HILBERT CIRCLE THEATRE KRZYSZTOF URBAŃSKI MUSIC DIRECTOR | JACK EVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel

MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. pro Fromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. pro to ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community. To learn more, call, visit our website or stop by our community. the productions that bring live performances to our community. 8140 Township Line Rd. | Indianapolis, IN 46260 To learn more, 8140call, Township visit our Line website Rd. | Indianapolis, or stop IN by 46260 our community. phone (317) 875-9700 | www.marque eseniorliving.org Congratulations to the musicians, crew and staff on a job well done! phone8140 (317) Township 875-9700 Line Rd.| www.marque | Indianapolis, eseniorliving.org IN 46260 phone8140 (317) Township 875-9700 Line Rd.| www.marque | Indianapolis, eseniorliving.org IN 46260 phone (317) 875-9700 | www.marque eseniorliving.org 698887 698887 CitizensEnergyGroup.com 698887 Careful planning, talent and passion are on display at today’s performance.

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

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

CitizensEnergyGroup.com TABLE OF CONTENTS

Programs Artists 13 March 1, 2018 14 Hans Graf 17 March 2, 2018 15 Vadim Gluzman 24 March 6, 2018 26 Orcenith Smith 29 March 9–10, 2018 26 Deborah Asante 31 March 11, 2018 32 Krzysztof Urbański 39 March 15, 2018 33 Yefim Bronfman 43 March 16, 2018 44 Brent Havens 47 March 17, 2018 45 Brody Dolyniuk 55 March 21, 2018 46 Matthew Halls 59 March 23, 2018 57 Matthew Kraemer 61 March 23–24, 2018 60 Michael Krajewski 60 AJ Swearingen & Jonathan Beedle Featured Articles 6 Musicians Around Town 7 Music in My Life

The Indianapolis Symphony Orchestra 8 Board of Directors 9 Musicians of the ISO 10 Indianapolis Symphony Orchestra Association 11 Inside the Usher Corps 63 Arts in Indy 65 Endowment 68 Lynn Society 70 Annual Fund 73 Tribute Gifts 75 Corporate Sponsors 76 Why We Give 77 Hilbert Circle Theatre Information 78 Administration

4 WELCOME

Dear Friends,

We have an exciting month ahead of us at the Indianapolis Symphony Orchestra as we head into the last days of winter. Whether you’re joining us for the Lilly Classical Series, the Printing Partners Pops Series, or a special event, there’s something for everyone at the Hilbert Circle Theatre this March!

We begin this month with Vadim Gl uzman’s virtuosic style on Bruch’s first violin concerto, followed by Yefim Bronfman’s collaboration with Music Director Krzysztof Urbański on Beethoven’s third piano concerto.

Join us in celebrating St. Patrick’s Day weekend with the Music of U2, as Brent Havens leads the ISO in some of the Irish band’s greatest hits. At the end of the month, you’re invited to experience one of the most iconic sounds of the ‘60s as the ISO shares the music of Simon & Garfunkel.

This is also the time of year when we celebrate our amazing student community. At our Side-by-Side concert, you will see talented students from the Indianapolis community share the stage with their professional counterparts for a concert featuring a 100+ piece combined orchestra.

Our newly announced 2018–19 season brings a wide range of exciting concerts to our patrons, from the entire Brahms symphony cycle and our Paris Festival to special guests including Dejan Lazić and Sutton Foster. Of course, we’re also celebrating the addition of Star Wars to the ISO’s Film + Orchestra Series—this is especially relevant after our concerts with Maestro John Williams last month. I invite you to consider subscribing for the upcoming season, as it is the best way to be the first to hear about our upcoming concerts, secure the best seats, and receive great benefits.

As we look ahead to April, I invite you to mark your calendars for Wednesday, April 11, which is our Bon Voyage concert as the ISO prepares to travel to Washington, D.C., for the Kennedy Center’s SHIFT Festival. Joined by the Indianapolis Symphonic Choir and the Indianapolis Children’s Choir, we’re performing an amazing concert of Polish works to celebrate our music director’s homeland. This is a concert you won’t want to miss!

Thank you for your support of the ISO, and I look forward to seeing you at a concert soon!

Sincerely,

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

5 MUSICIANS AROUND TOWN

Join The Indianapolis Quartet for their concerts of “Firsts” on April 20 at 7:30 p.m. at the Christel DeHaan Fine Arts Center on the University of Indianapolis campus. “Firsts” includes first-published works for string quartet by the artistic titans Beethoven and Shostakovich and the groundbreaking quartet by Debussy. Quartet members include Zachary De Pue, concertmaster; Austin Huntington, principal cellist; Joana Genova, violin; and Michael Strauss, viola. Admission is free. More information available at uindy.edu/arts/quartet.

Musicians from the ISO will play a free fundraiser concert at the Central Christian Church on April 22 as part of their “Concerts for a Cause” series. Musicians will include Roger Roe, Michelle Black, Sophia Cho, and Peter Vickery (violins), Perry Scott (cello), and R. Kent Cook (piano). The concert will also feature several students from the Metropolitan Youth Orchestra.

Indianapolis Early Music’s 2018 Spring Concert on April 27 at 7:30 p.m. will feature Han Xie and Allison Nyquist in a program with works for two baroque violins. Other artists from Indy Baroque will collaborate. Freewill donations will be accepted at the concert. More informa- tion available at www.iemusic.org or by calling 317-577-9731.

On February 1 Perry and Lisa Scott provided music at the “Toast the Arts—Meet the Teach- ing Artists” event at the Arts for Lawrence at the Sterrett Center in Lawrence, Ind.

On April 15 Anthony Kniffen (principal tuba), Riley Giampaolo (bass trombone), Blake Schlabach (assistant principal trombone), and five other musicians will perform low brass excerpts at the Midwest Regional Tuba Euphonium Conference in Ft. Wayne, Ind.

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

JACK EVERLY, CONDUCTOR

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

6 HUA JIN, Second Violin MUSIC IN MY LIFE

The ISO “stole” Hua Jin from the Fort Wayne Philharmonic, where she was assistant concertmaster from 2004 to 2009. Prior to being a member of the Fort Wayne Philharmonic, she was associate concertmaster of the Kalamazoo Symphony Orchestra and a regular “sub” with the Detroit Symphony.

“My father is a violinist and conductor and was music director of Jiamusi Orchestra in Jiamusi, China,” Hua says. “I received my first violin lessons from him at the age of four. And at age 12, I was accepted as a violin student by the Central National Conservato- ry of Music in Beijing. At 15, I won a prize at the Chinese National Youth Violin Competition.” Hua received second prize at the Beijing Youth Violin Competition and won the 1982 Gold Prize at the Harbin Music Festival Competition. She appeared as soloist throughout northern China and the U.S. with performances of film composer Franz Waxman’s “Carmen Fantasy” and “The Lark Ascending” by Ralph Vaughan-Williams.

“In addition to my music performances, I like to play chamber music and teach private violin students,” says Hua. “I like teaching. It gives me joy when I see my students progressing and I learn a lot from teaching. In preparation for a performance, I like to be absolutely confident that I can reproduce the composer’s intent with the piece.”

Where did you grow up and what degree(s) do you hold? I was raised in China. I have a degree in Performance Art from Shanghai Conservatory.

What was your first instrument, and how old were you when you started playing? My first musical instrument was the violin. I started playing violin when I was 4 years old.

Who is your favorite composer and why? My favorite composer is Tchaikovsky because he was a romantic period composer. He added a tremendous amount of power in his music. It’s very passionate and moving.

What do you enjoy doing when you are not performing? I enjoy traveling to different parts of the world. I like to experience different cultures and enjoy new, delicious food.

If you could perform anywhere, where would it be? If I could perform anywhere, I would like to perform in Wiener Musikverein, Vienna. They have the best acoustics and it is one of the best concert halls in the world.

7 BOARD OF DIRECTORS

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

Officers Yvonne H. Shaheen, Chair Michael Becher, Vice-Chair Steve Hamilton, Interim Chief Executive Officer Charlene Barnette, Secretary Joseph M. Kessler, Treasurer

Yvonne H. Shaheen, Chair

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

Board of Trustees John M. Mutz, Chair Kay Koch Fred E. Schlegel Robert A. Anker Gordon E. Mallett, Ph.D. Martha Anne Varnes Stephen E. DeVoe Robert B. McNamara Dr. Charles H. Webb Jr. Rollin M. Dick 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.

8 MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA

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

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

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. ** One-year position 9 SAVE THE DATE SATURDAY, MAY 5, 2018

Join us at the Skyline Club for a fabulous evening of dinner, entertainment & auction starting at 5:30PM.

All proceeds will support the ISO's Educational Programs.

FOR MORE INFORMATION CALL THE ISOA OFFICE AT: 317.231.6726

TITLE SPONSOR: 10 JANE MAXWELL-JOHNSON INSIDE THE USHER CORPS

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

SATURDAY, MAY 5, 2018 Tell us about yourself and your background. I grew up in Plainfield, Ind., graduated from Indiana State University, and lived in the Chicago area for 24 years before returning to Indianapolis in 2011. I am a kitchen and bath designer in Carmel. What motivated you to become an ISO volunteer? I have always loved the music and arts, and it’s a chance to give back and be around something I enjoy. Who is your favorite composer? I have many including Bach, Vivaldi, Irving Berlin, and John Williams, who conducted the ISO in February. I was very excited to volunteer that night! What has been your favorite experience with the ISO so far? I love to see the families enjoying music together. During Kroger Symphony on the Prairie, I often work down by the stage, and seeing all ages sing, dance, and enjoy the experience of live music is great. Why is volunteering for the ISO important to you? I grew up in a family who valued volunteering and giving of time and talents. I have tried to Join us at the Skyline Club for a fabulous evening of keep up the legacy though my volunteering to the ISO. I am proud to be a resident of India- dinner, entertainment & auction starting at 5:30PM. napolis and volunteer for its world-class symphony orchestra. What would you tell someone who is considering volunteering with the ISO? All proceeds will support the ISO's Educational Programs. You are truly appreciated and treated with warmth and respect as an usher. I have been blessed to meet and work with many amazing people. It’s fun to be a part of the ISO family.

FOR MORE INFORMATION CALL THE ISOA OFFICE AT: 317.231.6726 Learn more about how to join our ISO volunteer family by contacting Volunteer Services Manager Donna Finney at d [email protected] or 317-231-6792 TITLE SPONSOR: 11 LET US HELP PLAN YOUR SUMMER OUTING!

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

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

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

mozart’s final year

mozart’s requiem mozart’s the magic flute FRIDAY, JUNE 1, 8PM SUNDAY, JUNE 3, 3PM FRIDAY, JUNE 8, 8PM SATURDAY, JUNE 2, 5:30PM The Palladium at the Center SUNDAY, JUNE 10, 3PM Hilbert Circle Theatre for the Performing Arts Hilbert Circle Theatre

Krzysztof Urbański, Conductor Emanuel Ax, Piano Krzysztof Urbański, Conductor Indianapolis Symphonic Choir Samuel Helfrich, Stage Director Eric Stark, Indianapolis Symphonic Choir Director Indianapolis Symphonic Choir

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

TITLE SPONSOR: PREMIER SPONSOR: THE MOZART FESTIVAL IS PRESENTED BY

12 VADIM GLUZMAN PLAYS BRUCH MAR 1, 2018

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

† Coffee Classical Series/Program Four Thursday, March 1, at 11 a.m. Hilbert Circle Theatre

HANS GRAF, Conductor | VADIM GLUZMAN, Violin

Max Bruch Concerto No. 1 in G Minor for Violin and Orchestra, Op. 26 (1838–1920) Prelude: Allegro moderato Adagio Finale: Allegro energico Vadim Gluzman, Violin

Gustav Mahler Blumine (1860–1911)

Richard Strauss Tod und Verklärung, Op. 24 (Death and Transfiguration) (1864–1949)

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

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

13 MAR 1–2 HANS GRAF, Conductor

Bregenz, and Aix en Provence. His U.S. festival appearances include Tanglewood and the Aspen Music Festival, where he returned in the summer of 2017, as well as the Blossom Music Festival, Bravo! Vail Valley Music Festival, and the Grant Park Music Festival in downtown Chicago.

An experienced opera conductor, Graf first conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Paris, and Rome Known for his wide range of repertoire among others. His extensive opera repertoire and creative programming, distinguished includes several world premieres. Austrian conductor Hans Graf is a highly respected musician. Appointed Music Graf has recorded for the EMI, Orfeo, CBC, Director of the Houston Symphony in 2001, Erato, Capriccio, and JVC labels and his Graf concluded his tenure in May 2013 and extensive discography includes the complete is the longest serving Music Director in the symphonies of Mozart and Schubert, the orchestra’s history. Prior to his appointment premiere recording of Zemlinsky’s opera in Houston, he was the Music Director of Es war einmal, and the complete orchestral the Calgary Philharmonic for eight seasons works of Dutilleux. and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He His recent recordings are the complete also led the Salzburg Mozarteum Orchestra works by Paul Hindemith for viola and from 1984 to 1994 and the Basque National orchestra with Tabea Zimmermann and the Orchestra from 1994 to 1996. Deutsches Symphony Orchestra Berlin and a live recording of Carmina Burana with the Graf is a frequent guest with all of the major London Philharmonic Orchestra. In addition, North American orchestras and orchestras a recording of a live performance of Wozzeck around the world. Graf made his Carnegie with the Houston Symphony was awarded Hall debut with the Houston Symphony the 2017 ECHO Klassik prize for best opera in January 2006 and returned to Carnegie recording in the category of 20th and 21st leading the Orchestra of St. Luke’s in March century opera. 2007. He and the Houston Symphony were re-invited to appear at Carnegie Hall in Born near Linz, Hans Graf first studied violin January 2010, at which time they presented and piano. After receiving diplomas in piano the New York premiere of The Planets – and conducting from the Musikhochschule An HD Odyssey, featuring the orchestra in Graz, he continued his studies in Italy with playing Holst’s famous work, The Planets, Franco Ferrara and Sergui Celibadache and accompanied by exclusive high-definition in Russia with Arvid Jansons. Graf has been images from NASA’s exploration of the solar awarded the Chevalier de l’Ordre de la Legion system. Graf and the Houston Symphony d’Honneur by the French government for returned to Carnegie Hall again in May 2012 championing French music around the world to participate in Carnegie’s Spring for Music as well as the Grand Decoration of Honour in festival with an all-Shostakovich program. Gold for Services to the Republic of Austria. He is also Professor Emeritus for Orchestral He has appeared at prestigious European Conducting at the Universitat Mozarteum festivals such as the Maggio Musicale, in Salzburg.

14 VADIM GLUZMAN, Violin MAR 1–2

and the North Shore Chamber Music Festival in Illinois, which was founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

Highlights of the current season include appearances in London at The Proms with the BBC Symphony and Edward Gardner, with the Chicago Symphony under Neeme Järvi, the NDR Elbphilharmonie Hamburg under Christoph von Dohnányi, the Deutsches Symphonie-Orchester Berlin under Tugan Sokhiev, and with the Orchestre de Paris under Juraj Valčuha. Gluzman appears at Vadim Gluzman’s extraordinary artistry New York’s Carnegie Hall with the Orpheus brings to life the glorious violinistic tradition Chamber Orchestra and leads performances of the 19th and 20th centuries. Gluzman’s of the ProMusica Chamber Orchestra in wide repertoire embraces new music and Columbus, Ohio, where he continues his his performances are heard around the third year as Creative Partner and Principal world through live broadcasts and a striking Guest Artist. catalogue of award-winning recordings exclusively for the BIS label. This season, Gluzman gives world premieres of concertos by Sofia Gubaidulina with the The Israeli violinist collaborates regularly NDR Radio Philhamonic in Hannover under with leading conductors including Christoph Andrew Manze, and by Elena Firsova with von Dohnányi, Tugan Sokhiev, Sir Andrew Deutsches Symphonie-Orchester Berlin Davis, Neeme Järvi, Michael Tilson Thomas, under Tugan Sokhiev. Semyon Bychkov, Jukka-Pekka Saraste, Paavo Järvi, Hannu Lintu, and Peter Oundjian. He Accolades for his extensive discography has performed with the Berlin Philharmonic, include the Diapason d’Or of the Year, Boston Symphony, Cleveland Orchestra, Gramophone Editor’s Choice, Classica Chicago Symphony, Philadelphia Orchestra, Magazine’s esteemed Choc de Classica award, London Philharmonic, Israel Philharmonic, and Disc of the Month by The Strad, BBC London Symphony, Leipzig Gewandhaus, and Music Magazine, ClassicFM, and others. other major symphony orchestras. Gluzman’s Vadim Gluzman plays on the legendary 1690 festival appearances include performances ‘ex-Leopold Auer’ Stradivari on extended at Tanglewood, Verbier, Ravinia, Lockenhaus, loan to him through the generosity of the Stradivari Society of Chicago.

Business Law Family Law

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

15 reater indianapolis is our only stage.

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

317-261-9000

©2018 The National Bank of Indianapolis www.nbofi.com Member FDIC VADIM GLUZMAN PLAYS BRUCH MAR 2, 2018

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

Lilly Classical Series/Program Twelve Friday, March 2, at 8 p.m. Hilbert Circle Theatre

HANS GRAF, Conductor | VADIM GLUZMAN, Violin

Robert Schumann Overture, Scherzo, and Finale, Op. 52 (1810–1856) Overture Scherzo Finale

Max Bruch Concerto No. 1 in G Minor for Violin and Orchestra, Op. 26 (1838–1920) Prelude: Allegro moderato Adagio Finale: Allegro energico Vadim Gluzman, Violin

Gustav Mahler Blumine (1860–1911)

Richard Strauss Tod und Verklärung, Op. 24 (Death and Transfiguration) (1864–1949)

Premier Sponsor Associate Sponsor

This performance is endowed by Marianne Williams Tobias.

