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Audience® is the official program guide for:


Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Kathleen Karr, Principal Flute.................................................6

Publisher The Audience Group, Inc. G. Douglas Dreisbach Editor Kay Tull Managing Editor Aggie Keefe Creative Director Jeff Tull Design Kay & Jeff Tull Production Aggie Keefe Sales & Marketing G. Douglas Dreisbach

PROGRAM Holiday Concert: Messiah November 29, November 30, and December 1, 2018 ................................ 8 Classics Concert: Slatkin Conducts Elgar January 12, 2019.......................................... 22

Staff and Support.............................................................30 Services..............................................................................34 Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). et igital with Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777.



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Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair Bob Bernhardt, Principal Pops Conductor

FIRST VIOLIN Gabriel Lefkowitz, Concertmaster Fanny and Charles Horner Concertmaster Chair Julia Noone, Assistant Concertmaster National City Bank Chair Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair Stephen Taylor Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards Maria Semes Second Violin Robert Simonds, Principal Claire and Lee Lenkoff Chair Kimberly Tichenor, Assistant Principal Devonie Freeman Mary Catherine Klan Violin Chair, Endowed by Chase Elisa Spalding Andrea Daigle Charles Brestel Patricia Ann Jenkins Endowed Chair James McFadden-Talbot Judy Pease Wilson Blaise Poth Viola Jack Griffin, Principal Aegon Chair Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair Jennifer Shackleton Jonathan Mueller Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor Meghan Casper


Cello Nicholas Finch, Principal Thomas Mattingly and Anita Grenough Abell Memorial Chair Joseph Caruso, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead Christina Hinton Dr. Edward Leo Callahan Chair Allison Olsen Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro Deborah Caruso Julia Preston Bass Bert Witzel, Principal Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation Michael Chmilewski Flute Kathleen Karr, Principal Elaine Klein Chair Jake Chabot Donald Gottlieb Philip M. Lanier Chair Piccolo Donald Gottlieb Alvis R. Hambrick Chair

Bass Clarinet Ernest Gross General Dillman A. Rash Chair Bassoon Matthew Karr, Principal Paul D. McDowell Chair Christopher Reid † Horn Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair Bruce Heim † Trumpet Open, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Daniel Kassteen Trombone Donna Parkes, Principal PNC Bank, Kentucky, Inc. Chair Brett Shuster † Bass Trombone J. Bryan Heath Tuba Andrew Doub, Principal

Oboe Alexander Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra Trevor Johnson, Assistant Principal Edgar J. Hinson III Chair Jennifer Potochnic †

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

ENGLISH HORN Trevor Johnson

Harp Mary Julian Rapier, Principal The Humana Foundation Chair

Clarinet Andrea Levine, Principal Brown-Forman Corp. Chair Robert Walker Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair A U D I E N C E

Percussion John Pedroja, Principal Mark Tate †

KEYBOARD Grace Baugh-Bennett † Margaret S. Comstock Piano Chair †Auxiliary musician *On leave

MUSICIAN HIGHLIGHT Kathy Karr Principal Flute, Elaine Klein Chair

Growing up in the cornfields of rural Illinois, I rarely heard a full symphony orchestra concert. However, classical music was always playing in my house. My parents were both professional classical musicians. My father was the clarinet professor at Western Illinois University and my mother was a violinist. They would often invite friends over for chamber music, food and wine. It was a special treat to listen to the lively conversation and beautiful music making. My family spent the summers near Traverse City, Michigan, so that my dad could teach at the world famous Interlochen Arts Camp. Many years later, I was honored to be invited to teach flute and chamber music at the Interlochen Arts Camp. My husband, Matthew Karr, is the Principal Bassoonist of the Louisville Orchestra. It is rare for two musicians to win jobs in the same city, so we decided to put down our roots and settle in Louisville. Performing beautiful music for a supportive community is a gift that I never take for granted. I am honored to perform with the talented and dedicated musicians of the Louisville Orchestra, and proud to be a part of this great community and orchestra. Matthew and I raised our two children in Louisville, Kentucky. My son is an Army Ranger who did two tours to Afghanistan. When my son was deployed to Afghanistan, our caring and supportive Louisville community helped me get through my fears and anxious times. The musicians, staff and board of the Louisville Orchestra held my husband and me up while we anxiously waited for those sporadic phone calls from overseas. My daughter is a real estate agent in Austin, Texas, but never forgets her Kentucky roots. I have been blessed with many opportunities because of my position with the Louisville Orchestra. I have traveled to Israel eight times to perform masterclasses and recitals, and play for the school children and soldiers. I have performed masterclasses and recitals in Mexico and across the USA. I teach at the University of Louisville, and I perform as much chamber music as possible. Everywhere I go, people ask about the Louisville Orchestra and the wonderful city in which we live. They want to know more about our amazing community and orchestra. It is a dream come true to call Louisville home. Thank you for supporting YOUR Louisville Orchestra. Enjoy the concerts! 6


Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

HOLIDAY CONCERT Thursday, November 29, 2018 | 7:30PM | Cathedral of the Assumption Friday, November 30, 2018 | 7:30PM |Harvey Browne Presbyterian Church Saturday, December 1, 2018 | 7:30PM | St. Francis in the Fields

Messiah By George Frideric Handel Kent Hatteberg, conductor + chorusmaster Erin Keesy, soprano Katherine Calcamuggio Donner, mezzo-soprano Jesse Donner, tenor Chad Sloan, baritone Louisville Chamber Choir

Program Part I Scene 1: Isaiah’s prophecy of salvation 1. Sinfonia (instrumental) 2. Comfort ye my people (tenor) 3. Ev’ry valley shall be exalted (tenor) 4. And the glory of the Lord (chorus) Scene 2: The coming judgment 5. Thus saith the Lord of hosts (baritone) 6. But who may abide the day of His coming (baritone) 7. And He shall purify the sons of Levi (chorus) Scene 3: The prophecy of Christ’s birth 8. Behold, a virgin shall conceive (mezzo) 9. O thou that tellest good tidings to Zion (mezzo + chorus) 10. For behold, darkness shall cover the earth (baritone) 11. The people that walked in darkness have seen a great light (baritone) 12. For unto us a Child is born (chorus)



Scene 4: The annunciation to the shepherds 13. Pifa (“pastoral symphony”: instrumental) 14a. There were shepherds abiding in the fields (soprano) 14b. And lo, the angel of the Lord (soprano) 15. And the angel said unto them (soprano) 16. And suddenly there was with the angel (soprano) 17. Glory to God in the highest (chorus) Scene 5: Christ’s healing and redemption 18. Rejoice greatly, O daughter of Zion (soprano) 19. Then shall the eyes of the blind be opened (mezzo) 20. He shall feed his flock like a shepherd (mezzo + soprano) 21. His yoke is easy (chorus) Part II Scene 7: God’s ultimate victory 44. Hallelujah! (chorus) Part III Scene 1: The promise of eternal life 45. I know that my Redeemer liveth (soprano) Scene 4: The acclamation of the Messiah 53. Worthy is the Lamb (chorus) Amen (chorus)

