since November 28, 1811, was in Leipzig, delayed he was seven years younger. This wealthy because of the war. Acclaim was immediate. upper class family had other ideas for her “It is without doubt one of the most original, future. In protest, her immediate family

77 LILLY Classical Series Program Notes

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

boycotted the wedding and only her cousin, success from Sir Edward Elgar confrmed William Raikes, and his wife attended their that he was worthy of that honor and was small Catholic ceremony. As a wedding gift, superb. Early in 1911, his Second Symphony Elgar presented Alice with the inefably beau- appeared, and the general reaction was a tiful Salut d’Amour, Opus 12. polar opposite.

The marriage was key to Elgar’s success as This symphony’s premiere was a failure, per- a composer. Without Alice’s steady loyalty, formed before a sparsely occupied concert encouragement, professional, emotional, and hall, and Elgar (who was subject to depres- monetary support, his relatively sheltered sion) was the conductor. He was shocked, life would have been massively diferent, and confused, and emotionally devastated by perhaps unobtainable. Alice adored her hus- this response. Looking at the audience, he band and she kept a diary of their marriage noted to the concertmaster that “They sit until her death in 1920. “The care of a genius there like a lot of stufed pigs.” is enough of a lifework for any woman,” she wrote, and dedicated herself to that task by Receptions to subsequent performances giving up her own career as a poet. She even were worse. Loyally, Alice wrote, “It seems ruled music scores for him, and thoughtfully one of his very greatest works, vast in design carved out time for him to dedicate himself and supremely beautiful.” The composer solely to composition. explained, “The spirit of the whole work is intended to be high and pure joy; there are Both of Elgar’s symphonies were written retrospective passages of sadness, but the within the Edwardian period from 1901 whole of the sorrow is smoothed out and to1910, a time that Samuel Hynes described ennobled in the last movement.” as “a leisurely time when women wore picture hats and did not vote, when the rich were At the top of the keyboard score and at the not ashamed to live conspicuously, and the end of the instrumental score, he quoted the sun really never set on the British fag.” Social poet Percy Bysshe Shelley from his Last Love class and birthright were status-determining, Poems (1821) “Rarely, rarely comest thou . . . and London became the fnancial center of spirit of delight.” The symphony was dedicat- the world. Peace and plenty abounded, in ed to the memory of King Edward VII, who spite of the fact that change was in the air. In died in 1910. 1906 the factionalized Liberals (combining with the Labour Party) came into power with The frst movement is packed with melodies, progressive politics and reforms gestating in opening with a soaring optimistic statement: their ranks. ”The germ of the work is in the opening bars —these in a modifed form are heard for Elgar’s First Symphony, premiering in 1908, the last time in the closing bars of the move- was hailed as enormous success, on a par ment,” Elgar wrote. The motif for the “spirit of with Beethoven, Mozart, Mendelssohn, delight” is stated in the second measure in a Brahms, Dvorak, Mahler, Tchaikovsky, and descending fgure that will appear through- Schumann. In fact Opus 55 was sometimes out the symphony. The frst group of themes called “England’s First Symphony.” In 1904, is grandly rhapsodic; the second group the composer was knighted, and this musical presents lyrical ideas with special attention

78 to a violin/horn theme and a poignant theme The third movement, Rondo, was inspired from the cello. In the development section, by a diferent part of Venice, the Piazza San the music withdraws into a hazy, soft, and Marco. The music opens with fast-moving foggy world displayed by muted violins. fligrees, which move into frenzied delight, The composer explained this change with almost madness . . . ”like the madness that another quote from Shelley: “I do but hide attends the excess or abuse of passion,” under these notes, like embers, every spark stated Elgar. A central section slows into a of that which has consumed me,” and then thoughtful, cantabile segment that grad- in his own words, “[it is] like a sort of malign ually expands into an exciting climax and infuence wandering through the summer subsides momentarily before dashing into night in the garden.” a full-bodied, rip-roaring conclusion. Elgar likened this to a semi-conscious corpse And, there was a sub-text: this section was being trampled by horses that “beat, beat inspired by Alice Stuart-Wortley, with whom into my scalp and brain with never an end he was having a hidden love afair, and he to the stream of passing feet . . . . I thought acknowledged her with a theme herein called the dead had peace, but it is not so.” (A “Wildfower,” which was his nickname for her. vision described by Alfred Lord Tennyson Elgar continued his description, saying, “This in Maud: A Monodrama, section V, lines entire passage might be a love scene . . . it 245-247). makes me shiver.” A soft march ensues from trombones and tuba, which rises to a forte The fourth movement, marked moderato before the recapitulation. e maestoso, is corseted in sonata-allegro format. Strong rhythmic control over the The second movement, written in Venice, opening’s stately frst theme ofers stark presents an evocation of the grandeur and contrast to the frenzy of the Rondo; a shadows of St. Mark’s Cathedral in a funeral sequential bridge via a secondary theme march. The pace is slow, colored by heavy leads to the second theme marked nobili- brass chords. Gradually, the dirge becomes mente. Elgar’s development is complex and more intense, leading to a fashing climax busy, featuring thick fugato textures and that subsides into a recall of opening ideas. expansive orchestral coloration. The recap- Toward the end, an oboe sings softly “focus- titulation behaves traditionally with recall ing on a private symbolism behind the music” of the main themes before an elegant coda as the movement closes with the recall of the marked piu tranquillo gently leads Opus 63 opening motif now in subdued form, “like a to its peaceful, quiet ending. woman dropping a fower on a man’s grave.” As time has passed, Opus 63 has gained Elgar directed, “I want you to imagine a great in musical stature and gained respect crowd of silent people watching the passing not only for the high drama within deep, of a beloved sovereign. Strings, you must play conficting passions, but also the exquisite those semiquaver fgures of yours like the themes, orchestral craftsmanship, and sigh of an immense crowd. Oboe I want you touching presentation of life’s journey. to play your lament entirely free with all the Elgar stated that this symphony described expression you can get into it. It must sound “A pilgrimage of a soul,” although he as if it belonged outside somewhere.” The sad insisted that it was non-programmatic. In memory was not only of King Edward VII, but a letter to “the second Alice,” his mistress at of Alfred E. Wodewald, one of Elgar’s dearest the time, the composer confessed, “In this I friends, who died in 1903. have shown you my soul.”

79 ARTS IN INDY

Dance Kaleidoscope

It all starts with children—they are the next generations of artists, audiences, and advocates. Dance Kaleidoscope believes in sharing its knowledge and love of dance through a well- developed education program. DK dancers teach public dance classes for young children (and adults) in the DK rehearsal studios. Take a look at the list of dance classes we ofer at DanceKal.org. Let the wild rumpus begin!

Indianapolis Opera We hope that one of your New Year’s resolutions is to include more arts activities in your life. On Sunday, January 28, we invite you to the Basile Opera Center, 4011 N. Pennsylvania, at 3 p.m. for Indianapolis Opera’s “Chorus in Concert.” Beautiful arias and songs will be sung by our phenomenal Indy Opera chorus mem- bers. Please join us March 23–25 for an enchanted evening in the South Pacifc with Indy Opera’s musical theatre production. Have a happy, healthy, musical new year! www.indyopera.org New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprising three orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestra masterworks, both traditional and contemporary. Join us for our midwinter concert on February 11. For more information call 317.912.0547 or visit www.nwyso.org. Indianapolis Symphonic Choir For the frst time in more than 20 years, the Indianapolis Sym- phonic Choir performs Stravinsky’s Symphony of Psalms. Paired opposite the Ralph Vaughan Williams Dona Nobis Pacem, these 20th century works showcase the Symphonic Choir’s musical ver- satility and sensitive phrases. Eric Stark conducts this one-night- only performance on Saturday, February 3, at The Schrott Center on the Butler University campus. Tickets and more information available at indychoir.org. Indianapolis Children’s Choir Take a trip to Italy as the Indianapolis Children’s Choir presents “A Night in Rome” on March 11 at Hilbert Circle Theatre. These two concerts (Tapestry of Song at 3 p.m. and Voices of Youth at 7 p.m.) will include guest performers from the Indianapolis Opera and Indiana Ballet Conservatory! The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or fnd out ways to support our mission, visit icchoir.org or call 317.940.9640.

