Audience | Louisville Orchestra | March 2022

MARCH 2022

MARCH 4, 5 FESTIVAL OF LATIN AMERICAN MUSIC 1 MARCH 11, 12 FESTIVAL OF LATIN AMERICAN MUSIC 2 MARCH 19 CLASSICAL MYSTERY TOUR

MARCH 2022

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Kentucky Performing Arts Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

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THEATRE INFORMATION The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater) 501 West Main Street; Brown Theatre, 315 W. Broadway; and Old Forester’s Paristown Hall, 724 Brent Street. Tickets: The Kentucky Center Box Office, 502.584.7777 or KentuckyPerformingArts.org.

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MESSAGE FROM THE LOUISVILLE ORCHESTRA Dear LO Family, Every season I look forward to our signature Festival of American Music — this is our annual celebration of the greatest American music by living composers and our nation's most innovative creators of the past.

Our multi-week festival experiences have produced some of our most memorable collaborations and have given the LO a platform for futuristic exploration of the orchestral art form. These concerts have garnered international recognition, and they are some of the most fun, gratifying performances that I’ve been fortunate to conduct.

This season we have something very special planned for our city: a variation on the Festival, this Festival of Latin American Music! The concept started with the extraordinary opportunity to commission a new work from Dafnis Prieto, a MacArthur Foundation “Genius” fellow and multi-Grammy winning Cuban composer and performer. He agreed to write a piece that redefines the concept of a “soloist” — in this case, we welcome the timba band People of Earth to Louisville to create a dynamic world premiere that blurs the lines of a salsa club and concert hall. With this commission confirmed, we recognized two additional elements: that Louisville has one of the largest Cuban populations in the United States, and that the Louisville Orchestra had a rich history of commissioning Latin American composers back in the early First Edition records era.

The result of this wonderful confluence of circumstances is a series of programs that feature the genius of today’s Latin American artists (including an additional commission from the brilliant Puerto Rican composer Angélica Negrón), works that the LO commissioned in the past from legends like Villa-Lobos, and American artists inspired by the visceral energy of Latin music (like Bernstein’s West Side Story and Copland’s El Salón Mexico).

One of the strongest powers of orchestral music is the ability to transcend time and place to bring you the world’s greatest cultural offerings, in all of their glorious, diverse beauty. Latin music is spectacular for its virtuosity, folk traditions, undeniable danceability, and boundless creativity; our Festival of Latin American Music will give us the chance to share and celebrate this special music with all of you. Thank you so much for being a part of this unique series of concerts.

Teddy Abrams Music Director 4

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A E M O BEC MBER ME Speed Members enjoy free admission, Members-only programming, discounts in the Museum store, and much more!

Join today! Visit speedmuseum.org/belong for details.

Photography: Josh Svoboda

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T E D D Y A B R A M S , M U S I C D I R E C TO R An unusually versatile musician, Teddy Abrams is the widelyacclaimed Music Director of the Louisville Orchestra. Now in his eighth season as Music Director, Teddy has fostered interdisciplinary collaborations with the Louisville Ballet and Speed Art Museum, and led Louisville’s cultural response to the pandemic with the Lift Up Lou initiative. Among other works, the 202122 season includes the world premieres of Teddy’s new piano concerto written for Yuja Wang and a concerto for timba band and orchestra composed by Grammyaward winner Dafnis Prieto. Teddy's rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an allstar cast that included Rhiannon Giddens and Jubilant Sykes, as well as Jecorey “1200” Arthur, with whom he started the Louisville Orchestra Rap School. Abrams’ work with the Louisville Orchestra has been profiled on CBS Sunday Morning, NPR, The Wall Street Journal, PBS’ Articulate, and the PBS NewsHour.

Teddy Abrams has been Music Director and Conductor of the Britt Festival Orchestra since 2013, where, in addition to an annual three-week festival of concerts, he has taken the orchestra across the region in the creation of new work—including Michael Gordon’s Natural History, which premiered on the edge of Crater Lake National Park in partnership with the National Parks Service, and was the subject of the PBS documentary Symphony for Nature; and Pulitzer Prize-winning-composer Caroline Shaw’s Brush, an experiential work written 6

and performed this past summer on the Jacksonville Woodlands Trail system.

Abrams collaborated with Jim James, vocalist and guitarist for My Morning Jacket, on the song cycle The Order of Nature, which they premiered with the Louisville Orchestra in 2018 and recorded on Decca Gold. They performed the work with the National Symphony Orchestra at the Kennedy Center in 2019.

Teddy Abrams records on Universal Music Group’s Decca Gold Label. In addition to The Order of Nature, Teddy and the Louisville Orchestra recorded All In in 2017 with vocalist Storm Large. Teddy’s most recent recording was an original track, “Fourth Mode,” as part of UMG’s World Sleep Day. Highlights of Teddy’s 2021-22 season include engagements with the Buffalo Philharmonic, Sarasota Orchestra, Pacific Symphony, and New World Symphony.

He appears as a featured speaker at the Rancho Mirage Writers Festival. As a guest conductor, Teddy has worked with such distinguished ensembles as the Los Angeles Philharmonic; the San Francisco, National, Houston, Indianapolis, Milwaukee, Vancouver, Colorado, Utah, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra.

Internationally, he has worked with the Royal Scottish National Orchestra, Orchestre Philharmonique du Luxembourg, and the Malaysian Philharmonic. He served as Assistant Conductor of the Detroit Symphony from 2012-2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony.

An accomplished pianist and clarinetist, Abrams has appeared as a soloist with a

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B O B B E R N H A R D T, P R I N C I PA L P O P S C O N D U C TO R This season we celebrate the 40 seasons that Bob Bernhardt has been a constant presence with the Louisville Orchestra.

Starting in 1981 as Assistant Conductor, then as Associate Conductor at the LO, then as Principal Guest Conductor of Kentucky Opera, and now in his 24th season as Principal Pops Conductor, he continues to bring his unique combination of easy style, infectious enthusiasm, and wonderful musicianship to the city and orchestra he loves.

Bernhardt is concurrently in his sixth season as Principal Pops Conductor of the Grand Rapids Symphony in Michigan, and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and is now in his 28th year with the company.

He is also, since 2012, an Artist-in-Residence at Lee University in Cleveland, Tennessee.

Previously, he was Music Director and conductor of the Amarillo Symphony, the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic.

In the past decade, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, New Jersey Symphony, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, Fort Worth Symphony and Santa Barbara Symphony, all of which were rewarded with return engagements.

He has a continuing fourteen-year relationship with the Edmonton Symphony, conducting there several times each season, and as Festival Conductor for their Labor Day festival, Symphony Under the Sky. He made his debut with the Boston Pops in 1992 at the invitation of John Williams and has been a frequent guest there ever since.

Recently, he returned to the podiums in Vail, Boston, Nashville, Detroit, Edmonton, Florida, Grand Rapids, Las Vegas, Baltimore, Santa Barbara, Portland (ME), Louisiana, and Rochester, and made his debut with the Utah Symphony, Portland Symphony (OR), Calgary Philharmonic, and the National Arts Centre Orchestra in Ottawa.

His professional opera career began with the Birmingham Civic Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons, and with his own company in Chattanooga, where he conducted dozens of fully staged productions in a genre he adores.

Born in Rochester, New York, he holds a master’s degree from the University of Southern California’s School of Music where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York, where he was an Academic All-American baseball player. (While not all the research is in, Bernhardt believes that he is the only conductor in the history of music to be invited to spring training with the Kansas City Royals. After four days, they suggested to him a life in music.)

His children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Signal Mountain, Tennessee.

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THE LOUISVILLE ORCHESTRA, 2021-2022 Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster Julia Noone, Associate Concertmaster Katheryn S. Ohkubo Heather Thomas Mrs. John H. Clay Chair

VIOLA

Jack Griffin, Principal Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair

Clara Markham Mr.† and Mrs. Charles W. Hebel, Jr. Chair

Stephen Taylor Scott Staidle Nancy Staidle Patricia Fong-Edwards Chelsea Sharpe, Interim

Jennifer Shackleton Jonathan Mueller

SECOND VIOLIN

Meghan Casper

Julia Cash, Interim Principal

LG&E-KU Foundation Chair

Kimberly Tichenor, Assistant Principal Maria Semes* Mary Catherine Klan Chair

Christopher Robinson, Interim Andrea Daigle Cynthia Burton Charles Brestel James McFaddenTalbot Judy Pease Wilson Blaise Poth

Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor

CELLO

Nicholas Finch, Principal Jim & Marianne Welch Chair

Lillian Pettitt, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Christina Hinton James B. Smith Chair Endowed by Susannah S. Onwood

Allison Olsen Lindy Tsai Julia Preston

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Donald Gottlieb

PICCOLO

Donald Gottlieb Alvis R. Hambrick Chair

OBOE

Alexandr Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra

Trevor Johnson, Assistant Principal Jennifer Potochnic ‡

ENGLISH HORN Trevor Johnson

Philip M. Lanier Chair

CLARINET

Andrea Levine, Principal Brown-Forman Corp.

