September & October | Volume 1

Home , CityMusic Cleveland, Concert residency, Night of the Proms

Ń MUSIC DIRECTOR | PRINCIPAL POPS CONDUCTOR The ISO and The Doo Wop Project Harry Potter and The Sorcerer’s Stone: In Concert! André Watts Plays Beethoven Hilary Hahn Mozart & Haydn Tribute to Prince Cirque De La Symphonie Goes Broadway! Harry Potter and The Chamber of Secrets: In Concert! An Evening with Raymond Leppard

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Find your THE PROGRAM BOOK 2016–2017 Hilbert Circle Theatre

Programs Artists 18 September 16, 17, 2016 19 Jack Everly 23 September 23, 25, 2016 20 The Doo Wop Project 27 September 29, 2016 24 Justin Freer 30 September 30, 2016 31 Krzysztof Urbański 30 October 1, 2016 32 André Watts 37 October 7, 8, 2016 38 Hilary Hahn 44 October 13, 2016 48 Bernard Labadie 58 October 14, 2016 49 Marc-André Hamelin 45 October 15, 2016 59 Bret Havens 61 October 21, 22, 2016 62 Cirque De La Symphonie 23 October 27, 30, 2016 63 Ben Crawford, Charles Metzger 64 October 28, 2016 61 Raymond Leppard 66 Rachele Gilmore

Featured Articles The Indianapolis Symphony Orchestra 11 Music In My Life 6 Musicians of the ISO 14 New Faces to the ISO 7 Board of Directors 15 ISO Musicians Around Town 87 Indianapolis Symphony Orchestra 16 Inside the Usher Corps Association 74 Arts in Indy 88 Administration 86 Drinks & Dining

Departments 10 ISO Profile 89 Hilbert Circle Theatre Information

Support 75 Endowment 78 Lynn Society 80 Annual Fund 84 Why I Give 85 Tribute Gifts 86 Corporate Sponsors

4 WELCOME

Dear friends,

Welcome to the 87th season of the Indianapolis Symphony Orchestra.

This year, the Hilbert Circle Theatre celebrates its 100th Anniversary. The Theatre opened its doors on August 30, 1916 and became home to the ISO in 1984. Our Opening Night Gala with Principal Pops Conductor Jack Everly, along with Megan Hilty, George Takei, Angela Brown, Thomas Lauderdale and our very own Zach De Pue, will include musical tributes to Indiana’s bicentennial and the theater’s 100 years.

Celebrating the theater’s rich film history, we will be presenting a number of films in the 2016–17 season. In November, audiences will be thrilled by the performance of Indiana Jones: Raiders of the Lost Ark as the ISO performs John Williams’ iconic score below the big screen. In March, the ISO debuts the world premiere of An American in Paris Live with Orchestra. And In September, October, May and June, the magic and music of the first threeHarry Potter films will come to life on the Hilbert Circle Theatre screen and stage. If you have never seen a film presented with live orchestral accompaniment, I highly recommend this unique experience. And what a thrill to remember that Indianapolis residents were enjoying films right where you are sitting one hundred years ago!

This season, our audiences will welcome back many familiar faces to the stage. Krzysztof Urbański returns with guests artists like Hilary Hahn and Dejan Lazić. He’ll also follow the intriguing 2016 Cosmos Music Festival with the 2017 Music of the Earth Festival. We’re excited for the return of former ISO music directors Raymond Leppard and John Nelson to the Hilbert Circle Theatre. And you’ll of course recognize the many faces of our incredible musicians stepping forward for solo opportunities. Look for special performances by principal oboe Jennifer Christen performing Bach’s Concerto for Violin and Oboe with violinist Gil Shaham in November, and concertmaster Zach De Pue performing Shostakovich’s First Violin Concerto in January.

As we start our season reflecting on the history of the theater yet looking to the future, I can’t help but express my gratitude for our subscribers, donors, patrons and volunteers. More than 270,000 of you attended our concerts last season, and we look forward to seeing you again as we celebrate another year of music with our Indianapolis Symphony Orchestra.

Thank you for your support,

Gary Ginstling Chief Executive Officer

5 MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA

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

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

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

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

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

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

7 INDIANAPOLIS SYMPHONY ORCHESTRA

TELAMON CLASSICAL SERIES AT THE PALLADIUM

THE PALLADIUM

KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

SUBSCRIBE AND SAVE! 6 CONCERTS FOR THE PRICE OF 5 FREE Marsh Symphony on the Prairie ticket with every subscription order

MUSIC OF THE EARTH FESTIVAL: HANDEL’S MESSIAH BEETHOVEN'S "EROICA" MAHLER'S DAS LIED VON DER ERDE Thursday, December 22, 7:30PM Sunday, January 22, 3:00PM Sunday, February 19, 3:00PM

The ISO with the Indianpolis Symphonic Choir Krzysztof Urbański, Conductor Edo de Waart, Conductor Tim McAllister, Saxophone

DEBUSSY'S LA MER RACHMANINOFF'S SYMPHONIC DANCES CARMINA BURANA Sunday, March 12, 3:00PM Saturday, May 6, 8:00PM Sunday, June 11, 3PM

Jun Märkl, Conductor Matthias Pintscher, Conductor Krzysztof Urbański, Conductor Jennifer Johnston, Mezzo Soprano Kelley O'Connor, Mezzo Soprano Vale Rideout, Tenor Jochen Kupfer, Baritone Indianapolis Symphonic Choir Indianapolis Children's Choir

SUBSCRIBE TODAY! CALL 317.843.3800 ALL CONCERTS WILL BE HELD AT THE PALLADIUM AT THE CENTER FOR THE PERFORMING ARTS JACK EVERLY, MUSIC DIRECTOR JOSH KAUFMAN, HOST

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

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

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

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

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

10 CHARLES MOREY, Violin MUSIC IN MY LIFE

“I like to try to identify with the composer of the piece I’m playing and see if I can interact with the same concrete imag- es and emotions that originally inspired the note combina- tions on the page in front of me. Entering another person’s inner world, creating along with him or her, is such a unique and personal experience.” – Charles Morey, ISO Violinist

Charles Morey was born in Fayetteville, West Virginia and began playing the violin at the age of two. Mr. Morey received his Bachelor’s and Master’s degrees in violin performance from the Cleveland Institute of Music where he was a student of William Preucil. A recipient of the Bock Scholarship, he was chosen in 2010 to study in an orchestra leadership program at the Music Academy of the West under San Diego Symphony concertmaster Jeffrey Thayer. Mr. Morey previously held positions such as concertmaster of the Ashland Symphony, Solon Philharmonic, Suburban Symphony, and section positions with the Rochester Philharmonic Orchestra.

What/Who inspired you to play violin? When I was five, my parents took me to hear Pinchas Zukerman play a concerto with the Cincinnati Symphony, which made quite an impression on me. The most pivotal experience, however, was at age 11 when I watched a documentary of Isaac Stern on T.V. That was the moment when I took full ownership of my violin studies and immediately increased my daily practice routine from 20 minutes to multiple hours.

Who is your favorite composer? I always love answering this question. How can one isolate a single composer, as though one’s entire experience of his/her music exists within a musical vacuum? Listening to Beethoven helps me understand Mahler. Mozart juxtaposed with Haydn helps me understand what each one is and isn’t, etc. In other words, as I become more familiar with each composer, my appreciation for other composers increases as well! That said, I adore Haydn, Mozart and Beethoven and feel very passionate about new music as well.

What do you enjoy doing when you are not performing? I compose and arrange music as well as maintain a small teaching studio. My wife and daughter are the joy of my life. We like to spend as much time together as possible. As a family, we participate quite a bit in our church.

If you could perform anywhere, where would it be? Wherever there are great colleagues, great music and great audiences. Hey, that sounds like I’m describing Indianapolis! One of the things I love about the ISO is being able to play in so many different spaces. Last season we played an all Mozart program outdoors at a winery surrounded by trees, vineyards and large, open spaces. It was the most magical pairing of repertoire and environment.

What are you most looking forward to playing on the 16–17 Lilly Classical Season? Mahler’s Das Lied Von Der Erde is one of a handful of works that totally gripped me when I was about 14 years old, but to this day, I’ve never played it. The piece is so vivid, romantic and tragic—I guess you could say it provided me with a mirrored expression of my teenage angst.

Interview as told to Leila Viera 11 This is our standing ovation.

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Conrad Jones is the newly appointed principal trumpet of the Indianapolis Symphony Orchestra. Prior to this position, he served as principal trumpet of the Tucson Symphony Orchestra. During the summer season, he is principal trumpet of the Britt Festival Orchestra in Jacksonville, OR, under Music Director Teddy Abrams. A native of Long Island, NY, he recieved his Bachelor’s of Music in trumpet performance at the Cleveland Institute of Music before continuing onto the Professional Studies program at the Colburn School Conservatory of Music in Los Angeles, California.

Mr. Jones has been a featured soloist with the Downey Symphony Orchestra, the Colburn Orchestra, the Cleveland Institute of Music Orchestra and the Tucson Pops! Orchestra. He made his solo debut with the TSO during the 14–15 season, performing George Tsontakis’ True Colors: Concerto for Trumpet and Orchestra. An avid chamber musician, Jones has performed with various new music ensembles, including LA based WildUp!, Cleveland based FiveOne, and Cantori Domino. Jones is a founding member of the Kyōdai Brass Quintet, a group started in Cleveland with his two younger brothers in 2009. Praised for their innovative and engaging outreach programs, Kyōdai’s most recent activity includes residencies with the Detroit Chamber Music Society and the Cleveland Chamber Music Society. They were awarded the Aspen Music Festival Brass Quintet Fellowship in 2013.

Outside of Indianapolis, Jones has performed as guest principal trumpet with the Detroit Symphony, Phoenix Symphony, Malaysian Philharmonic and CityMusic Cleveland. He was acting 2nd trumpet with the San Francisco Ballet Orchestra during the 15–16 season. Former teachers include Michael Miller, Michael Sachs and Jim Wilt.

Riley Giampaolo was born in Orange County, California, and grew up in Spring, Texas. He attended the New England Conservatory for his Bachelor’s of Music from 2014–2016, studying with James Markey until joining the ISO. In those two years, Riley has toured with multiple orchestras through countries such as Switzerland, Germany, Czech Republic, Denmark and China.

In 2013, Riley was named the winner of the International Trombone Association’s George Roberts Bass Trombone Solo Competition. Additionally, Giampaolo was a fellow at the Schleswig-Holstein Musik Festival, based in Rendsburg, Germany, in the summers of 2015–16. There he has worked under many great conductors such as Christoph Eschenbach, Manfred Honeck, David Newman, and Vladimir Jurowski.

14 MUSICIANS AROUND TOWN

Jennifer Greenlee, Dean Franke, Victoria Griswold, Brian Smith, Violin Violin Violin Contrabass

On September 18 at 3 p.m., the World Premiere of James Beckel’s (Principal Trombone) new work for brass choir, “Music for Brass and Percussion,” will be performed by the Indianapolis Brass Choir under the direction of Darin Sorley at St. Louis de Montfort Church in Fishers, Indiana.

On Oct. 3 at 7:30p.m., ISO Assistant Concertmaster Dean Franke will join UIndy faculty violist Susan Chan (Dean’s wife, also a regular substitute in the ISO viola section) in presenting Duet No. 1 by Ronald McKean of California at Christel DeHaan Fine Arts. Written in 1990, the year Dean moved back to Indiana to join the ISO, the composition celebrates the longtime friendship and collaboration between Dean, Susan and Ronald since they met at Indiana University. The concert is free as a Faculty Artist Series event. For more information, please call (317) 788-3255 or visit undy.edu/arts/facs

The ISO’s Teddy Bear Series presents free performances for children ages 3–6 at the Indianapolis Central Library downtown. All performances are free of charge:

On October 4 & 8 at 11a.m. – “The Giant’s Violin” with Brian Smith, Jennifer Greenlee, Victoria Griswold, Amy Kniffen, Sarah Boyer. October 18 & 19 at 11 a.m. – “The Big Note” with Anthony Kniffen, Karen Moratz, John Wetherill, Victoria Griswold, Amy Kniffen

Beckel’s piece, “The American Dream,” is being played three times for children’s concerts by the LaPorte County Symphony Orchestra on October 12, 2016. Philip Bauman is the conductor.

On October 9 the Indiana Wind Symphony, directed by Charles Conrad, will perform Beckel’s “The Glass Bead Game” with I.U. professor Jeff Nelsen as soloist at 7 p.m. at the Palladium at the Center for the Performing Arts.

The following Beckel pieces are part of the Indiana State University Contemporary Music Festival: On October 25, “Dialogues” will be performed by a faculty chamber ensemble at 7:30 p.m. at the University Hall Theater. On October 27, The Indianapolis Chamber Orchestra will perform “The Glass Bead Game” with soloist Jeff Nelsen at 7:30 p.m. in the Tilson Auditorium. On October 28,The Wind Ensemble will perform “Concerto for Trombone” at 7:30 p.m. in the Tilson Auditorium.

15 INSIDE THE USHER CORPS

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

Chuck Wethington has been a wonderful volunteer for the ISO since joining the volunteer program in 2013. He has volunteered a total of over 350 hours! His warm, friendly and bubbly presence is loved by patrons, volunteers and staff. His energy is contagious, and the front of house team truly enjoys having Chuck in our volunteer family. The ISO is lucky to have such a fun, caring and passionate volunteer as a part of our team. Chuck Wethington was awarded the 2016 Volunteer of the Year award for his incredible dedication to the ISO.

Tell us a little about your background. Where are you from and where do you work? I was born in Gary, Indiana, but spent most of my life in Louisville, Kentucky. I come from a large family of eleven brothers and one sister. I have worked three jobs in my life, all of which involved working in customer service. My most recent role at Lowes was working in the Garden Center as the Department Manager. My fellow volunteers often approach me with greenery advice.

What motivated you to get involved as a volunteer for the ISO? My mom and dad referred me to the volunteer program after they had volunteered for several years. My partner, Eric, and I have volunteered together for three years now.

Have you ever played an instrument? Yes, I actually took piano lessons for about nine years and after a thirty year hiatus, I have recently started playing again.

Who is your favorite composer? I have always loved the music of Beethoven.

What has been your favorite experience with the ISO so far? I would have to say the first time I walked in to the theater…it truly is beautiful!

Why is volunteering for the ISO important to you? I love volunteering my time for an organization that gives so much back to our community.

What would you tell someone that is considering volunteering with the ISO? Volunteering with the ISO is a great way to get involved with the community. Come join us! Each time I volunteer I feel like I am an important member of the ISO family.

16 FILM + ORCHESTRA

Friday, November 18, 8PM | Saturday, November 19, 2PM & 8pm Sunday, November 20, 3PM Hilbert Circle Theatre The lm that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure–Raiders of the Lost Ark–with John Williams’ epic score performed live to picture by the Indianapolis Symphony Orchestra.

TITLE SPONSOR: PREMIER SPONSOR: BUY TICKETS AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

The Indianapolis Symphony Orchestra is currently accepting volunteers for this year’s IPL Yuletide Celebration! Learn more by attending our Tuesday, November 15 volunteer training at the Hilbert Circle Theatre. Registration begins at 6:00PM. RSVP by contacting our Volunteer Services Manager, Donna Finney at D [email protected] – 317.231.6792. SEPT 16, 17 THE ISO AND THE DOO WOP PROJECT

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

Coffee Pop Series/Program One† Friday, September 16, 2016, at 11 a.m.

Printing Partners Pops Series/Program One Friday, September 16, 2016, at 8 p.m. Saturday, September 17, 2016, at 8 p.m.

JACK EVERLY, Conductor THE DOO WOP PROJECT, Vocalists DOMINIC NOLFI SONNY PALADINO RUSSELL FISCHER DOMINIC SCAGLIONE JR. CHARL BROWN DWAYNE COOPER

Selections to be announced from the stage.

Premier Sponsor

† This performance has no intermission. Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC.

18 Recording or photographing any part of this performance is strictly prohibited. JACK EVERLY, Conductor SEPT 16, 17

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

Mr. Everly is the also Music Director of the IPL Yuletide Celebration, now a 30 -year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One,

19 SEPT 16–17 THE DOO WOP PROJECT, Vocalists

The Doo Wop Project begins at the beginning, tracing the evolution of Doo Wop from the classic sound of five guys singing tight harmonies on a street corner, to the biggest hits on the radio today. Throughout the show, The Doo Wop Project takes audiences on a journey from foundational tunes of groups like the Crests, Belmonts and Flamingos through their influences on the sounds of Smokey Robinson, the Temptations and the Four Seasons, all the way to Michael Jackson, Jason Mraz and Amy Winehouse. Featuring current and former stars of Broadway’s smash hits Jersey Boys and Motown: The Musical, the Doo Wop Project brings unparalleled authenticity of sound and vocal excellence to recreate—and in some cases entirely reimagine—some of the greatest music in American pop and rock history. The six members of the Doo Wop Project include:

Dominic Nolfi, founding member of the Doo Wop Project, was last seen in the world premiere Production of A Bronx Tale: The Musical directed by Robert DeNiro and Jerry Zaks, written by Chazz Palminteri. Broadway Credits include: Jersey Boys and Motown: The Musical.

Sonny Paladino, the Music Supervisor for the Broadway-bound musical Natasha, Pierre and the Great Comet of 1812 and the Music Director/Conductor for the Broadway revival of Smokey Joe’s Café. Recent credits include Associate Conductor of The Last Ship as well as Associate Conductor of the Tony winning best revival, Pippin.

Russell Fischer, standing 5’6” with his tenor voice and falsetto range, landed the role of Joe Pesci in the Broadway company of Jersey Boys on his 22nd birthday. He also spent the next six years as an understudy for the role of Frankie Valli, which he performed many times.

Dominic Scaglione Jr is currently playing the role of Frankie Valli with the Broadway company of Jersey Boys. He has also played the role in the Las Vegas and Chicago companies. Dominic was personally asked by Frankie Valli and Bob Gaudio to sing for Frankie’s induction to the New Jersey Hall of Fame, and has also performed on The Oprah Winfrey Show and The Tony Awards. He was signed to a record deal right out of high school by Sony Records and toured with Destiny’s Child and Christina Aguilera.

Charl Brown has just completed a six-month stint on London’s West End reprising his roll as Smokey Robinson in Motown: The Musical, for which he was nominated for a 2013 Tony Award for Best Featured Actor in a Musical on Broadway. In 2014, Charl was honored to work with legendary composer/lyricist Steven Schwartz playing the roll of Adam/Noah in Children of Eden in Concert at the Kennedy Center. Charl is a proud graduate of the University of Southern California School of Theater.

Dwayne Cooper, “The Bass,” is from Florence, SC. Currently residing in NYC. He is often considered a hybrid of Barry White meets Sammy Davis, Jr. He started singing in a Christian acapella group in his teenage years, and after graduating from The University of South Carolina, he quickly got his feet wet with the Broadway casts of Hairspray and Motown: The Musical. 20 North America’s most talented young pianists will perform at Ball State University this fall.

The 2017 Hastings International Piano Concerto Competition will hold preliminary auditions at Ball State—one of only four sites worldwide— for the second consecutive year, and the university will host a recital by the 2016 winner, Tzu-Yin Huang. Ms. Huang’s performance and the auditions will be held in Sursa Performance Hall, a venue blending world-class acoustical design with musical intimacy.

