Carmel Symphony Orchestra Program 2017-18

Music Director

Carmel

Symphony Orchestra SEA SON 2017-18

RESIDENT

ORCHESTRA

AT

THE

PALL ADIUM

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A SPECIAL THANK YOU

to these Sponsors

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

SEASON SPONSOR

Our season, concert, and guest artist sponsors play a major role in ensuring a successful season for Carmel Symphony Orchestra. They are important and valued partners in bringing our performances to you and the greater Carmel community.

CLAY TOWNSHIP is one of nine townships in Hamilton County. The township’s approximately 50 square miles are bounded by 96th Street on the south, 146th Street on the north, the White River on the east, and Boone County line on the west. Visit claytwp.org

PEDCOR COMPANIES develops, constructs, and manages market rate and affordable housing communities throughout the Midwest and western United States. The company was founded in 1987. To date, Pedcor has developed in excess of 16,000 apartment units.

Visit pedcorcompanies.com

INDIANA UNIVERSITY HEALTH NORTH HOSPITAL has provided leading family-centered care to Carmel and Hamilton County residents since 2005. As a full-service hospital, IU Health North Hospital brings together physician offices, inpatient beds, and operating rooms in a state-of-the-art facility where compassionate caregivers provide superior patient treatment. Visit iuhealth.org/north

BARNES & THORNBURG LLP is a large U.S. law firm and lobbying group with 13 offices located in the United States. It is currently the largest law firm in the State of Indiana and 90th largest in the United States. Visit btlaw.com

At SYM FINANCIAL ADVISORS, our relationships with our clients are the driving force of our business. An independent, fee-based Registered Investment Advisory (RIA) firm, we provide full-service wealth management, portfolio management, and retirement plan management services to our valued clients throughout the United States. Visit sym.com

Since 1914, UNITED FIDELITY BANK has been dedicated to building long term relationships with our customers. Our mission is to be the premier community banking institution providing financial services for our market, by surpassing customer’s expectations and fulfilling community needs in a manner that enhances value. Visit unitedfidelity.com Don’t forget, you can recycle your program at the door!

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Visit our beautiful new location at the Clay Terrace Mall!

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Each week, Meridian Music School helps more than 1,000 students, ages 18 months to adult, realize their dream of playing a musical instrument.

Music lessons include: Strings acoustic guitar • banjo • bass guitar • cello • electric guitar • harp • mandolin • viola • violin Brass baritone • french horn • trombone • trumpet Piano • Voice Woodwinds bassoon • clarinet • flute • oboe • saxophone

Book Your Private or Group Lesson Today!

New Location: 845 W. Carmel Drive, Carmel, IN 46032 317.805.0933 • hillary@meridianmusicschool.com • www.MeridianMusicSchool.com

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

TABLE OF

CONTENTS During the Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Jim Brainard, Mayor of Carmel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Larry Lawhead, Chair, Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Alan Davis, President & CEO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Janna Hymes, Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Season-At-A-Glance, 2017-18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 General Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 The CSO Gives to Our Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 CSO Staff and Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Carmel Symphony Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.

Clay Township Orchestral Showcase; October 14. . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.

Music is Passion; November 11. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.

Indiana University Health Holidays; December 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.

Music is Love; February 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57.

Family Fun!; February 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69.

Music is Joy; March 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.

Music is Drama; April 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

CORPORATE, BUSINESS, AND INDIVIDUAL PARTNERS The Carmel Symphony would like to acknowledge and thank our following sponsors: SEASON SPONSOR

CONCERT TITLE SPONSORS

CONCERT SPONSORS

OFFICIAL BANK OF THE CSO

GUEST ARTIST SPONSORS

Eloise L. Bowers

S. Jeanne Book

MEDIA PARTNERS

ASSOCIATE SPONSORS

FM HD1

OFFICIAL PRINTER

OFFICIAL PIANO TECNICIAN

David F. Smith, RPT 317.460.2276

Don’t forget, you can recycle your program at the door!

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

DURING THE CONCERT Children

Cell Phones and Cameras

The use of cell phones or cameras during performances is strictly prohibited. Please turn off all devices before the concert begins.

Smoking

Smoking is not permitted at the Palladium.

Late Arrivals

Latecomers will be seated at the first appropriate pause in the program.

Photo and Video Policy

Accessibility

Ushers are available to assist our wheelchair patrons or others with special needs.

Meet the Artist!

The Carmel Symphony Orchestra welcomes children of all ages to our performances.

However, if your child becomes restless or unhappy, please slip out to the lobby until he or she is ready to enjoy the music once again. An usher will be happy to assist you to your seat at the next appropriate pause in the program.

Our guest performers are often available after the concert in the East Lobby to meet members of the audience.