Chair

Robert Walker Kate H. and Julian P. Van Winkle, Jr. Chair

Ernest Gross

BASS CLARINET

BASS

Brian Thacker, Interim Principal Open Robert Docs Karl Olsen, Acting Assistant Principal

Ernest Gross

BASSOON

Matthew Karr, Principal Paul D. McDowell Chair

Francisco Joubert Bernard

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

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HORN

Jon Gustely, Principal Edith S. & Barry Bingham, Jr. Chair

Diana Wade Morgen Gary † and Sue Russell Chair

Brooke Ten Napel, Interim Assistant Principal/Third Horn Stephen Causey

TRUMPET Alexander Schwarz, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

Stacy Simpson ‡ James Recktenwald

TROMBONE

Donna Parkes, Principal* Brett Shuster, Interim Principal Nathan Siler ‡

BASS TROMBONE J. Bryan Heath

TUBA

Andrew Doub, Principal

TIMPANI

James Rago, Principal Mr. and Mrs.† Warwick Dudley Musson Principal Timpani Chair

PERCUSSION

John Pedroja, Principal

HARP

Open, Principal * On leave ‡ Denotes Auxiliary Musician † Deceased

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

COFFEE SERIES SPONSOR

COFFEE SERIES

FESTIVAL OF LATIN AMERICAN MUSIC 1 Friday, March 4, 2022 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor People of Earth Ivan Llanes, Ashira Mothersil, vocals | Raul Rios, vocals + trumpet Rachel Therrien, trumpet | Malec Heermans, trombone Ahmed Alon, piano + back up vocals | Ian Stewart, bass Keisel Jimenez Leyva, Victor Pablo, Gabriel Globus-Hoenich, percussion Heitor VILLA-LOBOS Dafnis PRIETO Angélica NEGRÓN Leonard BERNSTEIN

Concert Sponsor:

Alvorada na floresta tropical (“Dawn in a Tropical Forest”) (9 min.)

Tentación (“Temptation”) (20 min.) (WORLD PREMIERE) People of Earth Fractal Isles (10 min.) (WORLD PREMIERE) Symphonic Dances from West Side Story (24 min.)

I. Prologue II. Somewhere III. Scherzo IV. Mambo V. Cha Cha VI. Meeting Scene VII. Cool Fugue VIII. Rumble IX. Finale

The LO commission of Dafnis Prieto's piece is sponsored by:

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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F E AT U R E D M U S I C I A N S

PEOPLE OF EARTH People of Earth is a global music collective set on blurring the barriers between the great art forms of the terrestrial sphere, creating an explosive blend of the music of Cuba, Puerto Rico, Brazil, and beyond. The world-class musicians who make up this collective represent more than eight different nationalities and have played with a vast range of artists from Gloria Estefan and Ruben Blades to the New York Philharmonic and more.

People of Earth has performed at such venues as Brooklyn Bowl, Penn’s Landing, The Bitter End, The Highline Ballroom, Drom, SOB’s, and Rockwood Music Hall in NYC. They also performed as headliners for Philadelphia’s SugarCane Festival and at the legendary Painted

Bride and were recently featured on Latin music channel Congahead Studios.

In addition to being a powerhouse performing group, People of Earth is devoted to education, and its members are veteran teaching artists who have led workshops at such venues as The Kimmel Center, Carnegie Hall, Philadelphia Orchestra, Detroit Symphony, and many more. The band has presented children’s concerts for The Mann Center, 92nd Street Y, and Afro Latin Jazz Alliance.

The members of People on Earth are committed to using music as a vehicle for social change, and through sharing their passion for warm-blooded groove music hope to facilitate dialogue, create cultural connections, and spread joy ultimately making the world a better place.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

CLASSICS SERIES SPONSOR

LO CLASSICS

FESTIVAL OF LATIN AMERICAN MUSIC 1 Saturday, March 5, 2022 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor People of Earth Ivan Llanes, Ashira Mothersil, vocals | Raul Rios, vocals + trumpet Rachel Therrien, trumpet | Malec Heermans, trombone Ahmed Alon, piano + back up vocals | Ian Stewart, bass Keisel Jimenez Leyva, Victor Pablo, Gabriel Globus-Hoenich, percussion Heitor VILLA-LOBOS Dafnis PRIETO

Alvorada na floresta tropical (“Dawn in a Tropical Forest”) (9 min.)

Tentación (“Temptation”) (20 min.) (WORLD PREMIERE) People of Earth

INTERMISSION Angélica NEGRÓN Leonard BERNSTEIN

Concert Sponsor:

Fractal Isles (10 min.) (WORLD PREMIERE) Symphonic Dances from West Side Story (24 min.)

I. Prologue II. Somewhere III. Scherzo IV. Mambo V. Cha Cha VI. Meeting Scene VII. Cool Fugue VIII. Rumble IX. Finale

The LO commission of Dafnis Prieto's piece is sponsored by:

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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P R O G R A M N OT E S FESTIVAL OF LATIN AMERICAN MUSIC 1 March 4 and 5, 2022

by Laurie Shulman ©2022 | First North American Serial Rights Only

ONE-MINUTE NOTES Brazil’s most celebrated composer, Heitor Villa-Lobos, composed alvorada na floresta tropical [“Dawn in a Tropical Rainforest”] in 1953 for the Louisville Orchestra. Though much of his formal musical education took place in Paris, Villa-Lobos always asserted that he had learned music "from a bird in the jungles of Brazil, not from academics."

At the time of Alvorada’s premiere, he wrote: “A dawn, in any tropical forest of Brazil, is for me an overture of colors accompanied by the magic singing and chirping of the tropical birds, and also by howls, squeals, evocations and the exotic and barbaric dances of the native Indians... The themes of this work are original and they are treated in the scales of certain Brazilian Indians."

Cuban-American Dafnis Prieto has a multifaceted career as drummer, composer, band leader, and educator. This weekend we experience his latest work, Tentación, a multi-media piece for singer-dancers, percussion, several jazz instruments, piano, and orchestral strings. Prieto has written: Tentación is a love story, or better said an imaginary love story driven by the powerful law of attraction. The seductive quality that makes us dream for a better and happy future inside and around ourselves, diving into a vast range of feelings and emotions. This story involves many sides of an imaginary ‘but at the same time’ real relationship, the sweet, the bitter, the similarities, the differences, the conversations, the advices, the challenges, the suggestions, the ups, and downs. It involves real senses caused by the imaginary state of willing, of dreaming, and desire. The music reflects in sounds and lyrics two words – real and imaginary – i.e. the real, provoked by the imaginary state.

Angélica Negrón has carved a unique niche for herself in new music. Classically trained as a violinist, she now performs as a singer and accordionist with Balún, an electro-acoustic pop band. Her latest work, Fractal Isles, is a Louisville Orchestra commission. It combines electronica and bird callers in addition to full orchestra. Collectively, they create a vivid minimalist shimmer reflecting on themes of exoticism, invasion, and the construction of otherness. Her composer’s note states: Fractal Isles is meant to be seen and heard in saturated colored pieces of glass, enclosed in a tube and through a prismatic lens that repeats its inflection, looking back at itself and inevitably getting lost from the outside in the fantasy of what’s inside.

A 20th-century musical icon, Leonard Bernstein rocketed to international acclaim in November 1943 when, at the last minute, he took over the podium of the New York Philharmonic for an ailing Bruno Walter. Bernstein was already establishing a reputation as a noteworthy composer of both classical and popular stage works. His greatest stage success was West Side Story (1957), a modern interpretation of the Romeo and Juliet story set in the barrios of New York. Bernstein crafted his Symphonic Dances from West Side Story the same year, seamlessly navigating the musical’s instrumental segments. Latin rhythms connect this score to the dance, punctuated by an expanded percussion section. Both American and Puerto Rican, Bernstein’s Symphonic Dances plant a New World persona on a European form. Sixty-five years after West Side Story opened, this music still thrills listeners.

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P R O G R A M N OT E S ALVORADA NA FLORESTA TROPICAL [“DAWN IN A TROPICAL RAINFOREST”] HEITOR VILLA-LOBOS (1887-1959) For the last 30 years of his life, Heitor Villa-Lobos was not only Brazil’s most celebrated musician, but also the best known Latin American composer.

His colorful compositions weathered the musical and critical tempests of the late 20th century. He remains highly thought of, and his works continue to be performed regularly. Villa-Lobos was based in Paris from 1923 to 1930, where he enjoyed great success and absorbed the dizzying cultural atmosphere of this rich time in the French capital.

He was stubborn in his loyalty to his native Brazil, however, asserting that he had learned music "from a bird in the jungles of Brazil, not from academics."

After the Paris sojourn, he was based primarily in Rio de Janeiro for the rest of his life, though he continued to travel.

As one would expect, the folk tunes and indigenous instruments of Brazil left a strong imprint on Villa-Lobos's music, as did the wild natural beauty of his homeland. After the early 1920s, nearly all his works had specifically Brazilian characteristics. Alvorada na Floresta Tropical is representative: an evocative tone poem inspired by the lush beauty of the Amazon rainforest. It was the second of two symphonic poems commissioned by the Louisville Orchestra. (The first was Eros o – ‘Erosion: The Origin of the Amazon River,’ in 1950.) At the time of the premiere, the composer wrote: 14

A dawn, in any tropical forest of Brazil, is for me an overture of colors accompanied by the magic singing and chirping of the tropical birds, and also by howls, squeals, evocations and the exotic and barbaric dances of the native Indians... The themes of this work are original and they are treated in the scales of certain Brazilian Indians.

The piece bursts with orchestral color.

Over the course of eight minutes, Villa-Lobos reveals the jungle in all its vibrant glory. With the rising sun, the rainforest comes alive as its ecosystem awakens. We hear the sounds of birds, brush animals, flowing streams, wind in trees, and the occasional rumble of thunder. On one level the movement is a gradual crescendo, but with multiple detours along the way. One has the feeling of an observant cinematographer zeroing in on a riot of details, exploring roots and vines, the play of increasing sunlight through dense foliage, while retaining a perspective on the vast Amazonian expanse.

