Masterworks April 24, 2021 • 7:30 Pm THIS EVENING’S PERFORMANCE

ARTISTIC DIRECTOR

Masterworks April 24, 2021 • 7:30 pm THIS EVENING’S PERFORMANCE

Mozart Overture to Le Nozze di Figaro (The Marriage of Figaro), K. 492 Fauré Pavane, op. 50 Ravel Ma Mère l’Oye (“Mother Goose”) Bizet Symphony In C

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THIS EVENING’S MUSICIANS

FLUTE KEYBOARD Tamara Thweatt, Interim Principal Allegra Sorley Laura Recendez VIOLIN I OBOE Joana Genova-Rudiakov, Guest Concertmaster Rebecca McGuire, Principal Madeleine Wething Sharon McCullough Nicholas Drumm Amanda Baer CLARINET Angela Ruch Wai Ki Wun, Principal Reinhold Strnat Katherine Peters MinJi Kim Ann Manship BASSOON Ryan Caldwell, Principal VIOLIN II Kathleen Moniaci Nataliya Nizhalova, Principal Jonathan Johnson HORN Kris Zaloudek Dave Poncar, Principal Reid Bonner Ginny Kundrat Candida Wiley Larry Lemon Kevin Shiue Greg Leffler VIOLA TRUMPET Rachel Gries, Principal Dan Price, Principal Julie Scull, Assistant Principal Bob Bonner Daniel Wunderle Melinda Bowman TIMPANI Jason Spangler, Principal CELLO Anna Thompson-Danilova, Interim Principal PERCUSSION Matthew Trefethen, Acting Assistant Principal Mark Stempel, Principal Jan Brill Keli Welsh Joerg Schreiber Amy Holmes BASS HARP Rose Meyers, Principal Melanie Mashner, Principal Joseph Everett, Assistant Principal Laura Payne ARTISTIC DIRECTOR

Carmel Symphony Orchestra since fall 2017 she has served as Artistic Director of Indiana’s Carmel Symphony Orchestra and was recently appointed Music Artistic Director of the Carmel Music and Film Festival which she helped to launch. She served as Music Director of the Williamsburg Symphony Orchestra (WSO) from 2004 to 2019, when she celebrated the WSO’s 35th anniversary and her 15th and final season. Apopular guest conductor, Ms. Hymes continues to expand her relationships with orchestras nationwide.