Performances October 6, 7:30 p.m.—Piano recital by Tzu-Yin Huang. Patrons attending Ms. Huang’s recital may use their ticket stub for free admission to any or all of the competition audition dates.

October 7–9 (audition times TBA)—Auditions for one of the world’s most prestigious piano competitions. Other sites are London, Tokyo, and Hamburg, Germany. The top pianists at each site will advance to the final stages of the competition in Hastings, England, in February.

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

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22 HARRY POTTER AND THE SORCERER’S STONE SEPT 23, 25/OCT 27, 30

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

Specials and Presentations Friday, September 23 at 7:30 p.m. Sunday, September 25 at 3:00 p.m. Thursday, October 27 at 7:30 p.m. Sunday, October 30 at 3:00 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor (September 23, 25) JUSTIN FREER, Conductor (October 27, 30)

John Williams Harry Potter And The Sorcerer’s Stone In Concert (b. 1932)

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Please refer to Maestro Everly’s bio on page 19. Recording or photographing any part of this performance is strictly prohibited. 23 OCT 27, 30 JUSTIN FREER, Conductor

American including Avatar, The Day the Earth Stood Still, composer/ Dragonball Evolution and Aliens in the Attic. conductor Justin Freer As a conductor, Freer has appeared with was born many of the world’s leading orchestras and raised in including the Philadelphia Orchestra, Huntington Chicago Symphony Orchestra, San Francisco Beach, CA. He Symphony, Philharmonia Orchestra and has established Sydney Symphony Orchestra. Upcoming himself as seasons will include his debut with the New one of the York Philharmonic, London Philharmonic and West Coast’s Tokyo Philharmonic and repeat performances most exciting with the orchestras of Philadelphia, Chicago, musical voices St. Louis and others. and has quickly become a highly sought- after conductor and producer of film music Renowned wind conductor and Oxford concerts around the world. Freer began his Round Table Scholar Dr. Rikard Hansen has formal studies on trumpet, playing in wind noted that, “In totality, Freer’s exploration in ensembles, marching bands and community musical sound evokes moments of highly orchestras. He quickly turned to piano and charged drama, alarming strife and serene composition and composed his first work for reflection.” wind ensemble at age eleven. Continuing trumpet performance while studying piano In recent seasons his works have been and composition, Freer saw multiple wind performed by the Musashino Academia ensemble, choral and big band performances Musicae Wind Ensemble, Texas All-State of his music while still a teenager and gave Symphonic Band, the Grand Symphonic his professional conducting debut at age Winds and the wind bands of the University sixteen. of North Texas, Purdue University, Kansas State University, University of North Dakota, Continually composing for various different University of Illinois, Indiana University, UCLA, mediums, he has written music for world- St. Cloud State University, and Cal State renowned trumpeters Doc Severinson University, Los Angeles, among many others. and Jens Lindemann and continues to be His music has also appeared as a subject in demand as a composer and conductor of discussion at the Oxford Round Table of for everything from orchestral literature to Scholars and has been performed throughout chamber music at some of the most well the world from New York City’s Carnegie Hall known concert halls, festivals, music clinics to Tokyo Opera City Concert Hall. and conventions in the world. Major League Soccer called upon Freer to compose and Mr. Freer earned both his B.A. and M.A. conduct music for the 2011 and 2012 Major degrees in Music Composition from UCLA, League Soccer Championship Cups in Los where his principal composition teachers Angeles, CA. He has served as composer for included Paul Chihara and Ian Krouse. In several independent films and has written addition, he was mentored by legendary motion picture advertising music for some of composer/conductor Jerry Goldsmith. 20th Century Fox Studios’ biggest campaigns

24 INDIANAPOLIS SYMPHONY ORCHESTRA

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

Coffee Classical Series/Program One Thursday, September 29, 2016, at 11:15 a.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor ANDRÉ WATTS, Piano

Ludwig van Beethoven Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 (1770–1827) Allegro moderato Andante con moto Rondo: Vivace André Watts, Piano

Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 (1770–1827) Poco sostenuto - Vivace Allegretto Presto Allegro con brio Calling Indiana home since 1876.

This performance is endowed by Marianne Williams Tobias.

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broadened mindset and an open heart. heart. open an and mindset broadened Symphony Orchestra aren’t just organizations, but educational journeys to a a to journeys educational but organizations, just aren’t Orchestra Symphony hard work into something tangible. Similarly, organizations like the Indianapolis Indianapolis the like organizations Similarly, tangible. something into work hard At Printing Partners, we look at the bigger picture. To us, print is more than simply simply than more is print us, To picture. bigger the at look we Partners, Printing At and feelings thoughts, your transforming of act the It’s paper. on ink putting SINCE 2008 SERIES POPS PARTNERS PRINTING THE OF SPONSOR TITLE PROUD PP - 6x9.25 ISO Ad 2016-17.indd 1 DISCOVERING AMERICA’S WORLD-CLASS PIANISTS

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DISCOVER AMERICA’S NEXT GREAT PIANISTS THIS SEASON 29 SEPT 30, OCT 1 ANDRÉ WATTS PLAYS BEETHOVEN

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

Lilly Classical Series/Program One Friday, September 30, 2016, at 8 p.m. Saturday, October 1, 2016, at 7 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor ANDRÉ WATTS, Piano

Ludwig van Beethoven Overture to Egmont, Op. 84 (1770–1827)

Ludwig van Beethoven Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 (1770–1827) Allegro moderato Andante con moto Rondo: Vivace André Watts, Piano

INTERMISSION - Twenty Minutes

Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 (1770–1827) Poco sostenuto - Vivace Allegretto Presto Allegro con brio

This performance is endowed by Marianne Williams Tobias.

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Length of performance is approximately one hour and fifty minutes. 30 Recording or photographing any part of this performance is strictly prohibited. KRZYSZTOF URBAŃSKI, Conductor SEPT 29 – OCT 1

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

31 SEPT 29 – OCT 1 ANDRÉ WATTS, Piano

André Watts Philadelphia Orchestra, Mostly Mozart burst upon the Festival Orchestra and the Chamber Music music world at Society of Lincoln Center among others. His the age of 16 1976 New York recital, aired on the program when Leonard Live From Lincoln Center, was the first full Bernstein chose length recital broadcast in the history of him to make television, while his performance at the 38th his debut with Casals Festival in Puerto Rico was nominated the New York for an Emmy Award in the category of Philharmonic Outstanding Individual Achievement in on one of the Cultural Programming. Mr. Watts’ most orchestra’s recent television appearances are with the Young People’s Philadelphia Orchestra on the occasion of Concerts, a the orchestra’s 100th Anniversary Gala and a concert which was broadcast nationwide performance of the Brahms Concerto No. 2 on CBS-TV. Only two weeks later, Bernstein with the Seattle Symphony, Gerard Schwarz asked him to substitute at the last minute conducting, for PBS. for the ailing Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Mr. Watts’ extensive discography includes Philharmonic, thus launching his career in recordings of works by Gershwin, Chopin, storybook fashion. More than 50 years later, Liszt and Tchaikovsky for CBS Masterworks; André Watts remains one of today’s most recital CD’s of works by Beethoven, Schubert, celebrated and beloved superstars. Liszt and Chopin for Angel/EMI; and recordings featuring the concertos of Liszt, A perennial favorite with orchestras MacDowell, Tchaikovsky and Saint-Saens on throughout the US, Mr. Watts is also a the Telarc label. He is also included in the regular guest at the major summer music Great Pianists of the 20th Century series for festivals including Ravinia, the Hollywood Philips. In May 2016, SONY Classical released Bowl, Saratoga and Tanglewood. Recent André Watts—The Complete Columbia and upcoming engagements include Album Collection, which features all of the appearances with the Philadelphia Orchestra concerto and solo recordings which Mr. in Philadelphia and on tour, the New York and Watts made for Columbia Masterworks. Los Angeles Philharmonics, the Minnesota The 12 CD set includes his legendary Orchestra, and the St. Louis, Atlanta, Detroit, recordings of concertos by Rachmaninoff, Cincinnati, Dallas, Houston, Baltimore, Brahms, Chopin, Tchaikovsky and Liszt with Indianapolis, Nashville and National conductors Leonard Bernstein, Seiji Ozawa, symphonies among others. In celebration Erich Leinsdorf and Thomas Schippers, and of the Liszt anniversary in 2011, Mr. Watts solo works by Liszt, Beethoven, Schubert, played all-Liszt recitals throughout the U.S., Debussy, Chopin and Gershwin. while recent international engagements include concerto and recital appearances in Japan, Hong Kong, Germany and Spain. Mr. Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the André Watts has had a long and frequent Jacobs School of Music at Indiana University association with television, having appeared in May, 2004. on numerous programs produced by PBS, the BBC and the Arts and Entertainment Network, performing with the New York Philharmonic, Boston Symphony,

32 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

Notes SEPT 29 – OCT 1

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

Overture to Egmont, Op. 84 In the past, Goethe Ludwig van Beethoven had often found Born December 16, 1770 in Bonn, Germany Beethoven’s music to Died March 26, 1827 in Vienna, Austria be “overblown and incomprehensible.” How A famous painting by Carl Rohling painted then, did Beethoven in 1887 was titled “The Incident at Teplitz”, receive a commission for capturing the famous meeting between Goethe this project? In fact, the and Beethoven on July 21, 1812 in that city. commission came from Joseph Hartl, manager Beethoven, wearing his hat, is in the foreground of the Court Theaters in Vienna, who wanted moving away from Goethe, who is bowing to to bring plays by Goethe and Schiller to the royalty with hat removed. Twenty-one years theatre. Beethoven was enthusiastic; the topic separated the two men, and but far more than aligned perfectly with the composer’s morality, two decades separated their political positions.HILBERT CIRCLE THEATRE sensibilities and political views. “Goethe delights in the court atmosphere far more than is becoming to a poet,” Beethoven KRZYSZTOF URBA On April 12, 1811, BeethovenŃ wroteSKI to MUSICthe poet, DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR stated to his publishers, Breitkopf and “I am in a position to approach you Hartel. At the time, Beethoven only with the deepest reverence… explained, “I waited for you You will shortly receive from The ISO and The Doo Wop Project [Goethe] because I respect you Breitkopf and Hartel [for which and admire your work, but he received 1,400 Harrygulden] Potter and The Sorcerer’s Stone: In Concert! you have shown too much the music to Egmont… I esteem to those people…” should like to know your André Watts Plays Beethoven For Goethe, Privy Counsellor opinion…” (information at the Weimar Court, it was derived from Chicago Hilary Hahn absolutely correct to show Symphony Orchestra program deference and respect. notes, 1921–22). Hence, the Mozart & Haydn face to face meeting in Teplitz The meeting at Teplitz was came naturally in the course of Tribute to Prince the first time the two men had musical decisions. Goethe’s play met in person, primarily to go over with Beethoven’s nine incidentalCirque De La Symphonie Goes Broadway! music Beethoven had composed for a re- pieces and Overture was fully staged in staging of his play “Egmont in Weimar.” In 1822, 1814 but critical response was bleak.Harry Only Potter the and The Chamber of Secrets: In Concert! reminiscing with the critic Friedrich Rochlitz, Overture took off in the musical world after Beethoven remembered, “How patient the great its premiere, and the incidental pieces were An Evening with Raymond Leppard man was with me…how happy he made me performed at the Hofburg Theatre on May 24, then! I would have gone to death, yes ten times 1810. Beethoven had written the music in 1809. to death for Goethe. Goethe… he lives and The play, originally penned by GoetheSEPTEMBER in 1787, & OCTOBER | VOLUME 1 wants us all to live with him. It is for that reason eventually sank into obscurity. that he can be composed.” The admiration was not mutual. Goethe, in a letter to the critic Carl For Beethoven, this composition was a Zelter, noted that Beethoven “had an absolutely chance to provide a musical counterfoil to the uncontrolled personality, he is not altogether contemporary Napoleonic juggernaut. Count wrong in holding the world detestable, but Egmont deserved to be remembered for his surely he does not make it more enjoyable for fighting for human freedom (against Spanish himself or others by his attitude.” He grudgingly Oppression), and it was time to highlight the admitted, however, that, “Beethoven has done relevancy of his martyrdom. His Overture wonders matching music to the text.” chronicles the sixteenth century story of Lamoral, Count Egmont of the Netherlands who

33 SEPT 29 – OCT 1 Notes defied a Spanish attack captained by the Duke displaced pianists Joseph Geklinek and Daniel of Alva. Steibelt who had been the darlings of Vienna’s musical society. Clearly displaced, Geklinek The Overture opens with a long-held, heavy, F remarked, “Ah, Beethoven is no man, he is the minor chord (Egmont in prison) followed by a devil. He will play me and all of us to death!” slow Sarabande in a 3/2 meter. The weight of The composer even engaged in a piano duel Spanish occupation is clear. After a repetition, with Steibelt to determine who was the better the Spanish dance leads directly into a triple improviser, and he won hands down by slyly meter Allegro filled with lyrical tunes. Their using one of Steibelt’s own tunes as the subject poignancy clearly insures imminent tragedy. for his improvisations. Afterwards, Steibelt left These gentle melodies provide no freedom from Vienna, never to return. destiny. As the music progresses, the measured rhythms from the opening gain urgency and The five piano concerti were written not only momentum which leads to a huge climax that as important vehicles for Beethoven’s musical explodes during the Egmont-Spanish battle. thought and innovation but also as vehicles for Eventually, the woodwinds chant a somber his own virtuosity. As a set, they contain some of funeral prayer. Egmont has been defeated, Beethoven’s most brilliant, heroic and exquisite and in fact, beheaded. His lover, Claechen, is writing. Sadly, he was only able to premiere the represented in a gentle set of melodies… and, first four due to his failing health. in the drama, she promises that Egmont’s death will provide fuel for a later revolt. Throughout his life, the piano keyboard was always home base for the composer—he But, Beethoven has a surprise for us—all is not composed at this keyboard and tested ideas lost. Goethe had specifically asked that the herein. After ordering a Broadwood, six octave ending not be a lament, and Beethoven took piano, he wrote the maker on February 3, 1818, him at his word. In place of a summarizing “I shall regard this as an altar upon which I will coda, the composer adds new material in a place the choicest offerings of my mind to the Victory Symphony, emerging in high spirits in divine Apollo.” Admiring Beethoven as a pianist, the sunny key of F major. Horn and trumpet the manufacturer presented the instrument to fanfares abound. The righteousness and vitality the composer as a gift. Those who are interested of Egmont’s struggle survived the moment of in “Beethoven the Pianist” (and the same title) defeat. Theodore Adorno, the great German is a book by Tilman Skowroneck published in social thinker wrote, “If music tries to stay strictly 2010. within its autonomous confines, it becomes co-optable, living a harmless life in its appointed The Fourth Piano Concerto responded to niche.” Beethoven did not let that happen, and innovations in piano development. At this time, in the Overture to Egmont he provided both three strings were provided for each note, and lesson and hope. a new pedal system allowing a shift between one, two, or three strings, introduced new The ISO’s last performance of Beethoven’s coloristic options. And the instrument had three Overture to Egmont was May, 2006, conducted additional high notes, which are used in this by Mario Venzago. concerto. Yet despite these innovations, this concerto omits bravura keyboard display and opts for a radiant beauty. In a letter to his friend, Concerto No. 4 in G Major for Piano and pupil, composer, and secretary, Ferdinand Ries Orchestra, Op. 58 on July 16, 1823, Beethoven explained, “Candidly Ludwig van Beethoven I am not a friend of allegri di bravura since they Born December 16, 1770 in Bonn, Germany do nothing but promote mechanism.” One of Died March 26, 1827 in Vienna, Austria his students, Countess Babette von Keglevics, recalled, “He was extraordinarily patient, but Beethoven’s early fame derived not only from if I lacked expression, he became very angry.” his compositions but his brilliance as a pianist. Expressive playing lies at the heart of the Arriving in Vienna at age 22, he aggressively Fourth Piano Concerto, and its gentle triumph 34 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