TENTACIÓN: CONCERTO FOR PEOPLE OF EARTH AND STRING ORCHESTRA DAFNIS PRIETO (B. 1974) WORLD PREMIERE Boasting a MacArthur Fellowship, a Grammy-winning recording, and several other Latin Grammy nominations, Dafnis Prieto has an impressive resume.

He studied percussion and guitar as a boy, pursuing formal study at Havana’s National School of Music before

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P R O G R A M N OT E S relocating to New York City in 1999.

Initially focused on Afro-Cuban music and the Western classical tradition, Prieto found himself increasingly attracted to jazz. Since the early 2000s, he has won various commissions and composition grants. He has also worked with jazz luminaries Henry Threadgill, Steve Coleman, Andrew Hill, Eddie Palmieri, Dave Samuels, Michel Camino, and Chucho Valdés, among others.

Prieto taught at NYU from 2005 to 2015, before accepting a position at the Frost School of Music at University of Miami.

Tentación is a multi-media work that involves singers, dancers, and audience participation as well as conventional instruments. Prieto traverses a variety of musical styles including the Cuban Danzón, Guanguancó Afro-Cuban drumming, salsa, mambo, rap, and improvisation. It consists of a single extended movement whose individual episodes – some dances, some songs or choruses, some improvised segments – proceed without pause.

With respect to Tentación’s title and subject matter, Prieto has written: Tentación is a love story, or – better said – an imaginary love story driven by the powerful law of attraction. The seductive quality that makes us dream for a better and happy future inside and around ourselves, diving into a vast range of feelings and emotions. This story involves many sides of an imaginary, but at the same time, real relationship: the sweet, the bitter, the similarities, the differences, the conversations, the advice, the challenges, the suggestions, the ups and downs. It involves real senses caused by the imaginary state of willing, of

dreaming and desire. The music reflects in sounds and lyrics the two words – real and imaginary – i.e., the real provoked by the imaginary state.

Tentación is also a celebration of life, exploring the joy of attraction in a broader sense. “It’s about the will to connect and love one another in our shared humanity,” he says, “a more philosophical, intellectual reality.”

Prieto wrote both text and music for Tentación. His lyrics shift between English and Spanish, in order to connect with broader audiences.

FRACTAL ISLES (2021) ANGÉLICA NEGRÓN (B. 1981) WORLD PREMIERE In the world of new music, Angélica Negrón does not fit into any cookie-cutter category. Though she received classical instruction in violin at the Conservatory of Music of Puerto Rico, she performs most frequently as singer and accordionist with the indie band Balún, which she co-founded.

Not content with the spectrum of sounds available from conventional string, wind, brass, and percussion instruments, she employs toys, plants, the crumpling or tearing of newspaper, bubble wrap, pre-recorded natural sounds, and other electronica to fulfill her compositional goals.

Negrón holds a master’s degree in composition from NYU and is a doctoral candidate at City University of New York, where her principal composition teacher has been Tania León. (She also

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P R O G R A M N OT E S acknowledges Alfonso Fuentes, her teacher at the Conservatory in Puerto Rico, as a seminal influence.) An active educator, she teaches for the New York Philharmonic’s Very Young Composer’s program. She also co-founded Acopladitos, a Spanish immersion music program for young children, with Noraliz Ruiz. Negrón’s catalogue of works includes film scores for features and documentaries, music for dance and theater, as well as orchestral, choral, chamber works, and songs. She has also written electro-acoustic works that combine traditional instruments with pre-recorded material.

Currently the composer-in-residence for the Dallas Symphony, Negrón is busy with a wide variety of compositions.

In 2020 she completed En otra noche, en otro mundo, a co-commission from the Dallas Symphony and the National Symphony Orchestra, and Marejada for the Kronos Quartet. She is currently working on new pieces for the Seattle Symphony, Los Angeles Philharmonic, New York Philharmonic’s Project 19, and another work for Sō Percussion along with the Kronos Quartet. We can expect to be hearing a lot from this young woman.

Fractal Isles, her recently completed commission for the Louisville Orchestra, is a paean to her homeland – and a social commentary on mainstream America’s idealized view of Puerto Rican culture. Her composer’s note explains.

KOSAIR.ORG/FACEIT

IF WE FACE IT, WE CAN END IT.

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P R O G R A M N OT E S Fractal Isles reflects on themes of exoticism, invasion, and the construction of otherness as connected to Caribbean fantasies of an idealized paradise that performs for others. The piece seeks to embody through sound the tourist gaze and evoke natural landscapes, culture, and people in an artificial way that feels detached from the everyday experience of the people that live there.

The piece includes field recordings from Puerto Rico’s tropical rainforest El Yunque, which is one of the most visited destinations on the island, highlighting the sounds of nighttime creatures, including the coqui, which is a small singing frog native to the island and one of its most important symbols of national identity.

Fractal Isles is meant to be seen and heard in saturated colored pieces of glass, enclosed in a tube and through a prismatic lens that repeats its reflection, looking back at itself and inevitably getting lost from the outside in the fantasy of what’s inside.– A. N. Negrón’s atmospheric writing plunges us into the exotic beauty of Puerto Rico’s rainforest. Her interpretive instruction in the music is “…dreamlike, prismatic, etc.” The natural world comes alive with layers of repetitive sound that grow increasingly complex as she introduces pre-recorded tracks; the electronica continues throughout the piece. The effect is hypnotic and magical, somehow achieving a meditative state simultaneously with one of expectancy and apprehension. This is music that draws you in from the start and deepens its hold as it progresses.

SYMPHONIC DANCES FROM WEST SIDE STORY LEONARD BERNSTEIN (1918-1990) More than sixty years after its premiere, West Side Story is an established American classic. Most of us can easily recall not only tunes but also lyrics to many of its songs. "Tonight," "Maria," "Somewhere," "America" – all of the testimony to the enduring appeal of Arthur Laurents's book, Stephen Sondheim's lyrics, and perhaps most of all, Leonard Bernstein's music.

Dancer and choreographer Jerome Robbins provided the germ for the idea that developed into West Side Story.

As early as 1949, he approached Bernstein about adapting Shakespeare’s Romeo and Juliet tragedy to a modern setting. Before its eventual crystallization almost eight years later, the project underwent many changes – in geographic locale, the nature of the feud, the particulars of the plot.

Dance was a constant through all these metamorphoses. Ballet and its contemporary sisters, modern dance and jazz dance, provided much of the emulsifier for the unlikely ingredients of Broadway musical theatre, mime, Shakespearean-derived drama and traditional opera, all of which comprise significant elements in West Side Story.

The musical opens with a Prologue that is half-danced, half-mimed, thus setting the stage for a performance where music and dance tell as much of the tale as do

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P R O G R A M N OT E S

"Bernstein's vivid music captures the atmosphere of the sleazy high school gym, the sweet oblivion of the lovers' first meeting, the raw danger of the rumble, the surging violence of passion and hatred that course through the story, lending the music immediacy and drama without the costumes and scenery."

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The KY Lottery has raised over $4 BILLION for college scholarships and grants.

words. Each movement of the Symphonic Dances functions as an independent danced number in Bernstein's original score. Unlike some instrumental suites that quote sung melodies from an opera or show in an orchestral version, Bernstein's concept was wordless to begin with, focusing on the primal energy of Robbins's choreographed episodes.

Not surprisingly, this results in a score charged with vibrant rhythm and a panorama of instrumental color as varied as the teeming streets of New York City where the story takes place.

Bernstein's vivid music captures the atmosphere of the sleazy high school gym, the sweet oblivion of the lovers' first meeting, the raw danger of the rumble, the surging violence of passion and hatred that course through the story, lending the music immediacy and drama without the costumes and scenery.

To learn more visit: KYLottery.com 18

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

COFFEE SERIES SPONSOR

COFFEE SERIES

FESTIVAL OF LATIN AMERICAN MUSIC 2 Friday, March 11, 2022 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor

Aaron COPLAND

El Salón México (11 min.)

Gabriela Lena FRANK

Concertino Cusqueño (11 min.)

José Pablo MONCAYO

Cumbres (11 min.)

Clarice ASSAD

Nhanderú (8 min.)

Arturo MÁRQUEZ George GERSHWIN

Danzón No. 2 (10 min.)

Cuban Overture (10 min.)

Concert Sponsor:

Additional support from the Arthur H. Keeney Opthalmic Fund in memory of Arthur H. Keeney, M.D. and Virginia T. Keeney, M.D.

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

CLASSICS SERIES SPONSOR

LO CLASSICS

FESTIVAL OF LATIN AMERICAN MUSIC 2 Saturday, March 12, 2022 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor

Aaron COPLAND

El Salón México (11 min.)

Gabriela Lena FRANK

Concertino Cusqueño (11 min.)

José Pablo MONCAYO

Cumbres (11 min.)

Arturo MÁRQUEZ

Danzón No. 2 (10 min.)

INTERMISSION Daniel CATÁN

Suite from Florencia en el Amazonas (“Florencia in the Amazon”) (28 min.)

I. II. III. IV. V. VI.

George GERSHWIN

En el muelle (“On the Pier”) Arcadio La tormenta (“The Storm”) Amanecer (“Sunrise”) Paula Aria final de Florencia (“Florencia’s Farewell”)

Cuban Overture (10 min.)