Photos and video are periodically taken of audience members during Carmel Symphony Orchestra performances and programs. By attending this event, the ticket holder grants consent for the presenting organization to use his/her photo or video image for marketing or promotional purposes. All photos and video are the property of the Carmel Symphony Orchestra.

OCT 14, NOV 11, FEB 10, MAR 10, APR 14 A pre-concert conversation in which patrons will discover interesting perspectives on the evening’s composers and their music. Throughout the season, speakers will range from the conductor and guest artists to orchestra musicians and Carmel Symphony staff.

FREE TO ALL TICKET HOLDERS.

Begins at 6:45pm in the Robert Adam Room, unless otherwise noted.

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DECEMBER 15-17, 2017

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

FROM THE MAYOR Welcome to the 2017-18 season of the Carmel Symphony Orchestra – and to their new music director, Janna Hymes!

I’m delighted to acknowledge their 42nd season in Carmel.

It is also the CSO’s seventh full season at The Palladium at The Center for the Performing Arts, where we can enjoy their passion for music in a venue that was built for acoustic excellence.

Our investment in world-class arts facilities, including The Palladium, The Tarkington Theater and The Studio Theater, is already proving to be an economic driver for Carmel and the Indianapolis metro area and will continue to do so for decades.

Performers from around the world have complimented these venues for their architecture and overall quality.

The Center for the Performing Arts and its resident companies, which include the Carmel Symphony Orchestra, was a key component to Carmel being awarded #3 Best Place to Live in America by Money Magazine in 2014 and #1 in 2012. This honor demonstrates how the CSO and the Center engages our citizens, provides valuable jobs, and positively impacts our city.

According to a study by Americans for the Arts, it is estimated that attendees of nonprofit arts and culture events are responsible for a national economic impact of $103 billion in annual expenditures and that taxpayer investment in the arts generates an impressive 7:1 return.

The City of Carmel is proud to offer this cultural amenity to the entire region, and we are pleased to have the CSO as the resident orchestra. Please join me in celebrating and supporting the Carmel Symphony Orchestra in its 42nd season, an exciting time for the city and the symphony.

Very truly yours,

Jim Brainard Mayor City of Carmel

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See a full list of our 2017-18 concert on page 15!!

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

Learn more

Carmel.IN.gov

Don’t forget, you can recycle your program at the door!

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

FROM THE BOARD CHAIR On behalf of the Musicians, Staff, League, and Board of Directors, welcome to the Carmel Symphony Orchestra’s exciting 2017-18 season—our 42nd! We are entering A New Era in the life of the Carmel Symphony Orchestra (CSO) with our new Music Director and Maestro, Janna Hymes, whose enthusiasm, musical emotion, and direction thrilled the audience and the musicians last year during her conducting debut. As the Resident Orchestra for the Palladium at the Center for the Performing Arts, the CSO is committed to serving our community by presenting exciting concerts that showcase music of the great classical masters, as well as the music of the best of America’s popular composers.

I know you will be as delighted as we are with the new direction and energy of Maestro Hymes.

Maestro Hymes has fine-tuned the season adding some of her favorites to craft a season that will engage and touch everyone. From the ‘dramatic’ interpretations of APA DeHaan Classical Fellows Drew Petersen and Sean Chen, to the ‘joyful’ performance by International Violin Competition of Indianapolis medalist Tessa Lark, to the ‘passion’ of our very own Concertmaster Larry Shapiro, we are thrilled to welcome an array of guest artists who will excite you with their technical achievements and musical artistry.

The CSO was created as a community orchestra, and our roots run deep. We take very seriously our commitment to our city and the education of our youth through our participation in CarmelFest, the Family Fun! concert with ‘Greatest Hits for Kids,’ our Sounds Exciting! educational concerts for area students, and the Young Artist Competition for exceptional student musicians — as well as small ensembles who provide music for a variety of community events including the annual holiday tree lighting ceremony.

If you are attending a Carmel Symphony Orchestra concert for the first time, welcome and thank you.

If you are one of our returning loyal patrons, welcome back to another terrific season. Thank you for your enthusiasm and support for making the CSO’s remarkable success possible. As part of the community, we remain committed to providing performances for everyone and to always ensure that families and children feel especially welcome.

We want to thank the City of Carmel, Mayor Jim Brainard, Carmel City Council, Clay Township Trustee and Board, our corporate sponsors, our season ticket holders, the program advertisers, our steadfast donors, and you for being here! You reflect our community’s unparalleled support of the arts.

We also hope you will consider a gift to our Annual Fund. Our board members and staff will be happy to tell you more about how you can help ensure a bright future for your orchestra.

Enjoy the music with us! And thank you for celebrating the joy of a live musical performance at the Palladium.

Sincerely,

Lawrence E. Lawhead Chair, Board of Directors Carmel Symphony Orchestra

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See a full list of our 2017-18 concert on page 15!!