Notes SEPT 29 – OCT 1 broke new ground for the concerto concept. and most magical. Far from the crashing keyboard attacks for which Beethoven was well known, this concerto An aggressive third movement begins without demands savoir-faire, discipline, subtlety, pause from the second. Strings burst with control, exquisite legato playing and finesse. The a flourish, declaiming an energetic tune. concerto’s uniqueness perhaps is responsible for The soloist quickly joins in the merrymaking its lack of popular traction for many years. It was with instant rapport. Trumpets and drums performed only twice in Beethoven’s lifetime, and add accent and color. A lyrical second theme not until Mendelssohn revived it in 1836 did it emerges, but the consistent mood is propulsive. begin to receive justified acclaim. Hence George A long coda brings the concerto to a close. With Grove called it “Beethoven’s Cinderella.” this work, Beethoven revealed that a concerto does not have to be bombastic in order to leave His Fourth Piano Concerto debuted in 1807 at the us spellbound. palace of Beethoven’s patron, Prince Lobkowitz. Its public debut occurred in a remarkableHILBERT CIRCLE THEATRE five The ISO’s last performance of Beethoven’s hour concert on December 22, 1808, which Concerto No. 4 in G Major for Piano and also premiered the Fifth and Sixth KRZYSZTOF URBAOrchestra wasŃ February,SKI MUSIC 2013, DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR Symphonies, Mass in C and the conducted by Giancarlo Guerrero Choral Fantasy. featuring pianist Emanuel Ax. The ISO and The Doo Wop Project Beethoven opens the work with a soloist, eschewing Harry Potter and The Sorcerer’s Stone: In Concert! the conventional Symphony No. 7 in A André Watts Plays Beethoven orchestral introduction. Major, Op. 92 Very gently, the pianist Ludwig van Beethoven lifts the curtain by Born December 16, 1770 Hilary Hahn playing the first theme. in Bonn, Germany Mozart & Haydn Then, the soloist drops Died March 26, 1827 in away and the orchestra Vienna, Austria Tribute to Prince begins by adding to the first subject and ushering in “My Grand SymphonyCirque in A…” De La Symphonie Goes Broadway! a second melody in a minor key. —Letter from the composer to A smaller third idea is also generated impresario Peter Salomon,Harry 1815. Potter and The Chamber of Secrets: In Concert! before the pianist reappears. The main topic of this movement concerns the soloist’s melody. A The Seventh Symphony is boisterous, intense,An Evening with Raymond Leppard development section focuses almost exclusively energetic and tuneful. Opus 92 was completed on its potential. Beethoven wrote four cadenzas in 1812, the year in which Napoleon was for his concerto, and a pianist has a broad beginning to fail in his conquests,SEPTEMBER and this & OCTOBER | VOLUME 1 selection for his traditional moment of glory. status was undoubtedly pleasing to Beethoven. However, in this case, all are subdued affairs with Celebrating this turn of events, the Seventh gentle spirit. After the cadenza, the movement Symphony premiered at a concert in Vienna on concludes with a short coda. December 8, 1813, to benefit troops wounded in the Battle of Hanau, a small but tactical The second movement, an andante in E minor victory on October 31, 1813, which routed continues the discourse between soloist and Napoleon into a retreat in the War of the Sixth orchestra. A rather stern orchestral part vies Coalition. with the lyrical piano which comments with unsurpassed tenderness, both in dialogue and a The audience was pleased and demanded that ravishing monologue. David Ewen writes, “There the second movement be repeated. Beethoven, is perhaps nothing in all concerto literature to who was conducting, was energized, and match the kind of philosophic dialogue that Spohr reported in his Autobiography that “as a takes place for some seventy measures.” This is sforzando occurred, he tore his arms with great Beethoven at his most vulnerable, most tender vehemence asunder… at the entrance of a forte 35 SEPT 29 – OCT 1 Notes he jumped into the air.” A consistent rhythmic movement “taken too fast.” After an introductory drive was intoxicating and stimulating. Antony chord from the winds, a persistent rhythmic Hopkins in The Nine Symphonies of Beethoven pattern is established (a dactyl—long, short, noted, “The Seventh Symphony, perhaps more short, then followed by two long) which haunts than any of the others, gives us a feeling of true the movement. The pattern is simple and spontaneity—the notes seem to fly off the page unforgettable. Two melodies, one insistent as we are born along on a floodtide of inspired and steady, the other a gentle statement invention. Beethoven spoke of it fondly as “one sung by violas and celli provide the thematic of my best works…” Although Carl Maria von substance. Beethoven proceeds to spin exquisite Weber wrote in his Beethoven Biography that variations on the first. The march theme was “the extravagances of his genius have now originally intended for the Third Razumovsky reached the non plus ultra, and Beethoven must Quartet but found its ultimate destiny in this be ripe for the madhouse…” nothing could have symphony. The movement closes with a sturdy been farther from the truth. fugal section which maintains its hold on the opening rhythmic pattern used throughout In fact, just the opposite. The composer was in as an ostinato. At times, this movement has control of desperate personal circumstances, been excerpted and played alone on concert living in one of the most painful periods of programs. Occasionally, conductors in the 19th his life. His deafness (attributable to arterial century freely incorporated it within the body of disease) was growing worse daily. His deep love the Second and Eighth symphonies to increase affair with Theresa Brunswick had collapsed. (He their popularity! had no success in romance during his lifetime… it was said that he proposed to sixteen women The third movement pops out with a bright who all turned him down.) He needed money. In scherzo, bouncing in a skipping meter, spite of all of this, he drove into one of the most irrepressibly filled with the joy of life. A small creative periods of his lifetime, and with Opus central trio in D major combines clarinet, 92 penned one of the most dramatic thrillers in bassoon, and horn, offering a contrasting his repertoire. interlude based on a hymn tune from southern Austria. Beethoven called for a repeat of this Like the First, Second and Fourth symphonies, calming section before the buoyant scherzo the Seventh begins with an introduction, in resumes its original character. Apart from a tiny this case marked poco sostenuto. After a large hint of a return of the placid trio, driving energy orchestral A major chord, the oboe sings a never fades, and the movement concludes in wistful theme while clarinet, horn and bassoon high gear with five sharp orchestral chords. latch onto the melody. The presentation is underscored by heavy orchestral punctuations The fourth movement, Allegro con brio, caps marking the phrases. Two subsidiary melodies the symphony in another scherzo-like event follow. After a small pause, strings begin to encapsulated in Sonata form. He immediately murmur, a stuttering repetition of E prepares releases all the stops at the first measure as the for the vivace entrance of the flute, offering the strings roar to the forefront with the rapidly folk-like, swaggering first theme. Beethoven boiling first theme. The second theme retains then works his magic, taking the unpretentious that ignition, adding to the cauldron. Toward tune and making the major subject of a large, the close, a flute sings a tiny recall of the complex movement. Although a second opening theme of the first movement, but the theme makes an appearance, it is the first fire consumes it, continuing into a blazing coda. which occupies the musical spotlight. Surprise and drama are added by Beethoven’s sudden The ISO’s last performance of Beethoven’s dynamic changes and harmonic coloring. Symphony No. 7 in A Major was November, 2011 conducted by Christopher Campestrini. In spite of the Allegretto marking, the second movement is serious. At one point, Beethoven considered changing the marking to Andante quasi Allegretto since he did not want this 36 HILARY HAHN OCT 7,8

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

Lilly Classical Series/Program Two Friday, October 7, 2016, at 8:00 p.m. Saturday, October 8, 2016, at 5:30 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor HILARY HAHN, Violin

Sergei Prokofiev Symphony No. 1, Op. 25 (“Classical”) (1891–1953) Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

Sergei Prokofiev Concerto No. 1 in D Major for Violin and Orchestra, Op. 19 (1891–1953) Andantino Scherzo: Vivacissimo Moderato Hilary Hahn, Violin

INTERMISSION - Twenty Minutes

Sergei Prokofiev Suite from Romeo and Juliet (1891–1953) The Montagues and Capulets The Street Awakens Morning Dance Juliet as a Young Girl Masks (Romeo, Mercutio and Benvolio in Masks) Balcony Scene Dance of the Five Couples Death of Tybalt Romeo and Juliet Before Parting Morning Serenade Dance of the Girls with Liilies Juliet’s Funeral Death of Juliet Premier Sponsor Associate Sponsor

This performance is endowed by the Florence Goodrich Dunn Fund. Please refer to Maestro Urbański’s bio on page 30. Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited. 37 OCT 7,8 HILARY HAHN, Violin

In the two In 2010, she released Jennifer Higdon’s decades Violin Concerto along with the Tchaikovsky since her concerto; Higdon’s work, written for Hilary professional Hahn, went on to win the Pulitzer Prize. In debut, three- 2013, Hahn released In 27 Pieces: the Hilary time Grammy® Hahn Encores, the culmination of a multi- Award-winning year project to renew the encore genre, for violinist Hilary which she received a Grammy® Award in Hahn has 2015. Her most recent album, released in brought her spring 2015, references her musical heritage, virtuosity, featuring works by Mozart and Vieuxtemps expansive and recorded with longtime colleagues Paavo interpretations Järvi and the Deutsche Kammerphilharmonie and creative Bremen. repertoire choices to diverse global audiences. Hahn’s gregarious personality reaches out to students, new listeners and anyone with an Hilary Hahn took her first lessons in the interest in music and the arts. She is an avid Suzuki program shortly before her fourth writer, posting journal entries and articles on birthday. From age five, she studied with her website, hilaryhahn.com. Additionally, Odessa native Klara Berkovich, and at ten, she produces a YouTube channel, youtube. she was admitted to the Curtis Institute of com/hilaryhahnvideos, where she frequently Music. There, Hahn was a pupil of Jascha interviews guests from around the world. Brodsky, who had trained with both the Elsewhere, her violin case comments on life Franco-Belgian master Eugene Ysaÿe and the as a traveling companion, on Twitter and Russian pedagogue Efrem Zimbalist. At 12, Instagram at @violincase. She has appeared she made her major orchestra debut; at 16, on the covers of most major classical music she completed her university requirements. publications and has been featured in By the age of 19, when she received her mainstream periodicals such as Vogue, Elle, Bachelor’s Degree after having delayed Town & Country, and Marie Claire. graduation in order to expand her studies, she was a full-time touring musician. Hahn’s In 2001, Hahn was named “America’s Best ever-evolving approach to music-making and Young Classical Musician” by Time magazine. her curiosity about the world have made her In January 2010 she appeared as guest a fan favorite. artist, playing Bartók and Brahms on The Tonight Show with Conan O’Brien. Hahn has Hahn began recording at the age of 16. She participated in a number of non-classical has released 15 albums on the Deutsche musical productions, appearing in two Grammophon and Sony labels, in addition records by the alt-rock band …And You Will to three DVDs, an Oscar-nominated movie Know Us By The Trail of Dead, on the album soundtrack, an award-winning recording Grand Forks by Tom Brosseau, and on tour for children, and various compilations. Her with folk-rock singer-songwriter Josh Ritter. recordings have received every critical prize in the international press and have met with equal popular success. Her distinct approach to music shows a remarkable ability to honor the traditional violin literature while creating new opportunities for listeners.

38 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

Notes OCT 7,8

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

Symphony No. 1, Op. 25 (“Classical”) dramatic new content Sergei Prokofiev into the mold. For Born April 27, 1891 in Sontzovka, Ukraine example, spikey, non- Died March 5, 1953 in Moscow, Russia lyrical themes replace the congenial, elegant, In his 25th year, Prokofiev decided that he would lyrical music of Mozart write “a symphony as Mozart or Haydn might and Haydn. Prokofiev’s have written it…had either one of them been tunes are filled with a contemporary… I christened it the Classical unexpected digressions Symphony first, because it sounded much more and “wrong notes.” Pungent harmonies and simple, and second, out of pure mischief ‘to teaseHILBERT CIRCLE THEATRE dissonances replace the comfortable, expected the geese’ in secret hope that eventually the sounds of the past. symphony would become a classic.” He succeededKRZYSZTOF URBA ŃSKI MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR in both intentions. In what he saw as the future of music, especially his own music, he explained, “I could The composer stemmed from not approve of adopting the idiom The ISO and The Doo Wop Project two musical cultures, the of another man and calling it Soviet Union and the one’s own… I think the desire West. He was a graduate which I and many of Harrymy fellow Potter and The Sorcerer’s Stone: In Concert! of the St. Petersburg composers feel, to attain a Conservatory, where more simple and melodic André Watts Plays Beethoven he was known as an expression is the inevitable iconoclastic, cheeky, direction of music of the Hilary Hahn arrogant young man who future.” The simplicity and dared to and enjoyed clarity of Mozart and Haydn Mozart & Haydn breaking the rules. During were refreshing to him, but his time at the school, he in his Classical Symphony he Tribute to Prince often performed his own was doing far more than writing “shocking” compositions outside a caricature or a cartoon. “Out of Cirque De La Symphonie Goes Broadway! the conservatory at the St. Petersburg bravado,” he stated, “I wanted to stir up a Evenings of Contemporary Music, dazzling some hornet’s nest.” For all its jocularity and fun, his and horrifying others. In fact, he was following “Classical” Symphony is more than a Harrygood joke. Potter and The Chamber of Secrets: In Concert! his own voice which he had formulated as a As Prokofiev had hoped, the symphony became child. As a youngster, he liked to compose small a classic, a sophisticated, enduring, appealing An Evening with Raymond Leppard piano pieces he called “ditties” in which he work which has stood the test of time. As his first experimented with his personal, unique musical symphony it was also a harbinger of things to language: a language which was dissonant, come. SEPTEMBER & OCTOBER | VOLUME 1 utilized unusual phrasings, toyed with different time signatures and melodic structures. He was a The entire symphony is written on a small bold little musician, and at age eleven even tried scale— each movement is brief and to the to write a symphony. This boldness was not to be point. Its first movement begins with a tiny quelled. introduction, consisting only of two measures, and the immediate presentation of two His mother had provided traditional musical contrasting themes, sounding a bit like a very training for her son throughout his life; therefore, modern Haydn. In a bow to tradition, he tosses he was well acquainted with the standard in a Mannheim rocket, a fast ascending melodic classical musical forms and content, but often line which “takes off,” one of the novel effects found them corseting and unsuitable for his of the Mannheim school of the eighteenth imagination. In the “Classical” Symphony, he century. His second theme contains grace notes uses traditional sonata-allegro format, but pours reaching a span of two octaves. Formerly, grace

39 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

OCT 7,8 Notes notes were nestled more closely to the notes Prokofiev conducted the premiere of the but now he is playing with the whole idea of “Classical” Symphony in Petrograd on April 21, decoration in a new way. A bar of silence (again 1918. a bow to the Mannheim school which inserted from time to time a “grand pause” of silence The ISO’s last performance Prokofiev’s Symphony before resuming vigorously) also appears. In this No. 1 was June, 2009 conducted by Juanjo Mena. case, the pause announces a witty development section, after which Prokofiev concludes with a “traditional” recapitulation section, but this Concerto No. 1 in D Major for Violin and recapitulation begins in the “wrong key” and Orchestra, Op. 19 only eventually recovers itself. A few extra beats Sergei Prokofiev here and there and unexpected tonal behavior Born April 27, 1891 in Sontzovka, Ukraine fasten this symphony firmly inHILBERT CIRCLE THEATRE the twentieth Died March 5, 1953 in Moscow, Russia century and in his oeuvre. Despite the political, military and social The second movement spins a long,KRZYSZTOF URBA ŃchaosSKI in Russia MUSIC in 1917, DIRECTORProkofiev | JACK EVERLY PRINCIPAL POPS CONDUCTOR lyrical melody in the violins managed to have one of the which is quickly restated most productiveThe years ISO and The Doo Wop Project by the flute. Prokofiev’s of his compositional placement of the melody Harrylife. Aside Potter from the and The Sorcerer’s Stone: In Concert! in a high register is a First Violin Concerto humorous touch; a (using materialAndr fromé Wattsa Plays Beethoven classical symphonist Concertino written in would probably not 1915), he produced his Hilary Hahn have written music at Classical Symphony, this height. A second the Third and Fourth Mozart & Haydn theme in sixteenth notes Piano Sonatas, Visions invokes winds, brass and Fugitives, Cantata Tribute to Prince timpani before closing with Seven and his Third Piano a small coda. Concerto.Cirque Only one De year La later Symphonie Goes Broadway! would find the composer on the The third movement offers a first ofHarry his seven Potter visits to andthe United The Chamber of Secrets: In Concert! burlesque of the stately classical minuet. States, complete with a passport which had Prokofiev substitutes a heavy and old leaping no expiration date (the result ofAn a clever Evening bribe with Raymond Leppard dance called a gavotte, which in its origins to a corrupt passport official). The premiere of featured a lot of foot stamping. For good Opus 19 was delayed until 1923, when political measure he includes a drone trio in the middle uproars had faded,SEPTEMBER and Prokofiev had resettled & OCTOBER | VOLUME 1 section. in Paris.

The fourth movement is exuberant, and The premiere was not a good one. Composer continues the witty parody. Prokofiev’s music Georges Auric, for example, called it takes off in a brilliant pattern, exploring unusual “Mendelssohnian and derivative.” For chic modulations and quirky turns before dashing to Parisian audiences who wanted modern music the close. to be avant-garde, the lyrical sweetness of this concerto seemed passe. Only one day His light heartened escapade was written before they had been treated to the premiere during a convulsive time in Russia. The czarist of Stravinsky’s crisp, sleek neo-classical Octet. government was imploding; the military However, violinist Joseph Szigeti was also in catastrophes of World War I were bearing that audience; undeterred by critics, he was down and political /social revolution was at thrilled with the work, and a year later, he began hand. One month after completing the score, touring with the concerto throughout Europe. the Bolshevists threw over the Kerensky In his Memoirs, he wrote that he liked Opus government. Six months after the coup, 19 because of “its mixture of fairy-tale naivete 40 Notes OCT 7,8 and daring savagery in a lay-out texture.” It orchestra, from time to time, is invited to offer was his endorsement which really put Opus 19 background surges. Special orchestral coloration “on the map.” Other notables in that audience is also added by a relatively significant part for included Artur Rubinstein, Picasso and the prima the tuba, which had also made an appearance ballerina, Anna Pavlova. Three days later, Opus 19 in the previous movement. Midway through premiered in a violin/piano version in Moscow this section, the soloist repeatedly launches with Nathan Milstein and Vladimir Horowitz. “With dazzling, brilliant passaggi which soar and land a pianist like Horowitz, who needs an orchestra?” in the high registers. At the close we find the Milstein quipped. soloist wistfully declaiming the opening subject, now decorated with swirling trills on each There are three movements: slow, fast, slow, note, bringing the concerto to an evanescent reversing the usual structure of fast, slow, fast. The conclusion. ethereal first movement (sometimes likened to a Russian fairy tale) presents two major themes: The ISO’s last performance Prokofiev’s Concerto the first markedsognando (dreaming) and the No. 1 was March, 2008 featuring violinist, Alina second narrante (narrating.) Herein, we find Pogostkina, conducted by Hannu Lintu. Prokofiev’s talent for intimate, tender melody in an unguarded emotional moment. His first theme was written in 1915 during his love affair with Suite from Romeo and Juliet Nina Mescherskaya, the year he actually started Sergei Prokofiev work on the concerto, but turned away (for two Born April 27, 1891 in Sontzovka, Ukraine years) to work on The Gambler and other works. Died March 5, 1953 in Moscow, Russia