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

17

LILLY CLASSICAL SERIES

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

Overture, Scherzo, and Finale, Op. 52 FUN FACT Robert Schumann Schumann was a poet as well as a Born: June 8, 1810, Zwickau, Germany composer. Until he was about 20, he was Died: July 29, 1856, Bonn, Germany thinking about becoming a writer. He Year Composed: 1841 wrote his whole life, mainly as a music Length: c. 17 minutes critic in the 1830s and ‘40s, but also World Premiere: December 1845, Dresden writing occasional (and unpublished) Last ISO Performance: November 2007 with poetry, plays, and short stories. conductor James Gaffigan Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, direction and was in good spirits when 3 trombones, timpani, and strings writing Opus 52, reflecting, “The whole has a light, friendly character. I wrote it in a really In 1839 Schumann critiqued the condition of gay mood.” symphonic writing in the Neue Zeitschrift für Musik, noting, “For the most part the more Schumann completed his first version of recent symphonies decline intellectually into Opus 52 in 1841 and it was published in the overture style—the first movements, that 1846. By this time, the work was titled Over- is to say—the slow movements are only there ture, Scherzo, and Finale. Its first premiere because they cannot be left out; the scher- was paired with the D Minor Symphony in zos are scherzos in name only; the finales no December 1841 in a concert conducted by longer know what the preceding movements Mendelssohn. Later it had a second “pre- contained.” Two years later, Schumann did miere,” after extensive revisions, in Decem- something about it ber 1845, this time paired with his Piano Concerto, featuring his wife as soloist. The year 1841 witnessed a transition in Robert Schumann’s focus from song writing The three parts are as follows: to orchestral works. Schumann explained, “I often feel tempted to crush my piano; it is too Overture: narrow for my thoughts. I really have very little The Overture begins with a slow, minor key practice in orchestral music now; still I hope introduction, moving into an exuberant to master it.” Writing in her diary, his wife Clara allegro section presenting a brisk, highly supported this change. “Your imagination and accented theme for violins (notice the your spirit are too great for the weak piano,” frequent timpani strokes that add intensity she said. Four orchestral works would emerge and strength). String interaction with the in his “symphonic year.” winds adds delicate coloration throughout. A sprightly accelerando drives the music to In January and February, Schumann produced two emphatic chords that close the opening his first symphony, Symphony No. 1 in B-flat movement. Major, Opus 38, “Spring.” In April and May he wrote Overture, Scherzo, and Finale. First, he Scherzo: described it as a suite, then “a symphonette Originally called Intermezzo, the Scherzo or Sinfonetta,” and later, “Second Symphony.” skips quickly and delicately into the scene, He was energized by his new compositional featuring a zesty theme based on a new

1818

LILLY CLASSICAL SERIES Program Notes idea and some material from the Overture, in at the court of Koblenz, Germany. After a skipping dotted rhythm in 6/8 meter. A con- the first premiere that year featuring Otto trasting middle section trio, starring the winds von Königslöw as soloist, Bruch withdrew in 2/4, offers relaxing contrast before the first the work for a year of revisions, working in part takes a final bow, leading to a quick, quiet collaboration with Joseph Joachim, who ending. commented that the concerto was “very violinistic.” A final version premiered with Finale: Joachim as soloist on January 7, 1868, in Violins step forward with a grand tune floating Bremen. The great violinist commented over viola triplets. After the small exposition, that it was the most seductive of the great another theme emerges of similar stature, violin concerti. which are “worked out” in a turbulent develop- ment section. Schumann’s changing dynamics This allure, virtuosity, and extraordinary and contrasting tempi are particularly notable lyricism made it an audience favorite and a throughout this movement. Before Opus 52 virtuoso’s dream. Double and triple stops, finishes, Schumann adds a small chorale large chords spanning several strings, rip- before a stirring fortissimo conclusion. pling arpeggios, and high registers create a sensational display from the very begin- ning. The Violin Concerto was the piece that placed Bruch on the musical map and Violin Concerto No. 1 in G Minor, Op. 26 placed him “perilously close” to being a one-work composer, according to music Max Bruch critic Michael Steinberg. Born: January 6, 1838, Cologne, Germany Died: October 2, 1920, Berlin-Friedenau, Filled with romantic clichés, philosophy, Germany and drama, Bruch’s concerto fit the taste of Year Composed: 1866 his time to perfection. “If Max Bruch is not Length: c. 25 minutes exactly a household name, it is perhaps World Premiere: January 1868, Bremen because he offers a classic example of the Last ISO Performance: February 2013 with artist who suits his era too well to survive conductor Krzysztof Urbański and violinist it,” author Ethan Mordden concluded. Daniel Hope Bruch’s subsequent violin concerti nev- Instrumentation: 2 flutes, 2 oboes, 2 clarinets, er matched the popularity of the First 2 bassoons, 4 horns, 2 trumpets, timpani, although all are fine specimens of the and strings. aesthetic values of musical romanticism. After the three were produced, Bruch “In my youth, I studied the violin for four or five commented, “Nothing compares to the years, and although I did not become an adept laziness, stupidity, and dullness of many performer I learned to know and to love the German violinists . . . every fortnight anoth- instrument. The violin seemed to me even at er one comes to me wanting to play the that time the queen of instruments, and it was First Concerto. I have become rude and tell quite natural that I early had the inclination to them ‘I cannot listen to this concerto any write for it. Thus, my First Violin Concerto, Opus more’—did I perhaps write just one?” 26, which was introduced by Joseph Joachim during the season of 1867–68, gradually grew.” The first movement, called Vorspiel, (Pre- lude), marked Allegro moderato, opens with Bruch started sketches for the concerto in soft winds and a rhapsodic response from 1857. By 1865 he focused on the concerto the soloist. Soon the first theme proper more seriously, and the work was ready in 1866 when the composer was music director

19 LILLY CLASSICAL SERIES Program Notes

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

emanates from the soloist over a pizzicato, Bruch’s concerto distills the essence of roman- restless line from the bases. An intensely lyrical tic thought. He was not a leader or musical second theme, exploring the high registers of revolutionary and therefore did not stand out. the instrument, emerges again from the soloist He resisted any influence from the “composers (with some collaboration from the oboe) and of the future” and spoke out against the “Kunst proceeds into brilliant passage work for the im Schweinestall” (pig art style) of Hugo Wolf, star. The turbulence continues into a small Richard Strauss, Max Reger, and “all of their development, increasing in orchestral fervor, associates.” before quieting down. For the ending, Bruch writes a cadenza bridge for the whole orches- His three violin concerti are masterful, exem- tra, descending into a single tone from the first plary documents of the aesthetic values and violins that directly connects to the second emotion of musical romanticism. Writer Don- movement. ald Tovey would have concurred, saying, “He was the type of artist universally accepted as Bruch’s subsequent Adagio is so rhapsodic that, a master, about whose works no controversy according to a contemporary critic, it is “the could arise because no doubt was possible as melodic glory of the nineteenth century.” The to their effectiveness and sincerity.” line is vocal in nature, and Bruch commented, “I was destined by nature to write compositions Sadly, Bruch did not gain significant financial for the voice.” In a fantasy-like mood, the violin rewards for his masterpiece. The first publisher, soars with abandon above the orchestra, offer- Simrock, bought the work for a small amount, ing not only the first theme, but two more with but Bruch wisely kept a copy for himself. After heightened embellishments. The fantasy-like World War I, the composer was poverty strick- nature of the line is testament to the fact that en and made a deal with the piano-playing at one time, Bruch had considered calling his American sisters Rose and Ottillie Sutro, who concerto a fantasy for violin and orchestra, but were playing his Fantasy in D Minor, Opus 11, was dissuaded by Joachim. The mood gathers to grand acclaim, and for whom he had written emotional momentum, surges to a climax, Concerto for Two Pianos and Orchestra, Opus and then subsides quietly. After a long pause, 88a. While they were concertizing in post-war Bruch marks ppp in the strings and horn before Germany, he gave them his autographed score the solo violin sings a poignant goodbye. to sell in the United States for American dol- lars. By the time of his death in October 1920, His finale opens with 18 measures of rapid he had not received a dime. The sisters said whispering from the violas before the soloist they had sold it to an anonymous buyer and proclaims a major statement of a gypsy-like shipped worthless, German paper money to theme whipping across all four strings. The his family because of massive inflation. Obvi- focus on this idea is considerable before the ously this was a lie, because in 1949, the sisters orchestra introduces a second theme, which is sold their autographed copy to Mary Flagler seized by the soloist. Bruch noted in the score Cary, and it now resides at the Morgan Library that this was to be played on the lowest string and Museum in New York City. to ensure gravitas and depth. Both forces converge, passing the two ideas off to one another, including a wonderful canonic (imita- tive) section. A flashing presto and coda brings Opus 26 to a rousing conclusion.

2020 Program Notes

Blumine FUN FACT Gustav Mahler At the turn of the twentieth century, Born: July 7, 1860, Bohemia, Austrian Empire Mahler came to the U.S. to Died: May 18, 1911, Vienna, Austria become director of New York’s Years Composed: 1887–1888 Metropolitan Opera and the Length: c. 8 minutes New York Philharmonic. World Premiere: November 1889, Budapest Last ISO Performance: November 2000 with conductor James Judd In some performances, this movement Instrumentation: 2 flutes, 2 oboes, 2 clarinets, occasionally re-appears in the symphony, 2 bassoons, 4 horns, trumpet, timpani, harp, but it is most frequently a stand-alone and strings. piece.

Blumine (Flora) emerged in 1884 as part of Blumine is cast in an ABA form with seven pieces Mahler wrote as incidental music reduced orchestral scoring. It moves gen- in the Joseph von Steffel play The Trumpeter of tly, speaks in a dreamy style, and displays Säckingen, where it served as a love song from only a single climatic moment before the trumpeter to his beloved. Later it found ending quietly. This small serenade begins a place in his First Symphony as the andante with the trumpet singing a slow cantilena second movement, probably influenced by over soft string accompaniment. Gradually Mahler’s love for the soprano Johanna Richter. the strings move to the forefront, pairing The composer noted that it was “a sentimen- with the trumpet to complete the phrase. tally impassioned . . . love episode.” A small pause ensues before the opening gesture is repeated and shared throughout It was removed after the third performance the orchestra, quietly at first, but gradu- of the symphony in Weimar, Germany. The ally surging and swelling to a rhapsodic Austrian conductor and composer Max Steiner declamation. At the close, the trumpet is explained that “Mahler found it too sentimen- recalled for a brief goodbye, and the move- tal, became annoyed with it, and made me ment closes with a pianissimo high note promise that I would destroy the piano score from the strings. I had made from it.” Another reason was the critical review by Ernst Nodnagel, in which he called Blumine “trivial.” Worse still were reviews that called the orchestration of the First Sym- phony grotesque, or a “parody of a symphony.” In 1893 Mahler titled his work Titan: A Tone Poem in the Form of a Symphony (the Hamburg version). In his revision, the composer put Blu- mine back, but then removed it again, chang- ing the title to Symphony Number One in Four Movements for Large Orchestra.

Blumine was missing for more than seventy years until it was discovered by Donald Mitch- ell in 1966 while doing research at Yale Univer- sity for his Mahler biography. It was nestled in the score of the Hamburg version of the First Symphony. Benjamin Britten premiered Blu- mine June 18, 1967, at the Aldeburgh Festival.

2121 LILLY CLASSICAL SERIES Program Notes

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

Death and Transfiguration of the melancholic spirit of the dying century” (Tod und Verklärung), Op. 24 colored by the philosophies of Schopenhauer’s pessimism? Richard Strauss Born: June 11, 1864, Munich, Germany In any case, Death and Transfiguration was Died: September 8, 1949, completed in November 1889. It premiered Garmisch-Partenkirchen, Germany on June 21,1890, at the Eisenach Festival in Year Composed: 1889 Germany, with the composer conducting. At Length: c. 25 minutes Strauss’ request, poet and friend Alexander World Premiere: June 1890, Eisenach von Ritter created a sort of “program note” to Last ISO Performance: February 2013 with explain the work, and his sixteen-line poetic conductor Giancarlo Guerrero guide for the music was printed on the score Instrumentation: 3 flutes, 3 oboes, and in the program. The poem was later 3 clarinets, 3 bassoons, 4 horns, expanded for the published edition. 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. In 1894, four years after the premiere, Strauss wrote the following précis in a letter to Fried- As Richard Strauss lay on his deathbed on rich von Hausegger: “It was six years ago that September 8, 1949, he turned to his daughter- it occurred to me to present in the form of in-law and said, “Death is just as I composed it a tone poem the dying hours of a man who in Tod und Verklärung!” had striven towards the highest idealist aims, maybe indeed those of an artist. The sick man This vision of death, which proved to be accu- lies in his bed, breathing heavily and irregularly rate to Strauss, came not in the twilight of his in his sleep. Friendly dreams bring a smile to life, but amazingly when he was a young man. his face; his sleep grows light; he awakens. Strauss was only 25 when he composed his Fearful pains once more begin to torture him, fourth of seven ground-breaking tone poems fever shakes his body. When the attack is over (after Aus Italien, Don Juan, and Macbeth) span- and the pain recedes, he recalls his past life: ning the years from 1886 to 1915. his childhood passes before his eyes; his youth with its strivings and passions; and then, the Just why the young composer selected death idea, the ideal which he attempted to embody as a topic is a mystery. Had he been through a in his art, but which he was unable to perfect near-death experience? Why was he focused because such perfection could be achieved by so inwardly on death at a time when he was no man. The fatal hour arrives. The soul leaves having success? (Don Juan had been a major his body to discover in the eternal cosmos the hit.) He was about to accept a new position as magnificent realization of the idea which could assistant conductor in the opera in Weimar, not be fulfilled here below.” Germany. On April 9, 1889, he wrote a letter to his friend Dora Wihan, stating, “I feel wonder- Death and Transfiguration is divided in two ful; a new clarity has overcome me . . . . I am sections (per the title) and each of these has going to the city of the future . . . I have great two parts. hopes . . . {and then paradoxically,} I have just sketched out a new tone poem to be entitled probably Death and Transfiguration.” Was it, as some would explain, “merely a manifestation

22 Program Notes

The four sections are as follows: your upward climb.’ Undaunted he followed the exalted quest. Still in his death agony I. Largo: The sick man, near death. Inclusive he seeks the unreached goal of his cease- of gasps and irregular heartbeat of the dying less striving, seeks it, but alas, still in vain. man represented by violins and violas play- Though it grows closer, clearer, grander, it ing a syncopated pattern, which some also never can be grasped entire or perfected associate with a ticking clock. Herein the man in his soul. The final iron hammerblow of remembers childhood and its innocence. death rings out, breaks his earthy frame, and covers his eyes with eternal night.” From Ritter’s poem, the explanatory note reads: “In a small bare room, dimly lit by a candle IV. Moderato: Concluding section that stump, a sick man lies on his bed. Exhausted by a recalls the irregular breathing of the intro- violent struggle with death, he lies asleep. In the duction, followed by a tiny struggle, and stillness of the room, like a portent of impending then the transformation of the human death, only the quiet ticking of a clock is heard. spirit in which the Transfiguration Theme A melancholy smile lights the invalid’s pale face: climbs higher and higher reaching into does he dream of golden childhood as he lingers heaven. Marked by high brass, strings and on the border of life?” winds. At the time of transfiguration, the orchestra sounds a huge C major chord II. Allegro molto agitato: Suffering. The tempo with the addition of bells and gongs. speeds up leading to a climax with reference to the transfiguration theme. The battle and “But from the endless realms of heavenly struggle with death begins. space a mighty resonance returns to him bearing what he longed for here below and “But death grants him little sleep or time for sought in vain: redemption, transfiguration.” dreams. He shakes his prey brutally to begin the battle afresh. The drive to live, the might of death! What a terrifying contest! Neither wins the victory and once more silence reigns.” TONE POEMS Tone poems are programmatic works, III. Meno mosso, ma sempre alla breve: meaning that the music follows or An exhausted reprieve from the previous describes an extra-musical idea or stressors and review of his life as memories narrative in a realistic manner. This move before him. genre can be considered the opposite of absolute music which is non-repre- “Exhausted from the battle, sleepless, as in a sentational. The form of a tone poem, delirium, the sick man now sees his life pass therefore, is not controlled by external before him, step by step, scene by scene. First the architecture (such as sonata-alle- rosy dawn of childhood, radiant, innocent; then gro format or a rondo) although in the boy’s aggressive games, testing, building his absolute music it is possible to have strength—and so maturing for the battles of imitative sections or moments. Richard manhood, to strive with burning passion for the Wagner, who was a strong proponent highest goals of life: to transfigure all that seems of this style and purpose of musical to him most noble, giving it still more exalted design, wrote, “Where music can go no form—this alone has been the high aim of his further, there comes the word . . . the whole existence. Coldly, scornfully, the world set word stands higher than the tone.” obstacle upon obstacle in his way. When he be- lieved himself near his goal, a thunderous voice cried: ‘Halt!’ But a voice within him still urged him on, crying: ‘Make each hindrance a new rung in

23 MAR 6 DISCOVERY CONCERTS

For more than 75 years, children from throughout Indiana have participated in the Indianapolis Symphony Orchestra’s Discovery Concerts. The tradition of providing outstanding education concerts for elementary school students continues this year when Orcenith Smith leads the ISO in 6 performances of the 2018 program. Paired with specially prepared comprehensive educational materials and teacher workshops, the Discovery Concerts are a fun, creative way to introduce the great orchestral repertoire to elementary school children.

2017–2018 Discovery Concerts — March 6 | April 17, 18, 27 | May 15, 16

ORCENITH SMITH, Conductor DEBORAH ASANTE, Narrator

John Williams “Imperial March” from The Empire Strikes Back (b. 1932)

Edvard Grieg “Morning Mood” from Peer Gynt (1843–1907)

Ludwig van Beethoven “Gewitter, Sturm” (Thunderstorm) from Symphony No. 6 in (1770–1827) F Major, Op. 68

Claude Debussy “Nuages” from Nocturnes (1862–1918)

James D. Norman Ligyrophobia (b. 1980)

Aaron Copland “Hoe Down” from Rodeo (1900–1990)

Gabriela Lena Frank “Testimonio III: Fireflies” from Peregrinos (“Pilgrims”) (b. 1972)

Modest Mussorgsky Pictures at an Exhibition (1839–1881) Promenade Arr. Tushmalov Ballet of the Unhatched Chicks Baba Yaga The Great Gate of Kiev

24 DISCOVERY CONCERTS MAR 6

Student Testimonial

THANKS TO ALL OF OUR SPONSORS

Title Sponsor

Presenting Sponsor Supported by

ASSOC ATION PEOPLE WITH PASSION FOR MUSIC

Associate Sponsor

Please refer to Conductor Orcenith Smith’s bio on page 26. 25 MAR 6 ORCENITH SMITH, Conductor

Orcenith Smith, Former Music Director of the Chicago Youth Discovery Series Symphony, he is Music Director of Orchestras Conductor, brings and Opera at DePauw University in Greencas- to the podium tle, Ind. experience from conducting hun- He has conducted performances throughout dreds of symphon- the United States and abroad with orchestras ic and operatic from Chicago and DePauw, including con- performances. He certs in Japan, Austria, Germany, The Czech has conducted the Republic, Great Britain, Spain, France, and Seattle Sympho- Italy. His performances also have been heard ny, the Oregon on NPR’s “Performance Today,” “Adventures in Symphony, the Louisville Orchestra, the Good Music,” and on in-flight programming Dayton Philharmonic, and the Indianapolis of USAir. Symphony Orchestra in seasonal and educa- tional concerts. His ISO concert performances include Side-by-Side, Music in Mind, Family Series, and the Yuletide Celebration.