Among the orchestras that Ms. Hymes has guested with are the Houston, Indianapolis, Oregon, North Carolina, Savannah, New Hampshire, Roanoke (VA), Hartford (CT), Portland (ME), Madison (WI), Florida West Coast, Harrisburg (PA), Spokane (WA), Richmond (VA), Springfield (MA), Bozeman (MT), Chappaqua Chamber (NY), Bangor (ME) and Omaha symphony orchestras, as well as the San Francisco Women’s Philharmonic, Cincinnati Chamber Orchestra and the Florida Orchestra. International guesting includes the Costa Rica JANNA HYMES Artistic Director National Symphony (where she has been a frequent guest), the Delta Ensemble of Holland, National Versatility, passion and innovation are the Orchestre de Lyon, Besancon Chamber Orchestra hallmarks of American conductor Janna Hymes. and the Orquesta Sinfonica del Estado de Mexico. Renowned for her inspiring performances, musical depth and energetic presence both on and off Born in New York City, Janna Hymes is a Fulbright the podium, she has developed a reputation as scholar, recipient of a 1999 Geraldine C. and Emory an exciting, detailed communicator. Praised by M. Ford Foundation Grant, and a prizewinner of the press as “an architect, a builder in sound, a the 1998 International Conducting Competition in conductor with an overall view who never misses Besancon, France. details”, Ms. Hymes is Artistic Director of Indiana’s WOLFGANG AMADEUS MOZART (1756-1791) Gabriel Fauré (1845-1924) Overture to Le Nozze di Figaro (The Marriage of Figaro), K. 492 Pavane, op. 50 (1887) (1786) Though he was an important figure in the musical scene of late The Marriage of Figaro began as a satirical play, written in 1778 19th-early 20th century France, Gabriel Fauré’s importance by the French playwright Pierre-Augustin de Beaumarchais. It can be easy to overlook. The innovations of his contemporaries was one of the greatest hits in the history of French drama. tended to emphasize more intense expression, longer forms, It was also a dangerously controversial play for its time, larger ensembles, ever more brilliant orchestral colors; partly because of its satirical depiction of the aristocracy as qualities which are largely absent in Fauré’s music. His list of licentious fools, but also for the fact that Figaro, a mere barber works consists mainly of chamber works and shorter pieces in service to Count Almaviva, is depicted as being cleverer such as songs and piano music. He disliked flamboyant than his master. Well, we can’t have that, so the play ended up instrumental effects, considering them at best self-indulgent, being banned for six years, which of course only made it more or at worst a substitute for real musical invention. His popular than ever. masterpiece, the Requiem, distinguishes itself for its intimate expression, relative lack of drama, transparent orchestration, Sometime in 1785, Mozart became interested in the play as and above all its serenity, all hallmarks of Fauré’s mature style. the subject for a new opera. There was a problem, though; Emperor Joseph had also banned the play in Austria, and the Despite his preference for smaller ensembles, Fauré did ban was still in effect. Mozart had a plan, though, which began produce a number of orchestral works. One of his best-known with his approach to Lorenzo Da Ponte to adapt the play for is the Pavane, written in 1887 for a small orchestra consisting of the operatic stage. Da Ponte was a good choice for several woodwinds and horns in pairs, plus the usual strings. A Pavane reasons. For one, he had already established himself as the is a slow, elegant, and stately dance from the Renaissance era, leading librettist in Vienna, having worked with Salieri, Paisello, originating in Italy but mainly associated with Spain. The work and other leading composers of the day. Also, he had earned was originally written for a summer concert series of lighter the admiration of the opera-loving Joseph, which might have works, but the premiere took place on November 25, 1888. given him some influence to convince the Emperor to lift his ban. As Da Ponte later recalled, he succeeded by promising At about the same time, Fauré had begun to frequent the to remove the more overtly political elements of the story line salon of Élisabeth de Caraman Chi-may, Countess Greffulhe, (though he did end up leaving a bit in). In any event, Joseph a leading Parisian patroness of the arts. The composer chose was swayed by Da Ponte’s argument, and the way was clear. to dedicate the work to her. She raised the idea that the work be performed as a short ballet, but also suggested that a part Initial work on Figaro took place during late fall 1785. Following for chorus be added. Fauré obliged her, adding a choral setting a winter hiatus (during which Mozart wrote the short opera of a rather insipid text by the Countess’s nephew on top of The Impresario, three piano concertos, and other works), the preexisting orchestral parts. The version with chorus and the opera was completed during the spring of 1786. The first dancers was first performed