Support for the performance at Harvey Browne Presbyterian Church provided in honor of Covenant Classical Academy & Community Presbyterian Church. Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E


K e n t H at t e b e r g , Kent Hatteberg is Artistic Director of the Louisville Chamber Choir and Director of Choral Activities at the University of Louisville, where he directs the Collegiate Chorale and Cardinal Singers and teaches graduate and undergraduate courses in conducting, choral literature and choral techniques. He earned the bachelor of music degree in piano and voice summa cum laude from the University of Dubuque and the master’s and doctoral degrees in choral conducting from The University of Iowa, where he studied with Don V. Moses and directed the renowned Old Gold Singers. Named a Fulbright Scholar in 1990, Dr. Hatteberg studied conducting in Berlin with Uwe Gronostay while pursuing research on Felix Mendelssohn. He conducted the world premiere of Mendelssohn’s Gloria in 1997. He has taught at Sam Houston State University in Huntsville, Texas, Washington High School in Cedar Rapids, Iowa, and Solon Junior-Senior High School in Solon, Iowa. Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician and adjudicator, most recently in Poland, Korea, the Philippines, China, Hungary, Austria, Spain and the U.S. He is co-director of the Kentucky Ambassadors of Music, a program that affords students from across the state of Kentucky the opportunity to perform and tour in Europe.


c o n d u c to r



Dr. Hatteberg was named a University of Louisville Faculty Scholar in 2002, KMEA College/University Teacher of the Year in 2004, and was selected for the International Who’s Who in Choral Music in 2007. He received the 2008 KCDA Robert A. Baar Award for choral excellence, the University of Dubuque Career Achievement Award in 2008, and the University of Louisville Distinguished Faculty Award for Outstanding Scholarship, Research and Creative Activity in the Performing Arts in 2010 and 2015. Choirs under his direction at the University of Louisville have been featured at numerous international festivals, symposia and competitions, including Cardinal Singer performances at the Zadar (Croatia) International Choir Competition (2018), the 2017 Xi’an International Choral Festival (China), the 13th China International Chorus Festival (2016), the Taipei International Choral Festival (2015 and 2010), the Singapore International Choral Festival (2015), the Cuba/United States Choral Symposium in Havana (2012), the Beijing International Choral Festival (2010) and the 7th World Symposium on Choral Music in Kyoto, Japan (2005). The Collegiate Chorale and Cardinal Singers have performed at several national and regional conventions in the United States, most recently at the American Choral Directors Association (ACDA) National Convention in Minneapolis in March 2017.


Erin Keesy,


Native to Kentucky, soprano Erin Keesy is currently based in Cincinnati, Ohio. She is an alumnus of the University of Louisville, where she studied with Edith Davis Tidwell. She received her master’s degree and artist diploma from Cincinnati’s College Conservatory of Music. Recent appearances include performances with the Cincinnati POPS orchestra, the Louisville Orchestra, Hamilton Fairfield Symphony Orchestra, Cincinnati Symphony Orchestra and Cincinnati Opera, where she was a young artist.

Most recently, she was a featured performer in SongFest’s Stern Fellowship program in Los Angeles. During the program, she premiered a set of six songs by composer Peter Golub and performed alongside many esteemed colleagues and teachers. She was also a participant in the Stern Fellowship LA Opera program. Some operatic highlights from this season include Donna Elvira in Mozart’s Don Giovanni and Clorinda in Rossini’s Cenerentola with Queen City Opera. Ms. Keesy looks forward to continuing work with her students at Xavier University and the University of Louisville in the spring.

K at h e r i n e C a lc a m u g g i o D o n n e r , Katherine Calcamuggio Donner is an awardwinning mezzosoprano. Calcamuggio has been featured in important roles and company debuts across the United States, eliciting kudos for her “soaring, rich voice” (The Miami Herald), her “polished musical and dramatic characterizations” (Kurt Weill Newsletter) and her “fine coloratura technique” (Philadelphia Inquirer). Favorite operatic appearances include leading roles in HMS Pinafore as Buttercup (Union Avenue Opera), Bon Appetit as Julia Child (Opera on the James), Ariadne auf Naxos as Komponist (University of Michigan), Hansel and


Gretel as Hansel (Syracuse Opera) and Giulio Cesare as Sesto (Florida Grand Opera). The past several seasons, Ms. Calcamuggio has been performing as a mezzo-soprano soloist with orchestras in Handel’s Messiah, Verdi’s Requiem and Beethoven’s Ninth Symphony, and as the soprano soloist in John Corigliano’s Mr. Tambourine Man. An active recitalist, she has been traveling across the country with the Piatigorsky Foundation performing recitals. Ms. Calcamuggio received her DMA from University of Michigan and is currently an Assistant Professor of Voice at University of Louisville



Jesse Donner, Jesse Donner is rapidly emerging on the operatic and concert stage with a voice that is “vibrant” (Chicago Classical Review), “fresh and juicy” (Chicago Tribune). In the 2016–17 season, Mr. Donner was part of six productions at Lyric Opera of Chicago, singing the roles of Froh (Das Rheingold), Helenus (Les Troyens), First Armored Man (Die Zauberflöte) and Flavio (Norma), and covering the roles of Normanno (Lucia) and Lensky (Eugene Onegin). With the Ryan Opera Center, Donner’s concert appearances included the Civic Orchestra with Sir Andrew Davis and the Grant Park Orchestra, singing Lennie Small in Of Mice and Men. In the 2015–16 season, as a member of the Ryan Opera Center, Mr. Donner performed the roles of Abdallo (Nabucco) and, Kellner (Der Rosenkavalier) and covered leading tenor roles: General Alfredo in the world premiere of Bel Canto, Ismaele in Nabucco and the Drum



Major in Wozzeck. To close the season, he shared a recital with renowned soprano Christine Brewer as part of Harris Theater’s Beyond the Aria series, in which he displayed his “polished” and “heroic” tenor and also “engaged in whimsical comedy” (Chicago Classical Review). The Des Moines native won the 2015 Luminarts Fellowship and the Bel Canto grand prize and received the 2014 George Shirley Award for Opera Performance, an encouragement award from the 2014 Metropolitan Opera National Council Regional Auditions and first place in the 2012 Michigan Friends of Opera Competition. Mr. Donner earned his master of music from the University of Michigan and bachelor of music degree from Iowa State University.