MAR 6 DEBORAH ASANTE, Narrator

Deborah Asante Asante is the Founding Artistic Director of the describes herself Asante Children’s Theatre. It is a cultural orga- as a Word Dancer, nization that uses the arts to foster personal Truth Enhancer, and artistic development in youth and adults Book Lover, Joy from all walks of life to help them connect Discoverer, Blues with each other and grow. Chaser, Hope Placer, World Trav- Learn more about the Asante Children’s eler, Jazz Gatherer, Theatre at www.asantechildrenstheatre.org Dream Farmer, Child Charmer, Justice Seeker, and History Keeper. There are so many ways to say Storyteller.

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

26 INDIANAPOLIS SYMPHONY ORCHESTRA IS HEADING TO THE KENNEDY CENTER IN WASHINGTON, D.C.

The ISO was recently chosen as one of only four orchestras to participate in SHIFT: A Festival of American Orchestras, which is an incredible opportunity that gives select American orchestras a national platform in Washington, D.C. The SHIFT Festival is presented in an e ort to celebrate the vitality, identity and extraordinary artistry of orchestras in the United States. The SHIFT title recognizes the dynamic, evolving work of orchestras in the 21st century and expresses a commitment to shifting pre-conceived notions about the orchestra.

JOIN US IN WASHINGTON, D.C., APRIL 13-14, 2018 If you would like to attend the Indianapolis Symphony Orchestra’s Main Performance on Friday, April 13, please contact Allison Gehl at [email protected] or 317.231.6781 by Tuesday, March 13 to reserve and purchase your tickets.

MAIN PERFORMANCE MYO’S SECOND-CHANCE STRINGS APRIL 13, Performance at 8PM APRIL 13, Performance at 6PM Kennedy Center Concert Hall Millennium Stage, Kennedy Center

TEDDY BEAR CONCERT TIME FOR THREE APRIL 14, 10:30AM and 11:45AM APRIL 14, Time TBD Busboys & Poets, Brookland

For more information, including tickets and hotel information please visit our website: https://www.indianapolissymphony.org/season/17-18-season/shift-festival

NOT TRAVELING TO WASHINGTON, D.C.? ENJOY OUR PREVIEW CONCERT HERE IN INDIANAPOLIS! The ISO will preview its Kennedy Center program featuring music of Krzysztof Urbański’s homeland in a special “Bon Voyage” concert! APRIL 11, 7:30PM Hilbert Circle Theatre MONDAY, JUNE 4, 2018 The Fort Golf Course 6002 North Post Road, Indianapolis, IN 46216

INDIANA’S PREMIER GOLF OUTING EXPERIENCE!

Teams are selling fast! Register by contacting Carol Ann Arnell at 317.262.5225 or [email protected] For more details about the 2018 Maestro Open, visit our website at: www.IndianapolisSymphony.org

Presented By: BRONFMAN PLAYS BEETHOVEN MAR 9–10, 2018

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

Lilly Classical Series/Program Thirteen Friday, March 9, 2018, at 8 p.m. Saturday, March 10, 2018, at 5:30 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | YEFIM BRONFMAN, Piano

Ludwig van Beethoven Coriolan Overture, Op. 62 (1770–1827)

Ludwig van Beethoven Concerto No. 3 in C Minor for Piano and Orchestra, Op. 37 (1770–1827) Allegro con brio Largo Rondo: Allegro Yefim Bronfman, Piano

INTERMISSION — Twenty Minutes

Antonín Dvořák Symphony No. 7 in D Minor, Op. 70 (1841–1904) Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

Premier Sponsor Associate Sponsor

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

29 KRZYSZTOF URBAŃ SKI JACK EVERLY MUSIC DIRECTOR PRINCIPAL POPS CONDUCTOR

CLASSICAL & POPS SEASON HIGHLIGHTS INCLUDE:

• An Evening with Sutton Foster • Shostakovich Symphony No. 4

• André Watts Returns! • Paris Festival

• Star Wars Epsisode IV: In Concert • The Tenors

• Ohlsson Plays All • Ben Crawford: Rachmaninoff Piano Concertos Broadway & Beyond

ANDRÉ WATTS SUTTON FOSTER

WANT THE LOWEST PRICES TO ISO CONCERTS NEXT SEASON? BECOME AN ISO SUBSCRIBER!

30Find out more by visiting IndianapolisSymphony.org/Subscribe, or call 317.639.4300 for details. BRONFMAN PLAYS BEETHOVEN MAR 11, 2018

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

Telamon Classical Series at the Palladium Sunday, March 11, 2018, at 3 p.m. The Palladium at the Center for the Performing Arts (Carmel)

KRZYSZTOF URBAŃSKI, Conductor | YEFIM BRONFMAN, Piano

Ludwig van Beethoven Coriolan Overture, Op. 62 (1770–1827)

Ludwig van Beethoven Concerto No. 3 in C Minor for Piano and Orchestra, Op. 37 (1770–1827) Allegro con brio Largo Rondo: Allegro Yefim Bronfman, Piano

INTERMISSION — Twenty Minutes

Antonín Dvořák Symphony No. 7 in D Minor, Op. 70 (1841–1904) Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

Supported by the City of Carmel

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

31 MAR 9–11 KRZYSZTOF URBAŃSKI, Conductor

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

McCready and Keene, Inc. | a OneAmerica® company

Serving the Indianapolis Symphony Orchestra for more than 50 years.

www.OneAmerica.com

32 YEFIM BRONFMAN, Piano MAR 9–11

Los Angeles, Philadelphia, Pittsburgh, Washington, Indianapolis, and Toronto, he will tour with the Vienna Philharmonic and Andrés Orozco-Estrada in a special program celebrating his 60th birthday in the spring. In Europe he can also be heard in Berlin with the Philharmonic as well as in recital; Italy, France, Belgium, Germany, and London also in recital; and on tour with the Leipzig Gewandhaus Orchestra conducted by Andris Nelsons. A tour in Asia with the London Symphony Orchestra and Gianandrea Noseda brings the Internationally recognized as one of today’s season to a close in June. most acclaimed and admired pianists, Yefim Bronfman stands among a handful He has also given numerous solo recitals in of artists regularly sought by festivals, the leading halls of North America, Europe, orchestras, conductors, and recital series. and the Far East, including acclaimed debuts His commanding technique, power, and at Carnegie Hall in 1989 and Avery Fisher exceptional lyrical gifts are consistently Hall in 1993. In 1991 he gave a series of joint acknowledged by the press and audiences recitals with Isaac Stern in Russia, marking alike. Bronfman’s first public performances there since his emigration to Israel at age 15. That In recognition of a relationship of more same year he was awarded the prestigious than 30 years, Bronfman joined the Israel Avery Fisher Prize, one of the highest honors Philharmonic conducted by Zubin Mehta given to American instrumentalists. In 2010 for concerts during the orchestra’s U.S. tour he was honored as the recipient of the Jean last fall including Carnegie Hall, followed Gimbel Lane prize in piano performance from by concerts in Munich, London, and Vienna Northwestern University. with the Bayerischer Rundfunk Orchestra and Mariss Jansons, another frequent partnership Born in Tashkent in the Soviet Union, Yefim and collaborator. In addition to returns Bronfman immigrated to Israel with his family to the orchestras of New York, Cleveland, in 1973.

2018 SEASON A Midsummer Night’s Dream Three performances May 18-20 at The Toby at Newfields. Tickets & details at IndyBallet.org indyballet.org Indianapolis School of Ballet & Indianapolis Ballet are programs 317-955-7525 | 502 N. Capitol Ave., Suite B of Indianapolis Ballet, Inc., a not-for-profit 501 (c)(3) organization. Founding Members Chris Lingner & Kristin Young

IndianapolisBallet-ISO-Program-March18.indd 1 1/23/18 2:55 PM33 LILLY CLASSICAL SERIES Program Notes

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

Coriolan Overture, Op. 62 Collin portrayed the general as a tragic, vacil- lating hero, and the play had a mildly success- Ludwig van Beethoven Born: December 16, 1770, Bonn, Germany ful run of about two years. The first music for Died: March 26, 1827, Vienna, Austria the drama was arranged by Abbé Stadler from Year Composed: 1807 Mozart’s Idomeneo. By the time Beethoven Length: c. 8 minutes finished his Overture, the Collin drama was World Premiere: March 1807, Vienna, Austria hardly ever performed. It sank into obscurity, Last ISO Performance: September 2014 with and Beethoven’s music (as far as we know) was conductor Krzysztof Urbański performed with the play only once, on April Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 24, 1807, when the theater remounted the old 2 bassoons, 2 horns, 2 trumpets, timpani, drama with Beethoven’s new Overture. and strings The Overture’s orchestral premiere had In early 1807, Beethoven produced his occurred in two concerts during March 1807 stunning Coriolan Overture, Opus 62. Strate- at the palace of Prince Lobkowitz. The Journal gically, Beethoven considered that writing an des Luxus und der Moden commented, “[In Overture to the 1802 drama Coriolan provided these performances] richness of ideas, bold increased connectivity and was his entrée to originality and fullness of power, which are the the theatre. Coriolan was written by the pop- particular merits of Beethoven’s muse, were ular Viennese playwright Heinrich von Collin, very much in evidence to everyone at these whose works had been performed in Vienna’s concerts.” It is likely that the Prince organized Imperial Theatre between 1801 and 1807. Spe- the April revival since he was a director of the cifically, Beethoven wanted a contract to write theater. The drama never gained traction, but an annual opera. Looking at the records of per- the Overture’s destiny was to become an inde- formances in the Imperial Theatre (formerly the pendent orchestral piece, and it has been part Burgtheater), it is clear that Beethoven needed of favored concert repertoire since that time. a boost. Between 1799 and 1807, Haydn had been performed 75 times, Mozart had 48 per- Opus 62 focuses on the complicated mind and formances, and Beethoven only had 36. psychology of Coriolanus rather than provid- ing a play-by-play historical narrative. Eternal Coriolan was based on the Shakespearean themes of conflict and resolution lie at the tragedy Coriolanus. The story focused on heart of the music. Having been exiled from Gaius Marcius, a fifth-century Roman general Rome by the Senate, Coriolanus planned a nicknamed “Coriolanus” after his successful revenge attack on the city, allying with his old- capture of the Volscian city of Corioli. The gen- time enemy, the Volscians. Poised to attack, eral’s many conquests had captured Shake- the general was deterred by his mother (Ven- speare’s imagination. Additionally, the general ture) and his wife (Volumina), who successfully was featured in Plutarch’s Lives. Beethoven was pleaded for mercy. The iron-willed general was an avid reader of Shakespeare and Plutarch, eventually deterred by gentle feminine per- and he read both stories about Coriolanus. By suasion, and this decision ultimately proved the time of Collin’s portrayal, though, the por- to be his undoing. In the Shakespeare drama, trait of a brutal, dashing, triumphant conquer- Coriolanus was killed by the Volscians; in the or had changed. Collin drama, he committed suicide.

34 Program Notes

Beethoven’s music highlights the moment and a half years between 1800 and 1803, when the women appeal to the general’s he produced a concerto which did exactly humanity. This psychological context illus- that. He filled Opus 37 with Strum und trating the struggle between pride and love Drang, passionate intensity, and unfettered provide the central tension of the music. At the drama: no more politesse, controlled opening, a bold theme strides in with heavy dynamics, and classical restraint. His les- chords and turbulence, representing the im- sons with Haydn, after he moved to Vienna placable Coriolanus. The mood is uncompro- in 1792, trained him in classical principles, mising and fierce. A second theme offers lyrical but these proved to be insufficient. melody flowing from the first violins. Though in marked contrast to the first idea, this theme Early audiences were mystified by the shares musical kinship with it, symbolizing the Third Concerto, and initial reception was influential feminine component that will modi- cool at best. The music seemed untamed, fy, confuse, and affect the general’s thinking. radical, and upon occasion, ferocious. One Viennese critic reported, “Less successful As the Overture progresses in classical was the following concerto in C minor, sonata-allegro format, the Coriolanus theme that Hr. v. Beethoven, otherwise known (after the development) progressively softens, as an excellent pianist, performed not reflecting his change of heart. At the close, completely to the public’s satisfaction.” two orchestral chords mark the death of the Herein, Beethoven had moved beyond general. Fragments of the opening theme tradition, and there was no turning back. emerge as the martial theme falls apart and He was strengthened in this resolve by his energy dissipates. The Overture concludes with pianistic stardom as he was known as the pianissimo pizzicato strokes as sad commentary finest piano improviser in Vienna. Maynard to tragic dilemma. Solomon wrote that this was “the first concerto to record something far beyond merely exterior wit or refinement and to move toward dramatic oratory.” Piano Concerto No. 3 Ludwig van Beethoven An orchestral introduction opens with the Born: December 16, 1770, Bonn, Germany first theme, quietly tiptoeing in unison Died: March 26, 1827, Vienna, Austria strings, outlining a C minor triad. Winds Year Composed: 1800 mirror the idea before the full orchestra Length: c. 35 minutes takes part in the display. A second lyrical World Premiere: May 1803, Vienna, Austria theme emerges in major tonality from Last ISO Performance: June 2016 with the violins with clarinet coloration and soloist Gabe Bruner and conductor then the introduction closes with three Tito Muñoz strong chords and a long pause. The soloist Instrumentation: 2 flutes, 2 oboes, 2 clarinets, strides in aggressively with rising C minor 2 bassoons, 2 horns, 2 trumpets, timpani, scales before articulating the opening strings, and solo piano idea, outlined in octaves.

Although Beethoven’s first two piano concerti From that point, Beethoven knits his two echoed classical style (and this concerto in cer- forces tightly together for the exposition, tain parts reflects Mozart’s K491), by the time but there is no question that the pianist of the third, Beethoven stated, “I now intend is in the limelight. The soloist is selected to break new ground.” Over a period of three for declamation of the second theme as

35 LILLY CLASSICAL SERIES Program Notes

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

well, before the orchestra shares the stage. A Coloration shifts quickly in many enharmonic large, powerful development provides roaring changes (changes that occur basically without turbulence before the traditional recap and preparation, by a changing note identity), closing cadenza. Beethoven caps his opening facilitating rapid changes of tonal centers. with a coda, sparkling with pianistic flourish- Flirtations with G natural and G sharp invoke es, ending with the octaves that served the dissonances that charge and destabilize the aggression of the opening as well. atmosphere. Throughout the entire movement there are rapid interchanges between orches- Pianistic glitter is exchanged for nobility in the tra and soloist, requiring steady alignment and second movement. It opens the scene alone highly controlled technique to avoid fatal—yet in a gentle, hushed voice with a prayer-like tempting—acceleration. At all times, the music theme, totally cooled down from the bravura is running fast and hot: a virtuoso’s dream. of the first movement. Beethoven left instruc- A tiny fugato precedes the sparkling finale. tions to play “sempre con gran espressione” Beethoven douses his concluding fireworks (always with great expression). Extended pedal with extended scale passages before a firm C markings provide not only a smooth surface, major close. but also an impressionistic haziness in the atmosphere. One of the most beautiful moments is a magical dialogue between the soloist, spinning arpeggios, around melodic Symphony No. 7 in D Minor, Opus 70 lyricism from flute, bassoon, and plucked Antonín Dvořák strings. At the close comes an enormous Born: September 8, 1841, Nelahozeves, surprise: instead of exiting in a whisper, Bee- Czech Republic thoven slams the door with a fortissimo chord Died: May 1, 1904, Prague, Czech Republic format with the piano restored to its brilliance Year Composed: 1885 in the opening solo statement. Sixteenth Length: c. 38 minutes note motion is almost constant, providing World Premiere: April 1885, London, unending energy and ebullience. Beethoven United Kingdom was firmly in a mood of showing off his own Last ISO Performance: February 2014 with prowess, both as pianist and composer. This conductor Krzysztof Urbański movement is a vehicle for display, fun, and Instrumentation: 2 flutes, 2 oboes, 2 clarinets, technical wizardry. 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. FUN FACT Beethoven did not have time to In Antonín Dvořák: His Life and Works, Otakar complete the piano part for his Šourek wrote, “Dvořák worked at the D Minor Piano Concerto No. 3 in C Minor Symphony with passionate concentration and before the debut. When he premiered in the conscious endeavor to create a work of it in 1803, he played much of noble proportions and content, which should the concerto from memory. surpass not only what he had so far produced in the field of symphonic composition, but which was also designed to occupy an import-

36 Program Notes

ant place in world music.” The Symphony was Third Symphony, his patriotism (with written in response to a commission from the concern for the contemporary socio-po- Royal Philharmonic Society, which had elected litical strife), and the death of his mother Dvořák as a member in 1884. two years prior. These elements all played a part in the fervent moods and depth of Election to the Royal Philharmonic Society and feeling found in the music. Additionally, the commission signaled new international Dvořák knew that he was now entering prestige for Dvořák. Previously, he had been an international level, and his quest for acclaimed primarily by his native Czechoslova- success on the world stage. In a letter, he kia. Dvořák recognized this milestone and its said, “My new symphony must be such as significance. Richard Freed noted that “Dvořák to create a stir in the world.” was troubled by uncertainty about the sort of course he might choose for his compositions On December 22, Dvořák wrote to his from that point on: whether to proceed in the friend Antonín Rus, “I am now busy with Czech national character with which his music the new Symphony (for London) and was identified . . . or to adopt a more interna- wherever I go I have no thought for any- tional approach in a bid for the still broader thing but my work, which must be such as level of recognition enjoyed by Brahms.” to move the world—well, God grant that it may be so!” Brahms had been extremely significant in Dvořák’s life: he had been a strong advocate His wish was granted. It was a blockbust- for Dvořák’s music, setting him up with the er. After the London premiere with the prestigious publisher Simrock and getting him Royal Philharmonic Orchestra, conducted government grants. He was always available by Dvořák on April 22, 1885, the Athe- to Dvořák for advice. Dvořák was a life-long, naeum journal cheered: “Let it be said at fervent admirer of Brahms, and in a letter to once and decidedly that the new work Simrock, he wrote, “…this symphony must be fully satisfied the highest expectations something really worthwhile, for I don’t want that had been formed regarding it; and Brahms’ words to me, ‘I imagine your sympho- that his symphony in D minor is not only ny quite different from this one [No. 6 in D entirely worthy of his reputation, but Major]’ to remain unfulfilled.” Thus, there was is one of the greatest works of its class additional pressure to do something different. produced in the present generation.” Sir And indeed, the Seventh Symphony was. Donald Tovey wrote, “I have no hesitation in setting Dvořák’s Seventh Symphony The composer was extremely serious about along with the C Major Symphony of the Seventh Symphony, inspired especially by Schubert and the four symphonies of Brahms’ Brahms as among the greatest and purest examples of this art form since Beetho- ven.” For many years, Opus 70 was known as Symphony Number Two because of the order of publishing in 1885. In order of composition, however, Opus 70 is his Seventh Symphony.