in 1991 at one of the Countess’s performance, on May 1, was not a failure, but neither was it garden parties. an unqualified success. According to contemporary accounts, the premiere was underrehearsed, and the singers had not yet The published score included the choral parts. However, since mastered their parts, probably because they hadn’t had them the chorus was simply overlaid onto an already complete long enough. By the third performance, on May 24, things composition, and contributed nothing essential, it is most had time to settle in, and Figaro finally earned the respect it common to simply perform it with orchestra alone. deserved. Today it is one of the most frequently staged operas Fauré considered the Pavane “elegant but not particularly in the world. important;” still, it has become one of his most familiar The overture was the last bit to be composed, completed compositions. The reasons for its appeal are obvious. The only two days before the premiere. While it does not contain opening flute melody is haunting and easily memorable, but any of the music from the opera itself, it is a lively work full of the simplicity of the texture is offset by Fauré’s genius for wit and scurrying energy, perfectly setting the mood for the introducing unexpected harmonic twists, keeping the texture shenanigans which are to follow. from being overly predictable. The choreographer Léonide Massine heard “haunting echoes of Spain’s Golden Age,” which brought to mind the formality and underlying melancholy he found in the paintings of Velázquez. Two decades later, nearly identical terms would be used to describe the Pavane for a Dead Princess by Maurice Ravel, Fauré’s most distinguished pupil. MAURICE RAVEL (1875-1937) Ma Mère l’Oye (“Mother Goose”) (1910, orchestrated 1911) played on the black keys only, giving the whole movement a kind of faux-Oriental flavor. Ravel was often described as having a reserved personality; not unfriendly, but cool and detached, forming few deep Dialogue of Beauty and the Beast shows us the climax of the friendships. However, when he was in the company of children, story. Beauty admits to the Beast that when she realized his shy demeanor melted away. Though Ravel never married, how kindhearted he was, he did not seem so ugly. When she he loved children and was at ease in their world. Fascinated by accepts the Beast’s proposal, he is immediately transformed childish things, he collected toys and children’s books, which into a handsome prince. The conversation takes place with became the inspiration behind Ma Mère l’Oye, one of his most a graceful waltz tune for the clarinet depicting Beauty; the popular works. Beast growls in reply with a lurching, ungainly solo for the contrabassoon (perhaps the best known contrabassoon solo One of Ravel’s few enduring friendships was with the family of in the orchestral literature). Cipa Godebsky, a Polish expatriate who had been friends with Ravel’s father. After his father’s death, the Godebskys in effect Ravel ends by bringing his listeners to The Fairy Garden. It became a second family to Ravel. In 1905, Ravel had dedicated doesn’t seem that he was depicting any particular story at this his Sonatine for piano to the Godebskys, and five years later point. Still, those of us who still remember the world of child- he would dedicate Ma Mère l’Oye to the Godebsky children, hood may have no trouble imagining an enchanted garden Mimie and Jean. Both children had begun piano lessons, and at daybreak, slowly unfolding into a vision of shimmering Ravel wanted to provide them with a piece that they could play radiance. together. The original version of Ma Mère l’Oye was written for piano four-hands (that is, two pianists playing together on the same piano). He had hoped that the Godebsky children would be able to perform the premiere, but as they were only GEORGES BIZET (1838-1875) 6 and 7 years old respectively, the event proved to be beyond Symphony In C (1855) them. The piece was first performed by a pair of older children, Jeanne Leleu and Geneviève Durony, aged 11 and 14. Ravel Four days after his seventeenth birthday Georges Bizet began orchestrated the suite a year later. work on a symphony, finishing it about a month later. Each of the five movements of the suite was inspired by old And that’s really just about all we know about it. There’s no French fairy-tales, drawing chiefly on the stories of Charles evidence that he even attempted to have it performed during Perrault and Madame d’Aulnoy. Rather than a complete his lifetime. It is never mentioned in his correspondence, and retelling, each movement in Ravel’s suite is in effect an it appears that very few people even knew of its existence. It illustration, depicting a single moment within the story. remained unknown, lost in the pile of forgotten manuscripts Pavane of the Sleeping Beauty takes only 20 exquisite that every composer has, until 1933. Bizet’s widow, who died in measures to depict the enchanted slumber of the young 1925, had passed his manuscripts to