International Violin Competition of Indianapolis 2017-2018 Laureate Series

www.violin.org Tuesday, October 10, 2017 Chin Kim, 1986 Laureate Chih-Yi Chen, Pianist Ronen Chamber Ensemble Saturday, November 18, 2017 Jinjoo Cho, 2014 Gold Medalist Indianapolis Chamber Orchestra Bradley Thachuk, Guest Conductor Sunday, February 11, 2018 ECCO–East Coast Chamber Orchestra Susie Park, 2002 Laureate Tuesday, March 13, 2018 Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, Pianist Jaime Laredo, Violinist Sharon Robinson, Cellist Tuesday, April 17, 2018 Hot Swing: An Evening of Gypsy Jazz Tessa Lark, 2014 Silver Medalist Michael Thurber, Bassist Gabe Schnider and Alex Wintz, Guitarists Tuesday, May 15, 2018 Dami Kim, 2014 Laureate Chih-Yi Chen, Pianist

Proudly Sponsored by

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

FROM THE PRESIDENT & CEO As the Carmel Symphony Orchestra (CSO) begins our 42nd season, we begin a new era under the musical direction of Maestro Janna Hymes.

We are so very excited with what lies ahead for us, as an organization and for you, the audience. Janna was chosen from more than 130 very qualified and gifted applicants, and we are delighted to welcome her to our organization and to the City of Carmel. She is a dedicated and passionate conductor committed to leading this orchestra into the future.

Believing that music has the power to change lives, the Carmel Symphony Orchestra is the 85-member Resident Orchestra at The Palladium at The Center for the Performing Arts. Founded in 1975, the CSO is comprised of professional and passionate musicians. The orchestra performs concerts featuring an eclectic repertoire of some of the world’s greatest symphonic music. The CSO is committed to enhancing our community’s quality of life through creative, artistically excellent performances, and educational experiences for diverse audiences of all ages.

The CSO values the community that supports us, and we are committed to expressing our sincere gratitude by giving back to the community by performing at CarmelFest and other civic events. In addition, we strive to engage students through our annual Young Artist Concerto Competition, Sounds Exciting! school concerts, and the Family Fun! concert featuring an instrument petting zoo.

On behalf of the entire CSO organization, I want to thank each of you for your kind and thoughtful support. Without our individual donors, corporate and civic partners, and above all, you, our audience members, the success of the Carmel Symphony Orchestra would not be possible. We again thank you for your loyal and continued support.

With warmest regards,

Alan Davis President & CEO Carmel Symphony Orchestra

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See a full list of our 2017-18 concert on page 15!!

PASSION · Artistry · Excellence AMERICAN PIANISTS ASSOCIATION credit: Daniel McCullough

CLASSICAL 2017 American Pianists Awards winner

Drew Petersen

JAZZ 2015 American Pianists Awards winner

Sullivan Fortner

credit: Mark Sheldon

Celebrate the beauty of music with live concerts and a trove of digital music online.

AMERICANPIANISTS.ORG Don’t forget, you can recycle your program at the door!

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

FROM THE MUSIC DIRECTOR What an incredible feeling it is to start my first season as Music Director of the Carmel Symphony Orchestra! It is an indescribable thrill to be a part of such a wonderful organization and to perform at the Palladium at the Center for Performing Arts in the beautiful City of Carmel.

I look forward to leading this season’s concerts. With the exception of the IU Holiday concerts, the 2017-18 season was thoughtfully programmed well before my audition in April, and I’ve made very few changes.

Beethoven’s “Eroica” symphony, Hindemith’s Symphonic Metamorphosis, Bernstein’s Three Dances from On The Town, Franck’s The Accursed Huntsman – these are just a few of the fantastic works you’ll hear, as well as our talented young guest artists – violinist Tessa Lark, Silver Medalist of the 9th Quadrennial International Violin Competition of Indianapolis; pianist Drew Petersen, 2017 APA Christel DeHaan Classical Fellow; and returning audience favorite, Sean Chen.

This season is an important one – I plan to listen and learn – listen to what has been done in the past, listen to what our audience likes, to better learn about the community and its cultural needs. I look forward to using all I have learned to create exciting and memorable programs for next season.

I’m excited to meet you, our supportive audience and community, and please come by to say hello after our concerts.

Enjoy the music,

Janna Hymes Music Director Carmel Symphony Orchestra

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See a full list of our 2017-18 concert on page 15!!

Season at a glance 2017-18

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

EXPERIENCE THE JOY, THE DRAMA, THE PASSION...

October 14

November 11

CLAY TOWNSHIP

DREW PETERSEN

December 9

ORCHESTRAL SHOWCASE See page 39

IU HEALTH HOLIDAYS

See page 27

See page 51

February 25

March 10

April 14

See page 69

See page 71

See page 79

FAMILY FUN!