Chad Sloan,


American baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters. Engagements for the past few seasons have included Pooh-Bah in The Mikado with Kentucky Opera; his debut as Papageno in Die Zauberflöte with Arizona Opera; Carmina Burana with the Lexington Philharmonic, Flagstaff Symphony and South Bend Symphony; singing The Herald in Britten’s The Burning Fiery Furnace with Ballet-OpéraPantomime of Montreal; joining the Louisville Orchestra for Portrait of Robert Schumann; an appearance with Eighth Blackbird in a new work titled Killing the Goat by Andrew McManus; Owen Hart in Dead Man Walking with Kentucky Opera; and Fauré’s Requiem with the Louisville Ballet and Kentucky Opera. Current projects include Poncel in Silent Night with Arizona Opera. Other recent engagements for Mr.

Sloan include Adario in Rameau’s Les Sauvages with Bourbon Baroque, Carmina Burana with Fox Valley Symphony and Columbia Pro Cantare, Bach’s Weihnachts-Oratorium with Louisville Choral Arts Society, Brahms’ Liebeslieder Waltzer at Twickenham Music Festival, Britten’s War Requiem at Lawrence Conservatory, Lee Hoiby’s This is the Rill Speaking with Opera Memphis, Prosdocimo in Rossini’s Il turco in Italia with Tacoma Opera, Vaughan Williams’ Dona nobis pacem with the Lexington Philharmonic, Captain Von Trapp in The Sound of Music with Anchorage Opera, Mercutio in Roméo et Juliette with Dayton Opera and the Bar Harbor Music Festival, the cover of Willy Wonka in The Golden Ticket with Atlanta Opera, Pluto in Telemann’s Orpheus for New York City Opera, Belcore in L’elisir d’amore with Kentucky Opera, John Brooke in Little Women with Utah Opera, and Figaro in Il barbiere di Siviglia with Bar Harbor Music Festival. Mr. Sloan is currently an Associate Professor of Voice at the University of Louisville.



Louisville Chamber Choir Kent Hatteberg, Artistic Director The Louisville Chamber Choir was formed in the fall of 2013 by Artistic Director Kent Hatteberg with a mission to present exceptional musical experiences that nurture community appreciation of choral singing through quality performances, recordings and collaborations. Comprised of musicians drawn from the Louisville metropolitan area and beyond, the Choir is dedicated to the highest levels of ensemble performance. Since its inception, the Louisville Chamber Choir has dedicated itself to fulfilling its mission through collaborations, recordings and performance. Recently, the Choir partnered with WUOL to record Thomas Tallis’s Spem in alium in 360 video and audio, creating a virtual reality experience that married classical choral music with cutting edge technology. The Choir also performs regularly with the Louisville Orchestra to present diverse and exciting works. Recent partnerships include Leonard Bernstein’s Chichester Psalms (2013), Carl Orff’s Carmina Burana (2014), Leonard Bernstein’s Mass (2015), Gustav

Soprano Won Joo Ahn Danielle Curtsinger Haley De Witt Erin Shina Elizabeth Smith Sarah Tubbesing Kelli White


Alto Marybeth Christman Lydia Cox Amy Cuenca Jill Felkins Lauren Montgomery Eva Morse Amy Powell Amber Whittaker

Mahler’s Symphony No. 2 (2016), War + Peace (2018), Mozart’s Requiem and Monteverdi’s Vespers (2018), and George Frideric Handel’s Messiah (2015–18). The Louisville Chamber Choir released its first album, Songs of Christmas Night, in 2017. It contains a mixture of familiar seasonal songs along with new carols and received widespread acclaim including being featured on WUOL in December 2017. The Choir is preparing to release its next album in 2019. The Choir’s performances encompass a wide range of composers from Gabrieli – and Byrd to Eriks Ešenvalds and Eric Whitacre. The Choir presents concerts that engage audiences through technical expertise and emotional expression. Each singer brings his or her musicality and merges it with the other singers to create a synergy between, choir, conductor and audience.

Tenor Rob Carlson Seon Hwan Chu Bill Coleman Josh Hamilton Justin Romney Sam Soto Geoff Wallace Blake Wilson


Bass Austin Echols Phill Hatton Alex Kapp Peter Lovett Nathaniel Mo Phillip Morgan Daniel Reid Max Smith Matt Wetmore

Program Notes George Frideric Handel Messiah George Frideric Handel was born in Halle, Germany, in 1685 and died in London in 1759. He composed Messiah in 1741 and led the first performance in the New Music Hall, Photo by Dublin, in 1742. The Balthasar Denner. text, taken entirely from biblical passages, was assembled by Charles Jennens. The score calls for soprano, alto, tenor and bass soloists; chorus; 2 oboes; bassoon; 2 trumpets; timpani; strings; and continuo. Handel spent most of his adult life living in London, composing dozens of Italian-style operas for a city that couldn’t get enough of them. They were usually successful, but not always; both he and his opera company neared the brink of financial ruin more than once. Eventually Londoners lost their thirst for opera, and though Handel tried desperately to keep his string of successes going, it was no use. Yet just as his operas began failing, oratorios were becoming the next big thing in London. Oratorios are really operas in disguise; the difference is that oratorios portray biblical subjects and are meant to be presented in concert form. But oratorios use orchestra, chorus and soloists, and they contain arias, duets, ensembles, choruses and recitatives, along with the occasional orchestral movement. They were a hit with the public, and Handel supplied as many as could be consumed, including such

masterworks as Saul, Israel in Egypt and of course Messiah. When Handel composed Messiah, his finances were at a low ebb. Two of his operas had failed in succession, and rumors began that he would leave England altogether. When he was invited to Dublin by William Cavendish, Third Duke of Devonshire, he welcomed the change of scenery and hoped that his trip would fatten his purse at the same time. Handel put on a series of six subscription concerts of his works featuring himself as organ soloist. They were a smashing success—so much so that another series of six were promptly scheduled and Handel became the toast of the town. Messiah, however, was not part of Handel’s profit-making enterprise. Before he left for Ireland he was asked to compose a work for a concert that would benefit three Dublin charities: Mercer’s Hospital, The Charitable Infirmary and a society for the relief of imprisoned debtors. (Though he was in some difficulty himself, Handel was always quick to aid a charitable cause.) He completed Messiah in an astonishing 24 days, just before he sailed for Ireland. By the time Messiah was performed in Dublin at Eastertime, Handel’s popularity there had become so great that a huge audience was expected; ladies were advised to forego their hoops and gentlemen their swords so a larger audience would fit in the hall and more money could be raised. Messiah was a sensation. The Dublin Journal said, “Words are wanting to express the exquisite delight it afforded to the admiring crowded audience.” Handel hoped to duplicate the success of Messiah in London, but at first



it seemed a lost cause. Where his Old Testament oratorios were well-received, the New Testament Messiah seemed somehow to have crossed a line: there were many who objected to the story of Jesus being turned into an “entertainment” given that theaters were considered dens filled with shady characters of loose morals. Over the course of several years, Handel put on Messiah three times, but it was received with utter indifference on each occasion. It was only when Handel harkened back to Messiah’s original purpose—a production intended to raise money for charities—that Messiah not only succeeded but became the musical fixture it is today. In 1750, Handel offered to produce his Messiah at a concert to benefit London’s Foundling Hospital, a “Hospital for the Maintenance and Education of Exposed and Deserted Young Children”— and somehow the public’s perception of the work changed overnight. So many clamored for tickets and so many had to be turned away at the door that a repeat performance had to be hastily organized. The public’s reaction was ecstatic, and the foundling hospital’s coffers were filled. The benefit performance was repeated annually and the practice of performing Messiah every season—a now