the composer Reynaldo princess doomed by a witch to unending sleep. Hahn, who in turn donated them to the library of the Paris Conservatory. The musicologist Jean Chantavoine first alerted Petit Poucet (Hop-o’-my-thumb) depicts the moment in the the world to the existence of Bizet’s youthful symphony, and it story when the diminutive protagonist finds himself lost in was finally premiered in 1935, eighty years after it was written. the forest. “He believed he’d easily find his way because of the bread that he’d strewn all along his path; but he was very Bizet’s reasons for suppressing the work remain unknown, surprised to find not a single crumb: the birds had come and but it’s possible to make some reasonable guesses. Bizet eaten everything.” (an excerpt from Perrault’s story placed in was a student at the Paris Conservatory at the time, the score by Ravel.) studying composition with Charles Gounod, and it is likely that the symphony was written as a class assignment. This Laideronette, Empress of the Pagodes involves another young wouldn’t have been at all unusual; students at all levels at princess under a curse. Laideronette, made ugly by a wicked the Conservatory were given such assignments as technical witch, is shipwrecked on an island peopled by Pagodes, tiny exercises. Bizet admired Gounod greatly, and evidently people with bodies made of jewels and crystal. In Ravel’s used his teacher’s First Symphony as a model for his own depiction, the princess is serenaded by her new subjects as effort. That may have been part of the problem; Bizet may she bathes. “Immediately the Pagodes and Pagodines began have feared that he imitated his teacher a little too closely to sing and play instruments: some had theorbos made of in places. For the most part, these similarities turn out to be walnut shells, others had viols made of almond shells, for it fairly superficial. For example, Bizet imitates Gounod in having was necessary to proportion the instruments to their sizes.” In a fugal episode as the middle section of the slow movement; the piano version, the part for the first pianist is written to be however, the fugues themselves are not much alike, differing in melodic content, meter, and overall character. Nevertheless, harmony, form, and orchestration, while giving us glimpses of the young Bizet may have been concerned about accusations the operatic composer he would become. that he had stolen his best ideas from his teacher. Any such charge, no matter how well or poorly founded, might have The opening Allegro vivo is very much a by-the-book sonata ruined his career before it had even started. form movement, as the first movement of a symphony was expected to be. Two contrasting themes are presented, and It also bears noting that French musical culture of the time developed at length in a manner that recalls not only Gounod, placed little importance on the symphonic form except as a but at times Schubert and Beethoven. It is in the second demonstration of technical mastery. This is the reason that movement (Adagio) where we begin to catch a glimpse any young composer who wished to earn his Conservatory of Bizet’s own distinct musical personality. After a brief diploma, or wished to be considered for the prestigious Prix introduction, the solo oboe sings a plaintive melody over a de Rome, diligently turned out a symphony, which would likely background of pizzicato strings. Bizet would later quote this turn out to be his last. The best route for a composer wishing melody in his opera The Pearl Fishers, and some aspects of it to make a name for himself in Paris was through opera, and point toward Carmen. this was to be where Bizet concentrated his efforts. However, he never completely forgot his early symphony, occasionally The third movement (Allegro vivace) takes the usual form of a lifting material from it to be reused in an operatic aria or Scherzo and Trio. The Scherzo section is lively and boisterous instrumental inter-lude. with a more lyrical second subject. The Trio begins with droning open fifths, suggestive of a folk dance of some kind; By the time the Symphony in C was unearthed, Bizet was when the theme is heard, it turns out to be a variation of the known the world over as the composer of the operatic Scherzo theme, an unconventional touch. The movement then masterpiece Carmen. (Tragically, he didn’t live long enough ends with a repeat of the Scherzo section. to enjoy his success, dying at age 36 only a few months after the opera’s disastrous first production.) After the symphony’s The Finale, also marked Allegro vivace, is a cheerful frolic in long-delayed premiere, it was universally hailed as a youthful sonata form. A bubbly first them and infectiously singing masterpiece, compared favorably to works composed at the second theme provide all the material for the movement. same age by Mendelssohn, Schubert, and Mozart. Though only a student assignment, it displays a sure mastery of GIFTS TO THE CARMEL SYMPHONY ORCHESTRA Carmel Symphony Orchestra Operating Fund