The first movement emanated from one of Dvořák’s daily habits. Almost always,

37 LILLY CLASSICAL SERIES Program Notes

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

Dvořák liked to walk to the railway station theme for clarinet and bassoon, a tender in Prague. On one of those walks, he noted, melody for violins, and a stunning melody for “The first subject of my new symphony horn. Heartfelt dissonances, intimate emo- flashed into my mind on the arrival of the tion, and rich textural counterpoint create a festive train bringing our countrymen from stunning event. In a letter to his friend Alois Pest [Budapest].” Eventually, however, he Göbl, the composer wrote, “Today I have just would write three different openings for finished the second movement . . . and am the Seventh Symphony, wanting to free again as happy and contented in my work as I himself from any stereotypical expecta- always have been and, God grant, may always tions, formed perhaps by his popularity be, for my slogan is and always shall be: God, garnered from the Slavonic Dances. love, and country. And that alone can lead to a happy goal.” Some have said that “it is likened He selected sonata-allegro structure as to a prayer for peace of the soul.” the format for this movement. At the beginning, low basses, kettledrums, and After the premiere, the composer shortened horns sound a foundational D pedal while this movement by forty bars, and wrote to celli introduce a heavy coiling first theme, Simrock, saying, “The Adagio is currently much sometimes attributed to the Hungarian shorter and more compact, and now I am con- patriots demonstrating against the Aus- vinced that there is not a single superfluous trian regime and his personal self-doubt. note in the work.” Deep orchestral sounds invite participation from winds and violins in a thrilling and Dvořák’s Czech heritage comes to the fore in a somewhat ominous presentation. massive furiant dance for the third movement, set in ABA format. Otakar Šourek wrote, “It His second theme is sung by flute and offers a wild, unhappy dance in hard synco- clarinet: it is relaxed and lyrical, easing the pated rhythms and dark orchestral coloring tension and intensity created by the first in which the expression of wrathful defiance melody. A well-crafted development works flares up with no less fury than in the opening the ideas with vehement passion highlight- movement.” Imposition of 6/4 and 3/2 meters— ing the first theme in a towering climax. sometimes combining these two—creates a Timpani introduce the recapitulation, nervous, unstable effect. The third movement is which continues the vibrancy of the first gentle, pastoral in nature, and bears kinship to theme, and includes a beautiful recall of the horn theme of the preceding movement. the second idea luxuriating in clarinets and violins. Dvořák writes a large coda before The finale returns to the heaviness and drama surprising the audience with a sudden drop of the first with a mysterious beginning. This in dynamics for a quiet, serious closure. first idea is the most problematic idea in the entire symphony. It is a sort of primal motive The second movement ranks among made up of five note phrases in mirror form Dvořák’s most ravishing music. There are with the first three notes repeated. Gloom is three significant melodies: the opening relieved by celli, horns, and clarinets introduc- ing a happy idea, a definite mood shift, and is marked allegro. A brisk, stylish march adds

38 SIBELIUS SYMPHONY NO. 5 MAR 15, 2018

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

† Coffee Classical Series/Program Five Thursday, March 15, at 11 a.m. Hilbert Circle Theatre

MATTHEW HALLS, Conductor

James MacMillan Sinfonietta (b. 1959)

Jean Sibelius Symphony No. 5 in E-flat Major, Op. 82 (1865–1957) Tempo molto moderato – Allegro moderato – Presto Andante mosso, quasi allegretto Allegro molto – Misterioso

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

See Maestro Halls’ biography on page 46 Program notes can be found on page 48.

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

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

Now accepting reservations for phase two of The Oaks! For more information or to schedule a tour of our model home, call (317) 873-3349.

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

Now accepting reservations for phase two of The Oaks! For more information or to schedule a tour of our model home, call (317) 873-3349.

www.hoosiervillage.com 9875 Cherryleaf Drive • Indianapolis, IN 46268 • 317-873-3349 INDIANAPOLIS SYMPHONY ORCHESTRA

2018 SUMMER SEASON JUST ANNOUNCED!

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

SINGLE TICKETS ON SALE APRIL 23! To see the 2018 summer lineup, or to puchase Value Pack tickets, 42 visit IndianapolisSymphony.org or call 317.639.4300 THE MUSIC OF U2 MAR 16, 2018

Special Friday, March 16, 2018, at 8 p.m. Hilbert Circle Theatre

BRENT HAVENS, Conductor | BRODY DOLYNIUK, Vocals

Program selections to be announced from stage.

Ad

Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge. Recording or photographing any part of this performance is strictly prohibited.

43 MAR 16 BRENT HAVENS, Conductor

Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Sympho- ny, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others. Havens has conducted the Malaysian Philharmonic the past four years with the Music of Michael Jackson, Led Zeppe- lin, Queen, and Music of U2 shows.

Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Berklee-trained arranger/conductor Brent Baltimore Ravens to arrange and produce Havens has written music for orchestras, the music for the Thanksgiving Day halftime feature films, and virtually every kind of show between the Ravens and Pittsburgh television. His TV work includes 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 as well as commercials, sports music for networks such as ESPN, and Havens is Arranger/Guest Conductor for all of even cartoons. Havens has also worked with the symphonic rock programs including The the Doobie Brothers and the Milwaukee Music of Led Zeppelin, The Music of Pink Floyd, Symphony arranging and conducting the The Music of Queen, The Music of Michael Jack- combined group for Harley Davidson’s 100th son, The Music of Whitney Houston, The Music Anniversary Birthday Party Finale attended of The Rolling Stones, The Music of U2, Music by more than 150,000 fans. He has worked of Journey, The Music of David Bowie, and The with some of the world’s greatest orchestras Music of Prince! Havens also premiered a full including the Royal Philharmonic in London, orchestral show for Lou Gramm, the voice of the Cincinnati Symphony Orchestra, the Min- Foreigner, with Lou singing out front. nesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the

44 BRODY DOLYNIUK, Vocals MAR 16

Since 1997, YBR has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top-40-style lounge acts. Along the way, Brody has made numer- ous radio and TV appearances, and earned a spot in the finals of two national singing competitions, and even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy, and special effects.

In 2007, Brody lent his vocal talents by Brody Dolyniuk remembers mimicking singing several tracks on the mega-hit video voices even as a child, listening to old records game “Guitar Hero III: Legends of Rock,” and and tapes. He is a gifted, self-taught musi- has already done several more for the new cian, capable of playing several instruments, Konami game “Rock Revolution.” with a particular knack for capturing the voic- es and mannerisms of classic characters from Brody joined Windborne Music in 2009 as music, TV, and movies. vocalist for the Music of Queen show, but has proven to be versatile enough to become His first professional gigs were at piano bars the lead on the Rolling Stones, The Who, U2, in several U.S. cities where he learned to Journey, and Elton John shows (and is an on- charm audiences and expand his musical call stand-in for several others including Led repertoire. With a longing to perform the Zeppelin and Pink Floyd). music of the many rock bands that inspired him, Brody assembled Yellow Brick Road, As a devout classic rock fan, Brody’s enthu- unquestionably Las Vegas’ most successful siasm, vocal ability and on-stage energy classic rock band. were the perfect fit for Windborne Music’s Symphony shows, and continue to win over audiences around the globe.

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

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

45 MAR 15, 17 MATTHEW HALLS, Conductor

The word In 2017–18 Halls’ North American guest “versatile” is an appearances include returns to Houston, apt description Toronto, and Indianapolis Symphonies, as well for British as his return to the University of Maryland for conductor a week-long residency. He makes his debut Matthew Halls. with the St. Louis and Kansas City Symphonies. He first came Halls made his New York debut last season to prominence with Lincoln Center’s Mostly Mozart Festival in as a keyboard a performance with violinist Joshua Bell. player and early music conductor, Abroad this season, Halls returns to the but Halls is now Adelaide Symphony Orchestra and performs better known with the Tasmanian Symphony Orchestra for his dynamic and with the Auckland Philharmonia. He also and intelligent work with major symphony returns to the Iceland Symphony Orchestra orchestras and opera companies and for his for two programs during the 17/18 season, probing and vibrant interpretations of music part of a series of five performances traversing of all periods. all of Beethoven’s piano concertos with Paul Lewis. European appearances include debuts Increasingly in demand by North American with Bournemouth Symphony Orchestra and symphony orchestras, Halls has performed Warsaw Philharmonic, and performances with the Cleveland and Philadelphia with Mozarteum Salzburg, Philharmonie Orchestras; Dallas, Pittsburgh, Houston, Zuidnederland, and Capriccio Barockorchester. Seattle, Indianapolis, and Utah Symphonies; Los Angeles Chamber Orchestra; and Halls is represented on disc with Handel’s National Arts Centre Orchestra. His debut Parnasso in Festa, winner of the Stanley Sadie with the Toronto Symphony, in which he led Handel Recording Prize, released by Hyperion. Beethoven’s Ninth Symphony, “captured much On Linn Records, he has recorded a set of four of the energy and excitement that its first Bach Harpsichord Concertos conducted from audience must have felt at its premiere nearly the keyboard, which Gramophone welcomed 200 years ago” (Toronto Star). Having served as as “joyful and invigorating,” and Bach’s Easter Artistic Director of the Oregon Bach Festival for and Ascension Oratorios, as well as award- five years, Halls is equally at home conducting winning discs of Purcell’s Sonatas in Three and baroque and contemporary repertoire. Four Parts.

Visit Matthew Halls online at www.schwalbeandpartners.com.

Support local arts groups through advertising in their programs.

Contact [email protected] to place a program ad. 46 SIBELIUS SYMPHONY NO. 5 MAR 17, 2018

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

Lilly Classical Series/Program Fourteen Saturday, March 17, at 7 p.m. Hilbert Circle Theatre

MATTHEW HALLS, Conductor

Johann Sebastian Bach Suite No. 3 in D Major for Orchestra, BWV 1068 (1685–1750) Overture Air Gavottes I and II Bourrée Gigue

Johann Sebastian Bach Passacaglia and Fugue in C Minor, BWV 582 (1685–1750) Orch. Leopold Stokowski

James MacMillan Sinfonietta (b. 1959)

INTERMISSION — Twenty Minutes

Jean Sibelius Symphony No. 5 in E-flat Major, Op. 82 (1865–1957) Tempo molto moderato – Allegro moderato – Presto Andante mosso, quasi allegretto Allegro molto – Misterioso

Premier Sponsor Associate Sponsor

This performance is endowed by LDI, Ltd.

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

47 LILLY CLASSICAL SERIES Program Notes

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

Suite No. 3 in D Major for Orchestra, Bach’s Third Suite for Orchestra opens with a BWV 1068 dramatic Overture in three parts (slow, fast, slow) conforming to the established Lully pat- Johann Sebastian Bach Born: March 21, 1685, Eisenach, Germany tern. The music begins with a regal statement Died: July 28, 1750, Leipzig, Germany in a slow pace (like a processional), which is Year Composed: 1731 followed by a fast orchestral fugue, and con- Length: c. 20 minutes cluding with a balancing third section recalling World Premiere: 1731, Leipzig, Germany the dignified beginning. Goethe remarked that Last ISO Performance: November 2002 with “this opening is so pompous and dignified conductor Vladimir Feltsman that one can really envision an assemblage of Instrumentation: 2 oboes, 3 trumpets, timpani, important people descending a grand flight and strings of steps.”

In the 45 works that Bach titled Suites, only The second movement, Air, is one of Bach’s four survive as Suites for Orchestra. BWV 1068 most famous works. An Air was a collective in its first version dates from 1731. It was term for different types of pieces, but always written for the Collegium Musicum in Leipzig of a lyric, gentle nature. Separated from this to be performed at one of the concerts held Suite, this movement is recognized most famil- at Gottfried Zimmerman’s coffeehouse every iarly as the Air on a G String in its arrangement Friday night. Bach had taken over the leader- for solo violin by August Wilhelmj in 1871. ship of this group in 1729. Moving the Air to the G string meant that it could be played entirely on this single string. The term “suite” generally refers to a set of In the context of the Suite, only the strings and dances linked by a shared key and preceded continuo are present and all other instruments by a prelude (or an overture). Although the are silent. Its beguiling sweetness and seam- movements are based on dances, they are less elegance have never faded. stylized for concert presentation, not written for the ballroom. It is possible that because The third movement initiates the dances, of the larger scoring in Numbers 3 and 4 which are the substance of most baroque that these two were written (or rewritten) in suites. In this case, Bach includes a Gavotte, a Leipzig, although exact dates of their final Bourrée, and a Gigue, organized in ascending forms are not known. In the rewrite, Bach order of activity. The Gavotte is a sprightly added a third trumpet and timpani to the leaping dance in duple meter, originating as original scores, which possibly infers that a French peasant stamping dance from the the last two were to have been performed sixteenth century. Refined for the court, the outdoors. Sometimes these works are also dance lost its sturdiness and lost the heavy titled Overtures or Overturen. The use of this quality of its origins. This Gavotte is highly word reflects the synthesis Bach achieved colored by trumpets and structured in three by combining the majestic French overture sections with a contrasting trio in the center. (defined by French composer, instrumentalist, and dancer Jean-Baptiste Lully in the court of The Bourrée, like the Gavotte, is also in duple Louis XIV) and the baroque dance suite. meter and dates from the sixteenth century. However, this dance moves faster than the

48 Program Notes

Gavotte, and has a nimbleness and flexibility Olympian gods.” Part of his fame came in to its nature.The word bourrée derives from his extraordinary 181 arrangements and the verb bourir, which means to flap the wings, transcriptions of works by major composers and perhaps dancers imitated the motions and and some well-known pieces such as “The lightness of birds. In this case, the Bourrée is in Star Spangled Banner,” “The Blue Danube,” two parts, the first modulating to the domi- “Stars and Stripes Forever, “Oh Come, All Ye nant key (A major), and the second returning Faithful,” and Sousa’s “El Capitan March.” us to the home key of D major. In 1943, he wrote the book Music for All of The Gigue (jig) emigrated from England to the Us, in which he not only explained the ele- continent, and provides a bright, energetic ments of music to the general reader, but final statement to the suite format. In Much spoke to the “Musical Languages of Africa, Ado About Nothing, Shakespeare characterized Asia and Remote Cultures,” and speculated wooing to a jig, noting that this dance is “hot, with confidence and enthusiasm on what hasty, and fantastical,” words that aptly capture music could be in the future. “There are the nature of this movement. In rapidly paced those who fear the development of electri- 6/8 meter, the Gigue drives relentlessly and cal instruments because they think they will exuberantly to its close, becoming one of make music mechanical,” he wrote. “Exactly Bach’s finest (and most popular) specimens in the opposite will take place . . . . Motion the genre. pictures will enter an entirely new era when they are regarded as an art instead of an industry. . . when this attitude of mind is adopted by the majority instead of by the Passacaglia and Fugue in C Minor, few individuals, motion pictures will find BWV 582 their true place among the arts.” Johann Sebastian Bach (Orch. Stokowski) His major conducting role in Walt Disney’s Born: March 21, 1685, Eisenach, Germany Fantasia, eight animated segments of clas- Died: July 28, 1750, Leipzig, Germany sical music, proves his commitment to this Years Composed: 1706–1713 idea. The film was released on November Length: c. 13 minutes 13, 1940. No one forgets his adaptation of World Premiere: unknown Dukas’ “Sorcerer’s Apprentice” while Mickey Last ISO Performance: March 1973 with Mouse is frantically sweeping a flood of conductor Oleg Kovalenko water, surrounded by out-of-control Instrumentation: 3 flutes, 3 oboes, 3 clarinets, brooms. The famous silhouette of the great 3 bassoons, 4 horns, 3 trumpets, maestro shaking hands with Mickey Mouse 3 trombones, tuba, timpani, and strings has never lost its allure or its message. He was intent on bringing the joy of music to In his book Profile, Abram Chasins wrote, “Sto- all of us, even a mouse. kowski never stopped astounding the world. The man was a human dynamo with unlimited Stokowski arranged 42 pieces by J.S. Bach. power to excite other musicians to achieve- When an interviewer once suggested that ments far beyond their normal capacities, to Bach would be thrilled with his orchestra- mesmerize audiences, and to provoke critics tions and arrangements, he commented, and colleagues to unprintable condemnation “Bach was a very red hot-blooded man. even as they extolled his unique conductorial He might kill me, you know, or he might genius. For almost three quarters of a century, be pleased. Since I shall never know him the unfathomable Stokowski was as much a until I meet him in heaven, or wherever it is legend to his vast public as were any of the

49 LILLY CLASSICAL SERIES Program Notes

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

conductors go afterwards.” Stokowski’s popu- the setting as “intertwined so ingeniously that larity regarding his grand transformations and one can never cease to be amazed.” When Bach revelations therein continue unabated, even adds the second part to BWV 582, a double though there has been enormous controversy fugue, he elevates the initial ostinato idea into over his innovations and daring in this regard. two different subjects: it is no longer founda- Some say that composer and arranger Lucien tional, but has become an important feature Cailliet of the Philadelphia Orchestra not only (subject) of one of the baroque period’s favor- conceived of his Bach arrangements, but that ite, and difficult, contrapuntal forms. he did them. In any case, we do know that he did the scoring. But the credit for the transcrip- The work begins quietly presenting the ostina- tion belonged to Stokowski. to pattern that was played on the pedals in the organ setting. Slowly moving low strings qui- In 1922 Stokowski selected Bach’s Passacaglia etly enter at the beginning, and gradually the and Fugue in C Minor, BWV 582, an organ solo, orchestra enters to flesh out the passacaglia. to cast in an orchestral context. This was the Stokowski moves carefully as the variations first Bach work that he orchestrated. Some say grow in depth, dynamics, and grandeur via the that his first arrangement (not for full orches- brass and horns. Notice how the ostinato and tra) was Bach’s Cantata of 1731, Wachet auf, the variations are shared throughout the full ruft uns die Stimme, BWV 140. Some say that it orchestra, creating rich colorations in timbre. was an aria from Es ist vollbracht, BWV 245. It is The fugue is filled with similar imaginative not surprising that he chose Bach for this big voicing, revealing not only the complexity of a transformation, having been a church organ- double fugue, but adding a stature and bold- ist for ten years. In an interview in 1962 he ness that emanates from the full orchestral explained this choice: “Those who love Bach’s matrix. A brilliant ending brings Stokowski’s music should be able to hear that music and of setting to a memorable close. course they do hear it in churches sometimes, but the thousands of people that go to sym- phony concerts should also hear it. So, I have orchestrated it, trying to give the same impres- Sinfonietta sion of the music and carry the same message James MacMillan that the music has, the same inspiration that is Born: July 16, 1959, Kilwinning, in the music through the modern orchestra. “ United Kingdom Year Composed: 1991 Bach’s Passacaglia and Fugue was composed Length: c. 19 minutes between 1706 and 1713, placing it in his early World Premiere: May 14, 1992, London period when he was in Weimar. A passacaglia Last ISO Performance: This is the first ISO refers to a repetition of a theme (sometimes performance of this work. called an ostinato) that constantly repeats Instrumentation: Flute, English horn, clarinet, while variations or different melodies are saxophone, bassoon, horn, trumpet, trom- written above it. In this case Bach wrote bone, tuba, percussion, harp, piano, and strings twenty-one variations over an eight-measure ostinato pattern. Robert Schumann described