The first theme enters quietly over soft “Never was a story of more woe shuddering violins. It flies effortlessly into high Than this of Prokofieff’s music for Romeo”… and low registers, steadily gaining passion. The second theme contrasts tidily with the A toast to the composer from the ballerina, first in standardsonata-allegro format. In the Galina Ulanova after the first premiere of development section, the movement gains Prokofieff’sRomeo and Juliet on January 11, 1940 intensity and speed. At the end of this segment, the soloist takes charge in slowing down the The seventh of Prokofiev’s nine ballets is his pace, while leading into the recapitulation which setting of Romeo and Juliet, which has become opens pianissimo. The music ends quietly with a treasured classic. Early traumas stalking the violin in the stratosphere, emphasizing the the ballet could have derailed its ultimate “fairy-like atmosphere” which had beguiled popularity, not only in the dance format but Szegeti. There is no cadenza. in the three orchestral suites as well. “In the latter part of 1934, there was talk of the Kirov A scherzo offers bright, immediate contrast Theatre of Leningrad staging a ballet of mine,” in the second movement with breathtaking the composer recounted. “I was interested in a pyrotechnics and a bit of humor in its saucy lyrical subject. Shakespeare’s Romeo and Juliet march, which occupies the center section. Sul was suggested. But the Kirov Theatre backed ponticello passages, left hand pizzicati, glissandi out, and I signed a contract with the Moscow and harmonics add color to the consistent Bolshoi Theatre instead. In the spring of 1935, virtuosic display. Soloist and orchestra are tightly I worked out a scenario, consulting with the knit in fast dramatic exuberance during sections choreographer on questions of ballet technique. one and three. The music was written in the course of the summer, but the Bolshoi theatre declared it Prokofiev’s last movement,moderato , returns impossible to dance to and the contract was to the serene pace of the first. It opens with a broken.” The dance company complained that bouncing bassoon tune, building a platform the ballet was too short, that they could not for solo violin now entering sweetly as in the hear the music which was “too soft” and that the first movement. Passion and intensity increase rhythms were unpredictable. A later version, steadily as the soloist gains energy, and when the completed in 1938 and produced by the Kirov 41 OCT 7,8 Notes ballet in 1940, also resulted in complaints. At Montagues and Capulets, Opus 64b/1 (Suite 1): that time, Prokofiev declared, “Take it or leave The opening comes from the ballet’s beginning it….You want drums not music!” Persuaded scene and takes place at a ball, hosted by the then to sit on the stage and listen, Prokofiev Capulets. Juliet is presented to Paris, whom her did acknowledge that the soft parts were hard parents have selected to be her husband. The to hear, and he relented a bit. “Very well, I ball is a masquerade attended by Verona’s high shall rewrite the music here and there and add society. something,” he promised. By 1946, the music was “These happy masks that kiss fair ladies’ brows rewritten, and the ballet performed with the Being black put us in mind they hide the fair…” Bolshoi on December 22, 1946, to great acclaim and considered “one of the finest productions In spite of the happy masks, there is seething ever presented at the Bolshoi.” hatred boiling between the two families which has spread into the citizenry. There is evil afoot, Besides early complaints about the music, despite the revelry. In spite of that, the host Prokofiev’s first version of the story also came announces, “Welcome gentlemen. Ladies that in for trouble because the composer toyed have their toes unplagued with corns will have a with the bard’s plot and supplied a happy bout with you!” ending. “The reason for taking such barbarous liberty with Shakespeare’s play was purely Four brisk chords open the music, followed choreographic—live people can dance, but the by lilting dance music in 6/8 meter marked dying can hardly be expected to dance in bed…” allegro giocoso. The mood remains consistently the composer explained. The ensuing uproar light, energetic, and carefree. A snappy ending was furious, and ultimately Prokofiev rewrote concludes this section. the story to conform to the Shakespeare play. Morning Dance, Opus 101/2 (Suite 3) What is interesting is the way that Prokofiev Marked allegro, peppy, fast music opens this describes the circumstances, the characters section. There are entertaining contrasts in and the emotions with his own musical style. dynamics, but the joyous mood prevails. Note In the Chicago Tribune in 1937, the composer the effective horn coloration. explained “[My] Romeo and Juliet features a “new melodic line. “Which would have immediate The Young girl Juliet, Opus 64b/2 (suite 2) appeal yet sound like nothing written before.” Herein, we continue for a moment the speed In his own way, Prokofiev succeeded in telling of the previous two selections. Skipping violins one of the greatest love stories of all time. And dance quickly in the forefront. A middle he succeeded in communicating the tragedy section waxes lyrical before the zippy teenage therein. enthusiasm resumes. Alternating sections move quickly before the reflection in the mirror The Shakespeare play begins: transforms the mood into wistful and rather Two households, both alike in dignity. In fair solemn, describing an intimate discovery of Verona, where we lay our scene.From ancient herself. grudge break to new mutiny. Where civil blood makes civil hands unclean. From forth the fatal The fourteen year old Juliet is having fun, teasing loins of these two foes. A pair of star-cross’d her nursemaid as they prepare for the Capulet lovers take their life; Whose misadventured ball. At the close she glances into a mirror and piteous overthrows. Do with their death bury sees her reflection as a young woman. their parents’ strife. Masks, Opus 641/5 (Suite 1) Selections on this concert derive from three At this point, we return to the Capulet’s ball in Romeo and Juliet orchestral suites: Opus which the Montagues crash the event. Romeo, 64bis, Opus 64ter, and opus 101. In order of his cousin Benvolio, and his best friend, Mercutio presentation these are: lead the intrusion. A typical Prokofiev “wrong note” melody opens with a strutting march. Note the tambourine coloration. The music is 42 Notes OCT 7,8 suspenseful as the group slinks into the party. Juliet’s Funeral, Opus 64b/7 (Suite 2) Romeo is wearing a clown mask which Tybalt Romeo is at Juliet’s tomb as the mourners carry (Lady Capulet’s nephew) considers a mockery of in her body. She is, however, only drugged, not the occasion. He states: dead. To join her in heaven, he takes a poison “What dares the slave which kills him before she awakens. Come hither, cover’d with an antic face To fleer and scorn at our solemnity? Death of Juliet, Opus 101/6 (suite 3) Slowly moving, darkly shaded, this death of Death of Tybalt, Opus 64a/7 (Suite 1) Juliet is one of the most wrenching depictions Act III opens with fighting between Capulet of the occasion. From time to time, the and Montague servants and the hot-headed orchestra roars in its angst and sadness as Tybalt enters into the mix. This ferocious setting Prokofiev unleashes the intensity of the tragedy. generates perpetual motion music in depicting Consistent with the event, the coloration is the opening turmoil and then focuses in on a heavy, dense, flooded with anger and despair— terrible duel between Tybalt and Romeo. In his dynamics soar and subside as the horror of fury, Tybalt has already killed Mercutio, whose what has happened is realized—emotions sway famous final words were “A plague on both your back and forth in hapless meandering. The final houses.” After Romeo kills Tybalt, to even the chord is resigned, tender, and in its smallness score, he exclaims, “O I am fortune’s fool.” communicates the futility of the silly dispute which grew to such sickening dimensions. Morning Serenade, Opus 101/5 (Suite 3) A delicate, crisp opening tiptoes quickly onto This is the ISO’s first performance of Prokofiev’s the scene. Note the very difficult violin solo, 13 movement Suite from Romeo and Juliet. followed by the brass as the sun appears. These two segments alternate within consistently quiet dynamics ending on a high plucked note.

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43 OCT 13 MOZART AND HAYDN

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

CoffeeClassical Series/Program Two Thursday, October 13, 2016, at 11:15 a.m. Hilbert Circle Theatre

BERNARD LABADIE, Conductor MARC-ANDRÉ HAMELIN, Piano

Franz Joseph Haydn Overture to L’isola disabitata (1732–1809)

Franz Joseph Haydn Concerto for Piano in D Major, Hob. XVIII:11 (1732–1809) Vivace Un poco adagio Rondo all’ungherese: Allegro assai Marc-André Hamelin, Piano

Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 (1756–1791) Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro

Length of performance is approximately one hour. 44 Recording or photographing any part of this performance is strictly prohibited. MOZART AND HAYDN OCT 15 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Lilly Classical Series/Program Three Saturday, October 15, 2016, at 7 p.m. Hilbert Circle Theatre

BERNARD LABADIE, Conductor MARC-ANDRÉ HAMELIN, Piano

Henri Josef Rigel Symphony in C Minor, Op. 12, No. 4 (1741–1799) Allegro assai Largo non troppo Allegro spiritoso

Franz Joseph Haydn Concerto for Piano in D Major, Hob. XVIII:11 (1732–1809) Vivace Un poco adagio Rondo all’ungherese: Allegro assai Marc-André Hamelin, Piano

INTERMISSION - Twenty Minutes

Franz Joseph Haydn Overture to L’isola disabitata (1732–1809)

Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 (1756–1791) Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro

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Pantone 583 @30% OCT 13, 15 BERNARD LABADIE, Conductor

“A fine, with the Bayerischer Rundfunk Orchestra in instinctive Munich, the Concertgebouw Orchestra in musician. Amsterdam, the Orchèstre Philharmonique He molds de Radio France in Paris, and the BBC Scottish the phrases, Symphony Orchestra. He will soon make his plucks out debuts with the Swedish Radio Orchestra, all-important Finnish Radio Orchestra, Hong Kong details in the Philharmonic, Orchestre Philharmonique de texture and Strasbourg, Swedish Chamber Orchestra, radiates an and Norwegian Chamber Orchestra, and will infectious joy in return to Munich, Paris and Glasgow and to the music.” the Melbourne Symphony and Malaysian —The Philharmonic, the NDR Orchestra Hannover, Telegraph, Les the English Concert and to the Northern Violons du Roy, Barbican Centre, London Sinfonia and Academy of Ancient Music where he is a regular guest. A specialist in Baroque and Classical repertoire, Bernard Labadie is Music Director A highly experienced opera conductor, of Les Violons du Roy and La Chapelle de Labadie was Artistic and Music Director Québec, founded by him in 1984 and 1985 of L’Opéra de Québec (1994–2003) and respectively, with whom he regularly tours L’Opéra de Montréal (2002–2006). Guest Canada, the U.S. and Europe. engagements have included ‘Così fan tutte’ at the Mostly Mozart Festival in New York, Labadie is a regular guest with all the ‘Orlando’ for Glimmerglass Opera, ‘Lucio Silla’ major North American orchestras. He for the Santa Fe Opera, ‘Die Entführung’ on appears frequently with the New York and tour with the OAE and ‘Die Zauberflöte’ for Los Angeles Philharmonic Orchestras, the the Metropolitan Opera, New York and for Philadelphia and Cleveland Orchestras, the Cincinnati Opera. Last season he returned to symphony orchestras of Chicago, Boston, Cincinnati for ‘Don Giovanni’. San Francisco, St. Louis, Houston, Atlanta, Detroit, Montreal, Toronto and Vancouver, His honors include “Officer of the Order the New World Symphony in Miami, the St. of Canada” awarded by the Canadian Paul Chamber Orchestra and the Los Angeles Government and “Chevalier de l’Ordre Chamber Orchestra. National du Québec”.

He is enjoying more and more renown in Europe and has made excellent debuts

Serving the Indianapolis Symphony Orchestra for more than 45 years.

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Pianist A series of recordings of Haydn sonatas and Marc-André concertos was particularly well-received, Hamelin putting Mr. Hamelin on “the shortlist of is ranked most revelatory Haydn interpreters on among the record” (BBC Music Magazine, June 2015). In elect of world 2010, Mr. Hamelin joined the ranks on CD pianists for of noted composer-pianists by releasing his his unriveted own highly inventive “12 Etudes in all the blend of minor keys” on the Hyperion label and with musicianship publication by Edition Peters. Mr. Hamelin and virtuosity has since performed his own compositions in the great around the world, to great critical acclaim. works of the His Pavane variée was commissioned for the established ARD Music Competition in Munich, where it repertoire, as well as for his intrepid was the obligatory piece for the 2014 piano exploration of the rarities of the 19th, 20th, competition. and 21st centuries—in concert and on disc. He begins the 2016–17 season with summer Winner of the 1985 Carnegie Hall festival appearances at the Schubertiade, Competition, Marc-André Hamelin was born Verbier, Lofoton, Salzburg and recitals at in Montreal. He began to play the piano Tanglewood, Domaine Forget, Aspen and at the age of five, and by the age of nine La Jolla, where the La Jolla Music Society had already won top prize in the Canadian commissioned Hamelin to write a piano/cello Music Competition. Mr. Hamelin’s father, a sonata for himself and cellist Hai-Ye Ni. pharmacist by trade who was also a gifted amateur pianist, had introduced him to the Marc-André Hamelin is a frequent recitalist works of Alkan, Medtner and Sorabji when he for Chicago Symphony Presents, the Cliburn, was still very young. Mr. Hamelin’s principal Spivey Hall, Montreal Pro Musica, Music teachers included Gilles Hamelin, Yvonne Toronto, WPA in Washington, the Boston Hubert, Harvey Wedeen and Russell Sherman; Celebrity Series and the Philadelphia he studied at the École Vincent d’Indy in Chamber Music Society, Princeton University, Montreal and then at Temple University San Francisco performances and in all the in Philadelphia. An Officer of the Order of major concert halls in New York. Recitals in Canada since 2003 and a Chevalier de l’Ordre Europe include regular appearances at the du Québec since 2004, Mr. Hamelin is also Wigmore Hall in London, Munich, DeSingel in a member of the Royal Society of Canada Antwerp, the Concertgebuow in Amsterdam, and features prominently in the book The Moscow State Philharmonic Society, Perugia, Composer-Pianists: Hamelin and the Eight by the Heidelberg Festival and the Salzburg Robert Rimm, published by Amadeus Press. Mozarteum, as well as a recent three- Mr. Hamelin makes his home in the Boston concert residency at the Muziekgebouw in area. Amsterdam. He has appeared repeatedly with the symphony orchestras of Chicago, New York, Boston, Cleveland and Philadelphia. At the last of these, he played the American premiere of Mark-Anthony Turnage’s Piano Concerto (written for him) with the Philadelphia Orchestra and Yannick Nezet-Seguin.

49 THURSDAY, JANUARY 5 WEDNESDAY, FEBRUARY 8 THURSDAY, MARCH 30

5PM, HAPPY HOUR | 6:30PM, CONCERT Ad

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50BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300 PRESENTED BY:

The Teddy Bear Concert Series is our newest program, made just for preschool ALL PERFORMANCES BEGIN AT 11AM & kindergarten students (ages 3-6). The Teddy Bear Series began in 2014 FRIDAY, AUG. 26 THE BIG NOTE with The Giant's Violin, which introduces preschoolers to the string instruments of the orchestra through story, movement and live music. SATURDAY, AUG. 27 THE GIANT’S VIOLIN Our newest program in the Teddy Bear Series, The Big Note, is an original story written by ISO violinist Victoria Griswold. Children will engage in TUESDAY, OCT. 4 THE GIANT’S VIOLIN movement activities that will be integrated into the telling of the story. SATURDAY, OCT. 8 THE GIANT’S VIOLIN Each program features ve Indianapolis Symphony Orchestra musicians TUESDAY, OCT. 18 THE BIG NOTE playing excerpts from works of Rossini, Saint-Saëns and more! Join us at the Central Library (40 East St. Clair Street) for our upcoming WEDNESDAY, OCT. 19 THE BIG NOTE performances in August and October.

These performances are free and open to the public. For more information, visit www.IndianapolisSymphony.org. The ISO Teddy Bear Concerts are underwritten by Friends of Ava Button and

TRIBUTE TO

TUESDAY, NOVEMBER 22, 7:30PM Hilbert Circle Theatre

BRENT HAVENS, CONDUCTOR

The ISO is joined by a live band in a symphonic tribute to Prince, performing hits like Purple Rain, When Doves Cry, Little Red Corvette, Kiss and more! Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads thatBUY don’tAT 317.639.4300 bleed to be ORat least VISIT 0.25” from edge. INDIANAPOLISSYMPHONY.ORG.

51 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

OCT 13, 15 Notes

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

Symphony in C Minor, Op. 12, No. 4 Concert Spirituel,” and Henri-Joseph Rigel in 1787–88 became Born February 9, 1741 in Wertheim am Main, head of the resident Germany orchestra. However, Died May 2, 1799 in Paris, France the fate of French symphonists was grim. “Mozart manqué…” — Chicago Tribune The number of French symphonists presented To be sure, Henri-Joseph Rigel is not familiar to in performance dropped from six in 1781 to many audiences as one of the major classical one in 1789. The Concert Spiritual (1725–1790) composers. However, he is receiving merited was one of the first public concert series, attention not only in this concert but also by HILBERT CIRCLE THEATRElocated at the Tuileries Palace. Rigel was also a the Chicago Symphony Orchestra, conducted teacher and in 1783 was appointed Professor by Bernard Labadie, who played his KRZYSZTOF URBAof Solfege at the EcoleŃSKI Royale MUSIC de DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR Fourth Symphony in May, 2014. At Chant, as well as teaching at that time the Chicago Tribune the recently founded Paris reviewed,“..the audience was Conservatory where he The ISO and The Doo Wop Project introduced to two obscure counted Cesar FranckHarry Potter and The Sorcerer’s Stone: In Concert! late eighteenth century among his students. symphonies by German André Watts Plays Beethoven composers the CSO has The success of Haydn, never played before … however, “nearly dealt Hilary Hahn these compact, three a death blow to French movement symphonies— symphonists” (Eighteenth Mozart & Haydn “missing links” between Century Music, Volume late Haydn and early 7, Cambridge) and Rigel Tribute to Prince Beethoven—[were performed quit writing symphonies as] no dusty historical curiosities, entirely, having written twentyCirque De La Symphonie Goes Broadway! but rather, music of quality that (some say fourteen) between deserves wider attention… the CSO strings 1765 and 1785. The competitionHarry was Potter and The Chamber of Secrets: In Concert! were playing with little or no vibrato making just overwhelming. From the preface to the for leaner texture and crisper articulations. score of Etienne-Nicolas Mehul’s Symphony An Evening with Raymond Leppard The extra kick he gave the rhythms threw Number One, it is noted by David Charlton the exchanges between the first and second that: In 1781, there were five performances at violins into crackling relief. Such was their the Concert Spiritual of HaydnSEPTEMBER symphonies; & OCTOBER | VOLUME 1 energy and elegance that you would never in 1786 there were 26; there were 39, in have guessed the musicians had never 1789. Additionally, Haydn’s popularity was touched this music before.” This is the first time reflected in a commission (1786) to write for ISO musicians as well. six symphonies by the Concert de la Loge Olympique which became the famous “Paris Henri-Joseph Rigel (also spelled Riegel) lived Symphonies” set. Parisian audiences found from 1741 to 1799. He was a German pianist Haydn’s music “remarkable for melodic and a classical composer who lived most of grace as well as orchestral splendor and his lifetime in Paris, where he wrote 14 operas, compositional sophistication… although it numerous harpsichord pieces, string quartets is not possible to document that Haydn had and symphonies. He was a respected, well- a detailed knowledge of the musical taste of loved composer during his time, listed as one his Parisian public…and by the late 1780’s his of the “ten contributing composers to the works dominated the symphonic repertory 52 Notes OCT 13, 15 in the city (Haydn: The Paris Symphonies by Concerto for Piano in D Major, Hob. XVIII:11 Bernard Harrison). Franz Joseph Haydn Born March 31, 1732 in Rohrau-on-the-Leitha, In contrast to Haydn’s well-behaved, poised Lower Austria music, Rigel has been noted for his “Sturm und Died May 31, 1809 in Vienna, Austria Drang” style (popular with Parisian audiences who favored big orchestras) evidenced in his 1779 turned out to be a fateful year for Haydn: Fourth Symphony in C minor. Jean Benjamin a massive change in his responsibilities at de Labored, Rigel’s biographer, wrote, “All his Esterhazy giving him much more free time, effects are clear: his greatest symphonic pieces obtaining personal control and ownership consistently have a natural melody.” of future compositions, the growth of international fame and relationships and a Opus 12 contains three movements: fast, slow, major love affair. fast. The first opens dramatically, moving swiftly into a presentation of the cheerful In 1778, Haydn’s contract expired on themes, typically classical in their clarity and December 31. It had included an interesting balance. However, notice the bright sforzandi clause: IV. “Whenever His Princely Highness (sudden accents) which add unexpected commands, the vice-Kapellmeister is surprises. Notice also the coloration provided obligated to compose such works of music by the horns which are assigned a significant as His Highness may demand; further not portion of the first movement, often chiming to communicate [such] new compositions in at the close of phrases, sometimes to anyone, still less allow them to be copied conversing, and often adding chiseled [for others], but to reserve them entirely rhythmic emphasis. and exclusively for His Highness; most of all to compose nothing for any other person The monothematic second movement begins without prior knowledge and gracious slowly, immediately presenting a lyrical, consent.” The new contract signed on January reflective theme in 6/8 meter. It’s relaxed, 1, 1779, omitted this clause which proved fluent character testifies to Rigel’s “natural” to be fortunate for his very popular Piano melodic formulation noted by Jean de labored. Concerto in D major, which became the most Again, horns add coloration, accompanying performed of all thirteen of his keyboard the strings with discretion and sometimes concertos. Haydn was now free to sell his having a gentle hand in the display of the works and keep the money for other patrons theme. and accept commissions from abroad.