250 year tradition of standing—began. Messiah differs from Handel’s other oratorios. For one thing, it relies heavily on its choruses to deliver its narrative. For another, it has no plot; it is not a biography of Jesus and there is no dramatic action. In fact, it has no characters at all. It is, rather, a musical exegesis of the Christian faith. It is not really about “what” or “how” at all—it is about “why.” Messiah’s music is remarkable in its scope, its depth and its sheer beauty. It is a long work, but it doesn’t seem so: Handel’s music is a study in balanced proportion and exquisite pacing. There are three large sections. Part I begins with an unsettled, minor-key orchestral Sinfonia. It continues with words from the prophet Isaiah and others, predicting the coming of the Messiah, giving the circumstances of his birth, and relating God’s plan for the redemption of Mankind. Part II tells of Man’s rejection of Jesus, his passion and his resurrection. Part III is a hymn of thanksgiving that death is finally overcome. Messiah’s arias are where Handel is at his most poignant and his most personal. The highlights are far too numerous to mention, but among them are the joyous “Ev’ry valley shall be exalted” and “O thou that tellest”; the


wandering music of “The people that walked in the darkness”; and the glorious interplay of “The trumpet shall sound.” But the real power of Messiah lies in its choruses. It is there that Handel transcends the individual and reaches for the universal, in the jubilant “And the glory of the Lord”; the mesmerizing melismas of “And He shall purify”; the innocent and sunny “For unto us a child is born”; the utterly remarkable “Glory to God”; and the magnificent trilogy of choruses that conclude the work, culminating in the monumental “Amen.” And of course, there is “Hallelujah!” The reason why people in many places—though not all—traditionally stand up for the “Hallelujah!” chorus is not known. Some say that King George II stood during the “Hallelujah!” chorus at an early performance and, of course, when the king stands up, everybody stands up. Whether the king was saluting the brilliant music, was suddenly wakened by it or merely needed to stretch his legs is unclear. Some object to the practice as a disruption to the music, while others feel it adds a charming spirit to the occasion. In any case, this chorus is perhaps the best-known piece of classical music ever written, and rightly so. Neither a biography nor a catechism, Messiah is unique among works of sacred music. From widely scattered snippets of biblical text, it makes an extraordinary unity of spirit and of faith. Though its long tradition began as a Lenten observance, its transformation into a Christmas experience is altogether fitting. Conceived as an act of charity, it is far more than a sacred offering from a generous man; it is one of the gifts of life itself.



Messiah Libretto Part I Scene 1: Isaiah’s Prophecy of Salvation 1. Sinfonia (instrumental) 2. Comfort ye my people (recitative, tenor) Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God. (Isaiah 40:1–3) 3. Ev’ry valley shall be exalted (air, tenor) Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; the crooked straight, and the rough places plain. (Isaiah 40:4) 4. And the glory of the Lord (chorus) And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. (Isaiah 40:5)

Scene 2: The coming judgment 5. Thus saith the Lord of Hosts (recitative, baritone) Thus saith the Lord of Hosts: Yet once a little while and I will shake the heavens, and the earth, the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, ev’n the messenger of the covenant, whom ye delight in; Behold, he shall come, saith the Lord of Hosts. (Haggai 2:6–7; Malachi 3:1) 18

6. But who may abide the day of His coming? (air, baritone) But who may abide the day of His coming? And who shall stand when He appeareth? For He is like a refiner’s fire. (Malachi 3:2) 7. And He shall purify the sons of Levi (chorus) And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi 3:3)

Scene 3: The prophecy of Christ’s birth 8. Behold, a virgin shall conceive (recitative, mezzo-soprano) Behold, a virgin shall conceive, and bear a Son, and shall call his name EMMANUEL, God with us. (Isaiah 7:14; Matthew 1:23) 9. O thou that tellest good tidings to Zion (air, mezzo-soprano + chorus) O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up they voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. (Isaiah 40:9) 10. For behold, darkness shall cover the earth (recitative, baritone) For, behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to the light, and kings to the brightness of thy rising. (Isaiah 60:2–3)


11. The people that walked in darkness have seen a great light (air, baritone) The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah 9:2) 12. For unto us a Child is born (chorus) For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder: and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace. (Isaiah 9:6)

There were shepherds abiding in the field, keeping watch over their flocks by night. (Luke 2:8) 14b. And lo! the angel of the Lord (recitative, soprano) And lo! The angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were so afraid. (Luke 2:9)

13. Pifa (“Pastoral Symphony”)

15. And the angel said unto them (recitative, soprano) And the angel said unto them, Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord. (Luke 2:9–10)

14a. There were shepherds abiding in the field (recitative, soprano)

16. And suddenly there was with the angel (recitative, soprano)

Scene 4: The annunciation to the shepherds



And suddenly there was with the angel a multitude of the heavenly host praising God, and saying: (Luke 2:13)

Part II

17. Glory to God in the highest (chorus) Glory to God in the highest, and peace on earth, good will towards men. (Luke 2:14)

44. HALLELUJAH! (chorus) HALLELUJAH! For the Lord God omnipotent reigneth.

Scene 5: Christ’s healing and

The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever.