80 To advertise within this book, contact [email protected] or 317.664.7835 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 signifcant 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 ROBERT H. MOHLMAN PRINCIPAL CLARINET CHAIR THE FORD-WEST CONCERTMASTER CHAIR Endowed by the Robert H. Mohlman Fund Endowed by Richard E. Ford in honor of his mother, David A. Bellman, Principal Clarinet Florence Jeup Ford, and Hilda Kirkman West THE HUFFINGTON ASSISTANT PRINCIPAL CLARINET CHAIR Zachary De Pue, Concertmaster Endowed in memory of Robert Hufngton by THE MEDITCH ASSISTANT CONCERTMASTER CHAIR Clarena Hufngton Endowed by Juliette, Dimitri, Marian, and Cathryn Gross, Assistant Principal Clarinet Boris Meditch THE ROBERT L. MANN AND FAMILY PRINCIPAL HORN CHAIR Peter Vickery, Assistant Concertmaster Endowed by Robert L. Mann and Family THE WILCOX ASSISTANT CONCERTMASTER CHAIR Robert Danforth, Principal Horn Endowed by David E. and Eleanor T. Wilcox THE BAKKEN FAMILY HORN CHAIR Dean Franke, Assistant Concertmaster Endowed by a gift from Dawn, Ruth, THE TAUREL ASSISTANT PRINCIPAL SECOND VIOLIN CHAIR and Darrell Bakken Endowed by Kathy and Sidney Taurel Jerry Montgomery, Horn Mary Anne Dell’Aquila, Assistant Principal THE W. BROOKS AND WANDA Y. FORTUNE Second Violin PRINCIPAL TRUMPET CHAIR THE DICK DENNIS FIFTH CHAIR Endowed by W. Brooks and Wanda Y. Fortune Endowed in memory of Richard F. Dennis Conrad Jones, Principal Trumpet by Carol Richardson Dennis THE DR. AND MRS. CHARLES E. TEST TROMBONE CHAIR This Second Violin Section Chair is Seated Using Endowed by Dr. and Mrs. Charles E. Test Revolving Seating Riley Giampaolo, Trombone THE JANE AND FRED SCHLEGEL PRINCIPAL VIOLA CHAIR THE THOMAS N. AKINS PRINCIPAL TIMPANI CHAIR Endowed by Jane and Fred Schlegel Endowed anonymously THE ASSISTANT PRINCIPAL CELLO CHAIR Jack Brennan, Principal Timpani Endowed anonymously THE WALTER MYERS JR. PRINCIPAL HARP CHAIR THE RANDALL L. TOBIAS CELLO CHAIR Endowed anonymously in honor of Walter Myers Jr. Endowed by Randall L. Tobias Diane Evans, Principal Harp Ingrid Fischer-Bellman, Cello THE DOROTHY MUNGER PRINCIPAL KEYBOARD CHAIR THE DR. AND MRS. ROBERT L. RUDESILL CELLO CHAIR Endowed by the Women’s Committee of the Endowed by Dr. and Mrs. Robert L. Rudesill Indianapolis Symphony Orchestra Anne Duthie McCaferty, Cello ENDOWED PERFORMANCES THE SIDNEY AND KATHY TAUREL PRINCIPAL FLUTE CHAIR CLASSICAL SEASON OPENING CONCERTS Endowed by Sidney and Kathy Taurel Endowed by Francis W. and Florence Goodrich Dunn Karen Evans Moratz, Principal Flute September 29–30, 2017

THE JANET F. AND DR. RICHARD E. BARB PICCOLO CHAIR THE PAUL FAMILY PERFORMANCE OF CLASSICAL MUSIC Endowed by Janet F. and Dr. Richard E. Barb Endowed by Dorit, Gerald, Eloise, and Alison Paul Rebecca Price Arrensen, Piccolo October 6–7, 2017

THE FRANK C. SPRINGER JR. PRINCIPAL OBOE CHAIR THE WILLIAM L. AND JANE H. FORTUNE Endowed by Frank C. Springer Jr. GUEST CONDUCTOR CHAIR Jennifer Christen, Principal Oboe Endowed by Mr. and Mrs. William L. Fortune October 13, 2017 THE ANN HAMPTON HUNT ENGLISH HORN CHAIR Endowed by Ann Hampton Hunt THE FRANK E. MCKINNEY, JR. GUEST CONDUCTOR CHAIR Roger Roe, English Horn Endowed by Marianne Williams Tobias November 10–11, 2017 81 ENDOWMENT

FRANK AND IRVING SPRINGER PIANO PERFORMANCE THE TOBIAS GREEN ROOM Endowed by Frank C. Springer Jr. Endowed by Randall L. Tobias November 17–18, 2017 THE MAESTRO SOCIETY IPL YULETIDE CELEBRATION OPENING NIGHT PERFORMANCE August and Margaret Watanabe Endowed by Marianne Williams Tobias Dr. and Mrs. Gordon E. Mallett December 2017—Opening Night Mrs. Walter Myers Jr. Randall L. Tobias IPL YULETIDE CELEBRATION CLOSING PERFORMANCE Jack Weldon, Maestro Society Founder, given Endowed by Marianne Williams Tobias by Penny Ogle Weldon December 2017—Closing Night Mr. and Mrs. Richard D. Wood THE PERFORMANCE OF ISO PRINCIPAL CHAIR MUSICIANS Mr. Raymond Leppard Endowed by the Eugene B. Hibbs Fund Dr. John C. Bloom January 6, 2018 Edna Woodard-Van Riper Marianne Williams Tobias THE MOHLMAN PERFORMANCE OF CLASSICAL MUSIC Endowed by a gift from Ina M. Mohlman THE MARIANNE WILLIAMS TOBIAS PROGRAM ANNOTATOR CHAIR and the late Robert H. Mohlman Endowed anonymously January 26–27, 2018 Marianne Williams Tobias, Program Annotator