The Carmel Symphony Orchestra (CSO) is deeply grateful to all the corporations, organizations, and individuals whose contributions have insured our continued success. Such continued financial support is essential for artistic growth and increasing educational outreach in Carmel and the surrounding communities. For information concerning future contributions, please contact the CSO office at 317.844.9717.

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President’s Circle Patrons $50,000 and Above $1,000-$1,999 City of Carmel Busey Bank PEDCOR Companies CURRENT Dauby O’Connor & Zaleski, LLC Director’s Circle Dreary Simmons Vornehm, LLP $20,000-$49,999 Eli Lilly & Company Foundation * Clay Township Trustee & Board IWP Incorporated Center for the Performing Arts Passcon, Inc. United Insurance Agencies Conductor’s Circle $10,000-$19,999 Friends Allen Whitehill Clowes Charitable Foundation $500-$999 Barnes & Thornburg LLP Bowen & Associates, LLC Indiana Arts Commission Divvy IU Health North Hospital Lincoln Financial Foundation* SYM Financial Advisors Magnet-Physics, Inc. United Fidelity Bank Performer’s Edition

Renaissance Indianapolis North Grand Benefactors David F. Smith, RPT $5,000-$9,999

Carmel Symphony Orchestra League Supporters Central Indiana Community Foundation $250-$499 Newgrange Consulting, Inc. AT&T Foundation* Nicholas H. Noyes Jr. Memorial Foundation Mickey’s Camp/Maurer Family Foundation, Inc. SePRO Corporation Monarch Charitable Foundation SePRO Foundation*

Benefactors Associates $2,000-$4,999 Up to $249 Hamilton County Tourism, Inc. Lilly Endowment, Inc.* Meridian Music Tri Kappa / Carmel Associate Chapter MetroNet Ritz Charles *Organizations that have matched gifts WFYI to the orchestra over the past year WICR Individual Contributors

Platinum Baton John & Pat Schuler $10,000 and above Marti Starkey & Ron Schwier Carmel Symphony Orchestra Volunteer Musicians Mary Ann Sheely Bill & Brenda Culpepper Donald & Miriam Taylor Stan & Sandy Hurt Jerry Torr Dave & Sally Shepherd Dr. & Mrs. Homer L. Twigg III Jen Weber Gold Baton Dennis & Karen Whitaker $5,000-$9,999 John W. & Nancy S. Adams Impresarios Dr. & Mrs. James H. Anderson, Jr $500-$999 Eloise Bowers Charles & Carey Boswell Eileen Kitchens Timothy & Elaine Cooney Lawrence & Vivian Lawhead James & Kimberley Coplen Rob & Marsha Schlegel John & Donna Findling Elizabeth Fuller Silver Baton Dr. & Mrs. Thomas Green $2,000-$4,999 Megan & Martin Gregor Bruce Cordingley Gerald R. Jenn Kimberly W. & Michael C. Donahue Christine & Daniel Mytelka Katherine Eggleston Jean Patton Peter Fulgenzi & Nate Shinneman Scott & Susan Putney Jim & Sally Hubbard Jane Seelig Phil & Ann Manship Armen & Marie-Claude Shanafelt Mo Merhoff & Paul Reis Jason & Monika Spangler Melba W. Schulte Steven Stolen Karen A. Sheely Reinhold & Meg Strnat Jim & Betty Streeter Dirk Tomandl William & Mary Tierney Kay & Gary Walla Jim & Kris Zaloudek Bart & Lindsey Willard James & Joyce Winner Maestros Dr. George Zack $1,000-$1,999 Randy & Sarah Biernat Concertmasters Jay & Jan Brill $250-$499 John J. Chipman Adam Aasen Charles E. Duke Art & Donna Adams Melissa Eldredge Frank & Katrina Basile Lee Ford Donald & Carla Bennett Todd & Susan Graves Renee Bilgram & Ralph Waldo Matt & Jean Greven Carol Duginske Janna Hymes & Steve Turner Andrew & Irene Engel Tom & Jill Kirk Anne & George Faulstich The David & Brenda Maraman Charitable Fund Dick & Lynn Feldt Sharon & Randy McCullough Dennis & Ann Fulk Dr. William K. McGarvey Ricardo & Adriana Guimaraes David & Shannon Minnaar Rick & Jennifer Harrison Timothy S. Needler Roger & Mary Kemper Bobby Pirtle Nick & Katy Kestner Family Fund Cori Rodda Bob & Sandee Kleymeyer Individual Contributors (continued)