Concert Sponsor:

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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P R O G R A M N OT E S FESTIVAL OF LATIN AMERICAN MUSIC 2 March 11 and 12, 2022

by Laurie Shulman ©2022 | First North American Serial Rights Only

ONE-MINUTE NOTES During a 1932 trip to Mexico, Aaron Copland visited a popular dance hall in Mexico City called El Salón México.

Fascinated by watching the locals and listening to the band, he sought out collections of Mexican folk music, adapting their tunes into a colorful orchestral score. Alive with the stomping rhythms and brilliant colors that inspired him, El Salón México has become a popular curtain raiser.

Clarice Assad is the scion of a prominent musical family in Brazil. Her compositions reflect Brazillian heritage, jazz, and other world music. Nhanderu takes its title from an indigenous language of the Amazon basin. The piece is a narrative of a ritual rain dance, creating a parallel between the invocation of water and the cycle of life.

Gabriela Lena Frank is a one-woman cultural melting pot who has frequently drawn on her part-Peruvian heritage for musical inspiration. Her Concertino Cusqueño combines a Peruvian melody with a fragment from Benjamin Britten's Violin Concerto.

Danzón is a popular Cuban dance of 19th-century origin. For Danzón No.2, Arturo Márquez was inspired by friends who are professional ballroom dancers.

Popular Mexican tunes and catchy rhythms course through this music, which is Márquez’s nostalgic salute to a genre still treasured by the older generation.

The Louisville Orchestra commissioned Mexico’s José Pablo Moncayo to write Cumbres in 1953. The title, which means “Summits,” suggests the views from a Mexican mountaintop: a panoramic vista of Mexican landscape and culture. Moncayo’s score captures the character and jagged pulse of Mexican folk music, adapted to a traditional symphony orchestra.

The effect is upbeat and electrifying.

Daniel Catán’s opera Florencia en el Amazonas has the distinction of being the first opera in Spanish commissioned by a major American company. Featuring a libretto inspired by the revered Latin-American author, Gabriel Garcia Marquez, the work premiered in October 1996.

Portraying the story of Florencia Grimaldi, a glamorous diva who travels the Amazon in search of a long-lost lover, the lush and romantic music and orchestration of the opera are key to the growing popularity of the work.

George Gershwin's Cuban Overture is a sassy foot-tapping score. He had vacationed in 1930s Havana with a group of high-rolling friends. Decades before Fidel Castro took over, the Cuban capital was a vibrant party city. Known as “the Paris of the Caribbean,” Havana was extremely popular with Americans during Prohibition. In this irresistible overture, Gershwin captured the glamour and excitement of Old Cuba.

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P R O G R A M N OT E S EL SALÓN MÉXICO

citizens would understand it. In a score published in 1939, he observed:

AARON COPLAND (1900-1990)

No doubt I realized even then that it would be foolish to attempt to translate into musical sounds the more profound side of Mexico: the Mexico of the ancient civilizations or the revolutionary Mexico of today. In order to be able to do that, one must really know the country.

All that I could hope to do was to reflect the Mexico of the tourists; because in that ‘hot spot’ one felt, in a very natural and unaffected way, a close contact with the Mexican people. It wasn’t the music that I heard, but the spirit that I felt there, which attracted me.

In 1932, during the height of the Great Depression, Aaron Copland traveled to Mexico at the invitation of the Mexican composer Carlos Chávez. Although he was staying in Tlaxcala, some 50 miles east of Mexico City, he visited the capital city regularly. Through a tourist guidebook, he learned of a dance hall called El Salón México that was patronized heavily by locals, many of whom danced barefoot.

Copland and his companion, Victor Kraft, visited the place and got caught up in the bright colors, swirling and stomping people, and vibrant music. They remained until the wee hours, closing it down at five o’clock the next morning.

Entranced by the driving rhythms and catchy melodies of indigenous Mexican folk tunes he heard at El Salón México, Copland was determined to capture their magic in an original orchestral composition. His goal was to write a brilliant symphonic piece that everybody would love. For the raw material, he turned to two recently published collections of Mexican folk music: Cancionero Méxicano (1931), edited

by Frances Toor, and El Folk-Lore y la Música Méxicano (1928) edited by Ruben Campos. The resulting composition, also called El Salón México, became Copland’s first major popular and critical success, and remains one of his best-loved works.

Copland recognized the impossibility of capturing the essence of Mexico as its 22

The piece gestated for four years.

Copland completed it in 1936, coincidentally the year of the Roosevelt administration’s Good Neighbor Policy.

The honor of presenting the premiere went to Copland’s friend Carlos Chavez, who conducted the first performances at Mexico City’s Palacio de Bellas Artes in August 1937. Critics were enthusiastic, noting that the piece had folk influences but was not dependent on European models. In that respect, El Salón México was a breakthrough toward the development of specifically American music. No less a listener than Benjamin Britten deemed El Salón “really beautiful and exhilarating” when he heard it in 1938. Britten’s enthusiasm, and the work’s popular success, led to its publication by the British house of Boosey & Hawkes. That relationship developed into a permanent contract. The Russian-born American conductor Serge Koussevitzky became an important advocate of El Salón México.

His recording, and the U.S. premiere of the work, were important turning points

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P R O G R A M N OT E S in Copland’s career. A young Leonard Bernstein arranged it for solo piano, and eventually, the score was arranged by Johnny Green for the soundtrack of the 1947 film Fiesta.

Copland zeroes in on the alternation of 6/8 and 3/4 meter, a characteristic of the traditional Mexican huapango, adding additional rhythmic interest with the use of “La Jesusita,” a simple tune in 2/4.

The introduction derives from “El Palo Verde” [“The Green Stick”]; later the bass clarinet and bassoon deliver a rendition of “El Mosco” [“The Fly”]. Copland adjusted these and other melodies to suit his needs, sometimes shifting their rhythm as well. His sinuous cadenzas for trumpet and clarinet add color and sensuality, as does the sparkling percussion. El Salón México remains an audience favorite, and a perfect curtain raiser.

CONCERTINO CUSQUEÑO (2012) GABRIELA LENA FRANK (B. 1972) Berkeley, California is a celebrated melting pot of ideas, liberal thinking, cuisine, culture, and counterculture. Gabriela Lena Frank is a representative daughter of this highvoltage, the oversized personality of a university town. She was born in Berkeley to parents of astounding diversity. Her mother has mixed Peruvian, Spanish, and Chinese ancestry; her father came from Lithuanian Jewish stock. National identity has always been important to her when composing.

She cites Hungary’s Béla Bartók and Argentina’s Alberto Ginastera among her seminal influences.

Following Bartók’s example of using ethnomusicological research as a source of material, Frank has traveled throughout South America in search of folklore, folk poetry, and indigenous music, synthesizing these elements into her compositions. Peru figures prominently. Her works include many titles with Peruvian, Andean, and Inca connections.

Concertino Cusqueño clearly falls into this category; however, it has a quirky difference: Frank combines a quotation from the timpani part in Benjamin Britten’s Violin Concerto with a religious melody from Cusco [Cuzco], the capital of the ancient Inca empire in Peru; Cusqueño, the adjective, gives the piece its title. The concertino aspect manifests itself in the fashion of a concerto for orchestra, with abundant solos for the orchestra’s principal players. Frank’s composer’s note explains the commingling of these disparate elements: Concertino Cusqueño finds inspiration in two unlikely bedfellows: Peruvian culture and British composer Benjamin Britten. As a daughter of a Peruvian immigrant, I’ve long been fascinated by my multicultural heritage and have been blessed to find Western classical music to be a hospitable playpen for my wayward explorations. In doing so, I’ve looked to composers such as Alberto Ginastera from Argentina, Béla Bartók from Hungary, Chou Wen Chung from China, and my own teacher William Bolcom from the U.S. as heroes.

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P R O G R A M N OT E S To this list, I add Britten, who I admire inordinately. I know Britten would have been fascinated by the rich mythology enervating the literature and music of this small Andean nation, so deeply similar to the plots of his many operas, among other works.

the piccolo/bass clarinet duo and, yes, the timpanist). In this way, while imagining Britten in Cusco, I can also indulge in my own enjoyment of personalizing the symphonic sound by allowing individuals from the ensemble to shine.

— Gabriela Lena Frank

Concertino Cusqueño melds together two brief musical ideas: The first few notes of a religious tune, ‘Ccollanan María,’ from Cusco (the original capital of the Inca empire Tawantinsuyu, and a major tourist draw today) with the simple timpani motif from the opening bars of the first movement of Britten’s elegant Violin Concerto. I am able to spin an entire onemovement work from these two ideas, designating a prominent role to the fourstring principal players (with a bow to

Concerto Cusqueño was commissioned by the Philadelphia Orchestra in observance of Yannick Nézet-Seguin’s inaugural season as music director. He conducted the premiere in October 2012.

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CUMBRES [“SUMMITS”] (1953) JOSÉ PABLO MONCAYO (1912-1958) A protégé of Mexico’s most important composer, Carlos Chávez, José Pablo Moncayo García was one of a group of four young musicians who changed the face of Mexican music in the first half of the twentieth century.

Under Chávez, who organized and conducted Mexico’s Orquesta Sinfónica from 1928 to 1949, Moncayo served first as the orchestra’s pianist, then as its percussionist. Eventually he became its subdirector, succeeding Chávez as artistic director in 1949. By the early 1950s, he had also achieved a substantial reputation as a composer.