18. Rejoice greatly, O daughter of Zion (air, soprano) Rejoice greatly, O daughter of Zion; Shout, O daughter of Jerusalem: behold, thy king cometh unto thee. He is the righteous Savior, and He shall speak peace unto the heathen. (Zechariah 9:9–10) 19. Then shall the eyes of the blind be opened (recitative, mezzo-soprano) Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing. (Isaiah 35:5–6) 20. He shall feed His flock like a shepherd (air, mezzo-soprano) He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. (air, soprano) Come unto Him, all ye that Labor and are heavy laden, and He shall give you rest. Take His yoke upon you, and learn of Him; for He is meek and lowly of heart: and ye shall find rest unto your souls. (Isaiah 40:11; Matthew 11:28–29) 21. His yoke is easy (chorus) His yoke is easy and His burden is light. (Matthew 11:30)

Scene 7: God’s ultimate victory

KING OF KINGS and LORD OF LORDS, HALLELUJAH! (Revelation 19:6,16; Revelation 11:15)

Part III Scene 1: The promise of eternal life 45. I know that my Redeemer liveth (soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first-fruits of them that sleep. (Job 19:25-26, 1 Corinthians 15: 20)

Scene 4: The acclamation of the Messiah 53. Worthy is the Lamb (chorus) Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. (Revelation 5:12–13) Amen (chorus)





Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES Saturday, January 12, 2019 • 8 p.m. The Kentucky Center • Whitney Hall

Classics Series Season Sponsor

Slatkin Conducts Elgar Leonard Slatkin, conductor

Program CINDY McTEE Double Play I. The Unquestioned Answer II. Tempus Fugit LEONARD SLATKIN


WALTER PISTON Suite from The Incredible Flutist I. Introduction – Siesta in the Marketplace II. Entrance of the Vendors III. Entrance of the Customers IV. Tango of the Merchant’s Daughters V. Arrival of the Circus VI. Circus March VII. The Flutist VIII. Minuet IX. Spanish Waltz X. Eight O’Clock Strikes XI. Siciliana XII. Polka Finale




EDWARD ELGAR Variations on an Original Theme (“Enigma”), Op. 36 Theme: Andante Var. I: “C.A.E.” Var. II: “H.D.S-P.” Var. III: “R.B.T.” Var. IV: “W.M.B.” Var. V: “R.P.A.” Var. VI: “Ysobel” Var. VII: “Troyte” Var. VIII: “W.N.” Var. IX: “Nimrod” Var. X: Intermezzo, “Dorabella” Var. XI: “G.R.S.” Var. XII: “B.G.N” Var. XIII: Romanza, “***” Var. XIV: Finale, “E.D.U.”

Mr. Slatkin is an exclusive artist of Columbia Artists Management Inc. Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.



L e o n a r d S l at k i n , Internationally acclaimed conductor Leonard Slatkin Photo by Nico Rodamel. is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author and educator. Highlights of the 2018–19 season include a tour of Germany with the ONL; a three-week American Festival with the DSO; the Kastalsky Requiem project commemorating the World War I Centennial; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland and Monte Carlo Symphony. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of 24

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Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. Slatkin has held posts as Music Director of the New Orleans, St. Louis and National Symphony Orchestras, and he was Chief Conductor of the BBC Symphony Orchestra. He has served as Principal Guest Conductor of London’s Philharmonia and the Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl and the Minnesota Orchestra. He has conducted virtually all the leading orchestras in the world, including New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, all five London orchestras, Berlin Philharmonic, Munich’s Bayerischer Rundfunk, Royal Stockholm Philharmonic Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, Oslo Philharmonic Orchestra and Israel Philharmonic Orchestra. Slatkin’s opera conducting has taken him to the Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Opera Theater of St. Louis, Santa Fe Opera, Vienna State Opera, Stuttgart Opera and Opéra Bastille in Paris. Born in Los Angeles to a distinguished musical family, he began his musical training on the violin and first studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at Juilliard. He makes his home in St. Louis with his wife, composer Cindy McTee. For more information, visit


Program Notes Cindy McTee Double Play Cindy McTee was born in Tacoma, Washington, in 1953. She composed this work in 2010 on a commission from the Detroit Symphony Orchestra for Elaine Lebenbom, and it was first performed the same year by the DSO under the direction of Leonard Slatkin. The score calls for 2 flutes, piccolo, 3 oboes, 2 clarinets, E-flat clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings. Cindy McTee was born to musical parents and grew up hearing the popular music and jazz played by her parents’ dance band. She began piano at age six and learned the saxophone from her mother a few years later. She studied composition at the Pacific Lutheran University, the Academy of Music in Kraków, Poland, Yale University and the University of Iowa. Her teachers included Krzysztof Penderecki, Bruce MacCombie and Jacob Druckman. She first met Penderecki while a student at Pacific Lutheran University, where he offered to teach her composition if she would teach his children English. She spent a year in Poland studying with Penderecki at the family’s dining room table and taking counterpoint, orchestration and twentieth century techniques at the Academy of Music. Since that time McTee had divided her time between teaching and composing. After she taught for three years at her undergraduate alma mater, she joined the faculty of the University of North Texas, where she remained until she retired as

Regents Professor Emerita in 2011, the year of her marriage to conductor Leonard Slatkin. McTee has had commissions from the Detroit Symphony Orchestra, the National Symphony Orchestra, the Amarillo Symphony Orchestra, the Houston Symphony Orchestra, the Dallas Symphony Orchestra, the Bands of America, the American Guild of Organists and many others. Her many awards and honors include a Guggenheim Fellowship, a Fulbright Fellowship, a Composers Fellowship from the National Endowment for the Arts, two awards from the American Academy of Arts and Letters, a Music Alive Award from Meet The Composer and the League of American Orchestras, the Detroit Symphony Orchestra’s third annual Elaine Lebenbom Memorial Award, and a BMI Student Composers Award. She was also winner of the 2001 Louisville Orchestra Composition Competition. McTee’s Double Play comprises two movements that can be performed separately. She writes: “I have always been particularly attracted to the idea that disparate musical elements—tonal and atonal, placid and frenetic—cannot only coexist but also illuminate and complement one another. I can think of no composer more capable of achieving these kinds of meaningful juxtapositions than Charles Ives. As in Ives’ Unanswered Question, my Unquestioned Answer presents planes of highly contrasting materials: sustained, consonant sonorities in the strings intersect to create dissonances; melodies for the principal players soar atop; and discordant passages in the brass and winds become ever more disruptive. The five-note theme from Ives’ piece is heard in both its backward and forward versions throughout the work. “Tempus Fugit, Latin for ‘time flees’



but more commonly translated as ‘time flies,’ is frequently used as an inscription on clocks. My Tempus Fugit begins with the sounds of several pendulum clocks ticking at different speeds and takes flight about two minutes later using a rhythm borrowed from Leonard Slatkin’s Fin for orchestra. Jazz rhythms and harmonies, quickly-moving repetitive melodic ideas, and fragmented form echo the multifaceted and hurried aspects of 21st-century American society.” Leonard Slatkin Kinah Leonard Slatkin was born in Los Angeles in 1944. He composed this Photo by Cindy McTee. work in 2015 and led the first performance with the Detroit Symphony Orchestra the same year. The score calls for solo offstage violin, solo offstage cello, offstage trumpet, offstage flugelhorn, 4 horns, percussion and strings. Although he is known best as a conductor, Leonard Slatkin is also an active composer. He studied composition in Los Angeles, at Indiana University and at the Juilliard School. His first professional works were written for the St. Louis Symphony Orchestra. The Louisville Orchestra is pleased to present his latest composition, Kinah. Mr. Slatkin writes: “Kinah is dedicated to my parents, Felix Slatkin and Eleanor Aller. On February 6th, 1963, my parents rehearsed the Brahms ‘Double’ Concerto with the Doctor’s Symphony Orchestra in Los Angeles. It was to be the first time that my father, Felix, a violinist, and his wife, 26