Rigel’s last movement springs to life from He was fortunate to have a fine relationship rapidly paced strings. From time to time with the new publisher, Artaria, which was the momentum of its major genial idea is eager to publish his works. All in all, the new reigned in, but the strings insist on continued contract worked to the composer’s monetary energy with virtuosic stimuli. Notice the and social benefit. He had time to visit friends many dynamic contrasts which animate and in Vienna and to travel extensively. “This propel the music. The close is as brisk as the single document acted as a catalyst in the opening— quick and precise. next stage in Haydn’s career, the achievement of international popularity. By 1790, Haydn This is the ISO’s first performance of Rigel’s was in the paradoxical, if not bizarre, position Symphony in C Minor, Op. 12, No. 4. of being Europe’s leading composer, but someone who spent his time as a duty-bound Kapellmeister in a remote palace in the Hungarian countryside.” (The Life of Haydn, David Wyn Jones)

53 OCT 13, 15 Notes

The new contract specified only that Haydn Marked Rondo all’ungharese, the finale opens was to be in charge of operas, which was with the soloist providing the peppy main the new focus of the Prince Nicholas von idea. Immediately the orchestra takes a turn Esterhazy’s interests. The original scores of and quickly tosses the spotlight back to the those the composer had produced for the pianist to begin a rapid conversation between Esterhazy family and various other works the two forces. The first episode brings in burned up in a fire on November 24, of 1779. the minor mode and adds “Hungarian style” Aside from the new contract, Haydn also rhythms which will appear throughout the began an extensive affair with the nineteen movement. The mood remains upbeat (Allegro year old wife of an ailing violinist who had assai) with unflagging energy and unceasing arrived in the Prince’s orchestra that same charm at all points. The pianist remains the year. Luigia Polzelli was a mezzo soprano, who leader, coaxing orchestral responses to his swept him off his feet, and it was said that he unmitigated virtuosic display. The movement composed many arias (called insertion arias) closes quickly, cut off with a rapid whip like just for her in case the original score of an ending. The last movement uses the Croatian opera being performed did not have anything folk song Siri Kolo. suitable. By 1792, the affair had waned, and Haydn took up with the English widow This is the ISO’s first performance of Haydn’s Rebecca Schroeter. Concerto for Piano in D Major.

Between 1756–1779/80, Haydn produced thirteen keyboard concerti, sometimes Overture to L’isola disabitata called Divertimenti. Eleven are deemed to Franz Joseph Haydn be authentic. His last keyboard concerto, Born March 31, 1732 in Rohrau-on-the-Leitha, D major was composed for harpsichord or Lower Austria fortepiano per the publisher Artaria in 1784. Died May 31, 1809 in Vienna, Austria Within a decade, eight publishers published this concerto which became one of his While working for Prince Nicolas Esterhazy, most popular works, performed many times Haydn composed fourteen operas, nine in during his lifetime. Over the years, it has Italian, and five in German. Since the Prince been arranged for four saxophones (the last loved operas, Haydn had a ready audience movement), for harp and orchestra, for piano at the estate, and since he was required solo, and two pianos. to write an opera a year, he also had many opportunities to experiment and to produce The concerto opens with a vivace section, in this form. L’isola disabitata was number presenting several themes, the most ten (some say number eight.) Said to be important being the first idea. The soloist his favorite, the Overture was composed in echoes this opening, and the movement 1789 and premiered on December 6. During develops in standard sonata-allegro format. that season, he premiered not only three of Haydn mines the first idea for many motivic his own operas, but also staged operas by repetitions throughout this movement which Paisiello, Astaritta, Anfossi, Gazzaniga Sarti, are shared by the soloist and different parts of Nauman, Franchi, Piccini and Felici. the orchestra. The Overture, sometimes likened to a A second movement, Un poco adagio, miniature symphony, is a fine specimen of relaxes into an ABA form with a lyrical theme Haydn’s Sturm und Drang style. There are introduced by the strings. Haydn’s content is several themes, emerging in a segmented monothematic, offering embellishments to structure, contextualized in rich and colorful the central idea, and coloring the wind parts orchestration. with extensive chromaticism. Sturm und Drang refers to a practice of 54 Notes OCT 13, 15 releasing sudden, wild emotion which is Symphony No. 39 in E-flat Major, K. 543 given free expression in contrast to the Wolfgang Amadeus Mozart enlightenment aesthetic value of emotional Born January 27, 1756 in Salzburg, Austria control and rationalism. It manifested itself Died December 5, 1791 in Vienna, Austria primarily between the late 1760s and early 1780s, deriving from the title of a play (Der Three years before his death in 1791, Mozart Wirrwarr oder Sturm und Drang) by Friedrich embraced a renewed zest for writing Maximilian Klinger, the theme of which symphonies in the summer of 1788. Two interestingly was the American Revolution. years before, his successful Prague Symphony The protagonist, a young Englishman, Carl Number 38, forecast possible changes in Bushy, searches for heroism and joins in the its expanded drama, highly contrasting fight of the American revolt. “The only ecstasy dynamics, change of standard symphony I know is to be in the middle of a war…” he form (no minuet) and textural contrasts (more claimed. (from Portrayals Americans on World polyphony). Martin Bookspan explained in 101 Stages essay by Sabine Klein) Masterpieces of Music and their Composers, “he had an inner compulsion to create—a matter Sturm und Drang behavior was evidenced of personal expression without regard to the in literature and music. The purpose was to demands of patrons or public. That motivation provide a counter current to polite control goes far to explain their extraordinary scope by sudden shock and unfettered display and striking ingenuity which surely would of exuberance and energy. In music the have been lost on audiences of that time.” demonstration featured angular melodic intervals, agitation, and loud dynamics. It Mozart’s energetic focus produced his three could also display in highly emotional music last symphonies, 39, 40 and 41, on June 26, with sudden fits and starts. Although Haydn July 25 and August 10. This trilogy stands apart embraced this element in the decade between from his previous symphonic repertoire in 1760–70, he never used the term himself. innovation, emotion, increased dissonance, and profound content. How did he do it? On Marked Largo, the forte beginning announces June 1788, he wrote to a friend with disarming six tutti unisons before a tiny theme is simplicity, “As it is, I have very little to do in introduced quietly by the strings, ending town, and I am not exposed to many visitors, with three repeated eighth notes, a final I shall have more time for work.” Precisely why sustained tone, and unexpected silence. he did it has been the topic of speculation over Then, Haydn ignites a sudden explosion many years. (Vivace assai) which bursts from the entire orchestra. Strings are at the forefront, leading Mozart’s stellar productivity at this time the charge with racing eighth notes and was in marked contrast to the depressing prominent accents. A soft gasping second personal struggles in his life. First of all, he idea offers a fine contrast before its lifespan is was financially broke. Viennese audiences had interrupted with insistent ideas which sweep moved on to favor other composers and his it away in a merciless conflagration. (Sturm popularity waned. Consequently, he had few und Drang in full operation.) Suddenly, a small concert opportunities and commissions were minuet style episode makes an appearance, lacking. He begged for help from his friend thinly orchestrated, dancing with poise and Michael Puchberg, “Just imagine my situation: elegance. But not for long—the orchestra sick and full of worry and grief… I am forced again explodes, wiping all delicate remnants to sell my quartets {K 575, 589, 590] for a trifle away in a furious conclusion with three firm just to get some cash into my hands and meet chords. my immediate obligations…Anything would be a help just now. … If you could possibly be This is the ISO’s first performance of Haydn’s kind enough to lend me around one or two Overture to L’isola disabitata. thousand gulden, over one or two years at a 55 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

OCT 13, 15 Notes suitable rate of interest, you really would be material used herein is derived in part from a doing me a favor.” Later, after a failed European sketch for his Prague symphony. tour in 1789 to raise money he wrote, “I haven’t the heart to be in your company because A traditional Austrian landler, a country I would be obliged to admit that I cannot based folk dance, provides the content possibly pay you back what you are owed and for a minuet. This choice results in a bit of I beg you to be patient with me. I am so sorry.” informality and geniality, rather than the poised aloofness traditional minuet behavior. His Symphony No. 39 had zero fanfare or Clear accentuation propels the theme. The announcement vis-a-vis its introduction. There mid-section trio contrasts by featuring a duet is no firm date for its premiere, and Mozart’s between a clarinet and flute in a quiet, unique plan to introduce it at the “Concerts in the HILBERT CIRCLE THEATREcombination with occasional tiny string Casino” series was cancelled due to lack of participation. ticket sales. Sometimes upcoming KRZYSZTOF URBAŃSKI MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR concerts programmed an Mozart chooses a single theme, “unidentified symphony” which emerges in two The ISO and The Doo Wop Project which possibly was number formats for his finale—each 39. Compounding this sad begins the sameHarry way, but Potter and The Sorcerer’s Stone: In Concert! situation was the death continues into different of his only daughter three regions as they extend. André Watts Plays Beethoven days after he completed K. A rapid idea immediately 543. dances onto the stage, Hilary Hahn with energetic orchestral The first movement, responses. The music Mozart & Haydn Adagio-Allegro opens with reflects high spirits and a slow, serious, chromatic deft craftsmanship as Tribute to Prince introduction, colored by brass the tune (in both shapes)Cirque De La Symphonie Goes Broadway! fanfares and descending lines. is treated to ingenious, Such solemnity was a new type of zippy personality changesHarry in the Potter and The Chamber of Secrets: In Concert! beginning for Mozart. And he offered another development. Rhythms are precise; dynamics innovation— his orchestration omits oboes are colorful; the tempo unflagging. Listen An Evening with Raymond Leppard and includes, instead paired clarinets. for his extensive writing for winds which add light, imitative commentary throughout. This stately beginning yields quietly to the A traditional recapitulation concludesSEPTEMBER the & OCTOBER | VOLUME 1 opening Allegro section. However, instead of movement without fanfare—there is no coda. a brisk beginning, the music begins modestly in ¾ meter before announcing contrasting, The ISO’s last performance of Mozart’s substantial main themes. From that point Symphony No. 39 was January, 1996, forward, Mozart takes firm control, following conducted by Raymond Leppard. traditional sonata-allegro format for the duration of this movement.

The Andante con moto begins quietly with the declamation of its main theme which is repeated. Another theme enters and again is repeated. Mozart omits a full development section and opts for tonal and dynamic coloration of his ideas instead of motivic treatment. Tempo changes also add variety. Notice the sharing of material throughout the orchestra—horns and winds, for example. The 56 In a world of change our focus is steadfast.

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57 OCT 14 TRIBUTE TO PRINCE

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

Specials and Presentations Friday, October 14, 2016, at 8 p.m. Tuesday, November 22, 2016, at 7:30 p.m. Hilbert Circle Theatre

BRENT HAVENS, Conductor

Selections to be announced from stage.

Prince’s originally designed ‘Yellow Cloud’ Electric Guitar Custom-made in 1989 by the Minneapolis, Minnesota firm, Knut-Koupee Enterprises, “This Yellow Cloud guitar was Prince’s main guitar and used in most of his early videos, touring performances and album recordings,” wrote Prince’s former guitar technician, Zeke Clark. In June of 2016, Jim Irsay, Indianapolis Colts owner and avid music memorabilia collector purchased the guitar at auction. Mr. Irsay has kindly allowed the ISO to use the guitar for tonight’s performance.

58 Recording or photographing any part of this performance is strictly prohibited. BRENT HAVENS, Conductor OCT 14

Berklee-trained In 2013, Havens conducted the Malaysian arranger/ Philharmonic for the Music of Michael conductor Jackson show there and returned to Kuala Brent Havens Lumpur in 2014 with the Music of Led has written Zeppelin and 2015 with the Music of Queen. music for orchestras, Havens recently completed the score for the feature films film “Quo Vadis,” a Premier Pictures remake of and virtually the 1956 gladiator film. In 2013, he worked every kind with the Baltimore Symphony and the NFL’s of television. Baltimore Ravens to arrange and produce His TV work the music for the Thanksgiving Day half-time includes show between the Ravens and Pittsburgh movies for Steelers, adapting both classical music and networks such as ABC, CBS and ABC Family rock songs into a single four minute show. Channel Network, commercials, sports Havens is Arranger/Guest Conductor for music for networks such as ESPN and even twelve symphonic rock programs—the Music cartoons. Havens has also worked with of Led Zeppelin, the Music of the Doors, the the Doobie Brothers and the Milwaukee Music of Pink Floyd, the Music of the Eagles, Symphony, arranging and conducting the the Music of Queen, the Music of Michael combined group for Harley Davidson’s 100th Jackson, the Music of The Who, The Music of Anniversary Birthday Party Finale attended Whitney Houston, the Music of The Rolling by over 150,000 fans. He has worked with Stones, the Music of U2 and most recently the some of the world’s greatest orchestras Music of Journey! Havens also premiered a including the Royal Philharmonic in London, full orchestral show for Lou Gramm, The voice the Cincinnati Symphony Orchestra, the of Foreigner, with Lou singing out front. Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others.

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59 PAINTING BY APRIL WILLY.

INDIANAPOLIS SCHOOL OF BALLET PRESENTS

ti heNutCraCKer WITH THE INDIANAPOLIS SYMPHONY ORCHESTRA December 16-18,2016 OLD NATIONAL CENTRE TICKETMASTER.COM

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ISB-005-Nutcracker-ISO Program Ad-FNL.indd 1 9/12/16 12:35 PM CIRQUE DE LA SYMPHONIE GOES BROADWAY OCT 21, 22 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor

Printing Partners Pops Series/Program Three Friday, October 21, 2016 at 11:00a.m. Friday. October 21, 2016 at 8:00p.m. Saturday, October 22, 2016 at 8:00p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor BEN CRAWFORD, Vocalist CHARLIE METZGER, Vocalist

Selections to be announced from the stage.

Premier Sponsor

Please refer to Maestro Everly’s bio on page 19. Recording or photographing any part of this performance is strictly prohibited. 61 OCT 21, 22 CIRQUE DE LA SYMPHONIE

Cirque de la classical masterpieces, raising cirque artistry Symphonie to a fine arts level. Adding a stunning visual is an exciting element to the concert experience, these production aerialists and acrobats provide a three- designed dimensional entertainment extravaganza. to bring the Orchestras play with enhanced enthusiasm, magic of while patrons marvel at the jaw-dropping cirque to the spectacle of aerialists flying overhead and music hall. It astonishing acrobatic feats. Fusing the is an elegant power and majesty of the live orchestra adaptation with the best of cirque artistry, Cirque de of some of la Symphonie is the only cirque company the most in the world that performs exclusively with amazing symphony orchestras. Over one hundred cirque orchestras worldwide have featured Cirque acts performed on a stage shared with de la Symphonie in sold-out venues, adding the full symphony orchestra, showcasing energy and excitement to the concert many of the best artists in the world. The experience. audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These accomplished veterans include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Each performance is perfectly choreographed to

62 BEN CRAWFORD & CHARLIE METZGER OCT 21, 22

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

Ben also appears in the filmThe Standbys, a documentary focusing on Broadway swings, standbys and understudies. @crawdady21

Charlie Metzger was previously seen making his IPL Yuletide Celebration debut with the Indianapolis Symphony Orchestra in December of 2015. Previous solo performances include Mozart’s Requiem, Carmina Burana, Haydn’s Creation, and Elijah. He has also been a tenor section leader of multiple church choirs for many years. Originally from the Philadelphia area, now living in Avon, Charlie holds a degree in voice performance from Indiana University. Lots of love to Darlene and Chaz! OCT 28 AN EVENING WITH RAYMOND LEPPARD

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

Lilly Classical Series/Program Four Friday, October 28, 2016, at 8 p.m. Hilbert Circle Theatre

RAYMOND LEPPARD, Conductor RACHELE GILMORE, Soprano

Wolfgang Amadeus Mozart Overture to Le nozze di Figaro (The Marriage of Figaro), K. 492 (1756–1791)

Wolfgang Amadeus Mozart Symphony No. 29 in A Major, K. 186a (201) (1756–1791) Allegro moderato Andante Menuetto Allegro con spirito

Wolfgang Amadeus Mozart Exsultate, jubilate, K. 165 (1756–1791) Allegro Recitativo - Andante Allegro (Alleluja) Rachele Gilmore, Soprano

INTERMISSION - Twenty Minutes

Henri Duparc L’Invitation au voyage (1843–1933) Au Pays ou se fait la guerre Phydilé Rachele Gilmore, Soprano

Edward Elgar Cockaigne, Op. 40, “In London Town” (1857–1934) Premier Sponsor

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Length of performance is approximately one hour and forty minutes. 64 Recording or photographing any part of this performance is strictly prohibited. RAYMOND LEPPARD, Conductor OCT 28

Conductor appearances at the Metropolitan and San Laureate Francisco operas, the New York City Opera Raymond and Glyndebourne Opera, where he has Leppard been a frequent guest. He has also appeared served as Music at the Royal Opera House, Covent Garden Director of the and in Paris, Hamburg, Santa Fe, Stockholm Indianapolis and Geneva. In the late 1950s, Mr. Leppard Symphony accepted a post at Cambridge as University for 14 years, Lecturer in Music, beginning a distinguished from 1987 to joint career as academician and performer. 2001. During his tenure with A prolific recording artist, Raymond Leppard the Orchestra, has earned such international prizes as the he led Deutsche Schallplattenpreis, a Grammy® eight recordings, two tours to Europe and Award, a Grand Pro/Am Music Prix du initiated Indianapolis On-The-Air, a nationally Disque, and the Edison Prize. Mr. Leppard has syndicated radio broadcast of Indianapolis composed a number of film scores including Symphony performances that now airs on the music for Lord of the Flies, Laughter in more than 250 stations across the United the Dark, and Hotel New Hampshire. His States. second book, Raymond Leppard on Music: An Anthology of Critical and Personal Writings, In addition to his 14-year tenure as Music was published by Resources in 1993. Director of the Indianapolis Symphony Orchestra and long association with the The Queen of England has honored Raymond English Chamber Orchestra, Raymond Leppard with the title Commander of the Leppard has appeared with the New York British Empire (CBE). For his services to Italian Philharmonic on numerous occasions, toured music, the Republic of Italy has conferred with the Chicago and Detroit symphonies upon him the title of Commendatore della and has conducted many other major Republica Italiana. In America, he has received orchestras, including the Boston Symphony, honorary degrees from Purdue University, The Philadelphia Orchestra, Los Angeles Butler University, and the University of Philharmonic, Pittsburgh Symphony, Israel Indianapolis. Born in London, Raymond Philharmonic, the BBC Symphony (including Leppard was educated at Trinity College, the Last Night of the Proms), as well as in all Cambridge. He currently resides in the European capital cities and Japan. Indianapolis and became a U.S. citizen in 2003.