Moncayo was a staunch nationalist who relished incorporating indigenous tunes and percussive elements into his music.

He did so, however, with great respect for tradition; some have even called his music neoclassical. Cumbres adheres to Western tradition in its formal

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P R O G R A M N OT E S organization, essentially tripartite.

The opening section has two themes, the first overtly rhythmic, the second more melodic. Both sail forth at a brisk pace, with irrepressible energy.

The central section is slower and more lyrical, using the orchestra in ‘blocks’ of sound: a chorale for strings, answered by a phrase for woodwinds or brass. Its melodies and irregular rhythms are subtly intertwined with the opening section, despite the slower pace. Moncayo’s conclusion reprises the energetic opening themes, now with full orchestra. Moncayo captures the character and jagged pulse of Mexican folk music, working within the framework of a traditional symphony orchestra. The effect is upbeat and electrifying.

NHANDERÚ: OVERTURE FOR ORCHESTRA (2013) CLARICE ASSAD (B. 1978) Clarice Assad comes from a prominent musical family in Brazil. Her father Sergio Assad and uncle Odair Assad are a successful guitar duo; both of them also compose and arrange. Clarice’s aunt, Badi Assad, is a singer-songwriter. Clarice was born with a rare disorder that prevented her from studying instruments as a child; however, her voice was unaffected and she began singing professionally – TV and radio jingles – as a child. She also sang backup for popular Brazilian musicians.

In her teens, she was able to learn piano and discovered jazz. A period of

intense study followed as she immersed herself in piano. She also undertook the study of composition and arranging with renowned Brazilian musicians, including Leandro Braga. Assad lived in France for two years with her father and stepmother. After returning to Rio, she pursued her higher education, initially in marine biology. The pull of music was strong, however, and eventually, she moved to the USA to study film scoring at Boston’s Berklee College of Music.

Since the early 2000s, she has had an international career.

Her compositions include pieces for solo guitar, guitar duo, and guitar quartet; solo piano and a generous handful of chamber works, and fifteen orchestral pieces. Framed by its classical background, her music is suffused with Brazilian overtones, jazz, and other world music. Nhanderú, which was commissioned by the Albany Symphony, falls into the Brazilian category. Her composer’s note explains its connection to the culture of her homeland: Nhanderú [pronounced (/nyuh.dey.roo/] means “God” in Tupi-Guarani, which is a sub-family of the Tupian languages spoken by a group of indigenous peoples living in areas of the Amazon basin. Natives from Tupi-Guarani tribes, like many other societies, often practiced a ritual called rainmaking (or rain dance), which is intended to invoke rain through prayer.

During the ceremony, in addition to chanting, some instruments such as rattles of various sizes and types, flutes and drums, are used. Legend has it that the rain provoked by the ritual holds the spirits of ancient chiefs. When the water droplets begin to fall, it sets off a

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P R O G R A M N OT E S great battle between our reality and the spiritual world.

The composition Nhanderú bases itself on the connection between the material and the unseen worlds, with focus on ritualistic practices through faith, prayer and gratitude.

Programmatic in nature, the piece develops narratively, and is a musical portrait of a rain dance ritual from beginning to end. It is divided in four main parts. The beginning, (awakening), the development section (summoning/ rainfall/gratitude) and the coda, which is a return to the beginning, in a cyclical form, which creates a parity between water cycle and the cycle of life. To create a vivid listening experience, the score calls

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for vocalizing, finger snapping, clapping, body tapping, and percussion instruments that imitate sounds of nature.

Assad has a keen sense of color, painting the tropical rainscape with an expanded percussion section and multiple sounds from the musicians, especially the wind and brass players.

These imitate the sounds of nature, with careful distribution among the different orchestral sections to generate particular effects. The score includes instructions such as “snap your fingers rapidly and erratically, to simulate the sound of raindrops.” As listeners, we experience the density of the Amazonian jungle, with its riot of colors and textures.

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P R O G R A M N OT E S DANZÓN NO. 2 (1994) ARTURO MÁRQUEZ (B. 1950) Arturo Márquez represents contemporary Mexican music on this program.

He studied with many of Mexico's most important composers, including Joaquín Gutiérrez Heras, Hector Quintanar, Federico Ibarra, and Manuel Enríquez.

Like most of his countrymen interested in pursuing a career in music, Márquez sought to broaden his horizons with study in Europe — in his case, France — and in the United States. His early works reflect a keen interest in avant-garde techniques such as electronic music, which he studied with the American composer Morton Subotnick, and mixed media works.

In Márquez’s more recent compositions, however, he has embraced Mexican folklore and tradition, melding urban sophistication with an attractive, accessible approach. Nowhere is this more evident than in his series of eight works with the title Danzón. The term denotes a Cuban dance genre that became popular by the late 19th century and remained entrenched in Latin ballroom music through the mid-20th century.

The idea for this piece came to him while he was traveling to Malinalco with a painter, Andrés Fonseca, and a dancer, Irene Martínez. Both of them were experts in ballroom dancing and shared a special passion for the danzón.

In observing them and hearing the music to which they danced, Márquez acquired a taste for the old recordings of Acarina and his Danzonera. At the same time, he says that he was absorbing the rhythms, forms, and melodic twists of the danzón.

I discovered that the apparent lightness of the danzón hides a music full of sensuality and rigor, music that our old folks live with nostalgia and joy, a world that we can still grasp in the dance music of Veracruz and the dance halls of Mexico City. Danzón No. 2 is a tribute to this world that nurtured it. It tries to get as close as possible to the dance, to the nostalgic melodies, its rhythms... It is a personal way of expressing my admiration and feelings toward real popular music.

The piece was commissioned by the Music Department of Mexico's National University and is dedicated to the composer's daughter, Lily Márquez. It is approximately ten minutes long.

SUITE FROM FLORENCIA EN EL AMAZONAS DANIEL CATÁN (1949-2011) Composer Daniel Catán was born in Mexico City in 1949 and his pursuit of higher education took him to England where he studied philosophy and later music at the University of South Hampton. From there, he came to the United States to study with composer Milton Babbit at Princeton University. His first significant premiere was by the San Diego Opera in 1994 when La hija de Rappaccini (Rappaccini’s Daughter) became the first

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P R O G R A M N OT E S opera in Spanish by a Mexican composer to be produced by a major opera house in the United States. The success of Rappaccini’s Daughter launched Catán’s international career. His opera Florencia en el Amazonas (“Florencia in the Amazon”) was co-commissioned by the Houston Grand Opera and the Los Angeles Opera and had its premiere in 1996.

Known for his lush, romantic, and highly orchestrated style, Catán was remarkably well suited to create a musical setting to the “magical realism” found in the work of Colombian author Gabriel Garcia Márquez. Catán found an inspired collaborator in the multifaceted writer Marcela Fuentes-Berain.

Basing her libretto on characters inspired

by Márquez, Fuentes-Berain wrote a story of longing for lost loves, tragic adventures, and an ultimate fantasy ending. The opera follows a group of South Americans on a steamboat journey and the passengers include Florencia Grimaldi, a world-famous diva traveling in disguise. She is returning to her hometown to sing a concert but also to try to reconnect with the lover of her youth, a butterfly hunter who was lost in the jungle.

The orchestral suite from the opera brings images of flowing rivers, dramatic storms, and soaring love songs. The suite begins with the opening scene from the opera as the steamboat departs from the pier and draws from the highlights of the opera as the company travels the dramatic and beautiful river. In the end, the lovesick Florencia transforms into a butterfly to seek her beloved in the depths of the Amazon jungle.

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CUBAN OVERTURE GEORGE GERSHWIN (1898-1937) Anyone who has ever treasured the memory of a terrific vacation in a special place will enjoy the tale of Gershwin's Cuban Overture. In February 1932 Gershwin went to Havana with several friends for a holiday. The travelers included financier Everett Jacobs, an investor in Gershwin's musicals, broker Emil Mosbacher, department store magnate Adam Gimbel, author and publisher Bennett Cerf, and Daniel Silverberg. They planned to golf, gamble at the race track, and live the high nightlife Havana offered.

Gershwin was already famous, and word spread quickly that he was in town. Late one night, a 16-piece Cuban rhumba band materialized outside the Almendares Hotel to serenade him with local music. Awakened during the wee hours, the other hotel guests were not amused. Gershwin, however, was entranced. He loved the native percussion instruments and the compelling rhythms of Cuba's indigenous music.

Cuban Overture was the first major project he undertook upon his return to the States, drafting the score in July and orchestrating in August. Albert Coates conducted the premiere on 16 August, 1932 in New York's Lewisohn Stadium.

The original title, "Rumba," was changed to Cuban Overture for a November performance at the Metropolitan Opera House. Gershwin's original program note

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P R O G R A M N OT E S acknowledged the influence of his winter holiday in Havana, stating that he had sought to merge Cuban rhythms with his own themes. He called it "a symphonic overture which embodies the essence of Cuban dance."

He actually drew in a placement diagram in the score, specifying positioning of claves (Cuban hardwood sticks that are hit together), guïro (a serrated gourd that is scraped with a stick), bongos, and maracas.

Musically speaking, Cuban Overture is among Gershwin's more intellectual compositions in the sense that its textures are complex and he uses sophisticated contrapuntal techniques.

The Overture’s irresistible rhythmic sway will have you twitching in your seat. Gershwin intended for the Cuban percussion instruments to be situated directly in front of the conductor.