THE PERFORMANCE OF A GUEST ARTIST ARTIST-IN-RESIDENCE ENDOWMENT Endowed by the Jean D. Weldon Guest Artist Fund Endowed in memory of Hortense and Marvin Lasky February 2–3, 2018 THE PAUL E. AND MARTHA K. SCHMIDT THE MRS. EARL B. BARNES MEMORIAL FUND IN CONDUCTING STUDY FELLOWSHIP SUPPORT OF A GUEST ARTIST Endowed by Paul E. and Martha K. Schmidt Endowed Anonymously THE MICHAEL BEN AND ILLENE KOMISAROW MAURER February 23, 2018 YOUNG MUSICIANS CONTEST THE FRANK E. MCKINNEY, JR. GUEST CONDUCTOR CHAIR Endowed by Michael Ben and Illene Komisarow Maurer Endowed by Marianne Williams Tobias THE INSTRUMENT PETTING ZOO March 2, 2018 Endowed by Dr. and Mrs. Gordon E. Mallett THE PERFORMANCE OF NEW MUSIC THE INDIANA SERIES Endowed by LDI, Ltd. Endowed by Mr. and Mrs. J. Irwin Miller March 17, 2018 THE INDIANAPOLIS SYMPHONY ORCHESTRA THE PAUL AND ROSEANN PITZ PERFORMANCE OF CLASSICAL MUSIC VICE PRESIDENT OF EDUCATION Endowed by the Paul and Roseann Pitz Fund Endowed by Mr. and Mrs. William L. Fortune April 6, 2018 THE MARILYN K. GLICK YOUNG COMPOSER’S SHOWCASE THE DENNIS T. HOLLINGS PERFORMANCE OF CLASSICAL MUSIC Endowed by Mr. and Mrs. Eugene B. Glick Endowed by the Dennis T. Hollings Fund April 28, 2018 THE ISO PRE-SCHOOL MUSIC EDUCATION PROGRAMS Underwritten by the Tobias Family Foundation THE PERFORMANCE OF A YOUNG PROFESSIONAL ARTIST Endowed by Roche Diagnostics THE SARAH MCFARLAND ENDOWMENT May 4, 2018 Endowed by the Sarah McFarland Fund

THE PERFORMANCE OF CLASSICAL MUSIC INCLUDING MAJOR THE PITZ LEADERSHIP AWARD LITURGICAL AND CHORAL MUSIC Endowed by the Paul and Roseann Pitz Fund Endowed in memory of Elmer Andrew and Marguerite THE INSTALLATION AND MAINTENANCE OF A THEATRE PIPE ORGAN Maass Stefen by E. Andrew Stefen Endowed by the Sally Reahard Fund June 1–2, 2018 THE J.K. FAMILY FOUNDATION WORDS ON MUSIC THE PERFORMANCE OF A SUMMER SERIES CONCERT Endowed by Marianne Williams Tobias, President, Endowed by Mrs. William P. Cooling J.K. Family Foundation Summer 2018 THE OUTER LOBBY SPECIAL ENDOWMENTS Named to Recognize the Generous Gift of Ruth Lilly HILBERT CIRCLE THEATRE to the Indianapolis Symphony Orchestra 1984 Endowed by Stephen and Tomisue Hilbert 82 ENDOWMENT

THE GRAND LOBBY ORCHESTRA BOX C6 Endowed by Marianne Williams Tobias This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle THE BOX OFFICE LOBBY Named in Honor of Generous Support from THE OVAL PROMENADE Marianne W. and Frank E. McKinney Jr. Named to Recognize the Generous Gift of the Eli “The Art and Science of Music are an Enduring Lilly and Company Foundation to the Indianapolis Refection of the Thoughts & Experiences of Symphony Orchestra Humankind,” June 1991 October 1984

SECOND FLOOR LOBBY FIRST MONDAY MUSIC CLUB Named in memory of William Fortune, prominent Endowed anonymously civic leader, by a generous gift from William L. and STAGE TERRACE SEATING Jane H. Fortune Endowed anonymously ORCHESTRA BOX C1 SPECIAL ACKNOWLEDGEMENTS This Orchestra Box Endowed by PERFORMANCE OF THE WURLITZER PIPE ORGAN Mrs. Bailey (Gladys) Swearingen Generously underwritten by David and Eleanor Wilcox ORCHESTRA BOX C2 THE NEW STEINWAY CONCERT GRAND PIANO This Orchestra Box Endowed by Saundra Lee and H. Given in memory of Mr. and Mrs. William H. Ball Tuck Schulhof by Mrs. Lucina B. Moxley ORCHESTRA BOX C3 THE MUSIC LIBRARY OFFICE This Orchestra Box Endowed by Herschel and Underwritten by the Musicians and Staf of the Angela Porter Indianapolis Symphony Orchestra in memory of ORCHESTRA BOX C4 Richard Grymonpré This Orchestra Box Endowed by E. Andrew Stefen THE ISO ASSOCIATION OFFICE Endowed by Peggy & Byron Myers

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

st.vincent.org

83 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 notifed the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Ofce of Development at 317.713.3342. Albert & Gail Ammons Dr. & Mrs. Larry C. Franks William F. Murphy, CPA Earleen M. Ashbrook Bradley S. & Teresa G. Fuson John & Carolyn Mutz Ms. Nancy Ayres Dr. & Mrs. Richard W. Garrett Peggy & Byron Myers Dawn, Ruth* & Darrell* Bakken David* & Deloris “Dee”* Garrett Mr. & Mrs. Charles J. O’Drobinak Janet F. & Dr. Richard E. Barb Ms. Patricia Garrity Dorit & Gerald Paul Frank & Katrina Basile Cy* & Pris Gerde Joan S. Paulin Dr.* & Mrs. Paul F. Benedict James E. & Judith A. Gillespie Dr.* & Mrs. Bruce Peck Dale & Barb Benson David & Julie Goodrich Marian Pettengill and Family Dr. John C. Bloom Mrs. Anne M. Greenleaf Mrs. Joseph D. Pierce Rosanne Bonjouklian John S. Grifn Dr. & Mrs. George Rapp Mrs. Charlotte Bose Mary & George Harless Josette Rathbun Charles & Cary Boswell Mike & Noel Heymann Mr.* & Mrs. Elton T. Ridley Dr. Ella H. & Mr. Robert Tom & Nora Hiatt David Rodgers R. Bowman Clarena Hufngton Dr.* & Mrs. Robert L. Rudesill Mr. & Mrs. Charles H. Boxman Ann Hampton Hunt Henry & Vel* Ryder John Charles Braden & Ty A. Johnson Jane & Fred Schlegel Denton Raubenolt Joan & David F.* Kahn Paul & Martha Schmidt Donald & Barbara Broadlick Swadesh & Sarla Kalsi Carl & Laurel Schnepf Philip J. Burck Bob & Rhonda Kaspar H. Tuck & Saundra L. Schulhof Alex. S. Carroll Patricia Kilbury Margaret A. Shaw Nancy & Chris* Christy Ms. Peg Kimberlin Jean & Clifton Smith Ms. Patricia C. Chunn Ms. Marie E. Kingdon Mr. & Mrs. Clark L. Snyder Norman I.* & Maxine Cohen John J. Kloss, JD Sue K. Staton John & Ulla Connor Kay F. Koch Dr.* & Mrs. James B. Steichen Chris W. & Lesley J. Conrad H. Jean Jones Kyle Ann R. Strong Peter Cooney James E. & Patricia J. LaCrosse Kathryn* & Sidney Taurel Mr. & Mrs. Ronald A. Cox Dr. Ned & Martha Lamkin Carol E. Taylor Mr. & Mrs. Thomas E. Dapp Lawrence & Vivian Lawhead Mrs. David Thiel Lou & Kathy Daugherty Mr. & Mrs. Richard L. Ledman William & Karen Thompson Andrea Davis Raymond Leppard Marianne Williams Tobias Edgar* & Joanne Davis Mr. L. Robert Lowe Jr. Ann Vaughan Carol Richardson Dennis John A. Mainella & Michael Pettry Dan & Doris Weisman Rollin & Cheri Dick Dr. & Mrs. Gordon E. Mallett Anna S. & James P. White Mr. & Mrs. Richard A. & Helen J. Dr. & Mrs. Karl L. Manders Mildred M. Wiese Dickinson Mr.* & Mrs.* Michael Ben Maurer David E. & Eleanor T. Wilcox Clarita Donaldson Stacy Maurer Mr. & Mrs.* Charles D. Williams, III Mrs. Lewis A. Enkema Janice & John F. McHenry Richard D. & Billie Lou* Wood Mr.* & Mrs. Richard Felton W. Jean McCormick Mr. & Mrs. C. Daniel Yates Mr. Murray R. Fischer Robert B. & Eleanor S. McNamara Mike & Phyllis* Zimmermann Dr.* & Mrs. W. Brooks Fortune Marian Y.* & Boris E. Meditch Anonymous (15) Marilyn K. Fourman Clayton C. Miller *Deceased THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Suzanne Swain Brown 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 84 LYNN SOCIETY