Concertmasters (continued) Fred & Alice Hecker Dr. James & Ruth Lawrence Carol Hinkley Steve & Vicki McPherson Gary & Karen Hutchins Tana Meko & Dennis Ogle Larry & Connie Kane James & Jody Morgan John & Jan Kassebaum John & JoAnn Pattison Dr. & Mrs. Clark S. Ketterman Mike & Sandra Pirkle Mark & Sharon Kibbe Milton Pressler Marjorie Kimes Dane & Bev Starbuck Ken & Pam Knowles Phil & Luci Snyder Deborah Lawrence Neal & Donna Wixson Carey Landry Larry & Carolyn Woodling Greg & Veronica Leffler Dick & Barbara Yoho Carole L. Lichtenaue Elizabeth Lively Virtuosos Ralph & Nancy Lundgren $100-$249 Pamela Marvel Leigh Bangs Dennis McClintock Patricia Beyland Paul & Teresa McGrath Robert Bonner Eula & Darrell Megli Arthur G. Bortolini Revs. Stuart & Sylvia Mill Melinda Bowman John & Catherine Mulvihill James & Joyce Burrell Brad & Meg Osborne Bob & Mary Christianson Donna & Nick Panich Terry & Nancy Cutter Laura Payne The Peter & Carol Czajkowski Charitable Trust Brent J. Pettijohn Mary Cole Steve & Marie Pfoser Thomas & Susan Dapp Greg & Wendy Phillips Bruce Braden & Linda Davis Charles & Joan Pluchar Ron & Sue Britton Dave & Tama Poncar Robert & Dorothy Butcher Alan & Sue Potasnik Shirley Calhoun Pat Williams Price & Tom Price Lila J. Chiappetta Charles Ray Mary Cole Gary & Barbara Reeder Ann & Charles Conrad Christopher Riegel Barbara Crawford Charlie Russell Daniel & Denise Dairaghi William Ryan Carol Dennis Joerg & Annemarie Schreiber Rollie & Cheri Dick Dennis Smith Mary Eckard-Good & Barry Good Nancy H. Smith Alice Ernst William Ryan Bill & Jane Fecht Helena Silva Richard Frey Dr. Pamela Steed Gail Gentry Mark & Rebecca Stempel Ruth Gigax Sue Stonebraker Mr. & Mrs. Shawn Gilliland Timothy Trueblood James & Mary Griffiths Bess D. Walter Fran Hageboeck Lindsey A. Willard Don & Karen Hawes Ivy Heazeltine Individual Contributors (continued)

Principals Virtual Seat Sponsors: $50-$99 John & Nancy Adams Anonymous Michael Draper Terry & Carolyn Anker Stephen Greenberg Gloria Barron Jesse James John & Maridean Carrington Connie Kane Charles & Patricia Damler John Krakowski Rae Ellen DeLance Timothy Needler William & Alice Ernst Gregory & Wendy Phillips Keith & Martha Gran Joerg & Annemarie Schreiber Frances Hageboeck Sven Schreiber William & Nancy Heath Mary Tierney Conie Kane Rich & Pat Killen Pledge 45 Patrons: Bill & Ruth Kirkman Kevin Anger John & Theresa Krakowski Magnet-Physics, Inc. Carole Lichtenauer David & Shannon Minnaar Elizabeth Meek Pro Tech Indy Nils Nordell Stephanie Kirk Robert & Carol Reynolds Rob & Marsha Schlegel James & Kay Sandifer Luci & Phil Snyder Michael Shepherd Angela & Matthew Trefethen Neal & Candy Stock Leah York Evelyn May Walker Xiaoling Xuei In-Kind Contributions Provided By: ADP Players Ashley Gray Design Up to $49 Brinkman Press Christina Barker Carmel-Clay Public Schools Donna Baumgartner Carmel Symphony Orchestra League Patricia R. Ebright Carmel Symphony Orchestra Volunteer Musicians Hermann & Ingrid Fitschen Ingrid Baird, Bob Bonner, Reid Bonner, Me- John & Deborah Gangstad linda Bowman, Jan Brill, Kim Coplen, Anne Heilman Amanda Cornet, Matt Greven, Karen Lisa Hobson Hutchins, Shawn Jones, Ginny Kundrat, Larry Dylan Noble Lawhead, Greg Leffler, Larry Lemon, Ann Kay Marrero Manship, Sharon McCullough, Heather Stacy Maurer Palmer, Laura Payne, Katherine Peters, James & Mary Mayhew Tama Poncar, Chris Rund, Annemarie Schreiber, Mr. & Mrs. Sam Meyer Joerg Schreiber, Kevin Shiue, Reinhold Strnat, Jen- Paul & Ruth Nisenshal nifer Weber, Keli Welsh, Kris Zaloudek Phyllis Peterson Shawn Jones Bruce & Jan Reynolds MEG & Associates Richard & Alice Steckley Meridian Music School Neal & Candy Stock PEDCOR Companies Vincent & Mary Ann Truax Ritz Charles Rod Pittenger Jennifer Weber THANK YOU TO OUR WONDERFUL SPONSORS FOR YOUR CONTINUED SUPPORT