In the opera houses of the world, highlights for Raymond Leppard have included

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CONFERENCES | ENTERTAINMENT | MEETINGS l WEDDINGS For more information visit IndianapolisSymphony.org or call 317.231.6798. 65 OCT 28 RACHELE GILMORE, Soprano

Rachele of Die Zauberflöte and highly acclaimed Gilmore has performances as Amina in La sonnambula established with Florida Grand Opera. herself as one of America’s Most noteable in 2009, Ms. Gilmore made a most sought “show-stopping” debut with the Metropolitan after coloratura Opera in the role of Olympia in Les contes sopranos and d’Hoffman, according the Classical Source. continues to “She brought down the house with her thrill audiences flawless coloratura,” solidifying her position around as one of the most exciting young coloraturas the globe to watch. Ms. Gilmore began the 2009–2010 combining season as Zerbinetta in Ariadne auf Naxos what Opera with Indianapolis Opera and performed News describes as a “silvery soprano..with an this role later in the season for Boston Lyric effortlessness that thrills her audience.” She Opera. In February of 2010, Ms. Gilmore made is a regular performer in America, Europe her house and role debut at Knoxville Opera and Asia and is consistently praised for being in the title role of Lucia di Lammermoor. “the vocal standout” and a dynamic actress; In the spring, she sang the title role in the “displaying more talent and charm than any groundbreaking Swiss premiere of Unsuk one person should be allowed to possess.” Chin’s Alice in Wonderland with Grand Théâtre de Genève. Rachele Gilmore’s 2015–2016 season included performances of Blondchen in Die Other notable appearances included: her Entführung aus dem Serail with the Theâtre European debut with Deutsch Oper am Champs-Elysées, and returns to Boston Rhein, singing Blondchen in Die entführung Lyric Opera as Sophie in Werther, and the aus dem Serial, a return to Toledo for Glimmerglass Festival as Ninetta in La gazza Mahler’s Second Symphony with the Toledo ladra. Future seasons include appearances Symphony, Adele in Die Fledermaus with with Hawaii Opera, Lyric Opera of Kansas Opera New Jersey, her debut with Opera City, and Austin Opera. Hong Kong for a series of Opera Gala Concerts and two Carnegie Hall appearances The 2014–2015 season featured a reprisal performing Mozart’s Coronation Mass and of the role of Alice in Unsuk Chin’s Alice Haydn’s Lord Nelson Mass. in Wonderland with the Los Angeles Philharmonic and the BBC Symphony Rachele is a native of Atlanta, Georgia, Orchestra. Additionally, she debuted with and received her Bachelor’s of Music from Opera Omaha as Gilda in Rigoletto, NCPA Indiana University and continued with Beijing as Sophie in Der Rosenkavalier, and graduate studies at Boston University. She closed the season as Blondchen in Die was a member the Young Artist Programs of Entführung aus dem Serail in a debut with Glimmerglass Opera, Florida Grand Opera Festival d’Aix en Provence. and Aspen Music Festival’s Opera Center and was a winner in Placid Domingo’s Operalia The 2012–2013 season brought Ms. World Opera Contest in Paris. Gilmore’s role debut as the Queen of the Night in Opera Philadelphia’s production

66 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

Notes OCT 28

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

Overture to Le nozze di Figaro (The Marriage of Figaro), corseting, provided the K. 492 perfect introduction Wolfgang Amadeus Mozart and preparation for Born January 27, 1756 in Salzburg, Austria the hilarious opera. It Died December 5, 1791 in Vienna, Austria has always delighted audiences as a separate In 1782, the French playwright, Beaumarchais, concert piece for offered private readings to King Louis XIV of hundreds of years. his comedy of manners, The Marriage of Figaro. Instead of being pleased, the monarch decided The ISO’s last performance of Mozart’s Overture the story was “detestable and must never be to Le nozze de Figaro (The Marriage of Figaro) produced.” The irreverence was simply too was January, 2005 conducted by Mario much. As “forbidden fruit,” the play became Venzago. the rage of the aristocracy, and it surfaced HILBERT CIRCLE THEATRE repeatedly in secret productions (one even including the King’s wife.) Like the King, KRZYSZTOF URBASymphony No. 29 in A MajorŃ, KSKI. 186a (201)MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR Napoleon also sniffed danger in the Wolfgang Amadeus Mozart plot, and he declared that the Born January 27, 1756 in Salzburg,The ISO and The Doo Wop Project play was “the revolution already Austria in action.” The Austrian Died December 5, 1791Harry in Potter and The Sorcerer’s Stone: In Concert! government echoed the Vienna, Austria danger and banned the play André Watts Plays Beethoven from its borders. In 1784, the Approximately one third of play was presented publicly Mozart’s total symphonic Hilary Hahn in Paris to great acclaim, and output was generated in within a year, Germany had just two years between Mozart & Haydn twelve translations on hand. 1772–1774. After that, The Marriage of Figaro was between the summer Tribute to Prince unquenchable. of 1774 and the spring of 1778, Mozart turned Cirque De La Symphonie Goes Broadway! After searching through hundreds away from symphonic writing of plays for an opera buffa, Mozart because other forms of instrumentalHarry Potter and The Chamber of Secrets: In Concert! decided this was just the ticket. With the compositions received his interest. One of the librettist Lorenzo da Ponte, the pair produced most interesting and polished symphonies An Evening with Raymond Leppard the opera Marriage of Figaro in only six weeks. emanating from fertile two-year period was The Overture was completed only two days Symphony No. 29, K. 201. before the opening on May 1, 1786. SEPTEMBER & OCTOBER | VOLUME 1 On every count, Symphony No. 29 is a fine The music opens with bustling notes, like specimen of gallant writing: well bred, whispers of gossip which gain momentum. charming, polite and faithful to the Viennese Ultimately, these fragments gel into an classical model. Its light-hearted charm and energetic theme which romps happily elegance intends a work which is truly meant throughout the Overture. Moods shift to entertain and delight. For this purpose, like quicksilver; a comedic helter-skelter Mozart chose to score the work modestly. atmosphere prevails; and there is no rest. At Aside from the basic string component, only one point, Mozart had considered a contrasting a pair of oboes and pair of horns are required. slow tune for oboe but deleted the idea. The economy of means in no way limits or Allowing the Overture to run with its madcap impedes its symphonic character. nature, uninterrupted by any structural 67 OCT 28 Notes

The first movement,allegro moderato, begins The ISO’s last performance of Mozart’s softly introducing the first main theme Symphony No. 29 was March, 2003 conducted immediately. The tune is catchy, marked by an by Emmanuel Villaume. octave drop and pulsing repeated notes. That opening idea rises sequentially by step, as if making certain that we do not miss the point. Exsultate, jubilate, K. 165 Horns and oboes later join with an expanded Wolfgang Amadeus Mozart repetition. A lyrical second theme is sung Born January 27, 1756 in Salzburg, Austria by the violins. The very small development Died December 5, 1791 in Vienna, Austria (approximately thirty measures) follows before a standard, literal recapitulation with a coda When Mozart was sixteen, he visited Milan finishes the movement. with his father for the premiere of his opera An elegant Andante concerns itself with a Lucia Silla, K.135. He was overwhelmed with delicate theme spun by muted violins. Edward the castrato Venanzio Rauzzini who starred Downs commented, “It is full of eighteenth in the title role of Cecilio. “He sang like an century clichés and turns that were used angel,” Mozart declared. Three weeks later he a hundred times before and after by other produced Exultate Jubilate to display Rauzzini’s composers, but here they are so spontaneous talent. It was performed on January 16, 1773, and lovely that each phrase bears repeating and in the Church of San Antonio. His seventeenth repeating. And still the movement seems too birthday was the following day. Later he would short.” The form is tri-partite with the opening revise the work two times (discovered in 1978), theme returning in the last part with increased but the original version is the one which has violin embroidery. stayed in the repertoire.

The third movement is a minuet. However, The composer called his new work a motet, Mozart now moves to a slightly more aggressive defined in the 13th century “piece of music style than polite convention would have with words”. In the Renaissance, the motet expected. Neal Zaslaw has astutely characterized became more elaborate with contrapuntal the music as more symphonic than dancelike. textures, and the genre had two formats: sacred and secular. In the 18th century, it was The fourth movement recalls the first theme defined as a “sacred Latin solo cantata” per of the first movement with its distinctive the contemporary music flutist and theorist, octave-drop profile. Another theme is typically Johann Quantz. galant, filled with decorative trills and grace notes. Mozart creates an informal fun-loving In Exultate Jubilate the parts are as follows for atmosphere (complete with hunting calls), soloist and orchestra: spending more time on the development than Allegro: Exultate jubilate: twenty measure in the first movement, thereby adding more introduction weight to this final section. Overall, the music Recitativo: Fulget amica dies ( very small) remains elegant and cheerful until the close. Andante: Tu virginum corona: a set of variations Allegro (sometimes marked vivace): Alleluja A symphonic silence after Symphony 29 led This is perhaps the most famous part of the to a significant change when Mozart returned motet and is frequently excerpted as a “tour- to the genre: a much broader canvas, scope de-force” concert aria. and emotion would infuse the later works. Symphony No. 29 summarized a world and a The ISO’s last performance of Mozart’s style which was young and fresh, but not quite Exsultate, jubilate, K. 165 was November, 2012 different from the maturity and content of featuring soprano Aga Mikolaj, conducted by Mozart’s future style. John Nelson.

68 Notes OCT 28

L’Invitation au voyage engages a rich Wagnerian palette softened by Henri Duparc static pedal figures is a natural for Beaudelaire’s Born January 21, 1848, Paris, France dream world. The note of Orientalism, the Died February 12, 1933, Mont-de-Marsan, France reveries steeped in drugs, and the imaginary voyage were captured in a new accent” in this DuParc’s “L’invitation au voyage,” composed setting. in 1870, is a setting of two of three verses of the Symbolist poet Beaudelaire’s famous The poem reads: poem describing his love of the countryside My child, my sister in Holland, which he described in “Small Prose Think about the softness Poems,” as “ a singular country, drowned in To go there to live together. the mists of our North, and could be called Love at leisure, the East of the West, the China of Europe” and Love and die the longing of a man wishing to touch his The country that resembles you! lover. At this time, Beaudelaire was in love The watery suns of those cloudy skies with an actress Marie Daubrun, and this poem For my spirit the charms so mysterious describes a mystical trip growing in his mind, Of your treacherous eyes which finds them both in an exotic and perfect Shining through their tears. world. There, all is order and beauty The poem first appeared in a collection of Luxury, calm and voluptuousness 100 poems titled Fleurs du Mal (the Flowers of Evil), a publication which caused sensation Gleaming furniture, polished by the years and uproar. After a trial lead by the French Would decorate our room lawyer Ernest Pinard (prosecutor of Gustave The rarest flowers, mingling their fragrance Flaubert) on August 20, 1857, six poems The faint scent of amber were immediately removed on grounds of The rich ceilings, the deep mirrors obscenity…dealing with lesbian themes and Oriental splendor all speak there sado-masochism… and Beaudelaire was fined At the core secret, its sweet native tongue. 300 francs for “offending public morals… religious morals, and good customs….which There all is order and beauty the judges noted “necessarily lead to the Luxury, calm and voluptuousness excitement of the senses by a crude realism and public decency.” (quote from Pericles Lewis See on the canals, sleep these vessels in Cambridge Introduction to Modernism.) Whose mood is vagabond; This is to satisfy The poems were republished in 1861, and Your slightest desire grouped into six parts. L’invitation au Voyage They come from the ends of the world. came from Part I “Spleen et ideal” which focuses explicitly on sexual and romantic love: and all The setting suns clothe the fields, the canals, the problems that can, and often do, result. The the entire city, poet explained: “There are in every man at all In hyacinth and gold times two simultaneous impulses-one toward The world falls asleep in a warm light. God, the other toward Satan.” There, all is order and beauty Duparc provides a soft, slowly moving melody Luxury, calm and voluptuousness. which remains essentially the same in both sections, but the accompaniment changes, Duparc also set Beaudelaire’s “La vie anterieur” evoking the sensuality, ecstasy, and emotion which was published in 1902. of the text. Glen Watkins in Soundings: Music in the Twentieth Century noted that “DuParc’s This is the ISO’s first performance of Duparc’s musical speech which characteristically L’invitation au voyage. 69 OCT 28 Notes

Phydilé Softly slumber on grass where the poplar Henri Duparc refreshes Born January 21, 1848, Paris, France On the slopes of the mossy fountains Died February 12, 1933, Mont-de-Marsan, France Where meadow flowers burst in their thousands In Phidylé, Duparc offers a setting of a pastoral But are lost in the midst of darkened bushes. poem by Charles Marie Leconte de Lisle, a poet who was affiliated with the late nineteenth Rest, O Phidylé! Midday lights upon the leaves century French literary Parnassian movement To invite you to sleep in sunshine (paying tribute to the home of the Greek Alone, in the clover and thyme, muses, Parnassus). Among the group’s favored Humming with ever active bees. inspirations were classical topics from Greek antiquity and other exotic sources which Warm perfume breathes round the glade were “treated with emotional detachment And the flowering corn is still and exactitude.” Despite this cool approach, Whilst the birds wing over the hill the result was somewhat ambiguous in their Seeking the eglantine shade. selection of romantic settings, in spite of their cultivating anti-romantic sentiment. (See Un The copses are silent; and the stag is at bay, Parnasse sterile ou le culte de l’art de Remi Confronted by hounds in the clearing, Mathis) And no longer bounds; whilst Diana, deep in the wood is sitting, The title refers to a shepherdess described in Waxing her arrows deadly to prey. Horace’s Odes, Book III. The music is discrete, lushly chromatic and If hands raised to heaven you overthrow those sensual. Dynamics are carefully restrained, palms and as always in Duparc’s songs, text setting is to resurgent moon, rustic Phidylé, immaculate and determining. And soothe, incense, Lares, Grain of the year, a voracious sow: This is the ISO’s first performance ofPhidylé . the wind leper save Africa your generous vine, and the deadly rust: Your grain; the bad season: Cockaigne, Op. 40, “In London Town” Your sweet babies - when fruit ripens. Sir Edward Elgar The lamb will graze on the snowy Algidus, Born June 2, 1857 in Broadheath, England among oak and holm oak, grows or victim Died February 23, 1934 in Worcester, England Promised in the meadows Albans His neck redden the ax of the priest. Between 1900 and 1901 Edward Elgar wrote a But there is no point you want to win you, musical portrait of Edwardian London, using slaughtering a herd of animals of two years, the old nickname for the city by titling it the Small gods you crowns Cockaigne Overture. It was commissioned Fragile myrtle and rosemary. by the Royal Philharmonic Orchestra and he A hand, if it spotless altar key dedicated it to “many friends, the members And without the lure of a more opulent victim of the British orchestras.” He explained:“I call Calm hostile Pénates it ‘Cockayne’ and it is cheerful and Londony- Piles wheat, salt crackling. stout and steaky… honest, healthy, humorous, In the Leconte de Lisle poem, a lover watches and strong, but not vulgar… ‘” The vulgarity he the shepherdess Phidylé sleeping by a spring alluded to undoubtedly had to do with some of in the midday sun, and awaits her wakening. At Cockagyne’s early history. this time, she will reward him with a smile and a kiss. As noted in William Chamber’s Edinburgh Journal, the concept of Cockaigne might have The text as translated by David Paley reads: begun in ancient Greece, but more probably 70 KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

Notes OCT 28 the connection to London stemmed from the The Lovers’ Romance thirteenth century French poem by Rutebeuf Young London’s Interruption (a famous minstrel). He described “The Land The Military Band of Cockaygne”, in 95 octosyllables couplets In the Church as a utopia. It was “the land of all delights… In the Streets an imaginary country of idleness and luxury, whose rivers flow with wine, whose houses Although the musical tour begins quietly, the are cake and barley sugar… fish came into hustle and bustle of the big city scampers the house, already fileted.” (See “Utopia and immediately into the foreground. Sometimes the Ideal society: in Search of a Definition”: this has been called “the citizen theme.” The Cambridge University Press, 1981.) energy yields to a slower nobilmente theme which first came to Elgar “one dark day in the In the fourteenth century, “The Land of Guildhall; looking at the memorials of the city’s Cokaygne” appears in one of the Irish Kildare great past and knowing full well the history of poems, which describes a corrupt community its unending charity. I seemed to hear far away of monks at the Cistercian abbey at Inislounagt.HILBERT CIRCLE THEATRE in the roof a theme, an echo of some noble In the sixteenth century (1567) Cokaygne’s melody.” The opening ideas return. influence emerged in an oil painting by Pieter MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR Bruegel the Elder, which shows KRZYSZTOF URBA A key shift toŃ E SKImajor introduces the drunken results from the the Lovers’ romance with a gluttony and excesses from gentle lyrical passage. The ISO and The Doo Wop Project living in “the lazy, luscious As the music perks up land.” with a lightHarry march, Potter the and The Sorcerer’s Stone: In Concert! cityscape returns: big, The nickname persisted and bold with timpaniAndr é Watts Plays Beethoven into the seventeenth undercurrents (Young century. In 1627 the very London’s Interruption). Hilary Hahn stern Bishop Joseph Hall The speed increases in “Solomon’s Politicks of before the brass Mozart & Haydn Commonwealth” satirized forcefully proclaim a Cockagyne ; but Richard major idea…from afar a Tribute to Prince Bernard’s allegory (1626) military band approaches,Cirque De La Symphonie Goes Broadway! “The Isle of Man”, described growing in stature as they the Cockagyne as “an England march to the forefront.Harry ThePotter church and The Chamber of Secrets: In Concert! perfected: the people do live in peace, the section is delicate: a place of relative quiet for Land prospereth, Justice flourisheth…and the the young lovers, and then they return toAn the Evening with Raymond Leppard enemies at home and abroad made to fear.” streets. At this point, the energy of the city is The title also became associated with the term not to be denied. A small coda, with references cockney- a term applied to a native of London. to the noble theme, and theSEPTEMBER lovers’ theme, & OCTOBER | VOLUME 1 brings the Overture to a roaring close. Elgar conducted the successful premier on June 20, 1901 in Queen’s Hall with the Royal This is the ISO’s first performance of Cockaigne, Philharmonic Orchestra. In 1926 and 1933 he Op. 40 “In London Town” at the Hilbert Circle made two recordings: the 1933 version with Theatre. the BBC Orchestra can be heard on Youtube.

The piece is crafted in several parts, a soundscape which offers a panorama of various city scenes. As described by Mr. Joseph Bennet, a friend of Elgar, these are: Cheerful Aspect of London Strong and Sincere character of Londoners 71 INDIANAPOLIS SYMPHONY ORCHESTRA GET SOCIAL WITH THE ISO FOLLOW THE ISO ON SOCIAL MEDIA FOR CONCERT UPDATES, BEHIND-THE-SCENES PHOTOS, EXCLUSIVE CONTESTS, VIDEO INTERVIEWS AND MORE!

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Interested in learning more about Corporate sponsorship opportunities? Contact Associate Director of Corporate Giving, Melissa Weseli at [email protected] or 317.262.1880.

Indy Fringe The term “fringe festival” was coined in 1948, the year after eight theatre groups turned up – uninvited – to perform at the newly- established and curated Edinburgh International Festival in Scotland. Although not listed in the official program, the groups performed anyway at venues they found themselves. Since / then, more than 200 fringe festivals have begun worldwide unexpected as incubators of new talent and imaginative thought. Now, all the time tHEATRE you can enjoy Indy Fringe events all year round! Check out the calendar on www.indyfringe.org or call 317-522-8099.

Indianapolis Children’s Choir / now showing : unexpected GO ASK ALICE the time February 20 - 21 all tHEATRE the time Join the Indianapolis Children’s Choir (ICC) as it enters a new / all tHEATRE unexpected era! The 2016–2017 season marks the ICC’s first year led by Artistic Director Joshua Pedde. Mr. Pedde’s inspirational leadership promises to bring the ICC’s mission of artistic excellence and quality music education to new heights while advancing the choir’s status as a fixture in the central Indiana community. Get ready for an amazing season! The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317.940.9640.

Indianapolis Symphonic Choir The Indianapolis Symphonic Choir celebrates its 80th Anniversary Season! The artistic partner of the ISO since its founding in 1937, the Symphonic Choir is comprised of nearly 200 singers who audition annually and reach audiences of more than 25,000 persons through performances, recordings and broadcasts. The official choral partner of the Indianapolis Public schools, the Choir also provides a range of educational opportunities for children, youth and adults. Learn more about the Indianapolis Symphonic Choir at www.indychoir.org or follow on Facebook on Twitter. New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestra masterworks, both traditional and contemporary. The 2016–2017 season premiere will be held at the Hilbert Circle Theatre, November 6, 5:00 pm. For more information please visit www.nwyso.org.