Gail H. & Robert H. Hall Robert H. & Ina Mohlman Mrs. Mary Schulz 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. Staf Jr. Mr. David A. Jacobs Marcia L. O’Brien Andrew Stefen 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. Popof 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)

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 diference. Here is sample language: “I hereby give ____% of my estate (or specifc 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, Vice President of Development, with questions about The Lynn Society at 317.713.3342 or [email protected]. 85 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 refects the gifts received as of November 4, 2017. Every efort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Ofce 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 David & Eleanor Wilcox Joseph & Kathy Kessler Ronald McDonald House Anonymous Kathy & Ralph Wilhelm Ned & Wendy Kirby Charities of Central Indiana Christel DeHaan Roberta & Bill Witchger Cindy L. & Timothy J. Konich and McDonald’s of Central B. M. “Marti” Ripberger Dr. & Mrs. Eugene P. Kroef Indiana Yvonne H. Shaheen Anonymous Drs. W.H. & K.T. Landschulz Vectren Corporation Marianne Williams Tobias Arthur Jordan Foundation Ms. Karen Mangia Barnes & Thornburg LLP Mr. & Mrs. Bruce McCaw FOUNDERS’ SOCIETY Anonymous BMO Harris Bank The Alice Greene McKinney & ($5,000-$9,999) Arts Council of Indianapolis and Budweiser Zink Distributing E. Kirk McKinney Jr. Fund, Mr. & Mrs. Jefrey M. Adams the City of Indianapolis Co, LLC a fund of CICF Thomas N. Akins The Christel DeHaan Family Chase Karen Mersereau & Mr. & Mrs. Michael Alley Foundation The Clowes Fund Dr. Michael Helms Bob & Pat Anker Efroymson Family Fund Community Health Network Mrs. Nancy Ann Morris Deborah & Douglas Balogh Eli Lilly and Company Foundation Mel & Joan Perelman Trudy W. Banta Indianapolis Power & Light Duke Energy Walt & Mary Prouty Maestro Raymond Leppard & Company Ice Miller Mary Frances Rubly & Dr. John C. Bloom Indianapolis Symphony Orchestra Indiana Arts Commission Jerry Hummer Terry & Robert L Bowen Association Johnson County Community Fred & Bev Ruebeck Mr. & Mrs. John Bratt The Kroger Co. Foundation, Inc. Mr. & Mrs. William N. Salin Donald & Barbara Broadlick Lilly Endowment, Inc. National Endowment for the Arts Phyllis & Gary Schahet Charles W. Brown The Margot L. and Robert S. Eccles OneAmerica Financial Partners, Jef & Cassandra Short Mr. & Mrs. Walter P. Bruen, Jr. Fund, a fund of CICF Inc. Mr. & Mrs. Richard Skiles Mike & Pat Byers R.B. Annis Educational Foundation Mr. Kevin D. Taylor Ms. Jane Conley FOUNDERS’ SOCIETY, MUSIC DIRECTOR Raymond James & Associates, Inc. Mr. & Mrs. Daniel O. Weisman Dexter & Rosemary Cooley ($50,000+) Roche Diagnostics Sara & Mike Zeckel Mr. & Mrs. James M. Cornelius Anonymous Salesforce Jim & Rita Zink Andrea Davis Phil & Colleen Kenney Scott A. Jones Foundation David & Consuelo Davis Kay F. Koch Shaheen Family Foundation ADL Charitable Trust Erin & Scott Dorsey Sarah & John Lechleiter St.Vincent Health Ann & Gordon Getty Foundation Jack Everly & Ty A. Johnson Dr. Kenneth & Mrs. Debra Renkens Telamon Corporation Anthem Blue Cross and George R. Flexman Robert & Alice Schloss Terry Lee Genesis & Terry Lee Blue Shield Russell Fortune III Richard D. Wood Hyundai Buckingham Foundation Inc. Dr. & Mrs. Richard W. Garrett The Martin D. & Mary J. Walker Care Institute Group, Inc. Gary Ginstling & Marta The Glick Fund, a fund of Central Charitable Foundation The Indianapolis Foundation, Lederer Indiana Community Foundation Tobias Family Foundation a CICF Afliate Larry C. & Lee A. Glasscock Nicholas H. Noyes Jr. Memorial City of Carmel Charles & Susan Golden Foundation FOUNDERS’ SOCIETY, FIRST CHAIR CNO Financial Group Jim & Roberta Graham Printing Partners ($10,000-$19,999) Community Health Network Mr. & Mrs. Thomas W. Grein Ruth Lilly Philanthropic The Honorable & Mrs. Alex M. Dow AgroSciences John & Chichi Guy Foundation Azar II Elba L. & Gene Portteus Branigin Steve L. Hamilton & Mr. & Mrs. Robert Bader Foundation Inc. Keith O. Norwalk FOUNDERS’ SOCIETY, CONCERTMASTER Charlene & Joe Barnette Erie Insurance Richard & Elizabeth Holmes ($20,000-$49,999) Ms. Sarah Barney The Glick Family Foundation Mr. & Mrs. W. Seymour Holt Mr. & Mrs. Michael Becher Mr. & Mrs. Barry J. Bentley Fenneman Family Foundation Dr. Ann H. Hunt Christina Bodurow Suzanne B. Blakeman Fifth Third Bank Dr. & Mrs. Ronald Iacocca Mr. & Mrs. Daniel P. Carmichael Charles & Joyce Boxman The Frenzel Family Charitable Dr. & Mrs. Raymond V. Mr. & Mrs. Trent Cowles Bryan & Elaine Brenner Lead Trust Ingham Rollin & Cheri Dick Dr. & Mrs. Thomas A. Broadie Huntington Bank James O. & Alice F. Cole Dawn M. Fazli Vincent & Robyn Caponi Indiana Members Credit Union Foundation James E. & Patricia J. LaCrosse Mr. Daniel Corrigan The Indiana Rail Road Company Carlyn Johnson Dr. & Mrs. E. Henry Lamkin, Jr. Craig & Mary Fenneman Indiana University Health Partners Mrs. Joan D. Kahn Dr. Gordon & Carole Mallett Don & Carolyn Hardman Industrial Dielectrics Holdings Mr. James Kastner Mrs. F. Bruce Peck, Jr. Mr. Kent Hawryluk Indianapolis Symphony Orchestra Kimra Kidd & Thomas Mrs. Robert L. Rudesill Dr. Sharon Hoog Association South Group Buehner Christopher A. Slapak & Michael J. Emily & Peter Howard Anonymous Fund of Central Drs. Sandra & Charles Robertson Allan & Kathy Hubbard Indiana Community Foundation Kinsella Randall & Deborah Tobias Ms. Harriet Ivey & Dr. Richard Market District Mrs. James L. Kittle, Sr. Dr. & Mrs. Eugene Van Hove Brashear David H. Kleiman & Susan Jacobs Martin & Mary Walker Bob & Rhonda Kaspar 86 ANNUAL FUND