Eleanor, a cellist, would play this work in public. There was a great deal of anticipation for this performance, as the two were regarded as part of the elite of the Hollywood musical establishment. I was 19 years old and not sure what I was going to do with the rest of my life as far as a career was concerned. Attending the rehearsal seemed a chore, but I saw that everyone there was mesmerized by the pair’s incredible way with this piece. We all knew that the concert would be an evening to treasure. “Alas, the performance never took place, as my dad died two nights later, at the age of 47. The respect he was shown was evident in the memorial service held two days later, when 1,500 people showed up to pay their respects, including Frank Sinatra. I really never had adequate time to mourn, and so it seemed right for me to compose this brief elegy as a tribute to both my parents. My father would have turned 100 this December [2015] and my mom would have been 98. “The chord sounded at the opening is comprised of notes taken from the melody of the slow movement of the Brahms concerto. The flugelhorn intones the elegy itself, followed by a steady build up in the other instruments. “This leads to a short and fast interlude, once again using the first four notes of the Double Concerto’s slow movement. Various unusual sound effects interrupt. After this burst of activity, the elegy melody returns, this time transformed into a canon. As the textures thicken, the four-note motif becomes agitated and repetitive, with flurries of sound coming from almost all the instruments. “To conclude, when the activity dies down, a distant violin and cello play the first few passages of the second movement of the Brahms, but do not complete their phrases, a reminder that the public never heard my parents’ interpretation of the


piece. The last utterance of the two soloists utilizes the final bars of the Andante, with a brief silence occurring just before a dark bell-like sound in the orchestra brings the work to an end. “Kinah is the Hebrew word for ‘elegy,’ and although we were not a devout family, there was always something of our Jewish heritage felt in the Slatkin household. I can only hope that this short work, about 14 minutes long, pays appropriate homage to my parents.” Walter Piston Suite from The Incredible Flutist Walter Piston was born in Rockland, Maine, in 1894 and died in Belmont, Massachusetts, in 1976. He composed his ballet The Incredible Flutist in 1938; it received its premiere by the Boston Pops Orchestra under the direction of Arthur Fiedler the same year. Piston later extracted a thirteen movement suite from the score for concert performance. This was first performed by the Pittsburgh Symphony under Fritz Reiner in 1940. The score of the Suite calls for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano and strings. Walter Piston belonged to that bright young generation of American composers that included Aaron Copland, William Schuman, Samuel Barber, Virgil Thompson and others. At one time it was expected by some that these men would constitute an “American school” of composition, but it was not to be. Despite the high quality of their work, they had surprisingly little

influence: the next generation of American composers rejected their conservatism and instead looked more towards the Viennese serialists for inspiration, and became more or less amalgamated into the prevailing international style. Today there seems to be a revival of interest in the lesser-known among these composers, and that’s a good thing, for listeners will find their explorations amply rewarded. Piston was a lifelong advocate of “absolute music” which is nonrepresentational, instrumental music without a subject. It is ironic that today he is best known for his ballet The Incredible Flutist, the only work he wrote for the theater. The movement titles of the Suite outline the story of the ballet. A sleepy village rises from its siesta, and the buyers and sellers gradually fill the marketplace. A circus arrives, and its star attraction, the flutist, plays for the crowd. The flutist charms everyone (even the circus’ snake charmer!) with his music—and he seems to charm the ladies of the audience, too. A merchant hopes that he charms the rich widow as well, as they dance together. As eight o’clock strikes romance is everywhere, but when the widow is discovered kissing the merchant, she faints. After the flutist leads a dance for the crowd, his music revives the widow, whereupon the circus moves on to its next destination. Two amusing traditions began with the first performance of The Incredible Flutist, and these are usually observed whenever the Suite is performed. First, when the circus band marches in, the orchestra players cheer its arrival as the townspeople would. Second, at the end of the Circus March there is the sound of a barking dog or two. As tradition has it, the winner of a barking contest among the musicians gets the role—but you should know that Maestro Slatkin has recorded the work using recordings of his own pets for that job. What fun!



The Incredible Flutist is rarely given as a ballet these days—it seems almost too-innocent a story by today’s standards. Piston’s Suite brings us much of the ballet’s splendid music, though, and it’s always a treat to hear it. Edward Elgar Variations on an Original Theme (“Enigma”), Op. 36 Edward Elgar was born in Broadheath, Worcestershire, England, in 1857, and died in Worcester, England, in 1934. He composed this work in 1899, and it was first performed the same year in London under the direction of Hans Richter. The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, organ and strings. This is the work that put Elgar on the musical map. He had made his living as a musical jack-of-all-trades, playing several instruments, conducting, teaching and composing. His early works (mostly cantatas and choral works based on historical romances) brought him scant recognition; it was not until he composed his Enigma Variations that he came into his own as a composer of quality, one whom Richard Strauss would call “the first English progressivist.” As the title implies, the work is a theme-and-variations, but with a twist: the theme is never heard—hence the “enigma.” What’s more, each variation is also a portrait of one of his friends. Each was cryptically titled with a set of initials or a name, and it was not until after 28

Elgar’s death that all of the identities became known. The variations are played without pause, proceeding as follows: Theme: A theme without a theme, actually: its two contrasting sections are derived from, but are not in themselves the mysterious Enigma theme. Variation I (C.A.E.) A warm portrait of Caroline Alice Elgar, the composer’s wife. Elgar incorporated the four-note whistle he always used to let her know that he was home. Variation II (H.D.S-P) Pianist-friend H.D. Stuart-Powell. Variation III (R.B.T.) Amateur actor Richard Baxter Townshend. Townshend’s peculiar ability to manipulate his voice from basso to falsetto is mimicked by gravelly rumbles set against high woodwind figures. Variation IV (W.M.B.) William M. Baker, a rather gruff country squire. Variation V (R.P.A.) Richard P. Arnold was a young philosopher/musician whose personality could turn rapidly from serious to whimsical. Variation VI (Ysobel) The prominence of the violas in this variation is in honor of Isabel Fitton, Elgar’s viola student. Variation VII (Troyte) Arthur Troyte Griffith was an architect and amateur pianist, whose contentious personality often showed in his piano playing. Variation VIII (W.N.) Winifred Norbury was a gracious elderly woman whose laugh is immortalized by the oboe trills in this variation.