50 Program Notes

“I believe it is God’s divine spark, which kindles stage via television and radio. This imme- the musical imagination now, as it has always diate success did not flicker and fade. It done, and reminds us, in an increasingly dehu- became determining. More commissions manized world, of what it means to be human.” began to roll in quickly (from the likes of Evelyn Glennie and Mstislav Rostropovich, Sinfonietta was commissioned by the London the London Symphony Orchestra, and Sinfonietta. It premiered in 1992 at Queen Eliz- Boston Symphony Orchestra, to name a abeth Hall, only one year after his life-chang- few) and now commissions are abundant. ing debut at the Proms. MacMillan provided MacMillan is sought after as composer the following notes about the piece: and conductor throughout the world. But he is also loyal to his roots: In 2014 he and “Sinfonietta begins serenely with very still his wife Lynne (his childhood sweetheart) textures, slowly moving chords and repeat- founded the music festival The Cumnock ing melodic material. The feeling is ritualistic Tryst, which occurs annually in Ayrshire, and calm. With a series of extremely sudden Scotland. jolts and furiously emphatic repetitions the music swings gradually towards a grotesque, Currently his music catalogue lists more quasi-militaristic central section. This swagger- than two hundred works including pieces ing parody of a march brings the rich raucous written for opera, music theatre, orchestra, wind sounds to the fore as the music becomes symphonies, concerti, tone poems, choir more frenetic. The climax throws this belli- and orchestra, chamber orchestra, Masses, cose craziness into stark juxtaposition with a vocals, and piano solos. He has been re-emergent floating material on unison strings deeply inspired by religion (Roman which re-establishes the mood of the opening. Catholic) and Scottish and Celtic folk This simple arch-form takes the work from the music as well as political subjects (such tranquil to the visceral and back again.” as anti-Catholicism in Scotland). He lobbies for more music education in MacMillan is a prolific Scottish composer and British schools, noting that a “child’s music conductor, often regarded as the preeminent education affects his or her ability in other Scottish composer of his generation. Honoring subjects as well.” his notable achievements and awards, he was appointed a Commander of the Order of the MacMillan has a strong physical voice as British Empire (CBE) in 2004 and a Knight Bach- well as musical voice. He worries about elor in 2015, an honor he received at Windsor the threat to music in today’s world. In Castle from Prince William. an interview in The Guardian on March 20, 2012, he stated that the greatest threat His attraction to composing music began with to music comes from “the fact that our a humble little recorder. “I always knew I want- society is obsessed with the visual and the ed to be a composer from day one. When I was verbal. Film, TV, and the written word are nine, I was given a recorder and something huge competitors for a reflective art just clicked. As soon as it became feasible for like music.” me to play an instrument, I wanted to write something for it too: which I did within days.”

His professional life ignited with a single con- cert in 1990 when his commissioned Confes- sion of Isabel Gowdie was highly acclaimed at the Proms and launched him onto the world

51 LILLY CLASSICAL SERIES Program Notes

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

Symphony No. 5 in E-flat major, Op. 82 ber of that year, Sibelius wrote, “Can I get the symphony ready in time for 8 December? It Jean Sibelius looks bleak.” Born: December 8, 1865, Hameenlinna, Finland Died: September 20, 1957, Järvenpää, Finland Sibelius even made changes during the final Years Composed: 1915–1919 rehearsal. Nonetheless the opening was Length: c. 30 minutes fantastic. The composer was showered with World Premiere: December 1915, Helsinki, acclaim and lionized with all the love that the Finland Finns could muster for their favorite son. Not Last ISO Performance: May 2013 with conduc- resting on these laurels, Sibelius continued tor John Storgårds to revise the Fifth for the next four years. By Instrumentation: 2 flutes, 2 oboes, 2 clarinets, May 1918 he stated that “(the symphony) is 2 bassoons, 4 horns, 3 trumpets, 3 trom- practically composed anew; I work at it daily as bones, timpani, and strings if God threw down a mosaic on heaven’s floor and I had to retrieve the original pattern.” After Sibelius’ brooding, intense Fourth Sym- phony, the optimistic brilliance of his Fifth Its final form coalesced in the following year Symphony emerged as a wonderful surprise. and premiered (again) on November 24, 1921, This mood is remarkable because at the time in Queen’s Hall (London) with the composer of the symphony’s conception and creation, conducting. The revisions paid off. Constant the composer was enduring intense person- Lambert assessed: “The Fifth Symphony with al and financial hardships within a war-torn its imposing finale and heroic proportions world. Ultimately, Opus 82 emerged as “an ex- might at first sight seem to be a mature pression of its creator’s great optimism, gained revision of an earlier mood, and it may be through suffering; an elevating testimony in described as the most obviously great of Sibel- an evil period to an unshakable faith in the ev- ius’s symphonies.” er-renewing power of life.” Sibelius wrote in his diary, “I love this life so infinitely and feel that it Although he had recently been working on must stamp everything that I compose!” programmatic music, Sibelius always denied that there was a program to the Fifth Sym- The symphony’s happy nature can also be phony, saying, “The directly symphonic [idea] explained in part by the fact that it was written is the compelling vein that travels through for a happy occasion: a national celebration of the whole. This is in contrast to the depicting.” the composer’s fiftieth birthday, for which the Some still insist that the work does have a pro- Finnish government had commissioned this gram in representing the triumph of human work for his birthday party in Helsinki. That day spirit and art over pessimism and despair. was declared a national holiday in his honor. During the growth of the Fifth Symphony, it By December 1915 the work was barely ready was sometimes unclear if there were three or for its premiere. Preparation and creation had four movements. This haze stems from Sibelius’ been hard. The composer’s diary reveals the revising treatment of the first two sections in process: “At times I feel I am wrestling with which the original second movement scherzo God” and “I am getting my hands into the work was cemented directly within the first move- and it hurts, but it hurts sweetly.” In Septem- ment . . . sometimes it was in, and sometimes it

52 Program Notes

was out. Earlier versions had four movements, concept. The atmosphere is kept buoyant but he finally decided to fuse the first two into with light scoring. On two occasions the one. Specifically the scherzo was inserted into variations are supported by a bass broadly the first, before the recap, having been sewn swinging in half notes: this important onto the development. feature reappears in massive scale within the finale. The first movement is marked Tempo molto moderato; allegro moderato ma poco a poco The final third movement marked Allegro stretto. The music begins quietly, with snippets molto is built from two basic ideas. of themes from the winds surfacing and sub- However, its exact form has been subject siding back into the orchestra. Eventually, Sibel- to debate. Analysts dispute whether the ius provides three complete main themes. The composer has created a rondo or sona- first is for horn (a theme that will be the focus ta-allegro form because “the music is of the composer’s thought herein), the second entangled almost to the end in musical for winds, and the third for three trumpets. complexity.” Sibelius had been inspired A significant four-note motive from the horn by a vision that he described in his diary evolves into an unforgettable ostinato, moving on April 21, 1915: “Today at ten to eleven I to high status in the coda. The middle of the saw sixteen swans. One of my greatest first movement broadens into a largamente experiences . . . Lord God, that beauty! (slow) section wherein a solo bassoon murmurs They circled over me for a long time, sadly (lugubre) before a development section. disappeared into the solar haze like a gleaming silver ribbon . . . .” Eventually chirping winds in parallel thirds preface the inserted scherzo. At this point The first idea rushes from the violas, the meter changes from 12/8 to 3/4 and sometimes said to represent the rus- the scherzo is released, off and running. The tling of bird wings; the second idea is a integration is so complete that it showcases momentous theme sounded by the horns, “the true art of transition. . . the new material which has been called “the swan theme.” A that darts out of the time and tempo change stunning setting emerges as horns sound is soon revealed as emanation from what had an ostinato over strings, singing quietly preceded. . . . Virtually every thematic motif is a and independently. As the movement variant of an earlier one . . . . The integration of progresses, swirling patterns and melodic the scherzo and the original first is so organic declamations occur within a matrix of and it is really impossible to separate the two” agitation and turbulence. A lighter section (Burnett James). The movement closes with ris- ensues, leading the music into a small ing arpeggios strung against long, held chords mysterious segment before the orchestra in the brass. surges back with unstoppable intensity and grandeur. The music surges and roars, The second movement, set in G major, brings glowing with lavish themes that lead to calm and repose. Sometimes critics have a massive re-statement of the swinging described this movement as “variation on a motif. Even when it seems all the energy rhythm” rather than variations on a theme. has been spent, the tension mounts to an Two groups, each of five quarter notes (sep- almost unbearable climax followed arated by a quarter rest), provides a founda- by an astonishing sequel: SILENCE. tional rhythmic pattern that is displayed in Nothing more was left to say. Without a pizzicato strings against octave chords from hint, warning, or preparation, six severe horns, bassoons, and clarinets. Six variants orchestral chords—separated by rests— are produced, each a variation of the ten-note drop the curtain.

53 FRIDAY, APRIL 20, 11AM Josh Kaufman FRIDAY, APRIL 20, 8PM SATURDAY, APRIL 21, 8PM Hilbert Circle Theatre

Winner of The Voice, host of the 2016 IPL Yuletide Celebration, and Indiana’s favorite adopted son Josh Kaufman joins the Indianapolis Symphony Orchestra for Broadway blockbusters, smash soul hits, and original songs. Jack Everly, Conductor Josh Kaufman, Vocals Josh Kaufm Anthem Co ee Pops Series: Abbreviated Performance. Complimentary co ee and pastries served. BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

TITLE SPONSORS: PREMIER SPONSOR:

54 SIDE-BY-SIDE MAR 21

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

Side-by-Side Wednesday, March 21, 2018, at 7 p.m. Hilbert Circle Theatre

MATTHEW KRAEMER, Conductor EMILY HAYNES, Flute

Dmitri Shostakovich Festive Overture, Op. 96 (1906–1975)

Georges Hüe Fantaisie for Flute and Orchestra (1858–1948) Emily Haynes, Flute

INTERMISSION — Fifteen Minutes

Piotr Ilyich Tchaikovsky Symphony No. 6 in B Minor, Op. 74 (“Pathétique”) (1840–1893) Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

Length of performance is approximately one hour and thirty minutes Recording or photographing any part of this performance is strictly prohibited. 55 MAR 21 SIDE-BY-SIDE ROSTER

First Violin Bass Trumpet Phillip Hammond, Concertmaster Tyler Benson, Principal Leilani Spurlock, Principal Seton High School Zionsville Community Pike High School William Mayhew High School Joseph Boksa Home Schooled Isaac Hammons Fishers High School Maude Cloutier Avon High School Seth Goot Home Schooled Spencer Kutschera Carmel High School Justin Kinchen North Central High School Nolan Lehman Park Tudor School Payton Love Fishers High School Hannah Chung North Central High School Hamilton Southeastern High School Trombone Jacob Lo Flute Karl Hostetler, Principal Cathedral High School Emily Haynes, Principal Carmel High School Noah Weiner Greenwood Community Andrew Nichols North Central High School High School Ben Davis High School Angela Li Rachel Shaver James Bay Carmel High School Home Schooled Avon High School Sara Bredemeyer Second Violin Bloomington High School North Tuba Erin Jeffrey, Principal Megan Reynolds Vanessa Lisanti, Principal Home Schooled Home Schooled Fishers High School Nadine Templeton Brebeuf Jesuit Preparatory School Oboe Timpani/Percussion Jiwon Yu Alexander Pearson Alani, Principal Sophie Beck Carmel High School Bloomington High School South North Central High School Lily Kostraba Lauren Smith Jarak Gutierrez Home Schooled Fishers High School Lawrence North High School Eric Borum Andrew Rose North Central High School Clarinet Franklin Community Megan Garyson Caleb Boswell, Co-Principal High School Franklin Central High School Tipton High School Jacob Betram Sarah Stoutamyer Adam Bowman, Co-Principal Center Grove High School Avon High School Zionsville Community Aaron Soforenko High School Hamilton Southeastern Viola Alex Johnson High School Alice Ford, Principal University High School Bloomington High School South Nicole Felker Bassoon Herron High School Katie Mills, Co-Principal Luke Sorrell Bloomington High School North Fishers High School Mia Nunokawa, Co-Principal Taryn Smiley Center Grove High School Home Schooled Jacob Hatfield Horn Center Grove High School Natalie Haynes, Principal Greenwood Community Cello High School Woojin Chung, Principal Berkley Weyer Fishers High School Franklin Central High School Selin Oh Ana-Elizabeth Cook Carmel High School Center Grove High School Julia Kostraba Tommy Endicott Home Schooled Fishers High School Nicolas Mobley Eastern Greene High School Sheridan Eggers Zionsville Community High School 56 MATTHEW KRAEMER, Conductor MAR 21

A passionate advocate for new music, he has performed the works of many living composers. He has led composer readings and workshops with several orchestras in the United States, in addition to leading BPO and ICO EarShot readings with the Amer- ican Composers Orchestra. Increasingly recognized for his committed advocacy of music education and his devotion to young audiences, he has created numerous arts ed- ucation programs and has taught at music festivals in the United States and abroad.

Recipient of the distinguished Herbert Recognized for his “musical sensitivity” von Karajan Conducting Fellowship and and “energized sense of interpretation,” the Bruno Walter Career Development Matthew Kraemer is quickly making his Grant, Kraemer served a residency with the mark among young American conductors Vienna Philharmonic at the 2006 Salzburg for his inspired performances and versatility. Music Festival. He has collaborated with The Buffalo News has noted, “He presents a many leading artists, including Lang Lang, tall, dignified and stately podium presence Philippe Quint, Jennifer Koh, Elmar Oliveira, with a quite clear beat, a good sense of Rachel Barton Pine, David Kim, Gary Karr, shaping melodic lines, and an all-business Awadagin Pratt, Richard Stolzman, Wu Man, attitude that focused on the music without Bela Fleck, Mark O’Connor, Ben Folds, Chris any histrionics.” Botti, Jim Brickman, the Indigo Girls, Il Volo, Wynona Judd, and Natalie Merchant, among Kraemer was appointed Music Director and others. As a frequent collaborator with Principal Conductor of the Indianapolis Broadway superstar Idina Menzel, he has Chamber Orchestra in July 2015. He serves served as conductor for many of her numer- as Music Director of the Butler County ous symphony engagements nationwide. Symphony and completed his fifth and final season as Music Director of the Erie Cham- An Indiana native, Kraemer studied conduct- ber Orchestra. His active guest conducting ing in Austria and was twice a fellowship schedule has included appearances with conductor at the American Academy of Con- many of the nation’s finest orchestras in the ducting at Aspen. He has participated in the U.S. and around the world. National Arts Center Conductor’s Program in Ottawa, Canada. Kraemer is a graduate Kraemer served as associate conductor of of Butler University and the University the Buffalo Philharmonic from 2009 to 2014. of Nevada. Prior to Buffalo, he served for three seasons as associate conductor of the Virginia Sym- An accomplished violinist in his own right, phony Orchestra, where he led the orchestra he was a member of the Nightingale String in over 200 performances statewide. His Quartet. When he is not performing, Krae- performances have been broadcast regular- mer enjoys cooking, running, and reading. ly on NPR’s “Performance Today.” He and his wife Megan live in Indianapolis with their sons, Gabriel and Nathaniel.

57 BUILDING WEALTH. One personalized portfolio at a time.

High client satisfaction = over 90% client retention.

317-261-1900 | www.dmdcap.com | Indianapolis

Not FDIC Insured – No Bank Guarantee – May Lose Value ©2018 Diamond Capital Management 58

Client/Filename: NBI 6193 DCM Building Wealth_6x9.25 Job #: ANBI-6193-02

Job Name: DCM - Building Wealth CD:

Size/Specs: 6" x 9.25"; 4C AD: Insertion Date: 2018 CW: Pub: ISO Acct. Serv.

111 Monument Circle, Suite 4150 / Indianapolis, IN 46204 /t 317/632/6501 /CVRindy.com / THE SOUNDS OF MAR 23, 2018 SIMON & GARFUNKEL

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Anthem Coffee Pops Series/Program Four Friday, March 23, 2018, at 11 a.m. Hilbert Circle Theatre

MICHAEL KRAJEWSKI, Conductor | AJ SWEARINGEN & JONATHAN BEEDLE, Vocalists

Sounds of Simon and Garfunkel Homeward Bound The 59th Street Bridge Song (Feelin’ Groovy) All I Have To Do Is Dream I Am A Rock The Sounds of Silence Paul Simon In Concert (Medley) A Hazy Shade of Winter The DanglingAd Conversation America Scarborough Fair Old Friends/Bookends Bridge Over Troubled Water Mrs. Robinson

The Coffee Concert is an abbreviated performance. Note: Ad sizes spec’d wereThere only is no 0.125” intermission. from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge. Recording or photographing any part of this performance is strictly prohibited.

59 MAR 23–24 MICHAEL KRAJEWSKI

Known for his across the United States. In Canada he has entertaining pro- led Ottawa’s National Arts Centre Orchestra, grams and clever the Toronto Symphony Orchestra, Calgary humor, Michael Philharmonic, and the Edmonton, Winnipeg, Krajewski is a and Kitchener-Waterloo Symphonies. much sought- after conductor Other international appearances include of symphonic performances in Dublin and Belfast with the pops. He is Music Ulster Orchestra as well as performances Director of The with the Hong Kong Philharmonic, Malaysian Philly Pops and Philharmonic Orchestra, the Iceland Sympho- Principal Pops ny Orchestra, and Spain’s Bilbao Symphony Conductor of the Houston, Atlanta, and Jack- Orchestra. sonville Symphonies. With degrees from Wayne State University As a guest conductor Michael has performed in Detroit and the University of Cincinnati with the Cleveland and Philadelphia Orches- College-Conservatory of Music, Michael fur- tras; the Boston and Cincinnati Pops; the San thered his training at the Pierre Monteux Do- Francisco, Baltimore, Detroit, Indianapolis, Se- maine School for Conductors. Michael lives in attle, Dallas, St. Louis, Pittsburgh and National Orlando, Fla., with his wife, Darcy. When not Symphonies, and numerous other orchestras conducting he enjoys travel, photography, and solving crossword puzzles.

MAR 23–24 AJ SWEARINGEN & JONATHAN BEEDLE

A 1991 chance meeting at a small club in Bethlehem, Penn., brought these two tal- ented artists together. Moments after a brief introduction, they were blending their voices as if they had been performing together for a lifetime. AJ’s warm baritone and Jonathan’s soaring tenor combine flawlessly to capture the essence and magic of Simon & Garfun- kel’s sound from their early years performing in Greenwich Village.