Gregory & Alexandra Loewen PNC Dr. Elisabeth Krug Indy Podiatry Dr. & Mrs. Carlos Lopez Regions Bank Andrew & Lynn Lewis InterDesign Malcolm & Joyce Mallette JK Family Fund, A Donor Nancy Lilly Milhaus Development Mr. & Mrs. David Malson Advised Fund of Renaissance Mr. & Mrs. Allan Litz Park Tudor School Mr. & Mrs. Morris Maurer Charitable Foundation Jim & Sarah Lootens Paul Family Foundation, Inc. John & Doris McCullough Salin Bank & Trust Ralph & Nancy Lundgren David and Arden Pletzer Boris E. Meditch Van Riper Woodard Family Mary & Charles Matsumoto Endowment Fund, a fund of Virginia Melin Foundation Dr. & Mrs. Douglas R. Maxwell Legacy Fund Jim Miller WGU Indiana Flip & Cindy Miller Salin Foundation Mr. & Mrs. Dayton Molendorp Witham Health Services Milton & Margaret Miller St. Richard’s Episcopal School Ellie, Weber & Emaline Morse Elizabeth & William Murphy The Toomer Family Foundation Jerry & Anne Moss CONDUCTOR’S CIRCLE Mr. & Mrs. Daniel Mytelka Universal Windows Direct Dr. & Mrs. Daniel H. Mowrey ($2,500-$4,999) Mr. & Mrs. Robert H. Orr Western Reserve Partners, LLC John & Carolyn Mutz / Lumina Anonymous (2) Noel & Beth Outland Foundation James Adams Jane & Andrew Paine PRESIDENT’S CLUB Marc Nichols & Jamie Collins Dr. Albert Allen & Ms. Kathryn Eloise Paul & Bill Lee ($1,500-$2,499) Jackie Nytes Maeglin Dorit & Gerald Paul Anonymous (4) Mr. & Mrs. Charles J. O’Drobinak J. Dara & Sherry Amlung Matthew & Christine Phillips Dr. & Mrs. Wayne Ambrous Michael P. & Leanne M. O’Neil Dr. & Mrs. Richard Barb Myrta J. Pulliam Kate & Dan Appel Kay Pashos & Neal Steinbart Mary Ruth Barnard Dr. & Mrs. George F. Rapp Nicholas Barbaro & Jack & Katie Patterson Frank & Katrina Basile Mr. & Mrs. Thomas Roberts Sue Ellen Scheppke Donald & Karen Perez Mary Clare & George Broadbent Mrs. John R. Roesch Spencer & Marcia Bavender Bart Peterson Dr. & Mrs. John T. Callaghan Nancy Ray Ross Mr. Brett & Mrs. Shari Bayston Scott & Susan Putney Elizabeth A. Chamberlin Mr. Gilva F Sallee & Mark K. Bear Steve & Margaret Russell Nancy Christy Ms. Wanda L Shafer Mr. & Mrs. Laurens Beyland Maribeth & Al Smith James J. & Barbara Curtis Mrs. Lisa M. Sapp Jay & Julie Bishop Susanne & Jack Sogard Joanne Meyer Davis Dr. & Mrs. John F. Schaefer Carole & Sam Bixler Joanne & Gerald Solomon Manuel & Sally Debono James & Mary Beth Schafer Mr. & Mrs. Jesse L. Bobbitt Mr. & Mrs. Larry Speer Rick & Jody Dennerline Jane & Fred Schlegel Kirk & Sharon Boller -- Ann M. & Chris Stack Steve & Mary DeVoe Klaus & Joel Schmiegel Bottom-Line Performance Inc Dr. Pamela Steed & Dr. Peter Furno Kerry Dinneen & Sam Sutphin Marlyne Sexton Gordon & Celia Bruder Mr. & Mrs. John Thornburgh Mr. & Mrs. Craig Doyle Armen & Marie-Claude Shanafelt Kenneth & Patricia Burow Margaret Watanabe Robert W. Dyar, M.D. Drs. Lei Shen & Soomin Park Mr. & Mrs. John Campbell David P. Whitman & Donna L. Dr. & Mrs. Thomas Elam Eric Siemers & Peggy Edwards Dr. David & Judith Chadwick Reynolds Mr. & Mrs. Neil Ellerbrook Dick & Susan Simon Mr. & Mrs. Albert Chen Mrs. Lucy Wick Dorothy Schultz Englehart Mr. & Mrs. Jef Smithburn Mr. & Mrs. Randall Christie Lynn & Andy Wiesman Ms. Carol J. Feeney Dee & Tom Spencer John & Ulla Connor Jacquie & Fred Winters Dr. & Mrs. Michael E. Flaugh Sydney L. Steele Chris W. & Lesley J. Conrad Dr Christian Wolf & Elaine Dr. & Mrs. Mark Foglesong Drs. Randall & Bonnie Strate Bill & Angela Corley Holden-Wolf Steve & Lisa Ford Richard & Lois Surber Dave & Christie Crockett John & Linda Zimmermann Mr. & Mrs. L. D. Foster, Jr. James Sweeney Cummings Family Jennifer & Michael Zinn Dr. & Mrs. Larry C. Franks Dr. & Mrs. Reed Tarwater Mr. & Mrs. Bert Curry Julia & Doug Gard Mrs. David Thiel Mr. & Mrs. Gregory C. Davis Barefoot Wine Michael & Beth Gastineau Jefrey & Benita Thomasson Ann & Kenneth Dee The Barrington of Carmel Cora A. Gibson Jerry & Linda Toomer Dennis K. Dickos, M.D. Bose McKinney & Evans LLP Mr. & Mrs. Alexander Dr. James & Linda Trippi Mr. & Mrs. Erold R. Diller Chubb Group of Insurance Goloschokin Ms. Cathy Turner Mr. & Mrs. Robert M. Donovan Companies Dr. & Mrs. Christian Gries Joe & Sue Vertin Dr. & Mrs. Christopher Eddy Cornelius Family Foundation, Inc. Bob Hallam Don & Coleen Walker Miss E. Frances Eickhof Deloitte & Touche LLP James & Paula Hancock Jane & Hugh Watson Robert & Joy Elzer DMC Holdings, Inc. Nancy J. Harrison Emily A. West Andrew & Irene Engel Dorsey Foundation Mr. Henry Havel & Dr. & Mrs. William J. Wheeler John N. & Julia Luros Failey Faegre Baker Daniels Ms. Mary Stickelmeyer Anna S. & James P. White Michael & Ardith Fleetwood Garmong Construction Bill & Nancy Hunt Bob & Marnie Wilken Dr. Norm & Adrienne Fogle Haddad Foundation Marsha A. Hutchins Mr. & Mrs. Clark Williamson Dick & Brenda Freije Honda Larry & Annette Hutchison James & Joyce Winner Mr. & Mrs. Raymond Gibson Howard K. Johnson Fund, a fund of Mr. & Mrs. John C. Jenkins Terence & Margaret Yen Steven M. Giovangelo The Indianapolis Foundation & Family & Gerald J. Bedard The Indy Star Dr. & Mrs. C. Conrad Johnston 500 Festival, Inc. Drs. Jean & Gerald Godfrey Jungclaus-Campbell Co., Inc. Daniel H. Joseph & Liu Li Bright Sheet Metal Co., Inc. Dr. Lawrence I. Goldblatt The Julia L. and Andre B. Lacy Dr. Louis N Jungheim & Dr. Thalia CharBlue Leonard & Rikki Goldstein Charitable Fund, a fund of CICF I. Nicas Indianapolis Foundation, a CICF Mr. Ray E. Gotshall M/I Homes Mrs. John E. Kalsbeck Afliate on behalf of Kiamesha Joe & Kathy Grahn MacAllister Machinery Company, Donn & Dot Kaupke Colom Mr. & Mrs. Berl J. Grant Inc. James & Jennifer Kelley CSO Architects, Inc. Mr. & Mrs. Robert Gregory Macy’s Mr & Mrs. David Kelly Donovan CPAs & Advisors Ms. Julie Grifth Mallor Grodner LLP Mr. Charles E. Kendall First Person Dr. Kathleen Hacker Merrill Lynch Mr. & Mrs. Michael J. Kennif Harlan Family Foundation & Jerry Hacker SHC – Senior Home Companions Peg Kimberlin Heritage Group Fred & Alice Hecker MusicCrossroads Larry & Rose Kleiman Indiana American Water Co., Inc. Mike & Noel Heymann The National Bank of Indianapolis Don & Jen Knebel The Indianapolis Recorder Mr. & Mrs. Gerald V. Hinchman NextGear Capital Dr. Gwen & Mr. Robert Krivi Indy Eleven Mr. Gerald R. Jenn 87 ANNUAL FUND