Variation IX (Nimrod) This weighty core of the Variations is a portrait of August Jaeger, Elgar’s friend at Novello, his publisher. According to Elgar, “It is a record of a long summer evening talk, when my friend grew nobly eloquent (as only he could) on the grandeur of Beethoven, and especially of his slow movements.” Variation X (Dorabella) In the descending melody Elgar warmly recalls his friend Dora Penny’s halting manner of speech. Variation XI (G.R.S.) This variation is named for George R. Sinclair, but the portrait is largely of the man’s bulldog, Dan. Variation XII (B.G.N.) The cello section portrays Basil G. Nevinson, a cellist who played chamber music with Elgar. Variation XIII (***) Mary Lygon was on a voyage to Australia when the Variations were written, which explains the quotes from Mendelssohn’s Calm Sea and Prosperous Voyage. Since she was away, Elgar couldn’t ask her permission to use her initials. Finale (E.D.U.) “Edu” was his wife’s pet name for Elgar and, as he said, “In the fourteenth variation, I came to myself.”

The composer’s self-portrait is a grand resolution of the Variations, and a capstone to the piece. Elgar refused to reveal the thematic basis for the Variations: “The Enigma I will not explain—its ‘dark saying’ must be left unguessed.” Despite that—of course!— many have guessed, and solutions have ranged from “Auld Lang Syne” to “God Save the Queen.” There is one solution, though, that accounts for Elgar’s broadest hint: when Dora Penny (the subject of Variation X) asked Elgar about the Enigma, he replied, “You of all people should have guessed!” The reason she should have guessed was that on the tail side of an old Victorian penny was the image of Britannia, and in this hypothesis, “Rule Britannia” is the source of the theme. If you sing from the words, “never never never shall be slaves” you encounter a snippet of melody that occurs frequently throughout the work. With a little imagination this also explains Elgar’s statement that “the principal theme never appears.” Simply re-arrange the punctuation and you have “the principal theme, ‘never,’ appears”—along with an enigmatic gleam in Elgar’s eye. —Mark Rohr Questions or comments?



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Prelude $1,500 - $2,999 Mr. Teddy Abrams Hon. and Mrs. Jerry E. Abramson Mr. and Mrs. John F. Cunningham William E. Barth Foundation Ms. Lynne Bauer Conductors Society (Patron) Mrs. and Mr. Wendell Berry $5,000 - $9,999 Dr. Stephen and Jeannie Bodney Anonymous (2) Mr. and Mrs. John T. Bondurant Mr. and Mrs. Steve Bailey Mr. William F. Burbank Mrs. Gladys Bass Mr. and Mrs. William P. Carrell Dr. and Mrs. David P. Bell Mrs. Evelyn T. Cohn Bob and Nora Bernhardt Mr. John B. Corso Dr. and Mrs. Paul Brink Mr. and Mrs. John F. Cunningham Mr. Garvin Brown Ms. Gayle A. DeMersseman Mrs. Sally V. W. Campbell Ms. Judy Dickson The Cralle Foundation, Inc. Dr. and Mrs. Christopher Doane Mr. and Mrs. Roger Cude Mr. Daniel L. Dues Mrs. Elizabeth Davis Mr. Edward and Mrs. Shirley Dumesnil Dr. and Mrs. Charles E. Dobbs Mr. and Mrs. William L. Ellison, Jr. Mr. and Mrs. Thomas E. Dunham Dr. Vilma Fabre Irvin F. and Alice S. Estcorn Foundation The Jane Flener Fund Mr. and Mrs. George E. Fischer Dr. and Mrs. Eugene Fletcher Mr. and Mrs. Andrew Fleischman Forecastle Foundation, Inc. Mrs. Thelma Gault Randall L. and Virginia I. Fox Mr. and Mrs. John S. Greenebaum David and Regina Fry Mr. and Mrs. Matthew Hamel Ms. Mary Louise Gorman The Wood and Marie Hannah Foundation Mr. Bert Greenwell Horseshoe Foundation of Floyd County Habdank Foundation Ms. Wendy Hyland Ms. June Hampe Klein Family Foundation Mr. and Mrs. Ken Handmaker Mr. and Mrs. Bill Lamb Mr. John Huber Kenneth and Kathleen Loomis David Sickbert and Thomas Hurd Mr. W. Bruce Lunsford Doug and Jill Keeney Mr. and Mrs. Herbert S. Melton III Mr. and Mrs. Louis F. Korb Mr. David E. Mueller Thomas and Judith Lawson Mr. and Mrs. Ronald J. Murphy Mr. Thomas Lewis Mr. and Mrs. Kent Oyler Drs. Eugene and Lynn Gant March Beulah and Kenneth Rogers Mr. and Mrs. James B. McArthur Mr. and Mrs. Gary M. Russell Dr. and Mrs. Ronald Morton Ms. Helga Schutte Dr. Alton E. Neurath, Jr. Arthur K. Smith Family Foundation Mr. and Mrs. Dominick Pagano Woodrow M. and Florence G. Strickler Fund Mr. and Mrs. Tim Peace Mr. and Mrs. Michael Von Hoven Mrs. William P. Peak Dr. Carmel Person Conductors Society Ms. Marla Pinaire $3,000 - $4,999 Mr. Stephen P. Campbell and Dr. Heather McHold Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham Mr. Christopher Coffman Mr. and Mrs. John Potter Rev. John G. Eifler Mr. and Mrs. Gordon J. Rademaker Mr. and Mrs. Donald Finney Mr. Clifford Rompf Mr. and Mrs. Clyde Foshee Mr. Karl P. Roth Mr. and Mrs. Vincenzo Gabriele Louis T. Roth Foundation, Inc. The Gilbert Foundation Ms. Marianne Rowe Mr. and Mrs. Owen C. Hardy Mr. and Mrs. Russell Saunders Mildred V Horn Foundation Ms. Jan Scholtz Mr. and Mrs. Allan Latts Mr. and Mrs. Julian Shapero Mr. and Mrs. Colin McNaughton Ms. Susan W. Smith Dr. and Mrs. David H. Neustadt Dr. Anna Staudt Mr. and Mrs. Norman E. Pfau, Jr.