With a quiet stage and an acoustic guitar, AJ and Jonathan recreate the memories of the duo’s classic hits along with the more obscure AJ Swearingen and Jonathan Beedle have songs that complete Simon and Garfunkel’s been performing this remarkable tribute of vast catalog of unforgettable music. Discover the music of Simon & Garfunkel for more than why audiences are cheering for this duo as a decade. The Simon & Garfunkel Retrospective they capture the magic of Simon & Garfunkel. has received rave reviews and their sold-out shows prove the effect on their audience is undeniable.

60 THE SOUNDS OF MAR 23–24, 2018 SIMON & GARFUNKEL

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Six Friday, March 23, 2018, at 8 p.m. Saturday, March 24, 2018, at 8 p.m. Hilbert Circle Theatre

MICHAEL KRAJEWSKI, Conductor | AJ SWEARINGEN & JONATHAN BEEDLE, Vocalists

Sounds of Simon and Garfunkel Homeward Bound The 59th Street Bridge Song (Feelin’ Groovy) All I Have To Do Is Dream I Am A Rock The Sounds of Silence Cecilia Keep the Customer Satisfied Na Na MedleyAd

INTERMISSION — Twenty Minutes

Paul Simon In Concert (Medley) All I Know A Hazy Shade of Winter The Dangling Conversation America Scarborough Fair Old Friends/Bookends Bridge Over Troubled Water Mrs. Robinson

Premier Sponsor

Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduceLength ads ofthat performance don’t bleed is approximately to be at one least hour 0.25” and forty from minutes. edge. Recording or photographing any part of this performance is strictly prohibited.

61 Origami model by Philip Kuhns. 8/22/16 1:21 PM keting Mar

• Promotional Products

• Signage

And we’re proudAnd to support we’re it. •

Publishing

•

PrintingPartners.net Mailing ServicesMailing

•

Printing

broadened mindset and an open heart. heart. open an and mindset broadened Symphony Orchestra aren’t just organizations, but educational journeys to a a to journeys educational but organizations, just aren’t Orchestra Symphony hard work into something tangible. Similarly, organizations like the Indianapolis Indianapolis the like organizations Similarly, tangible. something into work hard putting ink on paper. It’s the act of transforming your thoughts, feelings and and feelings thoughts, your transforming of act the It’s paper. on ink putting At Printing Partners, we look at the bigger picture. To us, print is more than simply simply than more is print us, To picture. bigger the at look we Partners, Printing At POPS SERIES SINCE2008 SERIES POPS PARTNERS PRINTING THE OF SPONSOR TITLE PROUD 62 PP - 6x9.25 ISO Ad 2016-17.indd 1 63 ARTS IN INDY ARTS - - Dance Kaleidoscope Dance Indianapolis Opera New World Youth Orchestras Youth World New Indianapolis Children’s Choir Indianapolis Children’s Indianapolis Symphonic Choir Indianapolis Symphonic

To advertise within this book, or 317-664-7835 contact [email protected] To

learn more about ICC, visit icchoir.org or call 317-940-9640. visit icchoir.org about ICC, learn more ages 18 months to 18 years. To enroll a child, attend a concert, or attend a child, enroll To 18 years. to ages 18 months ICC’s excellent music education programs involve students from from students involve programs music education excellent ICC’s Central, and South America in two exciting performances. The The performances. and South America exciting in two Central, Stompers Clown Band for a musical journey through North, journey a musical through Band for Clown Stompers by the New World Youth Orchestra and the Circle City Sidewalk and the Circle Orchestra Youth World the New by first time in more than 30 years. More info at indychoir.org. at indychoir.org. info More years. than 30 first time in more will be joined ICC The “In Harmony!” the Americas with across performance at The Kennedy Center in Washington, D.C., for the for D.C., Washington, in Kennedy Center The performance at Choir will take you 12, the IndianapolisOn May Children’s excitement as the Symphonic Choir joins the ISO for the April 13 the ISO for Choir joins as the Symphonic excitement Facebook and on Twitter at @Indychoir and be a part @Indychoir at of the Twitter and on Facebook largest and most prolific choruses buzz. Follow the choir on Follow choruses buzz. and most prolific largest behind the scenes and learn what makes one of the nation’s and learn makes one of the nation’s what behind the scenes ISO box office or at or office www.indianapolissymphony.org. ISO box see Go online to page yet? their Facebook visited you have soloists and all three NWYO Orchestras. Tickets available at the at available Tickets Orchestras. NWYO soloists and all three but the Indianapolis Choir on stage, to Symphonic listen You Join us May 6 at 5 p.m. for a concert featuring award-winning award-winning a concert featuring for 5 p.m. 6 at Join us May of orchestra masterworks, both traditional and contemporary. and contemporary. masterworks, both traditional of orchestra high-quality and performance rehearsal and the music education the musical talent of young people in central Indiana through people in central of young the musical talent 317-283-3531. develop is to mission of NWYO The organization. orchestra youth tickets and more information, visit www.indyopera.org or call visit www.indyopera.org information, tickets and more premiere Indiana’s is central Orchestras Youth World New The Center for the Arts on the campus of Butler University. For For the Arts for University. on the campus of Butler Center , March 23–25, at The Schrott Schrott The 23–25, at , March productionof South Pacific Opera’s educational programs, and entertaining events. Experience the Experience and entertaining events. programs, educational and art its musical performances, compelling through of opera company in Indiana, has delivered the passion, excitement, the passion, excitement, in Indiana, has delivered company Since 1975, Indianapolis Opera, the only professional opera opera 1975, Indianapolis the only professional Since Opera,

John, Rod Stewart, and more. Choreographers include Nicho Choreographers John, Rod Stewart, and more. Join DK April 5–8 as they dance to the music of Prince, Sir Elton Elton Sir music of Prince, the to Join DK April as they dance 5–8 hope, while showcasing the company’s beautifully athletic danc athletic beautifully the company’s while showcasing hope, dancers. This exciting program mixes humor, heartbreak and humor, mixes program exciting This dancers. or 317-635-5252. dancekal.org at available are Tickets las A. Owens, DK Artistic Director David Hochoy, and seven DK and seven DK Artisticlas A. Owens, Hochoy, David Director Indiana Kaleidoscope at Repertory Dance is located Theatre. ers.

Origami model by Philip Kuhns. 8/22/16 1:21 PM keting Mar

• Promotional Products

• Signage

And we’re proudAnd to support we’re it. •

Publishing

•

PrintingPartners.net Mailing ServicesMailing

•

Printing 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 Indianapolis the like organizations Similarly, tangible. something into work hard a to journeys educational but organizations, just aren’t Orchestra Symphony heart. open an and mindset broadened POPS SERIES SINCE2008 SERIES POPS PARTNERS PRINTING THE OF SPONSOR TITLE PROUD PP - 6x9.25 ISO Ad 2016-17.indd 1 We believe in supporting the arts. Every step of the way.

lakecitybank.com 64 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 Robert H. Mohlman Principal Clarinet Chair The Ford-West Concertmaster Chair Endowed by the Robert H. Mohlman Fund Endowed by Richard E. Ford in honor of his mother, David A. Bellman, Principal Clarinet Florence Jeup Ford, and Hilda Kirkman West The Huffington Assistant Principal Clarinet Chair Zachary De Pue, Concertmaster Endowed in memory of Robert Huffington by The Meditch Assistant Concertmaster Chair Clarena Huffington Endowed by Juliette, Dimitri, Marian, Cathryn Gross, Assistant Principal Clarinet and Boris Meditch The Robert L. Mann and Family Principal Horn Chair Peter Vickery, Assistant Concertmaster Endowed by Robert L. Mann and Family The Wilcox Assistant Concertmaster Chair Robert Danforth, Principal Horn Endowed by David E. and Eleanor T. Wilcox The Bakken Family Horn Chair Michelle Kang, Assistant Concertmaster Endowed by a gift from Dawn, Ruth, The Taurel Assistant Principal Second Violin Chair and Darrell Bakken Endowed by Kathy and Sidney Taurel Jerry Montgomery, Horn Mary Anne Dell’Aquila, Assistant Principal The W. Brooks and Wanda Y. Fortune Second Violin Principal Trumpet Chair The Dick Dennis Fifth Chair Endowed by W. Brooks and Wanda Y. Fortune Endowed in memory of Richard F. Dennis Conrad Jones, Principal Trumpet by Carol Richardson Dennis The Dr. and Mrs. Charles E. Test Trombone Chair This Second Violin Section Chair is Seated Using Endowed by Dr. and Mrs. Charles E. Test Revolving Seating Riley Giampaolo, Trombone The Jane and Fred Schlegel Principal Viola Chair The Thomas N. Akins Principal Timpani Chair Endowed by Jane and Fred Schlegel Endowed anonymously The Assistant Principal Cello Chair Jack Brennan, Principal Timpani Endowed anonymously The Walter Myers Jr. Principal Harp Chair The Randall L. Tobias Cello Chair Endowed anonymously in honor of Walter Myers Jr. Endowed by Randall L. Tobias Diane Evans, Principal Harp Ingrid Fischer-Bellman, Cello The Dorothy Munger Principal Keyboard Chair The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by the Women’s Committee of the Endowed by Dr. and Mrs. Robert L. Rudesill Indianapolis Symphony Orchestra Anne Duthie McCafferty, Cello Endowed Performances The Sidney and Kathy Taurel Principal Flute Chair Classical Season Opening Concerts Endowed by Sidney and Kathy Taurel Endowed by Francis W. and Florence Goodrich Dunn Karen Evans Moratz, Principal Flute September 29–30, 2017

The Janet F. and Dr. Richard E. Barb Piccolo Chair The Paul Family Performance of Classical Music Endowed by Janet F. and Dr. Richard E. Barb Endowed by Dorit, Gerald, Eloise, and Alison Paul Rebecca Price Arrensen, Piccolo October 6–7, 2017

The Frank C. Springer Jr. Principal Oboe Chair The William L. and Jane H. Fortune Endowed by Frank C. Springer Jr. Guest Conductor Chair Jennifer Christen, Principal Oboe Endowed by Mr. and Mrs. William L. Fortune October 13, 2017 The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt The Frank E. McKinney, Jr. Guest Conductor Chair Roger Roe, English Horn Endowed by Marianne Williams Tobias November 10–11, 2017 65 ENDOWMENT

Frank and Irving Springer Piano Performance The Tobias Green Room Endowed by Frank C. Springer Jr. Endowed by Randall L. Tobias November 17–18, 2017 The Maestro Society IPL Yuletide Celebration Opening Night Performance August and Margaret Watanabe Endowed by Marianne Williams Tobias Dr. and Mrs. Gordon E. Mallett December 2017—Opening Night Mrs. Walter Myers Jr. Randall L. Tobias IPL Yuletide Celebration Closing Performance Jack Weldon, Maestro Society Founder, given Endowed by Marianne Williams Tobias by Penny Ogle Weldon December 2017—Closing Night Mr. and Mrs. Richard D. Wood The Performance of ISO Principal Chair Musicians Mr. Raymond Leppard Endowed by the Eugene B. Hibbs Fund Dr. John C. Bloom January 6, 2018 Edna Woodard-Van Riper Marianne Williams Tobias The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman The Marianne Williams Tobias Program Annotator Chair and the late Robert H. Mohlman Endowed anonymously January 26–27, 2018 Marianne Williams Tobias, Program Annotator

The Performance of a Guest Artist Artist-in-Residence Endowment Endowed by the Jean D. Weldon Guest Artist Fund Endowed in memory of Hortense and Marvin Lasky February 2–3, 2018 The Paul E. and Martha K. Schmidt The Mrs. Earl B. Barnes Memorial Fund in Conducting Study Fellowship support of a Guest Artist Endowed by Paul E. and Martha K. Schmidt Endowed Anonymously The Michael Ben and Illene Komisarow Maurer February 23–24, 2018 Young Musicians Contest The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Michael Ben and Illene Komisarow Maurer Endowed by Marianne Williams Tobias The Instrument Petting Zoo March 2, 2018 Endowed by Dr. and Mrs. Gordon E. Mallett The Performance of New Music The Indiana Series Endowed by LDI, Ltd. Endowed by Mr. and Mrs. J. Irwin Miller March 17, 2018 The Indianapolis Symphony Orchestra The Paul and Roseann Pitz Performance of Classical Music Vice President of Education Endowed by the Paul and Roseann Pitz Fund Endowed by Mr. and Mrs. William L. Fortune April 6, 2018 The Marilyn K. Glick Young Composer’s Showcase The Dennis T. Hollings Performance of Classical Music Endowed by Mr. and Mrs. Eugene B. Glick Endowed by the Dennis T. Hollings Fund April 28, 2018 The ISO Pre-School Music Education Programs Underwritten by the Tobias Family Foundation The Performance of a Young Professional Artist Endowed by Roche Diagnostics The Sarah McFarland Endowment May 4, 2018 Endowed by the Sarah McFarland Fund

The Performance of Classical Music including Major The Pitz Leadership Award Liturgical and Choral Music Endowed by the Paul and Roseann Pitz Fund Endowed in memory of Elmer Andrew and Marguerite The Installation and Maintenance of a Theatre Pipe Organ Maass Steffen by E. Andrew Steffen Endowed by the Sally Reahard Fund June 1–2, 2018 The J.K. Family Foundation Words on Music The Performance of a Summer Series Concert Endowed by Marianne Williams Tobias, President, Endowed by Mrs. William P. Cooling J.K. Family Foundation Summer 2018 The Outer Lobby Special Endowments Named to Recognize the Generous Gift of Ruth Lilly Hilbert Circle Theatre to the Indianapolis Symphony Orchestra 1984 Endowed by Stephen and Tomisue Hilbert 66 ENDOWMENT

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

Second Floor Lobby First Monday Music Club Named in memory of William Fortune, prominent Endowed anonymously civic leader, by a generous gift from William L. and Stage Terrace Seating Jane H. Fortune Endowed anonymously Orchestra Box C1 Special Acknowledgements This Orchestra Box Endowed by Performance of the Wurlitzer Pipe Organ Mrs. Bailey (Gladys) Swearingen Generously underwritten by David and Eleanor Wilcox Orchestra Box C2 The New Steinway Concert Grand Piano This Orchestra Box Endowed by Saundra Lee and H. Given in memory of Mr. and Mrs. William H. Ball Tuck Schulhof by Mrs. Lucina B. Moxley Orchestra Box C3 The Music Library Office This Orchestra Box Endowed by Herschel and Underwritten by the Musicians and Staff of the Angela Porter Indianapolis Symphony Orchestra in memory of Orchestra Box C4 Richard Grymonpré This Orchestra Box Endowed by E. Andrew Steffen The ISO Association Office Endowed by Peggy & Byron Myers

Helping you recover...body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee concerns, and will offer you professional support and direction toward a resolution. Services offered include: • Identification/evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources: legal services, physicians, financial counseling and more If your company is interested in receiving more information about our program, please call 317-338-4900 or 1-800-544-9412.

stvincent.org

67 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 William F. Murphy, CPA Earleen M. Ashbrook Bradley S. & Teresa G. Fuson John & Carolyn Mutz Ms. Nancy Ayres Dr. & Mrs. Richard W. Garrett Peggy & Byron Myers Dawn, Ruth* & Darrell* Bakken David* & Deloris “Dee”* Garrett Mr. & Mrs. Charles J. O’Drobinak Janet F. & Dr. Richard E. Barb Ms. Patricia Garrity Dorit & Gerald Paul Frank & Katrina Basile Cy* & Pris Gerde Joan S. Paulin Dr.* & Mrs. Paul F. Benedict James E. & Judith A. Gillespie Dr.* & Mrs. Bruce Peck Dale & Barb Benson David & Julie Goodrich Marian Pettengill and Family Dr. John C. Bloom Mrs. Anne M. Greenleaf Mrs. Joseph D. Pierce Rosanne Bonjouklian John S. Griffin Dr. & Mrs. George Rapp Mrs. Charlotte Bose Mary & George Harless Josette Rathbun Charles & Cary Boswell Mike & Noel Heymann Mr.* & Mrs. Elton T. Ridley Dr. Ella H. & Mr. Robert Tom & Nora Hiatt David Rodgers R. Bowman Clarena Huffington Dr.* & Mrs. Robert L. Rudesill Mr. & Mrs. Charles H. Boxman Ann Hampton Hunt Henry & Vel* Ryder John Charles Braden & Ty A. Johnson Jane & Fred Schlegel Denton Raubenolt Joan & David F.* Kahn Paul & Martha Schmidt Donald & Barbara Broadlick Swadesh & Sarla Kalsi Carl & Laurel Schnepf Philip J. Burck Bob & Rhonda Kaspar H. Tuck & Saundra L. Schulhof Alex. S. Carroll Patricia Kilbury Margaret A. Shaw Nancy & Chris* Christy Ms. Peg Kimberlin Jean & Clifton Smith Ms. Patricia C. Chunn Ms. Marie E. Kingdon Mr. & Mrs. Clark L. Snyder Norman I.* & Maxine Cohen John J. Kloss, JD Sue K. Staton John & Ulla Connor Kay F. Koch Dr.* & Mrs. James B. Steichen Chris W. & Lesley J. Conrad H. Jean Jones Kyle Ann R. Strong Peter Cooney James E. & Patricia J. LaCrosse Kathryn* & Sidney Taurel Mr. & Mrs. Ronald A. Cox Dr. Ned & Martha Lamkin Carol E. Taylor Mr. & Mrs. Thomas E. Dapp Lawrence & Vivian Lawhead Mrs. David Thiel Lou & Kathy Daugherty Mr. & Mrs. Richard L. Ledman William & Karen Thompson Andrea Davis Raymond Leppard Marianne Williams Tobias Edgar* & Joanne Davis Mr. L. Robert Lowe Jr. Ann Vaughan Carol Richardson Dennis John A. Mainella & Michael Pettry Dan & Doris Weisman Rollin & Cheri Dick Dr. & Mrs. Gordon E. Mallett Anna S. & James P. White Mr. & Mrs. Richard A. & Helen J. Dr. & Mrs. Karl L. Manders Mildred M. Wiese Dickinson Mr.* & Mrs.* Michael Ben Maurer David E. & Eleanor T. Wilcox Clarita Donaldson Stacy Maurer Mr. & Mrs.* Charles D. Williams, III Mrs. Lewis A. Enkema Janice & John F. McHenry Richard D. & Billie Lou* Wood Mr.* & Mrs. Richard Felton W. Jean McCormick Mr. & Mrs. C. Daniel Yates Mr. Murray R. Fischer Robert B. & Eleanor S. McNamara Mike & Phyllis* Zimmermann Dr.* & Mrs. W. Brooks Fortune Marian Y.* & Boris E. Meditch Anonymous (15) Marilyn K. Fourman Clayton C. Miller *Deceased THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Suzanne Swain Brown Francis W. & Florence Goodrich Mrs. Raymond A. Basso H. Earl Capehart Jr. Dunn Dr. John E. Batchelder Walter Chroniak Mr. & Mrs. Don B. Earnhart Miss Helen F. Bernheisel Edgar L. Conn Mr. Robert A. Edwards Florence Bien Allen E. & Mary Crum Mr. Francis E. Fitzgerald Betty Thorp Boyd John H. Darlington Mr. Richard E. Ford Mrs. Elba L. Branigin Jr. J. Richard Delbauve Mr. & Mrs. William L. Fortune John F. Brennan Vivian F. Delbrook Nelle Godio Mrs. Ferne Brewer Suzanne S. Dettwiler Mr. Raymond K. Gretencord Lenore B. Brignall Lillian J. Duckwall Carol E. Gruen 68 LYNN SOCIETY