Mr. & Mrs. Richard Johnson Courtenay & Emily Weldon Linda Felton Mr. & Mrs. Thomas McGinley Dr. & Mrs. Philip E. Johnston Mrs. Mary Whalin Dean & Beth Flaris Myron J. McKee Dana & Marc Katz Dr. Forrest Williamson Gracia & Jim Floyd Marni McKinney Mr. Doug Klitzke Bob & Debbie Wingerter Dr. & Mrs. Bruce Frank Nancy L McMillan Col. A. D. Kneessy Ken & Wendy Yerkes Ted & Lorrie Freeman Mr. & Mrs. Richard Menke Tim, Amy & Matthew Konrad Josephine A. Yu Ann S. & David R. Frick Mr. Allen & Mrs. Deborah Miller Dr. & Mrs. Richard Lasbury Mr. & Mrs. Leslie R. Zimmerman Ms. Susan Fucik Earl Miller & Ek-Leng Chua-Miller Bob & Maureen Lee Mary Ann & Gene Zink Mr. & Mrs. James F. Gallagher Dr. William A. Mirola Cindy & Rick Lefer Sue & John Zinser Dr. Karen & Thomas Gallagher Dr. & Mrs. Patrick J. Murphy Dennis & Karen Licht Mr. Jerome Gassen & Ann & Jim Murtlow Deborah & Joe Loughrey The Ackerman Foundation Ms. Nicole Weaver Jack & Judy Myers Mr. Kevin Malley & Mr. Ronald Batt Family Foundation Dorothea & Philip Genetos Don Nead & Caryl Matthews Nobles Bingham Greenebaum Doll LLP Mr. & Mrs. Jerry Gershman Timothy S. Needler Michael & Jill Margetts BKD Marianne Glick David & Diane Nesbitt Jon D. Marhenke, M.D. Conrad Indianapolis Thomas & Nancy Grembowicz Lara Noren Mr. & Mrs. Ken Matsumoto International Entertainment Peter Grossman & Pauline Spiegel Shirley L. Paddock & Greg Rife Elaine M. Mattson Bureau Drs. Andrea & Paul Halverson Rev. Barb & Mr. Fred Parker Ann & John McGrath J. Solotken & Company, Inc. Dr. James & Mrs. Pat Hamby Mrs. Karen L. Parrish Alan & Ann McKenzie The Jenn Foundation Kenneth & Barbara Hamilton Linda Pence Mr. & Mrs. Robert B. McNamara Joanne W. Orr Charitable Fund, Mr. & Mrs. Richard A. Harrison Gayle L. Phillips Susanah M. Mead a fund of The Indianapolis Mr. & Mrs. Hayes Lois Pless Dr. & Mrs. David Miller Foundation Ms. Lisa Heid George & Christine Plews Mr. & Mrs. Robert E. Miller The Penrod Society Mr. & Mrs. Eugene E. Henn Christine & Ken Price Dr. & Mrs. Phillip G. Mosbaugh Pointer Management Dr. David K. & Clarice F. Hennon Larry & Nancy Pugh Sarah Myer Dr. & Mrs. Stephen Henson Roger & Anna Radue Peggy & Byron Myers SYMPHONY CLUB Mr. Ronald N. Hermeling Patricia L. Ragan F. Timothy & Nancy Nagler ($1,000-$1,499) William & Patricia Hirsch Scott A. Reef Bob & Dale Nagy Anonymous (7) Mrs. Sue Hirschman Bob & Carol Reynolds, Mr. & Mrs. Guido Neels Mr. Norris Allen C. Jane Hodge Barnes & Thornburg Mr. & Mrs. John S. Null Mr. & Mrs. Roy & Jan Applegate Ms. Ginny Hodowal & MaryAnn Ridder Thomas & Stacy O’Leary Mr. & Mrs. Bradford H. Arthur Mr. J. Douglas Madeley William R. & Gloria Riggs Allen H. Pekar Laura Walker & Vernon Back Jack & Ruth Hoover Mr. Larry Roan Pat Perkinson Mrs. Taylor L. Baker Clarena Hufngton Peggy L. Robinson Marian Pettengill Terry & Patricia Balko Drs. Meredith & Kathleen Hull Mrs. Richard H. Rowland Beverley & Bill Pitts Mr. Konrad Banaszak Carolyn Humke Dr. & Mrs. Andreas Sashegyi Barbara Poulsen Linden & Allison Barber Mr. & Mrs. Needham S. Hurst Roderick & Anne Scheele Jef & Clare Quinn Mr. Todd Barrett Krisztina & Ken Inskeep Ms. Silvana Schuster Mr. Alan & Mrs. Deborah Rasper Ms. Susan Bates Mrs. Ninalou Isaacson John Seest Jean & Lamar Richcreek David Bellman & Ingrid Ms. Kristine Isenberg Dr. & Mrs. William Segar Mark & Susan Ridlen Fischer-Bellman Ethan & Joyce Jackson Donald L. & Deborah Farmer Mr. & Mrs. Randall Riggs Mr. Michael L. Blankenship Larry & Marianne Jacobi Smith Dr. Merrill Ritter Erv & Priscilla Boschmann Patrick & Barbara James Lyman A & Corbalou A Snyder N. Clay & Amy Robbins Charles & Cary Boswell Mr. & Mrs. David Jensen Family Fund/Johnson County Joseph & Leanna Roberts Ms. Marsha Bragg Sue Johnson Community Foundation Mr. & Mrs. Byron Robinson Douglas & Angela Braly Dr. & Mrs. Charles E. Jordan Mary Solada Dr. & Mrs. Randall G. Rowland Dr. Harry D. Brickley Mike & Linda Jordan Christy & Jefery Soldatis Col. & Mrs. Cecil Salter Matt & Janette Brown Terry Kahn Mr. & Mrs. Richard Spaulding Dave & Marcia Sapp Terri Bruksch Freddie & Anne Kelvin Betty & Alan Stanford Roger & Barbara Schmenner Lorene M. Burkhart Richard & Susan Kent Barb Stang Jerry & Rosie Semler Celeste & Derrick Burks Mrs. Norma King Betty Stilwell Carson Shadowen Mr. & Mrs. E. M. Cavalier Mr. & Mrs. Daniel E Klausner Mr. Eric Bretzman & Michael & Priscilla Shaw Casey Chell & Daniel Duarte Steve & Sharon Klusman Dr. Shelley Stiner William & Faye Sigman Mr. & Mrs. Douglas Church Richard & Roxanne Kovacs Mr. Bill & Mrs. Linda Strickland Nancy C. & James W. Smith Dan & Laura Conder Terrence & Jodi Kunstek Nela Swinehart & Lonn Bayha The Sneed Family The Corcoran Family Mr. Jefrey S Lahr Mr. John Tan Steven A. Spaulding & Jennifer Mr. & Mrs. Larry Cranfll Jonathan & Lisa LeCrone Gene & Rosie Tanner C. Hendrian Mrs. Mary C. Crean Mrs. Carl Lesher M. C. Tanner Judy A. Springmire Rebecca & Larry Davis Mr. & Mrs. William Lindstaedt Kirk & Jo Taylor Rita & Larry Steinberg David & Brenda Day Mr. Tom Linebarger Phillip A. Terry Ed & Barbara Steward Mr. Douglas B. Day Grace Long The Throm Family Mrs. Lynn Stocksill Dr. & Mrs. Frank Deane Tim & Betty Lonis Douglas L. Tillman Jim & Cheryl Strain Ann Dettwiler Lowell & Penelope Lumley Kenneth L. Turchi T.S. Sun Patty Donnelly & Alex & Bridget MacAllister Jim & Leah Turner Dr. Hadrian Szpurka & Robert Pozzebon Mr. & Mrs. Donald R. MacPherson Lawrence & Bernice Ulrich Dr. Anna Jankowska Jef & Ifen Donovan Ms. Barbara E. Mallett Gareth M Vaughn Stephen L. Tracy Mr. & Mrs. Dan Dumbauld Mary Lynn Mancinelli Mark Wagner Lynn C. Tyler Mrs. Nancy Dunn Benton & Sandi Marks Mrs. Phyllis West John & Kathy Vahle Ms. Phyllis Dye Turner James R. & Rita E. Martin L. Alan & Elizabeth Whaley Joe & Diane Vande Bosche Mr. & Mrs. Thomas J. Eggers Ms. Marilyn Martin Meg Williams Dr. Pantila Vanichakarn Dr. & Mrs. William J. Ehlhardt Stacy A. Maurer Mr. & Mrs. Meredith L. Wilson & Dr. Daniel Bateman David & Julie Eskenazi Michael & Patricia McCrory Mr. & Mrs. Robert Witt Don & Coleen Walker Dr. & Mrs. Harvey Feigenbaum Craig & Kathleen McGaughey Turner & Diann Woodard