To advertise your events in the Arts in Indy section, contact Mallory MacDermott at [email protected] or 317.664.7812

74 ENDOWMENT

Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund.

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

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

75 ENDOWMENT

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

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

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

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

The Mohlman Performance of Classical Music The Tobias Green Room Endowed by a gift from Ina M. Mohlman and the late Endowed by Randall L. Tobias Robert H. Mohlman January 20-21, 2017 — Mahler’s “The Song of The Maestro Society the Earth” August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett The Performance of a Young Professional Artist Mrs. Walter Myers Jr. Endowed by Roche Diagnostics Randall L. Tobias January 27–28, 2017 — Zach De Pue Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon The Performance of a Guest Artist Mr. and Mrs. Richard D. Wood Endowed by the Jean D. Weldon Guest Artist Fund Mr. Raymond Leppard February 17–18, 2017 — Tim McAllister Dr. John C. Bloom Edna Woodard-Van Riper The Mrs. Earl B. Barnes Memorial Fund in support of a Marianne Williams Tobias Guest Artist Endowed Anonymously The Marianne Williams Tobias Program Annotator Chair February 24, 2017 – Katia and Marielle Labèque Endowed anonymously Marianne Williams Tobias, Program Annotator The Performance of Classical Music including Major Liturgical and Choral Music Artist in Residence Endowment Endowed in memory of Elmer Andrew and Marguerite Endowed in memory of Hortense and Marvin Lasky Maass Steffen by E. Andrew Steffen 76 ENDOWMENT

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

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

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

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

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

Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune 77 LYNN SOCIETY

The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity.

Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.713.3342. Albert & Gail Ammons Dr. & Mrs. Larry C. Franks John & Carolyn Mutz Earleen M. Ashbrook Bradley S. & Teresa G. Fuson Peggy & Byron Myers Ms. Nancy Ayres Dr. & Mrs. Richard W. Garrett Mr. & Mrs. Charles J. O’Drobinak Dawn, Ruth* & Darrell* Bakken David & Deloris “Dee”* Garrett Dorit & Gerald Paul Janet F. & Dr. Richard E. Barb Ms. Patricia Garrity Joan S. Paulin Frank & Katrina Basile Cy* & Pris Gerde Dr.* & Mrs. Bruce Peck Dr.* & Mrs. Paul F. Benedict James E. & Judith A. Gillespie Marian Pettengill and Family Dale & Barb Benson David & Julie Goodrich Mrs. Joseph D. Pierce Dr. John C. Bloom Mrs. Anne M. Greenleaf Dr. & Mrs. George Rapp Rosanne Bonjouklian John S. Griffin Josette Rathbun Mrs. Charlotte Bose Mary & George Harless Mr.* & Mrs. Elton T. Ridley Charles & Cary Boswell Mike & Noel Heymann Dr. & Mrs. Robert L. Rudesill Dr. Ella H. & Mr. Robert Tom & Nora Hiatt Henry & Vel* Ryder R. Bowman Clarena Huffington Jane & Fred Schlegel Mr. & Mrs. Charles H. Boxman Ann Hampton Hunt Paul & Martha Schmidt John Charles Braden & Ty A. Johnson Carl & Laurel Schnepf Denton Raubenolt Joan & David F.* Kahn H. Tuck & Saundra L. Schulhof Donald & Barbara Broadlick Swadesh & Sarla Kalsi Margaret A. Shaw Philip J. Burck Bob & Rhonda Kaspar Jean & Clifton Smith Alex. S. Carroll Patricia Kilbury Mr. & Mrs. Clark L. Snyder Nancy & Chris* Christy Ms. Peg Kimberlin Sue K. Staton Ms. Patricia C. Chunn Ms. Marie E. Kingdon Dr.* & Mrs. James B. Steichen Norman I.* & Maxine Cohen John J. Kloss, JD Ann R. Strong John & Ulla Connor Kay F. Koch Kathryn* & Sidney Taurel Chris W. & Lesley J. Conrad H. Jean Jones Kyle Carol E. Taylor Peter Cooney James E. & Patricia J. LaCrosse Mrs. David Thiel Mr. & Mrs. Ronald A. Cox Dr. Ned & Martha Lamkin William & Karen Thompson Stephen & Andrea Cranfill Lawrence & Vivian Lawhead Marianne Williams Tobias Mr. & Mrs. Thomas E. Dapp Mr. & Mrs. Richard L. Ledman Ann Vaughan Lou & Kathy Daugherty Raymond Leppard Dan & Doris Weisman Edgar* & Joanne Davis Mr. L. Robert Lowe Jr. Anna S. & James P. White Carol Richardson Dennis Dr. & Mrs. Gordon E. Mallett Mildred M. Wiese Rollin & Cheri Dick Dr. & Mrs. Karl L. Manders David E. & Eleanor T. Wilcox Mr. & Mrs. Richard A. & Helen J. Mr.* & Mrs.* Michael Ben Maurer Mr. & Mrs.* Charles D. Williams, III Dickinson Stacy Maurer Richard D. & Billie Lou* Wood Clarita Donaldson Janice & John F. McHenry Mr. & Mrs. C. Daniel Yates Mrs. Lewis A. Enkema W. Jean McCormick Mike & Phyllis* Zimmermann Mr.* & Mrs. Richard Felton Robert B. & Eleanor S. McNamara Anonymous (15) Mr. Murray R. Fischer Marian Y.* & Boris E. Meditch Dr.* & Mrs. W. Brooks Fortune William F. Murphy, CPA *Deceased THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Allen E. & Mary Crum Mr. & Mrs. William L. Fortune Mrs. Raymond A. Basso John H. Darlington Nelle Godio Miss Helen F. Bernheisel J. Richard Delbauve Mr. Raymond K. Gretencord Betty Thorp Boyd Vivian F. Delbrook Carol E. Gruen Mrs. Elba L. Branigin Jr. Suzanne S. Dettwiler Gail H. & Robert H. Hall John F. Brennan Lillian J. Duckwall Louise W. Hanson Mrs. Ferne Brewer Francis W. & Florence Goodrich Dr. & Mrs. F. R. Hensel Lenore B. Brignall Dunn Mr. & Mrs. Byron Hollett Suzanne Swain Brown Mr. & Mrs. Don B. Earnhart Mr. Dennis T. Hollings H. Earl Capehart Jr. Mr. Robert A. Edwards Emma Stutz Horn Walter Chroniak Mr. Francis E. Fitzgerald Edgar L. Conn Mr. Richard E. Ford 78 LYNN SOCIETY

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

Remembering The ISO In Your Will

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

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

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

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

79 ANNUAL FUND

Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of August 3, 2016. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204. $100,000 and Above David & Eleanor Wilcox Don & Carolyn Hardman McDonald’s of Anonymous Emily & Peter Howard Central Indiana Ms. Christel DeHaan Allan & Kathy Hubbard The Sells Group Kay F. Koch Anonymous Bob & Rhonda Kaspar Shaheen Family Foundation Sarah & John Lechleiter Anthem Blue Cross and Blue Joseph & Kathy Kessler Tobias Family Foundation Yvonne H. Shaheen Shield Cindy L. & Timothy J. Konich Vectren Corporation Marianne Williams Tobias Arthur Jordan Foundation James E. & Patricia J. LaCrosse Randall & Deborah Tobias Barnes & Thornburg LLP Drs. W.H. & K.T. Landschulz Founders’ Society BMO Harris Bank Mr. & Mrs. Bruce McCaw ($5,000-$9,999) Budweiser Zink Distributing Mr. E. Kirk McKinney, Jr. Anonymous (7) Anonymous Co, LLC Karen Mersereau & Dr. Michael Mr. & Mrs. Jeffrey M. Adams Arts Council of Indianapolis and Chase Helms Thomas N. Akins the City of Indianapolis Citizens Energy Group Mrs. Nancy Ann Morris Teresa & Don Altemeyer The Christel DeHaan Family The Clowes Fund Dorit & Gerald Paul Bob & Pat Anker Foundation Delaware Community Foundation Mel & Joan Perelman Mr. Aasif Bade Efroymson Family Fund Duke Energy Walt & Mary Prouty Drs. Douglas & Deborah Eli Lilly and Company Erie Insurance Mary Frances Rubly Balogh Indianapolis Power & Light Ice Miller LLP Phyllis & Gary Schahet Trudy W. Banta Company Indiana Arts Commission Marlyne Sexton Ms. Sarah Barney Indianapolis Symphony Orchestra Ann and Gordon Getty Foundation Jeff & Cassandra Short Alpha Blackburn Association and the League of American Christopher A. Slapak & Michael J. Suzanne B. Blakeman Lilly Endowment, Inc. Orchestras Robertson Terry & Robert L Bowen The Herbert Simon Family MacAllister Machinery Company, Mr. Kevin D. Taylor Charles & Joyce Boxman Foundation Inc. Mr. & Mrs. Daniel O. Weisman Mr. & Mrs. John Bratt The Margot L. and Robert S. Eccles National Endowment for the Arts Kathy & Ralph Wilhelm Donald & Barbara Broadlick Fund, a fund of CICF Navient Roberta & Bill Witchger Charles W. Brown Marsh Supermarkets, LLC. Nicholas H. Noyes Jr. Memorial Dr. Christian Wolf & Elaine Michael & Mary Ann Ruth Lilly Philanthropic Foundation Holden-Wolf Browning Foundation OneAmerica Financial Partners, Hsiu-Chiung Yang & Marian Mosior Mr. & Mrs. Walter P. Bruen, Jr. Inc. Jim & Rita Zink Ms. Jane Conley Founders’ Society, Music Director R.B. Annis Educational Foundation Dexter & Rosemary Cooley ($50,000+) Raymond James & Associates, Inc. Stephen & Andrea Cranfill Anonymous Roche Diagnostics ADL Charitable Trust David & Consuelo Davis Mr. & Mrs. Michael Becher SalesForce Buckingham Foundation Inc. Dr. Thomas & Paula Elam Rollin & Cheri Dick Scott A. Jones Foundation Care Institute Group, Inc. Jack Everly & Ty A. Johnson Phil & Colleen Kenney St.Vincent Health Citizens Energy Group Ms. Carol J. Feeney Ann M. & Chris Stack Telamon Corporation CNO Financial Group Dr. & Mrs. Richard W. Garrett Richard D. Wood Terry Lee Hyundai & Terry Lee Community Health Network Michael & Beth Gastineau Genesis Dow AgroSciences Gary Ginstling & Marta The Martin D. & Mary J. Walker Elba L. & Gene Portteus Branigin Lederer The Glick Fund, a fund of Central Charitable Foundation Foundation Inc. Larry C. & Lee A. Glasscock Indiana Community Foundation The Glick Family Foundation Charles & Susan Golden Printing Partners Founders’ Society, First Chair Fenneman Family Foundation Mr. & Mrs. Thomas W. & Mary The Rock Island Refining ($10,000-$19,999) Fifth Third Bank P. Grein Foundation Anonymous (2) Hendricks County Community John & Chichi Guy The Honorable & Mrs. Alex M. Foundation Steve L. Hamilton & Keith O. Founders’ Society, Concertmaster Azar II Indiana Members Credit Union Norwalk ($20,000-$49,999) Mr. & Mrs. Robert Bader The Frenzel Family Charitable Lead Richard & Elizabeth Holmes Christina Bodurow Charlene & Joe Barnette Trust Mr. & Mrs. W. Seymour Holt Trent & Amy Cowles Mr. & Mrs. Barry J. Bentley The Indiana Rail Road Company Dr. Sharon Hoog Dawn M. Fazli Maestro Raymond Leppard & Indiana University Health Partners Dr. Ann H. Hunt Dr. & Mrs. E. Henry Lamkin, Jr. Dr. John C. Bloom Industrial Dielectrics Holdings Dr. & Mrs. Ronald Iacocca Dr. Gordon & Carole Mallett Bryan & Elaine Brenner The Junior League of Indianapolis Carlyn Johnson Mrs. F. Bruce Peck, Jr. Dr. & Mrs. Thomas A. Broadie Lacy Foundation Kimra Kidd & Thomas Dr. Jeffrey Vanderwater-Piercy Vincent & Robyn Caponi Macy’s Buethner Dr. Kenneth & Mrs. Debra Renkens Mr. & Mrs. Daniel P. Carmichael McCaw Family Foundation Drs. Sandra & Charles Robert & Alice Schloss Mr. Daniel Corrigan NextGear Capital Kinsella Dr. & Mrs. Eugene Van Hove Mr. & Mrs. James E. Dora Ronald McDonald House Charities Ned & Wendy Kirby Martin & Mary Walker Craig & Mary Fenneman of Central Indiana and Mrs. James L. Kittle, Sr. 80 ANNUAL FUND

Don & Jen Knebel MusicCrossroads F. Timothy & Nancy Nagler Smoke Free Indy Dr. & Mrs. Eugene P. Kroeff The National Bank of Indianapolis Marc A. Nichols & James E. Symphony at Sunset Group, Inc. Mr. & Mrs. Joseph C. Lanning Regions Bank Collins United Healthcare Mr. & Mrs. Eli Lilly II Skiles Detrude Jackie Nytes Western Reserve Partners, LLC Dr. Richard E. Lindseth The Stratford Mr. & Mrs. Robert H. Orr Witham Health Services Gregory & Alexandra Loewen Winners Circle Noel & Beth Outland Dr. & Mrs. Carlos Lopez Eloise Paul & Bill Lee President’s Club Andrew J. Macht Conductor’s Circle David and Arden Pletzer ($1,500-$2,499) Mr. & Mrs. Morris Maurer ($2,500-$4,999) Endowment Fund, a fund of Anonymous (3) Virginia Melin Anonymous Legacy Fund Nicholas Barbaro & Sue Ellen Mr. & Mrs. Dayton Molendorp Mr. & Mrs. Michael Alley Jo & Chris Rathbun Scheppke David Morgan J. Dara & Sherry Amlung Tom & Ursula Roberts Spencer & Marcia Bavender Ellie, Weber & Emaline Morse Dr. & Mrs. Richard Barb Mrs. John R. Roesch Jay & Julie Bishop Jerry & Anne Moss Mary Ruth Barnard Dr. & Mrs. Robert L. Rudesill Benjamin & Ashley Blair John & Carolyn Mutz Frank & Katrina Basile Mr. & Mrs. Todd K. Rutledge Mr. & Mrs. Jesse L. Bobbitt Mr. & Mrs. Charles J. O’Drobinak Mr. C. Harvey Bradley Jr. Mr. Gilva F. Sallee Kirk & Sharon Boller — Michael P. & Leanne M. O’Neil Mary Clare & George Broadbent James & Mary Beth Schafer Bottom-Line Performance Inc Kay Pashos & Neal Steinbart Mr. Richard F. Brown & Mrs. Cathy Jane & Fred Schlegel Dr. & Mrs. W. C. Bonifield Donald & Karen Perez Springer-Brown Klaus & Joel Schmiegel Matt & Janette Brown Bart Peterson Dr. & Mrs. John T. Callaghan Drs. Lei Shen & Soomin Park Gordon & Celia Bruder Mr. Robert T. Rice Albert & Margaret Chen Eric Siemers & Peggy Edwards Dr. Mark Overhage & Dr. Mary Timothy E. Rice Nancy Christy Joanne & Gerald Solomon Brunner Margaret Cole Russell & Steve Fred & Alice Croner Mr. & Mrs. Larry Speer Mrs. Alva Buchholtz Russell James J. & Barbara Curtis Dee & Tom Spencer Kenneth & Patricia Burow Mr. & Mrs. William N. Salin Manuel & Sally Debono Sydney L. Steele Mr. & Mrs. John Campbell Perry & Lisa Scott Rick & Jody Dennerline Drs. Randall & Bonnie Strate John & Ulla Connor Patrick & Sarah Sells Ms. Andrea Devoe James Sweeney Chris W. & Lesley J. Conrad William & Faye Sigman Steve & Mary DeVoe Dr. & Mrs. Reed Tarwater Bill & Angela Corley Maribeth & Al Smith Kerry Dinneed & Sam Sutphin Mrs. David Thiel Mr. & Mrs. James M. Cornelius Susanne & Jack Sogard Robert W. Dyar, M.D. Dr. & Mrs. Ron Thieme Dave & Christie Crockett Pete & Lena Ward Dr. & Mrs. Michael E. Flaugh Ms. Cathy Turner Mr. & Mrs. Bert Curry Margaret Watanabe Dr. & Mrs. Mark Foglesong Martha Anne Varnes Mr. & Mrs. Gregory C. Davis David P. Whitman & Donna L. Steve & Lisa Ford Jane & Hugh Watson Mr. & Mrs. Robert M. Donovan Reynolds Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. William J. Wheeler Miss E. Frances Eickhoff Lynn & Andy Wiesman Dr. & Mrs. Larry C. Franks Terence & Margaret Yen Andrew & Irene Engel Jacquie & Fred Winters Stephen F. Fry Barrie & Margaret Zimmerman John N. & Julia Luros Failey Sara & Michael Zeckel Julia & Doug Gard Jim & Gracia Floyd John & Linda Zimmermann Cora A. Gibson Dr. Norm & Adrienne Fogle Mary Ann & Gene Zink Steven M. Giovangelo & Gerald J. 500 Festival, Inc. Dr. Lawrence I. Goldblatt Jennifer & Michael Zinn Bedard The Ackerman Foundation Joe & Kathy Grahn Dr. Christian & Mrs. June Gries Community Health Network Mr. & Mrs. Robert Gregory Bob Hallam South Region Julie Griffith Ann & Gordon Getty Foundation Mr. & Mrs. James Hancock DB Engineering LLC Kenneth & Barbara Hamilton Barefoot Wine Nancy J. Harrison Donovan CPAs & Advisors Velda Hamman The Barrington of Carmel Dr. David K. & Clarice F. Hennon Enflora Flowers for Business Joseph L. Hanley BKD Marsha A. Hutchins Ernst & Young LLP Ms. Lisa Heid Bose McKinney & Evans LLP Larry & Annette Hutchison Firestone Building Products and Gregory Henneke & Martha Charles W. Brown Foundation Ms. Harriet Ivey & Dr. Richard Industrial Products O’Connor Chubb Group of Insurance Brashear First Person Mr. & Mrs. Gerald V. Hinchman Companies Mr. & Mrs. John C. Jenkins & Franklin Symphonic Council, Mr. & Mrs. V. William Hunt City of Carmel Family Inc. Mr. Gerald R. Jenn Cornelius Family Foundation, Inc. Scott & Holly Johnson Hoosier Park at Anderson Dr. & Mrs. Philip E. Johnston Deloitte & Touche LLP Jennifer & John Jokantas Horace Mann Joan & David F. Kahn DMC Holdings, Inc. Daniel H. Joseph and Liu Li Indiana American Water Co., Donn & Dot Kaupke Faegre Baker Daniels Dr. Louis N Jungheim & Dr. Thalia Inc. Mr. Charles E. Kendall FedEx Corporation I. Nicas Indiana Farm Bureau Insurance Patricia Kilbury Franklin Symphonic Council, Inc. Dr. and Mrs. John E. Kalsbeck Indiana Spine Group Mr. Doug Klitzke Hoover Family Foundation Mr. & Mrs. Michael J. Kenniff The Indianapolis Recorder Col. A. D. Kneessy Huntington Bank Peg Kimberlin The Indy Star Dr. Elisabeth Krug Indiana Space Grant Consortium Dr. Gwen & Mr. Robert Krivi InterDesign Dr. & Mrs. Richard Lasbury Indianapolis Chapter of The Peg Lavagnino ITT Technical Institutes Bob & Maureen Lee Links, Inc. Andrew & Lynn Lewis J M Smith Foundation Mr. & Mrs. Allan Litz James O. & Alice F. Cole Jim & Sarah Lootens Mallor Grodner LLP Deborah & Joe Loughrey Foundation Malcolm & Joyce Mallette Dr. Michael J. Helms, DPM Jon D. Marhenke, M.D. Jungclaus-Campbell Co., Inc. Mr. & Mrs. David Malson Mike Watkins Real Estate Dr. & Mrs. Douglas R. Maxwell The Julia L. and Andre B. Lacy Mary & Charles Matsumoto Group Inc Scott & Tiffany McCorkle Charitable Fund, a fund of CICF Dr. & Mrs. Ronald Maus RBC Wealth Management Mr. & Mrs. Russell Mobley Lumina Foundation for Boris E. Meditch Ricker’s Dr. & Mrs. Phillip G. Mosbaugh Education Flip & Cindy Miller SEI Investments Eric Moy McCaw Family Foundation Milton & Margaret Miller The Shaw-Burckhardt-Brenner Sarah Myer Meridian Dermatology Dr. & Mrs. Daniel H. Mowrey Foundation Jack & Judy Myers Merrill Lynch Elizabeth & William Murphy Skyline Club, Indianapolis Mr. & Mrs. Daniel Mytelka 81 ANNUAL FUND