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

Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

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

Contact Casey Chell, Vice President of Development, with questions about The Lynn Society at 317.713.3342 or [email protected]. 69 ANNUAL FUND

The Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of January 18, 2018. 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 Christopher A. Slapak & Michael J. Joseph & Kathy Kessler Founders’ Society Anonymous Robertson Ned & Wendy Kirby ($5,000-$9,999) Sarah & John Lechleiter Randall & Deborah Tobias Walter T. Koenig Anonymous (9) B. M. “Marti” Ripberger Dr. & Mrs. Eugene Van Hove Cindy L. & Timothy J. Konich Mr. & Mrs. Jeffrey M. Adams Yvonne H. Shaheen Martin & Mary Walker Dr. & Mrs. Eugene P. Kroeff Thomas N. Akins Marianne Williams Tobias David & Eleanor Wilcox Drs. W.H. & K.T. Landschulz Mr. & Mrs. Michael Alley Kathy & Ralph Wilhelm Ms. Karen Mangia Bob & Pat Anker Anonymous Roberta & Bill Witchger Mr. & Mrs. Bruce McCaw Deborah & Douglas Balogh Arts Council of Indianapolis and The Alice Greene McKinney & E. Kirk Trudy W. Banta the City of Indianapolis Anonymous McKinney Jr. Fund, a fund of CICF Maestro Raymond Leppard Barnes & Thornburg LLP Arthur Jordan Foundation Karen Mersereau & & Dr. John C. Bloom The Christel DeHaan Family BMO Harris Bank Dr. Michael Helms Terry & Robert L Bowen Foundation Budweiser Zink Distributing Co, LLC Mrs. Nancy Ann Morris Mr. & Mrs. John Bratt Efroymson Family Fund The Clowes Fund Mel & Joan Perelman Donald & Barbara Broadlick Eli Lilly and Company Community Health Network Walt & Mary Prouty Charles W. Brown Indianapolis Power & Light Duke Energy Fred & Bev Ruebeck Mr. & Mrs. Walter P. Bruen, Jr. Company Erie Insurance Mr. & Mrs. William N. Salin Mike & Pat Byers Indianapolis Symphony Orchestra Fenneman Family Foundation Phyllis & Gary Schahet Ms. Jane Conley Association Ice Miller Jeff & Cassandra Short Dexter & Rosemary Cooley The Kroger Co. Indiana Arts Commission Mr. & Mrs. Richard Skiles Mr. & Mrs. James M. Cornelius Lilly Endowment, Inc. Johnson County Community Ann M. & Chris Stack Andrea Davis The Margot L. and Robert S. Eccles Foundation, Inc. Mr. Kevin D. Taylor David & Consuelo Davis Fund, a fund of CICF Chase Mr. & Mrs. Daniel O. Weisman Erin & Scott Dorsey The Martin D. & Mary J. Walker Sara & Mike Zeckel Jack Everly & Ty A. Johnson Founders’ Society, Music Director Charitable Foundation Jim & Rita Zink George R. Flexman ($50,000+) National Endowment for the Arts Russell Fortune III Anonymous OneAmerica Financial Partners, Inc. ADL Charitable Trust Dr. & Mrs. Richard W. Garrett Phil & Colleen Kenney R.B. Annis Educational Foundation Ann & Gordon Getty Foundation Gary Ginstling & Marta Lederer Kay F. Koch Raymond James & Associates, Inc. Anonymous Fund of Central Indiana Larry C. & Lee A. Glasscock Dr. Kenneth & Mrs. Debra Renkens Roche Diagnostics Anthem Blue Cross and Blue Shield Charles & Susan Golden Robert & Alice Schloss Salesforce Buckingham Foundation Inc. Jim & Roberta Graham Richard D. Wood Scott A. Jones Foundation Care Institute Group, Inc. Mr. & Mrs. Thomas W. Grein Shaheen Family Foundation The Indianapolis Foundation, John & Chichi Guy The Glick Fund, a fund of Central Telamon Corporation a CICF Affiliate Steve L. Hamilton & Indiana Community Foundation Terry Lee Genesis & Terry Lee City of Carmel Keith O. Norwalk Nicholas H. Noyes Jr. Memorial Hyundai CNO Financial Group Gregory Henneke & Foundation Tobias Family Foundation Community Foundation Martha O’Connor Printing Partners Community Health Network Richard & Elizabeth Holmes Ruth Lilly Philanthropic Founders’ Society, First Chair Foundation Mr. & Mrs. W. Seymour Holt Foundation ($10,000-$19,999) Dow AgroSciences Dr. Ann H. Hunt Anonymous (3) Elba L. & Gene Portteus Branigin Dr. & Mrs. Ronald Iacocca Founders’ Society, Concertmaster The Honorable & Mrs. Alex M. Azar II Foundation Inc. Dr. & Mrs. Raymond V. Ingham ($20,000-$49,999) Mr. & Mrs. Robert Bader The Glick Family Foundation James O. & Alice F. Cole Foundation Mr. & Mrs. Michael Becher Charlene & Joe Barnette Fifth Third Bank Carlyn Johnson Christina Bodurow Ms. Sarah Barney The Frenzel Family Charitable Mrs. Joan D. Kahn Charles & Joyce Boxman Mr. & Mrs. Barry J. Bentley Lead Trust Mr. James Kastner Mr. & Mrs. Daniel P. Carmichael Suzanne B. Blakeman Indiana Members Credit Union Kimra Kidd & Thomas Buehner Mr. & Mrs. Trent Cowles Bryan & Elaine Brenner The Indiana Rail Road Company Drs. Sandra & Charles Kinsella Rollin & Cheri Dick Dr. & Mrs. Thomas A. Broadie Indiana University Health Partners Mrs. James L. Kittle, Sr. Dawn M. Fazli Vincent & Robyn Caponi Industrial Dielectrics Holdings David H. Kleiman & Susan Jacobs Craig & Mary Fenneman Mr. Daniel Corrigan Mallor Grodner LLP Mr. & Mrs. Joseph C. Lanning James E. & Patricia J. LaCrosse Don & Carolyn Hardman Market District Mr. & Mrs. Eli Lilly II Dr. Ned & Martha Lamkin P. Kent Hawryluk Reis Nichols Jewelers Dr. Richard E. Lindseth Dr. Gordon & Carole Mallett Dr. Sharon Hoog Ronald McDonald House Charities of Gregory & Alexandra Loewen Mrs. F. Bruce Peck, Jr. Emily & Peter Howard Central Indiana and McDonald’s of Dr. & Mrs. Carlos Lopez Mary Frances Rubly & Jerry Allan & Kathy Hubbard Central Indiana Emily Mahurin Hummer Ms. Harriet Ivey & South Group ISOA Members Malcolm & Joyce Mallette Mrs. Robert L. Rudesill Dr. Richard Brashear St. Vincent Health/Ascension Mr. & Mrs. David Malson Bob & Rhonda Kaspar Vectren Corporation Mr. & Mrs. Morris Maurer 70 ANNUAL FUND

John & Doris McCullough MusicCrossroads Mr. & Mrs. Michael J. Kenniff Donovan CPAs & Advisors Boris E. Meditch The National Bank of Indianapolis Peg Kimberlin First Person Virginia Melin Navient Larry & Rose Kleiman Harlan Family Foundation Jim Miller NextGear Capital Don & Jen Knebel Heritage Group Mr. & Mrs. Dayton Molendorp PNC Dr. Gwen & Mr. Robert Krivi Indiana American Water Co., Inc. Ellie, Weber & Emaline Morse Regions Bank Dr. Elisabeth Krug & The Indianapolis Recorder Jerry & Anne Moss JK Family Fund, A Donor Advised Roland Schaffer Indy Eleven Dr. & Mrs. Daniel H. Mowrey Fund of Renaissance Charitable Andrew & Lynn Lewis Indy Podiatry John & Carolyn Mutz / Foundation Nancy Lilly InterDesign Lumina Foundation The Rock Island Refining Mr. & Mrs. Allan Litz Milhaus Development Mr. Carl & Dr. Loui Lord Nelson Foundation Jim & Sarah Lootens Park Tudor School Marc Nichols & Jamie Collins Salin Bank & Trust Ralph & Nancy Lundgren Paul Family Foundation, Inc. Jackie Nytes Van Riper Woodard Family Mary & Charles Matsumoto David and Arden Pletzer Mr. & Mrs. Charles J. O’Drobinak Foundation Dr. & Mrs. Douglas R. Maxwell Endowment Fund, a fund of Michael P. & Leanne M. O’Neil WGU Indiana Flip & Cindy Miller Legacy Fund Kay Pashos & Neal Steinbart Witham Health Services Milton & Margaret Miller Salin Foundation Jack & Katie Patterson Elizabeth & William Murphy St. Richard’s Episcopal School Donald & Karen Perez Conductor’s Circle Mr. & Mrs. Daniel Mytelka The Toomer Family Foundation Bart Peterson ($2,500-$4,999) Mr. & Mrs. Robert H. Orr Universal Windows Direct Jennifer Pressley Anonymous (3) Noel & Beth Outland Western Reserve Partners, LLC Scott & Susan Putney James Adams Jane & Andrew Paine Steve & Margaret Russell Dr. Albert Allen & Eloise Paul & Bill Lee President’s Club William & Faye Sigman Ms. Kathryn Maeglin Dorit & Gerald Paul ($1,500-$2,499) Maribeth & Al Smith J. Dara & Sherry Amlung Ray & Jim Luther-Pfeil Anonymous (3) Susanne & Jack Sogard Dr. & Mrs. Richard Barb Matthew & Christine Phillips Dr. & Mrs. Wayne Ambrous Joanne & Gerald Solomon Mary Ruth Barnard Myrta J. Pulliam Kate & Dan Appel Mr. & Mrs. Larry Speer Frank & Katrina Basile Dr. & Mrs. George F. Rapp Nicholas Barbaro & Dr. Pamela Steed & Dr. Peter Furno Spencer & Marcia Bavender Mr. & Mrs. Thomas Roberts Sue Ellen Scheppke Mr. & Mrs. John Thornburgh Mary Clare & George Broadbent Mrs. John R. Roesch Mr. Brett & Mrs. Shari Bayston Margaret Watanabe Dr. & Mrs. John T. Callaghan Nancy Ray Ross Mark K. Bear David P. Whitman & Mr. & Mrs. John Campbell Mr. Gilva F. Sallee & Mr. & Mrs. Laurens Beyland Donna L. Reynolds Elizabeth A. Chamberlin Ms. Wanda L. Shafer Jay & Julie Bishop Mrs. Lucy Wick Nancy Christy Mrs. Lisa M. Sapp Carole & Sam Bixler Lynn & Andy Wiesman James J. & Barbara Curtis Dr. & Mrs. John F. Schaefer Mr. & Mrs. Jesse L. Bobbitt Jacquie & Fred Winters Manuel & Sally Debono James & Mary Beth Schafer Kirk & Sharon Boller: Bottom-Line Dr Christian Wolf & Elaine Rick & Jody Dennerline Jane & Fred Schlegel Performance Inc. Holden-Wolf Steve & Mary DeVoe Klaus & Joel Schmiegel Gordon & Celia Bruder Diana & Dan Yates Kerry Dinneen & Sam Sutphin Marlyne Sexton Kenneth & Patricia Burow Barrie & Margaret Zimmerman Mr. & Mrs. Craig Doyle Armen & Marie-Claude Shanafelt Dr. David & Judith Chadwick John & Linda Zimmermann Robert W. Dyar, M.D. Drs. Lei Shen & Soomin Park Mr. Joseph & Mrs. Helena Chan Jennifer & Michael Zinn Dr. & Mrs. Thomas Elam Eric Siemers & Peggy Edwards Mr. & Mrs. Albert Chen Mr. & Mrs. Neil Ellerbrook Dick & Susan Simon Mr. & Mrs. Randall Christie Barefoot Wine Dorothy Schultz Englehart Mr. & Mrs. Jeff Smithburn John & Ulla Connor The Barrington of Carmel Ms. Carol J. Feeney Dee & Tom Spencer Chris W. & Lesley J. Conrad Blackburn Group Dr. & Mrs. Michael E. Flaugh Sydney L. Steele Bill & Angela Corley Bose McKinney & Evans LLP Dr. & Mrs. Mark Foglesong Drs. Randall & Bonnie Strate Dave & Christie Crockett Chubb Group of Insurance Steve & Lisa Ford Richard & Lois Surber Cummings Family Companies Mr. & Mrs. L. D. Foster, Jr. James Sweeney Mr. & Mrs. Bert Curry Indianapolis Foundation, Dr. & Mrs. Larry C. Franks Dr. & Mrs. Reed Tarwater Joanne Meyer Davis a CICF affiliate on behalf of Julia & Doug Gard Mrs. David Thiel Mr. & Mrs. Gregory C. Davis Kiamesha Colom Michael & Beth Gastineau Jeffrey & Benita Thomasson Ann & Kenneth Dee Cornelius Family Foundation, Inc. Cora A. Gibson Jerry & Linda Toomer Dennis K. Dickos, M.D. Deloitte & Touche LLP Mr. & Mrs. Alexander Goloschokin Dr. James & Linda Trippi Mr. & Mrs. Erold R. Diller DMC Holdings, Inc. Christian and June Gries Ms. Cathy Turner Mr. & Mrs. Robert M. Donovan Dorsey Foundation Bob Hallam Dr. Pantila Vanichakarn Dr. & Mrs. Christopher Eddy Faegre Baker Daniels James & Paula Hancock & Dr. Daniel Bateman Miss E. Frances Eickhoff Garmong Construction Nancy J. Harrison Joe & Sue Vertin Robert & Joy Elzer Haddad Foundation Mr. Henry Havel & Don & Coleen Walker Andrew & Irene Engel Honda Ms. Mary Stickelmeyer Jane & Hugh Watson John N. & Julia Luros Failey Howard K. Johnson Fund, a fund Bill & Nancy Hunt Emily A. West Michael & Ardith Fleetwood of The Indianapolis Foundation Marsha A. Hutchins Dr. & Mrs. William J. Wheeler Dr. Norm & Adrienne Fogle Huntington Bank Larry & Annette Hutchison Anna S. & James P. White Dick & Brenda Freije The Indy Star Mr. & Mrs. John C. Jenkins & Family Bob & Marnie Wilken Mr. & Mrs. Raymond Gibson Jungclaus-Campbell Co., Inc. Dr. & Mrs. C. Conrad Johnston Mr. & Mrs. Clark Williamson Steven M. Giovangelo & The Julia L. and Andre B. Lacy Daniel H. Joseph & Liu Li James & Joyce Winner Gerald J. Bedard Charitable Fund, a fund of CICF Dr. Louis N Jungheim & Terence & Margaret Yen Drs. Jean & Gerald Godfrey M/I Homes Dr. Thalia I. Nicas Dr. Lawrence I. Goldblatt MacAllister Machinery Mrs. John E. Kalsbeck 500 Festival, Inc. Mr. Scott & Ms. Amy Goldsmith Company, Inc. Donn & Dot Kaupke Canvas Leonard & Rikki Goldstein Macy’s James & Jennifer Kelley Bright Sheet Metal Co., Inc. Mr. Ray E. Gotshall Merrill Lynch Mr & Mrs. David Kelly CharBlue Joe & Kathy Grahn Senior Home Companions Mr. Charles E. Kendall CSO Architects, Inc. Mr. & Mrs. Berl J. Grant