A clarinet cadenza forms the bridge to Cuban Overture's lyrical middle section, which also includes brief, languorous solos for oboe, English horn, flute, and French horn. After a reprise of the syncopated opening music, Gershwin draws on virtuoso work from the percussion section to bring the overture to a climactic close.

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RESERVE NOW

25 FLOORS ABOVE DOWNTOWN LOUISVILLE 30

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

CLASSICAL MYSTERY TOUR Saturday, March 19, 2022 • 8PM The Kentucky Center, Whitney Hall Bob Bernhardt, conductor Jim Owen, Tony Kishman, Robbie Berg, Chris Camilleri Louisville Orchestra Pops Series is presented by Frank and Paula Harshaw in celebration of Bob Bernhardt’s 40th season at the LO. All songs were written by John Lennon, Paul McCartney, or George Harrison.

ACT I

ACT II

“In My Life”

“Magical Mystery Tour”

“Hello, Goodbye”

“I Am the Walrus”

“A Hard Day’s Night”

“Ob-la-di, Ob-la-da”

“Eleanor Rigby”

“The Long and Winding Road”

“Yesterday”

“Lady Madonna”

“All You Need is Love”

“Good Night”

“Penny Lane”

“Come Together”

“Sgt. Pepper’s Lonely Hearts Club Band”

“Something”

“With a Little Help from My Friends”

“Here Comes the Sun”

“She’s Leaving Home”

“Mean Mr. Mustard”

“A Day in the Life”

“Polythene Pam” “She Came in Through the Bathroom Window”

INTERMISSION

“Golden Slumbers/Carry That Weight/The End”

Concert Sponsors: Don and Ann Kohler

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F E AT U R E D M U S I C I A N S

“These four musicians are jaw-droppingly accurate... the concept is a Beatles concert if the lads had been accompanied by a gifted symphony orchestra.” – Cape Cod Times Classical Mystery Tour has been delighting pops audiences for more than 22 years, performing concerts with more than 100 orchestras in the U.S., Canada, Europe, Asia, and Australia. The group played sold-out concerts at the Sydney Opera House and has performed with America’s most prestigious orchestras, including the Cleveland Orchestra, The Boston Pops, The Philadelphia Orchestra, The San Francisco Symphony, and many more.

they were written. Hear “Penny Lane” with a live trumpet section; experience the beauty of “Yesterday” with an acoustic guitar and string quartet; enjoy the rock/classical blend on the hardedged “I Am the Walrus.” From early Beatles music on through the solo years, Classical Mystery Tour is the best of The Beatles like you’ve never heard them: totally live.

The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The full show presents some two dozen Beatles tunes sung, played, and performed exactly as

Classical Mystery Tour features Jim Owen on rhythm guitar, piano, and vocals; Tony Kishman on bass guitar, piano, and vocals; Robbie Berg on lead guitar and vocals; and Chris Camilleri on drums and vocals.

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ARTIST BIOGRAPHIES Jim Owen was born and raised in Huntington Beach, California.

He gained rich musical experience from his father who played music from the classics for him on the piano and from his extensive library of recordings by great classical artists.

Owen began studying piano at six and won honors in various piano performance competitions through his teenage years. He was eight years old when he first heard The Beatles and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16.

Then, at age 18 he began touring internationally with various productions of “Beatlemania”, visiting Japan, Korea, China, Canada, Mexico, and much of South America.

In 1996, Owen began working on his idea for a new show with an orchestra. It has long been his dream to share with the public live performances of some of the greatest music ever written and recorded.

Classical Mystery Tour is the result.

Singer-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s.

Although he had been playing guitar for a

number of years, it was not until age 19 that Tony started performing seriously.

Kishman’s early influences included Wishbone Ash, Bad Company, and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals.

Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of “Beatlemania”. He then went on to perform in “Legends in Concert” and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.

Robbie Berg is a self-taught musician from Spokane, Washington.

He knew from a young age that he wanted to have a career in music.

Robbie began by smacking the pots and pans in his mother’s kitchen until he received a drum set. His first performance was drumming along to “I Want to Hold Your Hand” for his third-grade talent show.

He had thought he wanted to be a drummer, but then discovered he had a knack for the guitar. He began to concentrate on lead guitar and vocals, and eventually started writing his own songs. By the time he was 15, Robbie began his career portraying George Harrison in Beatles tribute shows.

He has played cruise lines, Cinema Con, Broadway, Disneyland, and performed

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ARTIST BIOGRAPHIES regularly for several years on the Las Vegas Strip. Robbie has been a lifelong fan of The Beatles and continues to travel the globe to pay tribute to one of the greatest bands of all time.

Born and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher; his dad.

He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings.

Gradually Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest).

Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles).

In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie.

Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you!

Area of Town

Restaurant Name

Reservations

Phone

Address

Notes

Downtown

Repeal Oak-Fired Steakhouse

Yes

(502) 716-7372

101 West Main St.

Upscale steakhouse on historic Whiskey Row

Downtown

Jeff Ruby’s Steakhouse

Yes

(502) 584-0102

325 West Main St. (Galt House Hotel)

Premium steaks & seafood

Downtown

Mayan Cafe

Yes

(502) 566-0651

813 E. Market St.

Farm-to-table Mexican & Pan-Latin cuisine

Downtown

Walker’s Exchange

Yes

(502) 272-1834

140 N. 4th St. (Galt House Hotel)

Casual Southern Contemporary

Crescent Hill

Pat’s Steakhouse

Yes

(502) 893-2062

2437 Brownsboro Rd.

Premium steaks since 1958

Crescent Hill

Porcini Restaurant

Yes

(502) 894-8686

2730 Frankfort Ave.

Fine Northern Italian cuisine

Highlands

Jack Fry’s

Yes

(502) 452-9244

1007 Bardstown Rd.

High-end Southern fare & cocktails

Check out our full list of preferred restaurants at Audience502.com.

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opus noun

any artistic work, especially one on a large scale.

Like many arts organizations, the Louisville Orchestra faced the issue of closed venues due to the COVID pandemic. The Opus 21 Society, a group of music lovers, came together to say “Music is essential to Louisville and who we are as a community. Our orchestra impacts all facets of the city and cannot go away.” Together, the Opus 21 Society members made sure the Louisville Orchestra had the funding needed to continue to make music.

Their support made possible: • Education NTI outreach to 49,565 students and 150 teachers • Louisville Orchestra Virtual Edition Online Concert Season • Presented over 200 produced music and educational videos and 10 live concerts • Reached audiences in 50 states and 12 countries • Provided free to thousands of music lovers

• Free Outdoor Community Concerts

Anonymous (1)

Jim and Sara Haynes

Julie and Bill Ballard

Humana

Christina Lee Brown

Jim and Irene Karp

Laura Lee Brown and Steve Wilson

Lindy B. Street

Mr. Owsley Brown, III

Marianne and Jim Welch

Cary Brown and Steve Epstein

Mary Gwen Wheeler and David Jones, Jr.

Brown-Forman Foundation

William Wood Foundation

Fund for the Arts

William and Susan Yarmuth

Mr. and Mrs. Frank Harshaw “Music is the universal language...”

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-HENRY WADSWORTH LONGFELLOW A U D I E N C E

TEDDY ABRAMS ...continued from p. 6... number of orchestras — including playconducting the Ravel Piano Concerto with the Fort Worth Symphony in 2017 and the Jacksonville Symphony in 2013 — and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, Time for Three, and John Adams, in addition to annual appearances at the Olympic Music Festival.

Dedicated to exploring new and engaging ways to communicate with a diverse range of audiences, Abrams co-founded the Sixth Floor Trio in 2008. Together, they founded and direct GardenMusic, the music festival of the world-renowned Fairchild Tropical Garden in Miami; they continue to tour regularly throughout the U.S. Abrams was a protégé of Michael Tilson Thomas from the age of eleven, and studied conducting with Otto-Werner Mueller and Ford Lallerstedt at the Curtis Institute of Music, and with David Zinman at the Aspen Music Festival; he

was the youngest conducting student ever accepted at both institutions. Abrams is also an award-winning composer and a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) were webcast to hundreds of schools throughout South Florida.

Abrams performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest, and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009.

He has held residencies at the La Mortella music festival in Ischia, Italy and at the American Academy in Berlin. Teddy was a proud member of the San Francisco Symphony Youth Orchestra for seven seasons, and graduated from the San Francisco Conservatory of Music with a Bachelor of Music, having studied piano with Paul Hersh.