Mr. Brandon Sutton Ms. Ann Thomas Dr. Juan Villafane Mr. Richard Wolf Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller Sonata $500 - $1,499 Anonymous (1) Mr. and Mrs. William M. Altman David and Madeleine Arnold Dr. Claire Badaracco Ms. Stephanie Barter Mr. and Mrs. Mike Bauer Mrs. Mary J. Beale Rev. and Mrs. Harlan Beckemeyer Mr. Hans Bensinger Eunice F. Blocker Dr. and Mrs. Lawrence H. Boram Mr. and Mrs. Erle B. Boyer Mr. and Mrs. Hewett Brown Mr. and Mrs. Gary Buhrow Mr. William Carroll Mr. and Mrs. George F. Coleman Mr. David and Mrs. Cynthia Collier Ms. Rhonda L. Collins Mr. and Mrs. Richard L. Conklin June Allen Creek Mrs. Janet R. Dakan Ms. Marguerite Davis Ms. Carol W. Dennes Dr. and Mrs. John W. Derr Mr. and Mrs. James Doyle Ms. Susan Ellison Ms. Nancy Fleischman The Gardner Foundation, Inc. Dr. Karen Abrams and Dr. Jeffrey Glazer Mr. Joseph Glerum Mr. and Mrs. Laman Gray Mr. and Mrs. John R. Gregory Mrs. Mary C. Hancock Michael R. and Martha Hardesty Mrs. Barbara B. Hardy Dr. Frederick K. Hilton Mrs. Maria Hardy-Webb Jacktivist Mark and Amy Johnson Mr. Alec Johnson Dr. and Mrs. David Karp Mr. and Mrs. William Kissel Mr. & Mrs. Gary Knupp Dr. and Mrs. Forrest Kuhn Mr. and Mrs. Karl D. Kuiper Ms. Lorna Larson Mr. and Mrs. David J. Leibson Dr. Leonard Leight Cantor David Lipp and Rabbi Laura Metzger Eileene J. MacFalls Ms. Stephanie Massler Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Mr. and Mrs. Steve Miller Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Mr. and Mrs. John Newell Dr. Charles R. Oberst Dr. and Mrs. Lynn L. Ogden Ms. Karen O’Leary Dr. Naomi J. Oliphant Mr. and Mrs. Edwin Olliges, Jr. Ms. Kathleen Pellegrino Mr. Charles F. Pye Mr. Douglas Rich Mr. Steve Robinson Mr. David C. Scott Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff Dr. and Mrs. Arthur J. Slavin Mr. Larry Sloan Mr. and Mrs. Richard E. Smith

Mrs. Carole Snyder Mr. Sheryl G. Snyder and Ms. Jessica Loving Mr. and Mrs. David Sourwine Mr. and Mrs. Robert Steen Mr. Richard Stephan Mrs. Donna M. Stewart Dr. and Mrs. T. Bodley Stites Mrs. Mary Stites Mary and John Tierney Mrs. Rose Mary Rommell Toebbe Mr. and Mrs. Bryan and Ruth Trautwein Mr. and Mrs. James Valdes Mr. and Mrs. Robert W. Vaughan Mr. and Mrs. Stephen F. Wheeler Mr. and Mrs. James I. Wimsatt Mr. Jonathan Wolff Mr. and Mrs. Paul Zurkuhlen Duet $250 - $499 Anonymous (2) Robert and Judith Ayotte Mr. and Mrs. James Baribeau Mr. David B. Baughman Mr. and Mrs. Donald Baxter Mr. and Mrs. William D. Beaven Mr. Bruce Blue John and JoElle Bollman Ms. Cornelia Bonnie Mrs. Elaine B. Bornstein Mr. Samuel G Bridge Mr. and Mrs. Jay Brodsky Ms. Carolyn S. Browning Dr. Bruce Burton Ms. Rebecca Bruner Dr. and Mrs. Jeffrey P. Callen Will and Kathy Cary The Caroline Christian Foundation Mrs. Helen K. Cohen Mr. and Mrs. Arthur O. Cromer Ms. Betsey Daniel Ms. Micah Daniels Kate and Mark Davis Mrs. Pat Dereamer Mr. Leonidas D. Deters Mr. and Mrs. Robert Duffy Ms. Deborah A. Dunn Pat Durham Builder, Inc. Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Dr. Marjorie Fitzgerald Leslie and Greg Fowler Mr. and Mrs. Lawrence Gettleman Mrs. Gila Glattstein Mr. and Mrs. Edward Goldstein Dr. and Mrs. Richard L. Goldwin Dr. Muriel Handmaker Mr. John D. Harryman Mr. Carl Helmich Chris and Marcia Hermann Mr. Lawrence Herzog Dr. and Mrs. Jonathan Hodes Mr. Richard Humke Dr. and Mrs. Robert H. Hunter II Mr. and Mrs. Richard W. Iler Mr. Mike Kallay Mrs. Annora Karr Ms. Jan S. Karzen Mr. Warren Keller Ms. Stephanie Kelly Mr. and Mrs. William P. Kelly III Marjorie and Robert Kohn Ms. Laura Larcara Dr. and Mrs. Robert G. Lawrence Mr. and Mrs. Thad Luther Mr. Joseph Lyons Mr. Albert Lyons Ms. Anne Maple Joan McCombs Mr. William Mitchell Mrs. Biljana N. Monsky Ms. June E. Morris


Barry and Carla Givan Motes Michael B. Mountjoy Marti and Hubert Mountz Ms. Mary Margaret Mulvihill Ms. Joan Musselman Betsy L. Owen-Nutt Ms. Joan Pike Dr. and Mr. Dwight Pridham Psi Iota Xi Sorority, Alpha Pi Chapter Mr. Mitchell Rapp Mr. John S. Reed II Dr. John Roberts and Dr. Janet Smith Mr. John Robinson Mr. Ryan Rogers Mrs. Vicki Romanko Rev. James Rucker Mrs. Barbara Sandford Mr. Kenichi Sato Susan G. Zepeda and Dr. Fred Seifer Ms. Louise B. Seiler Dr. and Mrs. Saleem Seyal Mr. Joseph Small Mr. and Mrs. John L. Smart Jr. Vernon M. and Peggy T. Smith Mr. William Smith Mr. Robert Steiner, M.D. Constance Story and Larry G. Pierce Ms. Anita and Ms. Rosalind Streeter Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Anna Laura and Thomas Trimbur Mr. and Mrs. Terry Waddle Mr. and Mrs. William J. Walsh III Mr. Dennis Walsh Dr. Will W. Ward Natalie S. Watson Mr. and Mrs. William W. Weber Anita and Shelton Weber Mr. Robert Weekly Mrs. Joan T. Whittenberg Mr. and Mrs. Raleigh K. Wilson Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Mr. Gene Zipperle 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, Interim Director of Development at 502-585-9413 or Ms. Doris L. Anderson Mr. and Mrs. Gary Buhrow Mr. Douglas Butler and Ms. Jamey Jarboe Mr.† and Mrs. Stanley L. Crump Mrs. Janet R. Dakan Anita Ades Goldin Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Dr. Carl E. Langenhop Mrs. Philip Lanier Mr. and Mrs.† Warwick Dudley Musson Dr. Naomi Oliphant Mr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Anonymous †Denotes deceased


Theatre Services

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Courtesy • As a courtesy to the performers and other audience members, please turn off all audible message systems. Those who expect emergency calls, please check your beepers at the main lobby coat check and report your seat location to the attendant. • 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 for more information about the range of accessibility options we offer, or to receive this information in an alternate format.



Supporting the performing arts for 25 years.

Audience - Louisville Orchestra - December 2018  
Audience - Louisville Orchestra - December 2018