71 ANNUAL FUND

Mr. & Mrs. Robert Gregory Judy A. Springmire Mr. & Mrs. Douglas Church Mrs. Norma King Ms. Julie Griffith Rita & Larry Steinberg Dan & Laura Conder Mr. & Mrs. Daniel E. Klausner Dr. Kathleen Hacker & Jerry Hacker Ed & Barbara Steward Gordon & Harriet Coppoc Steve & Sharon Klusman Fred & Alice Hecker Mrs. Lynn Stocksill The Corcoran Family Richard & Roxanne Kovacs Ms. Lisa Heid Jim & Cheryl Strain Mr. & Mrs. Larry Cranfill Terrence & Jodi Kunstek Mike & Noel Heymann T.S. Sun Mrs. Mary C. Crean Mr. Jeffrey S. Lahr Mr. & Mrs. Gerald V. Hinchman Dr. Hadrian Szpurka & Patrick & Jennifer Cross Jonathan & Lisa LeCrone Jill Hoyle Dr. Anna Jankowska Rebecca & Larry Davis Mrs. Carl Lesher Carolyn Humke Mr. John Tan Joanne Meyer Davis Mr. & Mrs. William Lindstaedt Ms. Kristine Isenberg Stephen L. Tracy David & Brenda Day Mr. Tom Linebarger Mr. Gerald R. Jenn Lynn C. Tyler Mr. Douglas B. Day Grace Long Mr. & Mrs. Richard Johnson John & Kathy Vahle Frank & Noreen Deane Tim & Betty Lonis Wayne & Deborah Johnson Joe & Diane Vande Bosche Ann Dettwiler Lowell & Penelope Lumley Dr. & Mrs. Philip E. Johnston Courtenay & Emily Weldon Patty Donnelly & Robert Pozzebon Alex & Bridget MacAllister Dana & Marc Katz Mrs. Mary Whalin Jeff & Ifen Donovan Mr. & Mrs. Donald R. MacPherson Richard & Susan Kent Dr. Forrest Williamson Mr. & Mrs. Dan Dumbauld Ms. Barbara E. Mallett Mr. Doug Klitzke Bob & Debbie Wingerter Mrs. Nancy Dunn Mary Lynn Mancinelli Col. A. D. Kneessy Ken & Wendy Yerkes Ms. Phyllis Dye Turner Benton & Sandi Marks Tim, Amy & Matthew Konrad Josephine A. Yu Constance C. Earle Jeffrey & Christine Marks Mr. & Mrs. Jeffrey Larson Mr. & Mrs. Leslie R. Zimmerman Tom & Judy Eggers James R. & Rita E. Martin Dr. & Mrs. Richard Lasbury Mary Ann & Gene Zink Catherine Ehlhardt Ms. Marilyn Martin Robert E. Lee Sue & John Zinser Dr. & Mrs. William J. Ehlhardt Stacy A. Maurer Cindy & Rick Leffler Julia & W. Adam Ehret Michael & Patricia McCrory Dennis & Karen Licht The Ackerman Foundation David & Julie Eskenazi Mark & Mary McDaniel Deborah & Joe Loughrey Batt Family Foundation Dr. & Mrs. Harvey Feigenbaum Craig & Kathleen McGaughey Mr. Kevin Malley & Bingham Greenebaum Doll LLP Linda Felton Mr. & Mrs. Thomas McGinley Mr. Ronald Nobles BKD Dean & Beth Flaris Myron J. McKee Michael & Jill Margetts Conrad Indianapolis Gracia & Jim Floyd Marni McKinney Jon D. Marhenke, M.D. The Humke Foundation, Inc. Dr. & Mrs. Bruce Frank Nancy L McMillan Mr. & Mrs. Ken Matsumoto Indiana Farm Bureau Insurance Ted & Lorrie Freeman Mr. & Mrs. Richard Menke Elaine M. Mattson International Entertainment Ann S. & David R. Frick Mr. Allen & Mrs. Deborah Miller Ann & John McGrath Bureau Ms. Susan Fucik Earl Miller & Ek-Leng Chua-Miller Alan & Ann McKenzie J. Solotken & Company, Inc. Mr. & Mrs. James F. Gallagher Nathanael D. Miller Mr. & Mrs. Robert B. McNamara The Jenn Foundation Dr. Karen & Thomas Gallagher Dr. William A. Mirola Susanah M. Mead Joanne W. Orr Charitable Fund, Mr. Jerome Gassen & Jim & Jackie Morris Dr. & Mrs. David Miller a fund of The Indianapolis Ms. Nicole Weaver Dr. & Mrs. Patrick J. Murphy Mr. & Mrs. Robert E. Miller Foundation Dorothea & Philip Genetos Ann & Jim Murtlow Dr. & Mrs. Phillip G. Mosbaugh The Penrod Society Mr. & Mrs. Jerry Gershman Jack & Judy Myers Sarah Myer Pointer Management Marianne Glick Don Nead & Caryl Matthews Peggy & Byron Myers Quinn & Ali Shepherd Giving Fund Mr. Jonathan Gottlieb & Timothy S. Needler F. Timothy & Nancy Nagler Valerie Omicioli David & Diane Nesbitt Bob & Dale Nagy Symphony Club Thomas & Nancy Grembowicz Lara Noren Mr. & Mrs. Guido Neels ($1,000-$1,499) Peter Grossman & Pauline Spiegel Shirley L. Paddock & Greg Riffe Mr. & Mrs. John S. Null Anonymous (9) Drs. Andrea & Paul Halverson Rev. Barb & Mr. Fred Parker Thomas & Stacy O’Leary Mr. Norris Allen Dr. James & Mrs. Pat Hamby Mrs. Karen L. Parrish Allen H. Pekar Mr. & Mrs. Roy & Jan Applegate Kenneth & Barbara Hamilton Linda Pence Patricia Perkinson Mr. & Mrs. Bradford H. Arthur Mr. & Mrs. Richard A. Harrison Bill & LeyAnne Perkins Pat Perkinson Laura Walker & Vernon Back Mr. & Mrs. Hayes Gayle L. Phillips Marian Pettengill Mrs. Taylor L. Baker Mr. & Mrs. Eugene E. Henn Lois Pless Beverley & Bill Pitts Terry & Patricia Balko Dr. David K. & Clarice F. Hennon George & Christine Plews Barbara Poulsen Mr. Konrad Banaszak Dr. & Mrs. Stephen Henson Christine & Ken Price Sue & David Powers Linden & Allison Barber Mr. Ronald N. Hermeling Larry & Nancy Pugh Jeff & Clare Quinn Mr. Todd Barrett William & Patricia Hirsch Roger & Anna Radue Mr. Alan & Mrs. Deborah Rasper Ms. Susan Bates Mrs. Sue Hirschman Patricia L. Ragan Jean & Lamar Richcreek David Bellman & C. Jane Hodge Mr. & Mrs. Robert D. Ramsey III Mark & Susan Ridlen Ingrid Fischer-Bellman Ms. Ginny Hodowal & Scott A. Reef Mr. & Mrs. Randall Riggs Dr. & Mrs. H. W. Berner Mr. J. Douglas Madeley Bob & Carol Reynolds, Dr. Merrill Ritter Mr. Michael L Blankenship Jack & Ruth Hoover Barnes & Thornburg N. Clay & Amy McCorkey Robbins Mr. Robert L. Bly Clarena Huffington MaryAnn Ridder Joseph & Leanna Roberts Mrs. Sydney Jean Book Drs. Meredith & Kathleen Hull William R. & Gloria Riggs Mr. & Mrs. Byron Robinson Erv & Priscilla Boschmann Mr. & Mrs. Needham S. Hurst Mr. Larry Roan Dr. & Mrs. Randall G. Rowland Charles & Cary Boswell Krisztina & Ken Inskeep Peggy L. Robinson Col. & Mrs. Cecil Salter Ms. Marsha Bragg Mrs. Ninalou Isaacson Mrs. Richard H. Rowland Mr. & Mrs. David Sapp Douglas & Angela Braly Ethan & Joyce Jackson Dr. & Mrs. Andreas Sashegyi Roger & Barbara Schmenner Dr. Harry D. Brickley Larry & Marianne Jacobi Mr. & Mrs. Billy & Jerry & Rosie Semler Matt & Janette Brown Patrick & Barbara James Kimberly Schaming Carson Shadowen Terri Bruksch Mr. & Mrs. David Jensen Anne & Rod Scheele Michael & Priscilla Shaw Lorene M. Burkhart Sue Johnson Ms. Silvana Schuster Nancy C. & James W. Smith Celeste & Derrick Burks Dr. & Mrs. Charles E. Jordan John Seest The Sneed Family Mr. & Mrs. E. M. Cavalier Mike & Linda Jordan Dr. & Mrs. William Segar Steven A. Spaulding & Casey Chell & Daniel Duarte Terry Kahn Evan & Samantha Shinbaum Jennifer C. Hendrian Ray & Lisa Childers Freddie & Anne Kelvin Donald L. & Deborah Farmer Smith

72 ANNUAL FUND

Lyman A & Corbalou A. Snyder Anonymous Mr. & Mrs. Frank Delisle Saundra & Tuck Schulhof Family Fund/Johnson County The Ruth E. Stilwell Endowment Col. Frank T. Dillard, Sr. The Nathaniel Shobe Family Community Foundation Fund, a fund of CICF Daniel & Virginia Dolezal Dr. & Mrs. Robert K. Silbert Mary Solada The Dr. Lawrence M. and Eldoris J. Jack & Connie Douglas Linda Sturges Christy & Jeffery Soldatis Borst Family Fund of the CICF Nola Gentry & Ned Derhammer Greg & Linda Sykes Mr. & Mrs. Richard Spaulding Cavalier Family Foundation Brian & Claudia Grant Mrs. Maggie Tatter Dale & Kathy St. Louis Gracia E. Johnson Foundation The Greenfield Family Rachel Tomasik Betty & Alan Stanford Gregory & Appel Insurance John & Mary Ann Grogan Ms. Jane Tomlin John & Barb Stang Stagehands, I.A.T.S.E. Local #30 Susan C. Guba Lance & Laura Trexler Betty Stilwell Marni McKinney Foundation Mr. & Mrs. Thomas G. Harvey Jr. Mr. Charles Warren Mr. Eric Bretzman & Monarch Beverage Company Mary Hauser Paul & Gretchen Watson Dr. Shelley Stiner The Blake Lee & Carolyn Lytle Mr. & Mrs. Jerome T. Henning Mr. & Mrs. Dale Weiler Mr. Bill & Mrs. Linda Strickland Neubauer CharFnd,a fund of the Hannah & Ben Huddleston Ray & Lucinda Wilson Nela Swinehart & Lonn Bayha Legacy Fund Patrick F. Jessee Thomas & Elizabeth Wright Gene & Rosie Tanner Ricker Oil Company, Inc Walter G. Justus Teresa P. Youngen M. C. Tanner RSE Realty, Inc Mr. Richard & Mrs. Gwen Knipstein Richard E. Ziegler Kirk & Jo Taylor Taylar Development Craig & Kathy Leafgreen Phillip A. Terry Dr. Erik L. Lindseth The Throm Family Virtuoso Reverend Doctor Joan B. Malick Circle City Athletics, Inc Douglas L. Tillman ($750-$999) John & Kay Mastarone F.A. Wilhelm Construction Co. John & Judy Tomke Anonymous (4) Dennis & Anne McCafferty Hendricks County Community Kenneth L. Turchi Dr. & Mrs. Bill Allen Dan McKinney Foundation Jim & Leah Turner Mr. Wilbur L. Appel, Jr. Mrs. Sandy McLean James O. & Alice F. Cole Foundation Lawrence & Bernice Ulrich Dale & Barb Benson Mr. & Mrs. Robert Medsker Gareth M Vaughn John & Reita Bertsch Ms. Kathleen Munsch Contributed Goods & Services Mark Wagner Justin Bird Dr. John A. & Cinda Overman ($5,000 and Above) Mrs. Phyllis West Mr. & Mrs. Borissov Sally & Jay Peacock Thomas N. Akins L. Alan & Elizabeth Whaley Stephanie Boughton Anne K. Perry & Marvin C. Perry, II Barefoot Wine Meg Williams Christine & Robert Broughton Michael Pettry & John Mainella Blue & Co., LLC Mr. & Mrs. Meredith L. Wilson Randall Trowbridge & Alice Brown Dr. & Mrs. David Porter DCG: Digital Color Graphics Doug & Jayne Ann Wilson Sandra L. Burns Charlie, Zoey & Luci Roth Enflora Flowers for Business Mr. & Mrs. Robert Witt John & Janeen Burrows Brian & Sabine Quick The Indy Star Turner & Diann Woodard Catherine Clements & Jay Barbus Mr. Bernard Reed Kinetico Quality Water Systems Mrs. Irene Yacko Kevin Clements Edward & Janet Ryan Printing Partners Mr. & Mrs. Tom Cooper Mr. Henry A. Ryan Second Helpings Audrey E. Corne RN, EdD Mr. & Mrs. Robert Rynard Mr. & Ms. Jian-Wen Tong Ken & Kitty Decker Mr. & Mrs. Jeffrey Schmahl

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 November 16, 2017, to January 17, 2018.

Honor Gifts In Honor of David Bellman & Ingrid Fischer Bellman In Honor of Richard & Bonnie Garrett Sandstrom-Ardery Family Martin Rice

In Honor of Greg Dugan and Hui Lin Chua In Honor of Yvonne Shaheen “The Iron Chefs” Mr. & Mrs. David G. Sease

In Honor of John and Ellen Fosnaught Mark & Kathy Acton

73 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 November 16, 2017, to January 17, 2018. Memorial Gifts In Memory of ISO Colleagues who In Memory of Dorothy Maschmeyer passed away in 2017 Gordon and Norma Hobbs Michael Borschel ISO Association South Group Virginia Merkel In Memory of Harry Bailey Bob & Nancy Schauer Mr. & Mrs. Robert Thomas Dr. Alan & Jennifer Schwartz In Memory of Ron Christen Martin West Marianne Christen In Memory of Michael B. and Illene K. Maurer In Memory of Raymond & Carol Edwards Thomas F. and Elizabeth W. O’Gara Walter T. Koenig In Memory of my dear friend, colleague, and violist In Memory of Mrs. Jack (Sarah) Goodman Marjorie Rupp (a.k.a. “Marguerite Von Peterholst”) Anonymous Geoff Lapin In Memory of Terry Kelsey In Memory of Raiford C. Scott Mr. & Mrs. Floyd Hollandbeck Beverly and Sylvia Scott In Memory of Fran MacAllister In Memory of Mary E. Southwick Browning Investments Jerlyn S. Southwick Sheldon & Debbie Fox In Memory of Shirley Evans Tabachnick John Keeler & Carolyn Grant Dennis & Anne McCafferty In Memory of Gerald Thompson Dr. Jean Miller Thompson

International Violin Competition of Indianapolis 2017-2018 Laureate Series www.violin.org Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, Piano Jaime Laredo, Violin Tuesday, April 17, 2018 Sharon Robinson, Cello Hot Swing: An Evening of Gypsy Jazz Tessa Lark, 2014 Silver Medalist Tuesday, March 13, 2018, 7:30 PM Michael Thurber, Bass Indiana Landmarks Center Gabe Schnider and Grand Hall - 1201 Central Avenue Alex Wintz, Guitars Zwilich Pas de Trois Tuesday, May 15, 2018 Mendelssohn Trio No. 2 in C minor, Op. 66 Dami Kim, 2014 Laureate Beethoven Trio in B-flat major, Op. 97 Chih-Yi Chen, Piano “Archduke” $5 Student Tickets (March 13 only) Use Coupon Code KLR2018 (Must bring valid ID to concert) Tickets available at violin.org or (317) 637-4574

Proudly Sponsored by

74 CORPORATE SPONSORS

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

btlaw.com

75 WHY WE GIVE DAN & DORIS WEISMAN

Dan and Doris Weisman have been loyal donors and sub- scribers to the ISO for nearly thirty years. Although they are Lilly Classical Series subscribers, they occasionally attend Printing Partners Pops Series concerts and enjoy many dif- ferent kinds of music. They are wonderful ambassadors for the ISO and often invite others to join them at concerts.

Have you always lived in Indiana? Dan is a native Hoosier. He was born in Ft. Wayne and attended college in Ft. Wayne and IUPUI in Indianapolis. Doris was born in Pennsylvania and went to college in Pennsylvania and in Virginia before moving to Indianapolis to work for Eli Lilly & Company.

Did you ever play an instrument? If so, tell us about that experience. Dan played the clarinet in high school. Doris’ first instrument was the accordion, which she started playing in elementary school. She moved on to the French horn and played it in band, orchestra, and various chamber music groups throughout high school and college. The most fun were the brass ensembles and woodwind quintets.

Do you remember when you first heard classical music? Doris studied the Nutcracker Suite at length in second grade, since Doris’ teacher was a ded- icated viola player and loved classical music. Doris also remembers hearing lots of waltzes and light opera music at home.

What has been your favorite musical experience with the ISO so far? We were delighted with the “Bugs Bunny at the Symphony” concert, and also have really enjoyed the New Year’s Eve concerts featuring Strauss waltzes that reminded us of New Year’s Eve a la Viennese.

What would you tell someone who is considering becoming a subscriber to the ISO? We would tell them to not hesitate and go ahead and take the plunge. We would empha- size the ticket exchange policy for season subscribers that has allowed us to make changes when our schedules have changed.

Why is an orchestra important to a community? Good cultural resources such as an excellent orchestra are essential to creating the kind of environment that we want to live in. They also help to attract other like-minded people to join the community, further enhancing that environment.

What types of music do you enjoy besides classical? Both of us really love Celtic music. After Doris’ French horn days were over, she became a self-taught player of the hammered dulcimer.

What led you to donate to the ISO? Why is that important to you? We truly appreciate the wonderful treasure that Indianapolis has in its ISO musicians, and we want to see the Symphony continue to prosper and grow. It is with pleasure that we are able to contribute toward that goal.

76 HILBERT CIRCLE THEATRE INFORMATION

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

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

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

77 ADMINISTRATION

EXECUTIVE OFFICE Bennett Sanders, Graphic Designer Steve L. Hamilton, Interim Chief Executive Officer Kristin Cutler, Director of Communications Laura Irmer, Assistant to the CEO Jen Huber, Communications Content Manager Teresa Mazzini, Digital Marketing & OPERATIONS Communications Manager Danny Beckley, Vice President and General Manager Marianne Williams Tobias, Program Book Annotator David Armstrong, Director of Audience Services Amy Sheaffer, Director of Operations Patron Services Kalyn Smith, House Manager David Storms, Box Office Manager Donna Finney, Volunteer Services Manager Elizabeth Whipkey, Senior Customer Philomena Duffy, Manager of General Care Representative Operations & Facilities Anita Blackwell Frances Heavrin, Event Coordinator Erin Demo Roberto Tapia, Day Porter Erin Jeffrey Rodney Gray, Food & Beverage Manager Janine Knuutila Nick Neukom Orchestra Personnel McKenzie Witherell K. Blake Schlabach, Orchestra Personnel Manager Kim McManus L. Bennett Crantford, Assistant Personnel Manager Customer Care Representatives Bekki Witherell Quinn, Administrative Assistant LEARNING COMMUNITY Artistic Administration Beth Perdue Outland, Vice President, Community Katie McGuinness, Director of Artistic Planning Engagement & Strategic Innovation Hannah Reffett, Manager of Artistic Planning Endowed by Mr. and Mrs. William L. Fortune Ty A. Johnson, Senior Director, Pops Programming and Betty Perry, Metropolitan Youth Orchestra Founder and Presentations Artistic Director Emeritus, ISO Community Ambassador Brandy Rodgers, Senior Manager of Pops, Yuletide Ruth Wolff, Director, ISO Learning Community Celebration & Symphonic Pops Consortium Krystle Ford, Director, Metropolitan Youth Orchestra Mallory Essig, Manager of Guest Artist & Pops Coordination Perry A. Accetturo, Program and Communications Manager DEVELOPMENT Megan Masterman, Education Program Manager Casey Chell, Vice President of Development Andrea Fjelde, Learning Community Coordinator Brogan Drumm, Executive Assistant Rita Steinberg, Senior Major Gift Officer FINANCE Missy Eltz, Director of Development Operations Steve L. Hamilton, Vice President of Finance and Chief Meg Williams, Director of Development, Corporate and Financial Officer Foundation Giving Adam White, Controller Sally Meyer Chapman, Associate Director of Teaka Vest, Staff Accountant Foundation Giving Jennifer Morrell, Accounts Payable Coordinator Melissa Weseli, Associate Director of Corporate Giving Carol Ann Arnell, Special Events and Donor INFORMATION TECHNOLOGY Benefits Manager Dee Dee Fite, Director of Technology Allison Gehl, Gift Officer Molly Inglish, Manager of Patron Technology Tom McTamney, Gift Processing Associate Catherine Lockhart, Corporate Relations Associate HUMAN RESOURCES Tori Ramsay, Individual Giving Associate Larry R. Baysinger, Vice President of Human Resources Melissa Sanders, Human Resources Generalist & MARKETING & COMMUNICATIONS Wellness Advocate Sarah Myer, Vice President of Marketing Joshua Shuck, Director of Sales Mary Ferguson, Audience Development Manager Jennifer Welch, Art Director

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

78 IPLpower.com/safety

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

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

IPL. A current of safety.

This advertisement is paid for by IPL shareholders, not our customers. 79 Oxford proudly supports the Indianapolis Symphony Orchestra.

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

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