A U D I E N C E

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LOUISVILLE ORCHESTRA 2021-22 BOARD of DIRECTORS Mr. Lee Kirkwood Chair Mr. Andrew Fleischman Chair-Elect Mr. James S. Welch, Jr. Immediate Past Chair Mrs. Carole Birkhead* Mrs. Christina Brown Mrs. Ritu Furlan Mrs. Mariah Gratz Mrs. Paula Harshaw Mrs. Carol Hebel*

Mrs. Michelle Hawk Heit Ms. Wendy Hyland Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Karen Lawrence Mrs. Carol Barr Matton Mr. Joseph Miller Mr. Guy Montgomery Mr. Khoa Nguyen Dr. OJ Oleka Mr. Timothy L. Peace Dr. Teresa Reed Mr. Jeff Roberts

Mr. Bruce Roth Mrs. Denise Schiller Mrs. Winona Shiprek* Mr. Gary Sloboda Ms. Min Son Mr. Dennis Stilger, Jr. Mr. William Summers, V Mrs. Lindsay Vallandingham Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl Mr. Robert H. Wimsatt *denotes Life Member

LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE

Adam Thomas Artistic Coordinator & Assistant to the Music Director

Nathaniel Koch Executive Administrator

DEVELOPMENT

Graham Parker Interim Executive Director

Megan Giangarra Office Administrator & Patron Services Associate Jacob Gotlib Creative Neighborhood Residency Program Manager

ARTISTIC OPERATIONS Matthew Feldman Director of Artistic Operations Jake Cunningham Operations Manager Adrienne Hinkebein Orchestra Personnel Manager Bill Polk Stage Manager Chris Skyles Librarian

Bert Griffin Chief Development Officer Erynn McInnis Grant Writer Edward W. Schadt Director of Leadership Giving Jonathan Wysong Development Manager

FINANCE

Tonya McSorley Chief Financial Officer Stacey Brown Controller Cheri Reinbold Staff Accountant Angela Pike Receptionist

EDUCATION & COMMUNITY

Sarah Lempke O’Hare Director of Education & Community Engagement Jennifer Baughman Education & Community Engagement Coordinator

MARKETING & COMMUNICATIONS

Michelle Winters Director of Marketing Arricka Dunsford Marketing & Communications Strategist Stephen Koller Graphic Designer

PATRON SERVICES

Carla Givan Motes Director of Patron Services Shane Wood Patron Systems Manager

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC .

EXECUTIVE OFFICERS Lindsay Vallandingham President Mona Newell Immediate Past President Helen Davis VP Communications Pam Brashear & Liz Rorke VP Education Co-Chairs Jeanne James & Suzanne Spencer VP Hospitality Co-Chairs Marguerite Rowland VP Membership 38

Michele Oberst VP Ways and Means Susan Smith Recording Secretary Sue Bench Corresponding Secretary Ann Decker Treasurer Rita Bell Parliamentarian Carol Hebel, Winona Shiprek, & Anne Tipton President's Appointments A U D I E N C E

ALO BOARD of DIRECTORS Margie Harbst Paula Harshaw Sara Huggins John Malloy Carolyn Marlowe Marcia Murphy Nancy Naxera Roycelea Scott Ruth Scully Mollie Smith Harriet Treitz Carol Whayne

THETHE CONDUCTORS CORPORATE & FOUNDATION FOUNDATION MEMBERS CONDUCTORSSOCIETY SOCIETY CORPORATE AND MEMBERS FOUNDER| $250,000+ The Andrew W. Mellon Foundation William M. Wood Foundation

SUSTAINER | $100,000+ Jewish Heritage Fund for Excellence Jasteka Foundation

VIRTUOSO | $50,000+

Harshaw Family Foundation

BENEFACTOR | $25,000+ Brooke Brown Barzun Philanthropic Foundation The Diaz Family Foundation Kindred Foundation LOUISVILLE

SUPPORTER | $10,000+ Anonymous Foundation Anonymous Foundation Augusta Brown Holland Philanthropic Foundation City of Windy Hills Gheens Foundation The Glenview Trust Company

Carol Barr Matton Charitable Foundation Roth Family Foundation, Inc. Weishar Family Foundation Wimsatt Family Fund

PATRON | $5,000+ Bass Family Foundation The Eye Care Institute GSR Foundation General Dillman Rash Fund

Arthur K. Smith Family Foundation Woodrow M. and Florence G. Strickler Fund University of Louisville School of Music WDRB Fox 41

MEMBER | $3,000+ Arthur H. Keeney Ophthalmic Fund Habdank Foundation

A U D I E N C E

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L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Annual gifts provide funding that is critical to the success of our mission to bring diverse programming and educational opportunities to our community. The Louisville Orchestra gratefully acknowledges the following donors of record for the period of Jan. 2, 2021 to Dec. 31, 2021.

CONDUCTORS SOCIETY (FOUNDER) $250,000+ Christina L. Brown

CONDUCTORS SOCIETY (SUSTAINER) $100,000 - $249,999 Ms. Cary Brown and Dr. Steven E. Epstein Owsley Brown III Lindy B. Street

CONDUCTORS SOCIETY (VIRTUOSO)

$50,000 - $74,999 Anonymous William and Julie Ballard Mr. † and Mrs. George S. Gibbs III William and Susan Yarmuth

CONDUCTORS SOCIETY (BENEFACTOR) $25,000 - $49,999 Anonymous (2) Ambassador Matthew Barzun and Brooke Brown Barzun Brian Kane Warwick Dudley Musson Mr. Justus J. Schlichting Jason Zachariah

CONDUCTORS SOCIETY (SUPPORTER)

$10,000 - $24,999 Anonymous (2) Edith S. Bingham Marilyn and Brooks Bower Mr. David † and Mrs. Patricia Daulton Elisabeth U. Foshee Ritu Furlan Louise and Jay Harris Charles † and Carol Hebel Gill and Augusta Holland Lee and Rosemary Kirkwood Mary Kohler Estate of Dr. Carl E. Langenhop Kenneth and Kathleen Loomis Sheila G. Lynch Carol Barr Matton Guy and Elizabeth Montgomery John and Patricia Moore Thomas Noland † and Vivian Ruth Sawyer Bruce and Marcia Roth Rev. Alfred Shands † Winona and Joseph Shiprek Dennis Stilger Jr. Mr. and Mrs. James R. Voyles James and Marianne Welch Jane Feltus Welch Orme and Mary Wilson

CONDUCTORS SOCIETY (PATRON) $5,000 - $9,999 Steve and Gloria Bailey Dr. and Mrs. David P Bell Barbara Berman Elizabeth W. Davis Susan Diamond

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Nan Dobbs Ms. Donna Emerson Andrew and Trish Fleischman Kendra Foster and Turney Berry David and Regina Fry Thelma Gault Matthew and Lena Hamel Owen and Eleanor Hardy Elizabeth and Mike Keyes Carolyn Neustadt Dianne M. O'Regan Tim and Shannon Peace Marla Pinaire Dr. Teresa Reed Jeff and Paula Roberts Gary and Amy Sloboda Dr. Gordon Strauss and Dr. Catherine N. Newton Ann and Glenn Thomas Ruth and Bryan Trautwein Susan and Michael Von Hoven Dr. Joan and Robert Wimsatt Dr. and Mrs. Richard Wolf

CONDUCTORS SOCIETY (MEMBER)

$3,000 - $4,999 Teddy Abrams John and Theresa Bondurant Dr. and Mrs. Bruce Burton Walter Clare Thomas A. Conley III Mr. and Mrs. Donan Mr. and Mrs. William L. Ellison Jr. Mary Louise Gorman Mariah Gratz June Hampe Kent and Katherine Oyler Dr. Carmel Person Norman and Sue Pfau Clifford Rompf Russell and Theresa Saunders Mr. and Mrs. Joseph Sireci Robert Steen Thomas and Anita Grenough Abell Endowment Fund Mr. and Mrs. Kevin Wardell Maud Welch Mary Ellen Wiederwohl and Joel Morris Prelude

PRELUDE

$1,500 - $2,999 Dr. Fredrick W. Arensman Dr. Stephen and Jeannie Bodney Mr. Stephen P. Campbell and Dr. Heather McHold Brian Cook Marguerite Davis Gerald Doss Mr. and Mrs. Daniel L. Dues Rev. John G. Eifler Joseph Glerum Bert Greenwell John R. Gregory Kenneth and Judy Handmaker David Sickbert and Thomas Hurd Allison Jacobs Estate of Margot Kling Karl and Judy Kuiper Thomas and Judith Lawson

Bethany Breetz and Rev. Ronald Loughry John and Sharon Malloy Drs. Eugene and Lynn Gant March Jennifer and Charles Marsh Lynn and Roy Meckler Glynn Morgen Susannah S Onwood Joseph A. Paradis III Fred and Claudia Pirman Eugenia and John Potter Gordon and Patty Rademaker Sharon Reel Gary † and Sue Russell Marianne Rowe Rev. Edward W. Schadt Alleine Schroyens Mark Slafkes Susan and Raymond Smith Carole Snyder Dr. Anna Staudt Richard Stephan Mary C. Stites Dr. and Mrs. Temple B. Stites Constance Story and Larry G. Pierce Beverly J. Tilmes Elizabeth B. Vaughan Mr. and Mrs. Robert W. Vaughan Dr. Juan Villafane Carolyn Marlowe Waddell Kendrick Wells III Dr. and Mrs. Nathan Zimmerman

SONATA

$500 - $1,499 Anonymous (5) Mr. Karl Adams Carlyn and Bill Altman Cheryl Ambach David and Madeleine Arnold Boe and Judith Ayotte Joseph and Linda Baker John and Mary Beth Banbury Clarence and Mary Barton Tom and Marceline Barton Mike and Gail Bauer David B. Baughman Hans Bensinger Stephen and Sharon Berger Tanya and Wendell Berry Mr. and Mrs. Wendell Berry Cornelia Bonnie Dr. and Mrs. Lawrence H. Boram Dennis and Joan Brennan Virginia and Gary Buhrow Mary Burkhart Drs. Frank and Carolyn Burns Dave Calzi Will and Kathy Cary Karen and Robert Chatham Patricia Chervenak Michael and Nancy Chiara George and Frances Coleman Cynthia and David Collier Jeff and Marjorie Conner Jill and William Cooper Robert Cox Betsey Daniel Kate and Mark Davis