88 ANNUAL FUND

Mrs. Irene Yacko Mr. & Mrs. Borissov Dr. Erik L. Lindseth Lance & Laura Trexler Diana & Dan Yates Stephanie Boughton Reverend Dr. Joan Malick Mr. Charles Warren Christine & Robert Broughton Jefrey & Christine Marks Paul & Gretchen Watson Anonymous Sandra L. Burns John & Kay Mastarone Mr. & Mrs. Dale Weiler The Ruth E. Stilwell Endowment John & Janeen Burrows Dennis & Anne McCaferty Ray & Lucinda Wilson Fund, a fund of CICF Catherine Clements & Jay Barbus Mrs. Sandy McLean Thomas & Elizabeth Wright The Dr. Lawrence M. and Eldoris Kevin Clements Mr. & Mrs. Robert Medsker Richard E. Ziegler J. Borst Family Fund of the CICF Mr. & Mrs. Tom Cooper Ms. Kathleen Munsch Gracia E. Johnson Foundation Audrey E. Corne RN, EdD Dr. John A. & Cinda Overman F.A. Wilhelm Construction Co. Gregory & Appel Insurance Patrick & Jennifer Cross Sally & Jay Peacock Hendricks County Community The Humke Foundation, Inc. Ken & Kitty Decker Anne K. Perry & Marvin C. Foundation Marni McKinney Foundation Mr. & Mrs. Frank Delisle Perry, II James O. & Alice F. Cole Monarch Beverage Company Col. Frank T. Dillard, Sr. Michael Pettry & John Mainella Foundation The Blake Lee & Carolyn Lytle Daniel & Virginia Dolezal Dr. & Mrs. David Porter Neubauer Charitable Fund, a Nola Gentry & Ned Derhammer Brian & Sabine Quick CONTRIBUTED GOODS AND SERVICES fund of the Legacy Fund Mr. Scott & Ms. Amy Goldsmith Mr. Bernard Reed ($5,000 AND ABOVE) Ricker Oil Company, Inc Brian & Claudia Grant Charlie & Zoey & Luci Roth Thomas N. Akins RSE Realty, Inc John & Mary Ann Grogan Edward & Janet Ryan Barefoot Wine Taylar Development Susan C. Guba Mr. Henry A. Ryan Blue & Co., LLC Mr. & Mrs. Thomas G. Harvey Jr. Mr. & Mrs. Robert Rynard DCG: Digital Color Graphics VIRTUOSO Mary Hauser Mr. & Mrs. Jefrey Schmahl Enfora Flowers for Business ($750-$999) Mr. & Mrs. Jerome T. Henning Saundra & Tuck Schulhof The Indy Star Anonymous (5) Hannah & Ben Huddleston Dr. & Mrs. Robert K. Silbert Kinetico Quality Water Systems Dr. & Mrs. Bill Allen Patrick F. Jessee Linda Sturges Printing Partners Mr. Wilbur L. Appel, Jr. Walter G. Justus Greg & Linda Sykes Second Helpings Dale & Barb Benson Mr. Richard & Mrs. Gwen Mrs. Maggie Tatter Mr. & Ms. Jian-Wen Tong John & Reita Bertsch Knipstein Rachel Tomasik Justin Bird Craig & Kathy Leafgreen Ms. Jane Tomlin

TRIBUTE GIFTS

Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from October 11, 2017, to November 14, 2017.

Honor Gifts In Honor of Mr. Michael Dale In Honor of Samuel Rothstein Mrs. Jean Dale Lori Rothstein

Student tickets are availableSTUDENT for most ISO concerts at the WE $10Hilbert Circle Theatre! FromTICKETS Beethoven to Broadway and even our Frompopular Beethoven Happy Hours, to student Broadway, tickets are just $10! student tickets are available for STUDENTS most performances for only $10!

For more information, call the ISO Box Ofce at 317.639.4300, or visit IndianapolisSymphony.org

89 WHY WE GIVE TERRY AND MARGARET YEN

What has been your favorite musical experience with the ISO so far? Our favorite musical experiences are when we go to a performance where the music is familiar, and is played with an interpretation that resonates with us. We also like hearing new music that opens a new horizon.

How is your life better with music? Our life is better with music because it enriches and nourishes our souls.

What would you tell someone who is considering becoming a subscriber to the ISO? Buying a ticket to an ISO concert is an investment that you will never regret!

Why is an orchestra important to a community? It contributes to the cultural life of the community. The ISO plays beautiful music by talented musicians. They are the musical foundation of the community as they also play in various other music groups such as chamber music, etc. Many of them teach young people who become future musicians and guide them to build their discipline that will beneft whatever career they would pursue.

What led you to donate to the ISO? Why is that important to you? We have lived in Indiana for 52 years and we love music. Donating to the ISO is part of our efort to support the community who have been so good to us and our family.

DREAMING OF SUMMER YET?

10-TICKET VALUE PACKS NOW ON SALE! $205 THROUGH APRIL 8 THAT’S $20.50 PER TICKET!