Timothy S. Needler Donald W. Buttrey Marni McKinney Bob & Debbie Wingerter Mr. & Mrs. Guido Neels Mr. & Mrs. E. M. Cavalier Nancy L McMillan Mr. & Mrs. Robert Witt Mr. & Mrs. John S. Null Casey Chell & Daniel Duarte Mr. Allen & Mrs. Deborah Miller Mrs. Edna Woodard Bill & Jamie Parrish Ray and Lisa Childers Mr. & Mrs. Robert E. Miller Turner & Diann Woodard Jack & Katie Patterson Mr. & Mrs. Randall Christie James E. LeGrand & William A. Diana & Dan Yates Allen H. Pekar Dan & Laura Conder Nichols Mr. & Mrs. Leslie R. Zimmerman Beverley & Bill Pitts Dexter & Rosemary Cooley Ann & Jim Murtlow Scott & Susan Putney Mrs. Mary C. Crean Peggy & Byron Myers Dr. & Mrs. George F. Rapp Joanne Meyer Davis Mr. Reid Nagle Anonymous Mr. & Mrs. Randall Riggs Rebecca & Larry Davis Don Nead & Caryl Matthews ASA Concierge Psychological Dr. Merrill Ritter David & Brenda Day Paul Nordby Services, LLC Mr. & Mrs. Byron Robinson Mr. Douglas B. Day Lara Noren Blankenship Vocational Dr. & Mrs. Randall G. Rowland Dr. & Mrs. Frank Deane Thomas & Stacy O’Leary Services Mr. & Mrs. John & Vicky Ruhl Mr. & Mrs. Thomas J. Eggers Linda Pence Dayton Foundation Col. & Mrs. Cecil Salter Dorothy Schultz Englehart Marian Pettengill The Dr. Lawrence M. and Dave & Marcia Sapp David & Julie Eskenazi Jim and Ray Luther-Pfeil Eldoris J. Borst Family Fund Dr. & Mrs. John F. Schaefer Dr. & Mrs. Harvey Feigenbaum Gayle L. Phillips of the CICF Jerry & Rosie Semler Linda Felton Larry & Nancy Pugh The Ruth E. Stilwell Armen and Marie-Claude Ann & David Frick Mrs. Nancy Quest Endowment Fund, Shanafelt Mr. Carl & Mrs. Donna Gahwiler Roger & Anna Radue a fund of CICF Dick & Susan Simon Mr. & Mrs. James F. Gallagher Richard & Betty Lou Reasoner Cavalier Family Foundation Mr. & Mrs. Jeff Smithburn Paul & Beth Gaylo Barb and Tom Reed Cole Hardwood, Inc. Christy & Jeffery Soldatis Mr. & Mrs. Raymond Gibson Bob & Carol Reynolds, Barnes & Douglas & Angela Braly Family Drs. Pamela Steed & Peter Furno Marianne Glick Thornburg Foundation Rita & Larry Steinberg Mr. Scott & Ms. Amy Goldsmith Mrs. Mary L. Rice Gregory & Appel Insurance Richard & Lois Surber Mr. & Mrs. Ray E. Gotshall Jean & Lamar Richcreek The Humke Foundation, Inc. Stephen L. Tracy Mr. Jonathan Gottlieb & Valerie Mark & Susan Ridlen Indiana First Lady’s Charitable Dr. James & Linda Trippi Omicioli William R. & Gloria Riggs Foundation, Inc. Lynn C. Tyler Thomas & Nancy Grembowicz Mr. Larry Roan Indiana Utility Shareholders John & Kathy Vahle Peter Grossman and Pauline N. Clay & Amy Robbins Association Joe & Diane Vande Bosche Spiegel Joseph & Leanna Roberts Linebarger Janin Family Fund, a Courtenay & Emily Weldon Kimberly J. Hadley Peggy L. Robinson fund of Central Indiana Emily A. West Dr. & Mrs. Jim Hamby Gordon & Patsy Roe Community Foundation Mrs. Mary Whalin Mrs. Elizabeth Hamilton Dr. & Mrs. Gary R. Sampson Milestone Ventures Inc. Josephine A. Yu Mr. & Mrs. Eugene E. Henn Dr. & Mrs. Andreas Sashegyi Psi Iota Xi, Iota Tau William & Patricia Hirsch Roderick & Anne Scheele RSE Realty, Inc C. Jane Hodge Dr. Richard Schevitz & Ms. Salin Bank & Trust Batt Family Foundation Mrs. Ginny Hodowal Rosemary Ervin The Saltsburg Fund; Karen Lake Conrad Indianapolis Brenda S. Horn Roger & Barbara Schmenner Buttrey (deceased), Donald W. Cornelius Family Foundation, Inc. Mrs. Jill Hoyle Paul & Martha Schmidt Buttrey CSO Architects, Inc. Ms. Lysiane Huber Ms. Silvana Schuster SBC Wealth Management Gracia E. Johnson Foundation Clarena Huffington John Seest Straubinger Flutes Indy Eleven Meredith & Kathleen Hull Carson & Carla Shadowen The Jenn Foundation Carolyn Humke Mr. & Mrs. Henry E. Sleeth Virtuoso Joanne W. Orr Charitable Fund Krisztina & Ken Inskeep Mrs. Marian Small ($750-$999) Marni McKinney Foundation Mrs. Ninalou Isaacson Nancy C. & James W. Smith Anonymous (6) McKinney Family Foundation Ms. Kristine Isenberg Mr. Peter & Mrs. Chris Smithhisler John & Reita Bertsch NTN Driveshaft Catherine Jones Loren Snyder Mr. & Mrs. Tom Cooper The Penrod Society Dr. & Mrs. Charles E. Jordan Barb Stang Daryl, Sherry & Kevin Cox Van Riper Woodard Family Mike & Linda Jordan Ms. Shelley Stiner Patrick and Jennifer Cross Foundation Terry Kahn Mr. Bill & Mrs. Linda Strickland Norman Dean Dr. & Mrs. Frederick M. Kelvin T.S. Sun Jessica R. Di Santo Symphony Club Richard & Susan Kent Nela Swinehart & Lonn Bayha Mr. Kenneth Fraza ($1,000-$1,499) Mr. & Mrs. Daniel E Klausner Mr. John Tan Dr. Karen & Thomas Gallagher Anonymous (7) David H. Kleiman Phillip A. Terry Dona & Catherine Gatlin Mr. Wilbur L. Appel, Jr. Richard & Roxanne Kovacs Mr. Mark Thompson Drs. Jean & Gerald Godfrey Joan Baker Dr. Matthew Landman Douglas L. Tillman Mr. & Mrs. Berl J. Grant Mrs. Taylor L. Baker Gene & Carolyn Lausch Mrs. Clara Trapp Brian & Claudia Grant Terry & Patricia Balko Rev. Richard & Mrs. Nancy Lewer Randall Trowbridge & Alice Brown Ms. Lauren Guidotti Mr. Walter H. Bartz Dr. Erik L. Lindseth Bob & Sue True Mr. & Mrs. Thomas G. Harvey, Jr. Ms. Susan Bates Mr. & Mrs. William Lindstaedt Barbara S. Tully Mr. & Mrs. Jerome T. Henning Mr. Brett & Mrs. Shari Bayston Mr. Tom Linebarger Kenneth L. Turchi Stephen & Susan Henson Jeffrey Stant & Mary Bookwalter Lowell & Penelope Lumley Ms. Phyllis Dye Turner Abigail W. Hohmann Erv & Priscilla Boschmann Mr. & Mrs. Ralph E. Lundgren Constance Van Valer, M.D. Jack & Ruth Hoover Douglas & Angela Braly Carey Lykins Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Needham S. Hurst Tiffany & William Browne, Jr. James R. & Rita E. Martin Paul & Gretchen Watson Larry & Marianne Jacobi Terri Bruksch Elaine M. Mattson Scott & Sue Webber Robert & Cindy Kirkpatrick Mr. James & Mrs. Joan Burgett Dr. Rose Mays Frank & Sandy Weddle Mr. Richard & Mrs. Gwen Lorene M. Burkhart Carson & Betsy McCaw L. Alan & Elizabeth Whaley Knipstein Celeste & Derrick Burks Michael & Patricia McCrory Meg Williams & Nicole Collins Mr. & Mrs. Tim Konrad Pam & Jack Burks Craig & Kathleen McGaughey Forrest Williamson Mr. Robbie Kusz Helen Burnett Mr. & Mrs. Thomas McGinley Mr. & Mrs. Meredith L. Wilson Dennis & Karen Licht 82 ANNUAL FUND

Mr. Joseph Lime Perry, II Kirk & Jo Taylor Contributed Goods and Services Reverend Dr. Joan Malick John Mainella & Michael Pettry Mrs. T. Marilyn Trout ($5,000 and Above) Jeffrey & Christine Marks The Prible Family Mr. & Mrs. Clark Williamson Barefoot Wine Mr. & Mrs. Ken Matsumoto Diane Richardson Larry E. Wollert II & Arif Kocabas Blue & Co, LLC. Earl Miller & Ek-Leng Dr. & Mrs. William Segar Ty & Keri Wooten Buckingham Foundation Inc. Chua-Miller Michael & Priscilla Shaw Dr. & Mrs. Steve Young Conrad Indianapolis Dr. and Mrs. Patrick J. Murphy Dr. & Mrs. Robert K. Silbert Richard E. Ziegler DCG: Digital Color Graphics Ms. Brittany Nehman Mr. & Mrs. Lyman A. Snyder Sue & John Zinser Enflora Flowers for Business David & Diane Nesbitt Ms. Sarah Studzinski Indianapolis Symphony Lynch, Incorporated Brian Oakley Greg & Linda Sykes Orchestra Association South Mitsch Design Dr. John A. & Cinda Overman M. C. Tanner Group NUVO Newsweekly Anne K. Perry & Marvin C. Mrs. Maggie Tatter Printing Partners

DECEMBER 2-23 • HILBERT CIRCLE THEATRE Celebrate the season with family, friends and colleagues and save! Groups who purchase 20 or more tickets receive the following benefits: JACK EVERLY, MUSIC DIRECTOR • 10% off the single ticket price JOSH KAUFMAN, HOST • Waived handling fee • Payment flexibility • Personal concierge

83 INDIANAPOLIS SYMPHONY ORCHESTRA WHY IGET GIVE SOCIAL WITH THE ISO

There are many reasons to give to the ISO, and we want to know your story. Why do you give back to your musical community? Tell your #whyigive story on the ISO’s social media pages or by contacting Caily Wolma Lee at [email protected] or 317.229.7076. We would love to share your story!

Check out the donor testimonials below for some #whyigive inspiration:

“I give to the ISO because I appreciate the hard work it takes to be a musician. I taught music in public schools for 31 years and was a church organist and pianist for 33 years. The Orchestra has never sounded better.” – Carolyn Bogue

“The ISO is a community asset that absolutely transcends the ordinary! It deserves the full support of anyone who values the specialness of the performing arts.” – Dr. David Nealy

“The ISO is a true artistic gem in this city!” – Anonymous

“I’m a music teacher and believe the symphony does an outstanding job of taking music to all communities in the state through their outreach programs! This exposure is a great gift to children from diverse backgrounds and a language common to every ethnic background with no barriers!” FOLLOW THE ISO – William ON and SOCIAL Sacha Adams MEDIA FOR CONCERT UPDATES, “I think it’sBEHIND-THE-SCENES important that the city has a great symphony PHOTOS, orchestra. We EXCLUSIVE aren’t always able to CONTESTS, attend, but we give anyway.” VIDEO– Anonymous INTERVIEWS AND MORE!

“I donate to hear the world’s greatest music… live.” FOLLOW – Matthew Turner US ON SOCIAL MEDIA Tell us your story using the hashtag #whyigive on the following social media channels:

Indy_Symphony IndySymphony Indy_Symphony IndySymphony

VISIT US ONLINE AT WWW.INDIANAPOLISSYMPHONY.ORG TRIBUTE GIFTS

Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from April 30, 2016 – August 3, 2016.

Honor Gifts In Honor of Nancy Agres In Honor of ISO Stagehands Virginia Melin Dinah and Jerry Montgomery

In Honor of my friend, Maestro Jack Everly In Honor of Linda Yu-Picard, a violinist Mrs. Bette Davenport Josephine Yu

Memorial Gifts In Memory of Joan Burgett In Memory of Donald Jolly, M.D. South Group Friends Virginia Melin

In Memory of James E. Dora, Sr. In Memory of Ralph O. Lafuze Don and Carolyn Hardman Dr. Joan Lafuze Mr. & Mrs. Joseph D. Barnette, Jr. Ted and Ann Prince Engel In Memory of John D. Long ISO Association East Group In Memory of Gail E. Hall Robert E. Hall In Memory of Walter S. Lowe Joyce Dwulet In Memory of Lamar Johnson, Jr. Dr. & Mrs. Marvin G. Schmidt (Carole) In Memory of Mary Lou Rice Dr. & Mrs. Phillip G. Mosbaugh Timothy E. Rice Fred and Alice Hecker Eleanor R. Kassebaum Mr. Robert T. Rice

EUGENE AND MARILYN GLICK INDIANA HISTORY CENTER | 450 WEST OHIO STREET | INDIANAPOLIS DOWNTOWN ON THE CANAL | HOURS: TUESDAY THROUGH SATURDAY, 10 A.M. TO 5 P.M. www.indianahistory.org

85 CORPORATE SPONSORS

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

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86 ISO ASSOCIATION

Wendy Adams/ President Mable Lewis/ President Elect Faye Crabtree / Recording Secretary Roberta Graham / Corresponding Secretary Nela Swineheart / Treasurer Cindy Ohlrogge / Assistant Treasurer Sherry Amlung / Immediate Past President Janet Barb / Executive Board Advisor Beckie Kern / Office Assistant

Board Members, City Group & State Units Alexandria Adams Ruth Durbin – VP Jackie Means Barb Ralph – VP Mary K. Anthony Glenda Griffin Sue Meyer Mary Richards Susan Beckett Kay Hinshaw Dorothy Miller Lori Rifkind Shelia Bosron – VP Jamia Jacobsen – VP Leslie Nelson Carol Rohrabaugh- Peg Brummit Kay Kinder – VP Roger Nelson Mote Maria Cheeseman Mable Lewis – VP Davine Nolcox E. J. Choe Pat McCormick – VP Joyce Peterson Marty Davis Gail McDermott- Kathy Pierce – VP Rebecca Davis Bowler Kim Potosnak Pat Druetzler Ann McKenzie

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

87 ADMINSITRATION

EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer MARKETING & COMMUNICATIONS Laura Irmer, Executive Assistant Sarah Myer, Director of Marketing Jennifer Welch, Art Director OPERATIONS Joshua Shuck, Group Sales Manager Danny Beckley, Vice President and General Manager Catherine Cardwell, Audience Development Manager Philomena Duffy, Operations Coordinator Marci Taylor, Graphic Designer

Orchestra Operations Communications K. Blake Schlabach, Orchestra Personnel Manager Leila Viera, Publications Manager L. Bennett Crantford, Assistant Personnel Manager Lauren King, Digital Marketing and Communications Bekki Witherell Quinn, Administrative Assistant Manager Marianne Williams Tobias, Program Book Annotator Operations and Facilities Joanne Bennett, Director of Operations Patron Services David Storms, Box Office Manager Audience Services & Events Mary Ferguson David Armstrong, Director of Audience Services Senior Customer Care Representative Donna Finney, Volunteer Services Manager Anita Blackwell Kalyn Smith, House Manager Janine Knuutila Frances Heavrin, Event Coordinator Crystal Black Nick Neukom Artistic Administration Carolyn Kupchik Gregg Gleasner, Artistic Advisor Customer Care Representatives Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and LEARNING COMMUNITY Presentations Beth Perdue Outland, Vice President, Community Brandy Rodgers, Manager, Pops, Yuletide Celebration & Engagement & Strategic Innovation Symphonic Pops Consortium Endowed by Mr. and Mrs. William L. Fortune Mallory Essig, Pops & Presentations Coordinator Betty Perry, Artistic Director, Metropolitan Youth Orchestra DEVELOPMENT Ruth Wolff, Director, ISO Learning Community Holly C. Johnson, Vice President Krystle Ford, Associate Director, Metropolitan Youth Megan Meyer, Executive Assistant to the Vice President Orchestra Casey Chell, Director of Development Perry A. Accetturo, Education Program Coordinator Rita Steinberg, Senior Major Gift Officer Megan Masterman, Education Program Manager Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and FINANCE Foundation Giving Steve L. Hamilton, Vice President Melissa Weseli, Associate Director of Corporate Giving Adam White, Controller Carol Ann Arnell, Special Events and Donor Benefits Manager Teaka Vest, Staff Accountant Sally Meyer Chapman, Foundation and Grants Manager Jennifer Morrell, Accounts Payable Coordinator Cindy McHone, Gift Processing Manager Caily Wolma Lee, Individual Giving Associate Information Technology Beckie Kern, Development Assistant Dee Dee Fite, Director of Technology Thomas McTamney, Gift Processing Associate Molly Inglish, Manager of Patron Technology Catherine Lockhart, Corporate Relations Associate Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist

88 HILBERT CIRCLE THEATRE INFORMATION

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

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

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

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at [email protected]! 89 90 INDIANAPOLIS SYMPHONY ORCHESTRA

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