A U D I E N C E

Robert and Ann Decker Carol W. Dennes Pat DeReamer and Cynthia DeReamer Rollins Dr. John and Mrs. Dee Ann Derr Judy Dickson James and Etna Doyle Ann-Lynn Ellerkamp Bert and Jane Emke Carl and Roberta Fischer George and Mary Lee Fischer Mr. and Mrs. Carl T. Fischer Dr. and Mrs. Eugene C. Fletcher Julie and Laman Gray Jr MD John and Jody Hamilton Mary C. Hancock Barbara B. Hardy Carl Helmich Jr. Chris and Marcia Hermann Denise Holmgren Thomas and Patrice Huckaby Wendy Hyland Barbara Jarvis Anne Joseph Danielle B. Kannapell Richard Kaukas Warren Keller Tamina and Edward Kim The Edwards-Kuhn Family Dr. and Mrs. Forrest S. Kuhn Dwight Kyle Margaret Lanier Kate and Allan Latts Portia Leatherman Willard and Lynnette LeGette Samuel and Stephanie Levine Cantor David Lipp and Rabbi Laura Metzger Mrs. Sallie Manassah Anne Maple Ms. Nancy Martin Joan McCombs Susan S. Means Elizabeth Merdian Kathryn Mershon Bob and Barbara Michael William Mitchell Biljana N. Monsky Abigail L. Mueller Dr. Sean Muldoon Ronald and Debra Murphy Mr. and Mrs. Robert B. Nesmith Dr. and Mrs. Lynn L. Ogden Dr. Naomi J. Oliphant Mr. and Mrs. Edwin Olliges Jr. Mrs. William P. Peak Sharon Pfister Joan Pike Arthur Pratt Carol Clow Pye Douglas Rich Dr. Jon H. Rieger † Marsha Roberts John Robinson Embry Rucker and Joan MacLean Robert Rudd Denise Schiller Dr. and Mrs. Saleem Seyal Ellen and Max Shapira Ruth Simons Vernon M. and Peggy T. Smith

L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Mr. Sheryl G. Snyder and Mrs. Jessica Loving Richard O. Spalding Eileen Spears Katherine Steiner Mary and John Tierney Dr. and Mrs. Paul E. Tipton Jeanne D. Vuturo Robert and Ann Wade Joyce and Jim Walters Manning G. Warren III Matt and Kathy Watkins William and Ginny Weber Robert Weekly Roger and Janie Whaley Stephen and Patricia Wheeler Emily and Ellington Willingham Raleigh and Roberta Wilson Jonathan and Stephi Wolff Frank and Keitt Wood Dr. Janice W. Yusk Jeanne and Paul Zurkuhlen

DUET

$250 - $499 Anonymous (6) Michael and Barbara Abell Ms. Mary Beth Adams Doris L. Anderson Corrine and Matthew Anderson Walter and Lynne Anderson Dr. and Mrs. Joe F. Arterberry Mary Kay H. Ballard John Bates Nancy Beasley Wm. David and Judy Beaven Sara Blake and Kingsley Durant Eunice F. Blocker Bruce Blue and Louise Auslander Mr. Daryl Booth Jane Burbank James C. Carpenter William Carrell II Susan Collins Judith K. Conn Paul Contois Virginia J. Copenhefer Arthur and Virginia Cromer Virginia B. Cromer Dr. Christopher Croot

Deborah A. Dunn Traci and John Eikenberry Mr. James Engler Janet G. Falcone Dr. Walter Feibes Mr. Matthew L. Feldman Nancy Fleischman Leslie and Greg Fowler Ed Garber Dr. Karen Abrams and Dr. Jeffrey Glazer Edward and Linda Goldstein Mrs. Connie Goodman Elizabeth Goodman Pamela Greene Dr. Misty and Mr. Bert Griffin Karen R. Harris Dr. Mary Harty Lawrence A. Herzog Dr. Frederick K. Hilton Jane Hoke Brett Hudspeth Carl and Donna Hulsewede Alec Johnson and Rachel Grimes Doris B. Jones Dean Karns Dr. and Mrs. David Karp Elizabeth Malcolm Kelly James and Rebecca King Jim Kinsman Barbara and Gary Knupp Mr. Phillip Kollin and Ms. Brooke Heisel Stanley Krol Lawrence Lambert Amy and Matthew Landon Elizabeth S. Lavin Dr. and Mrs. Robert G. Lawrence Dr. † and Mrs. † Leonard Leight Mr. Fred Levein Dr. and Mrs. Ronald Levine Thomas M. Lewis Philip Lichtenfels Gretchen Mahaffey David McAfner Ms. Erynn McInnis Robert and Grace McKeel Mona and John Newell Susan Norris Dr. OJ Oleka

William and Joana Panning Don and Jan Parson Janet Patterson John and Lue Peabody Dianna and Peter Pepe Lynn Pereira Robert Petrokubi Judith N. Petty Dr. and Mrs. Timothy B. Popham Doug Elstone and Russ Powell Dr. Sarah Cox and Mr. Dwight D. Pridham Mitchell and Cindee Rapp Tracy Redmon David Rodger Bill and Judy Rudd Barbara Sandford Courtney and Brandon Schadt Margaret Scharre Susan G. Zepeda and Dr. Fred Seifer Marshall and Terrie Sellers Richard and Terri Smith Donald Snow Natalie Stephens Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Mr. and Mrs. William Theuer William F. and Barbara J. Thomas Ron and Mary Thompson Dr. and Mrs. Robert S. Tillett Jr. Anna Laura and Thomas Trimbur Linda and Chris Valentine Lindsay Vallandingham Tom Wakefield Dennis and Julie Walsh Jane Walsh William and Alice Walsh Suzanne Warner Martha F. Watson Betty S. Weaver Anita and Shelton Weber Crawford and Alice Wells Prudence Westholm James and Carole Whitledge Joan T. Whittenberg Susan Harris Wilburn Michelle Winters Grace Wooding Judith and John Youngblood

APRIL 2022

2

UPCOMING EVENTS 1

Shawn Colvin – Steady On 8PM, Bomhard Theater kentuckyperformingarts.org

ROBERT S. WHITNEY SOCIETY Members of The Robert S. Whitney Society are Individuals who have generously made estate plans for the Louisville Orchestra. For more information on ways to join the Whitney Society, please contact Edward W. Schadt, Director of Leadership Giving at 502-585-9413 or ESchadt@LouisvilleOrchestra.org.

Anonymous Doris L. Anderson Mr. and Mrs. Gary Buhrow Douglas Butler and Jamey Jarboe Walter Clare Mr. † and Mrs. Stanley L. Crump Janet R. Dakan Betty Moss Gibbs Anita Ades Goldin Louise and Jay Harris Mr. † and Mrs. Charles W. Hebel, Jr. Mr. Henry Heuser, Jr. Dr. Carl E. Langenhop † Mrs. Philip Lanier Mr. and Mrs. † Warwick Dudley Musson Dr. Naomi Oliphant Susannah S. Onwood Paul R. Paletti, Jr. Sharon Pfister Mr. † and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Bob Taylor and Linda Shapiro Rose Mary Rommell Toebbe † Dr. and Mrs. Richard S. Wolf † Denotes deceased

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Sheherazade Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

Michael Cavanaugh Plays Music of Elton John Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

3

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Alton Brown Live The British Invasion Beyond the Eats 7:30PM, Brown Theatre 6:30, Whitney Hall kentuckyperformingarts.org kentuckyperformingarts.org

For more of our preferred arts and entertainment recommendations, visit Audience502.com.

A U D I E N C E

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T H E AT R E S E R V I C E S COURTESY • As a courtesy to the performers and other audience members, please silence all mobile devices.

• The emergency phone number to leave with babysitters or message centers is (502) 562-0128.

Be sure to leave your theater and seat number for easy location • Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular.

An ID must be left as a deposit.

• Cameras and recording devices are not allowed in the theaters.

• Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances.

Please remain seated after the performance until the lights are brought up.

• Children should be able to sit in a seat quietly throughout the performance.

• To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket.

ACCESSIBILITY Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights.

Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces.

Audio Description is available for selected performances for patrons who are blind or have low vision.

Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing.

Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), (502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

MarCH 26 to April 22 2022 GRADES K TO 3RD

Our Next Live Performance at the Bomhard…

www.stageone.org

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A U D I E N C E

Experience YOUR

LO UI SV IL LE OR CH ES TR A

with an amazing lineup of concerts.

SHEHERAZADE

Jonathon Heyward, guest conductor Benjamin Beilman, violin FRI 1 APR 11AM, SAT 2 APR 8PM Kentucky Center

MICHAEL CAVANAUGH PLAYS MUSIC OF ELTON JOHN Bob Bernhardt, conductor FRI 22 APR 8PM Kentucky Center

EXPLORING THE ORCHESTRA John Devlin, conductor SUN 27 MAR 3PM Eastern High School

RECLAIMED TREASURES Teddy Abrams, conductor Julia Noone, violin Louisville Chamber Choir SAT APR 30 8PM Kentucky Center

FANTASTIQUE

Teddy Abrams, conductor Yves Dhar, cello FRI MAY 13 11AM SAT MAY 14 8PM Kentucky Center Covid protocols apply.

Programs and artists subject to change

INFORMATION AND TICKETS

LOUISVILLEORCHESTRA.ORG | 502.587.8681 A U D I E N C E

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Plan your next Kentucky State Park getaway at parks.ky.gov. arks.ky.gov. Overnight golf packages and reservations at parks.ky.gov/golf