BUY NOW AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300

90 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

91 ADMINISTRATION

EXECUTIVE OFFICE MARKETING & COMMUNICATIONS Steve L. Hamilton, Interim Chief Executive Ofcer Sarah Myer, Vice President of Marketing Laura Irmer, Assistant to the CEO Jennifer Welch, Art Director Joshua Shuck, Director of Sales OPERATIONS Mary Ferguson, Audience Development Manager Danny Beckley, Vice President and General Manager Bennett Sanders, Graphic Designer David Armstrong, Director of Audience Services Amy Sheafer, Director of Operations Communications Kalyn Smith, House Manager Kristin Cutler, Director of Communications Donna Finney, Volunteer Services Manager Jen Huber, Communications Content Manager Philomena Dufy, Manager of General Marianne Williams Tobias, Program Book Annotator Operations & Facilities Frances Heavrin, Event Coordinator Patron Services David Storms, Box Ofce Manager Orchestra Personnel Elizabeth Watts, Senior Customer Care Representative K. Blake Schlabach, Orchestra Personnel Manager Anita Blackwell L. Bennett Crantford, Assistant Personnel Manager Erin Demo Bekki Witherell Quinn, Administrative Assistant Erin Jefrey Janine Knuutila Artistic Administration Kamille Manning Katie McGuinness, Director of Artistic Planning Nick Neukom Hannah Refett, Manager of Artistic Planning McKenzie Witherell Ty A. Johnson, Senior Director, Pops Programming and Kim McManus Presentations Customer Care Representatives Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium LEARNING COMMUNITY Mallory Essig, Manager of Guest Artist & Pops Coordination Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation DEVELOPMENT Endowed by Mr. and Mrs. William L. Fortune Casey Chell, Vice President of Development Betty Perry, Metropolitan Youth Orchestra Founder and Rita Steinberg, Senior Major Gift Ofcer Artistic Director Emeritus, ISO Community Ambassador Missy Eltz, Director of Development Operations Ruth Wolf, Director, ISO Learning Community Meg Williams, Director of Development, Corporate and Krystle Ford, Director, Metropolitan Youth Orchestra Foundation Giving Perry A. Accetturo, Program and Communications Melissa Weseli, Associate Director of Corporate Giving Manager Sally Meyer Chapman, Associate Director of Megan Masterman, Education Program Manager Foundation Giving Andrea Fjelde, Learning Community Coordinator Carol Ann Arnell, Special Events and Donor Benefts Manager FINANCE Allison Gehl, Gift Ofcer Steve L. Hamilton, Vice President of Finance and Chief Beckie Kern, Development Assistant Financial Ofcer Tom McTamney, Gift Processing Associate Adam White, Controller Catherine Lockhart, Corporate Relations Associate Teaka Vest, Staf Accountant Tori Ramsay, Individual Giving Associate Jennifer Morrell, Accounts Payable Coordinator

Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology

Human Resources Larry R. Baysinger, Vice President of Human Resources Melissa Sanders, Human Resources Generalist & Wellness Advocate

Marcus has an education and hope because of people like you. Visit ServLife.org to learn more and sponsor a child.

92 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 Ofce Subscriber Hotline For questions about parking, tickets, If you are a subscriber and have any ticketing subscriber benefts, and will call, visit our Box needs, please call the Subscriber Hotline at Ofce at the main entrance to the theater 317.236.2040, or email the ISO at subscriber@ (of of Monument Circle) or the satellite Box IndianapolisSymphony.org. This dedicated Ofce at the east entrance (of Scioto Street). hotline is stafed 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 foor and and a representative will respond promptly. on the Oval Promenade on the second foor. The second foor 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 foors. Series concert to hear from classical music experts performing that evening. Grab a Emergency drink and mingle with friends before and In the event of an emergency, please use the after the concert in the Encore Lounge. nearest exit (marked by lighted signs). This is your shortest route out of the theater. Also, join us for a behind-the-scenes discussion with special guests during the First Ushers Mondays: Backstage Pass to the ISO! For questions about Hilbert Circle Theatre For information and to reserve tickets, email accessibility, frst 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 Cofee 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 Ofce at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at [email protected]!

93 KRZYSZTOF URBAŃSKI ARTISTIC INITIATIVES FUND

Heralded as one of the classical music world’s most remarkable stars, Krzysztof Urbański continues his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. A greatly respected conductor in Europe, Asia, and the United States, Maestro Urbański has recently appeared at many of the world’s top Orchestras, including Berliner Philharmoniker, Chicago Symphony Orchestra, San Francisco Symphony, and New York Philharmonic. Maestro Urbański’s artistic vision shapes the ISO’s fagship concert series and special classical presentations, and we are fortunate to have him as an incomparable guide for the ISO’s artistic mission. The Krzysztof Urbański Artistic Initiatives Fund is a unique opportunity for donors to support Maestro Urbański’s classical programming and special initiatives. Supporters of this Fund include:

Anonymous F. Timothy & Nancy Nagler Charlene & Joe Barnette Dorit & Gerald Paul Ms. Sarah Barney Scott & Susan Putney Mr. & Mrs. Trent Cowles Dr. Kenneth & Mrs. Debra Renkens Dr. Sharon Hoog Robert & Alice Schloss James E. & Patricia J. LaCrosse David & Eleanor Wilcox

JACK EVERLY ARTISTIC INITIATIVES FUND

The Indianapolis Symphony Orchestra boasts some of the most exciting symphonic pops programming in the country, as Principal Pops Conductor Jack Everly continues to surprise and delight audiences with his innovative presentations year after year. Everly’s work has garnered acclaim throughout North America, where he serves as the principal pops conductor for four major orchestras, including our own. The Jack Everly Artistic Initiatives Fund is a unique opportunity for donors to support Everly’s innovative artistic vision for the ISO’s pops programming and special presentations. Supporters of this Fund include:

Anonymous (2) Mr. & Mrs. William H. Salin Deborah & Douglas Balogh Yvonne H. Shaheen Mr. and Mrs. Michael Becher Mr. & Mrs. Richard Skiles Mr. & Mrs. Rollin M. Dick Dr. Pamela Steed and Dr. Peter Furno Wayne & Deborah Johnson Don & Coleen Walker Steve L. Hamilton & Keith O. Norwalk Martin & Mary Walker Mr. & Mrs. David Malson David & Eleanor Wilcox Stacy A. Maurer Barrie & Margaret Zimmerman Dr. & Mrs. George F. Rapp

All gifts to the Krzysztof Urbański and Jack Everly Artistic Initiatives Funds can be payable over a fve-year period and can be made in multiple installments each year. Each gift listed above was made above and beyond each donor’s contribution to the Indianapolis Symphony Orchestra’s Annual Fund. This listing refects the gifts received as of December 13, 2017

To pledge support for these special funds, please contact:

Rita Steinberg, Senior Major Gift Ofcer Allison Gehl, Gift Ofcer [email protected] [email protected] 94 317.231.6764 317.231.6781 IPLpower.com/safety

The least we can do for his safety, is everything.

Everything. That’s what this man wants to know we did for his safety. What his family wants to know we considered. What customers deserve to know we’re doing for them. Four years of initial safety training. Miles of temperature-monitoring fiber optics. Constantly improving communication during storms and outages. Everything. At IPL, that’s the least we can do.

IPL. A current of safety.

This advertisement is paid for by IPL shareholders, not our customers. Oxford proudly supports the Indianapolis Symphony Orchestra.

Oxford is independent and unbiased — and always will be. We are committed to providing families generational estate planning advice and institutions forward-thinking investment strategies.

CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES 317.843.5678 ✦ WWW.OFGLTD.COM/ISO