SEAN CHEN

February 10

TESSA LARK See page 57

LARRY SHAPIRO

love of music for the

Tickets starting at $20 317.843.3800 carmelsymphony.org FAMILY SERIES: Subscribe through December 8 FLEX 3 SUBSCRIPTIONS: Please call 317.844.9717 Don’t forget, you can recycle your program at the door!

All concerts take place in the Palladium. Artists and repertoire subject to change.

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MAN MAY CREATE THE ART

but art elevates the man

WWW.KRIEGDEVAULT.COM

16

©2017 Krieg DeVault LLP

SUPPORTING THE ARTS IN OUR COMMUNITY

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

Jump in, IT’S PERFECT

From diving into our heated pool to joining neighbors for a day trip to taking a dance class, life feels amazingly good here. Add not-forprofit ownership, a local board of directors, and CCAC accreditation, and Marquette truly is the place to be.

To learn more, call, visit our website or stop by our community.

8140 Township Line Rd. | Indianapolis, IN 46260 phone (317) 875-9700 | www.marquetteseniorliving.org Don’t forget, you can recycle your program at the door!

698887

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

Fine Art & Events

Past and present meet to create an immersive and captivating experience in this stunning retail art gallery.

42 E. Washington St. Indianapolis, IN 46204 (317) 822-4242 www.GalleryFortyTwo.com

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See a full list of our 2017-18 concert on page 16!!

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

GENERAL INFO Doors open one hour prior to every concert. Music Matters begins at 6:45pm.

All Carmel Symphony Orchestra concerts are performed at the Palladium.

HOW TO ORDER SUBSCRIPTIONS

GIFT CERTIFICATES

Online CarmelSymphony.org

Gift Certificates may be purchased in any amount and may be used towards CSO tickets. Available through the Symphony office.

Email info@CarmelSymphony.org

GROUP SALES

Mail Carmel Symphony Orchestra 760 3rd Ave SW, Ste 102 Carmel, IN 46032

Discounted rates for 12 or more reserved tickets are available for groups and businesses via the Palladium Box Office.

HOW TO ORDER SINGLE TICKETS

VOLUNTEER

Phone 317.843.3800 (Palladium Box Office)

For information about joining our volunteer group, the CSO League, please call 317.844.9717.

Phone 317.844.9717 Fax 317.844.9916

Online CarmelSymphony.org

PROGRAM NOTES

In Person Palladium Box Office One Center Green Carmel, IN 46032

Daniel Powers ©2017

STUDENT DISCOUNTS

$5 YouthPASS High School students and younger can attend any Carmel Symphony regular season subscription concert for just $5 with our YouthPASS. YouthPASS tickets are available in designated areas. Please call 317.843.3800 for more information.

$10 CollegePASS College students may purchase $10 tickets in select seating areas for any regular season subscription concert with valid student ID. Please call or visit the Palladium’s Box Office for CollegePASS availability.

Don’t forget, you can recycle your program at the door!

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Indiana District 5.5 x 4.125 - FINAL.pdf 1 7/1/2015 3:32:30 PM

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SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

The CSO gives to

OUR COMMUNITY

The Carmel Symphony Orchestra (CSO) strives to connect our community and young people to the gift of music. An important part of our mission is to nurture in children and students a life-long love of music and to encourage students to engage music through performance. Below are just a few ways we give back.

CARMELFEST

SOUNDS EXCITING! CONCERTS

The CSO has a proud tradition of performing free community concerts during the 4th of July festivities in Carmel, when thousands gather to celebrate our country’s independence.

Every year, the CSO plays a series of free interactive educational concerts for elementary age students to engage children in the inspiring world of symphonic music, as well as to encourage them to participate in their school’s band or orchestra programs. Nearly 2,000 students attend these popular concerts each year.

YOUNG ARTIST COMPETITION

The CSO Young Artist Competition nurtures the budding careers of highly skilled young musicians through our annual concerto competition. The competition is open to students, elementary through high school seniors, who reside in Indiana. The winner receives a cash prize and performs at our Family Fun! concert on February 25, 2018.

Don’t forget, you can recycle your program at the door!

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

CSO STAFF & BOARD STAFF

Dr. Alan Davis, President & CEO Janna Hymes, Music Director Denise Ryan,   Vice President & General Manager Marc Huber, Director of Development Laura Payne, Education Director Rachel Gries, Personnel Manager Logan Strawn, Assistant Personnel Manager Mark Schuster, Librarian PHOTO CREDIT

Greg Persell Pickett & Associates Clint Reeves

BOARD OF DIRECTORS Lawrence E. Lawhead, Chair Bill Culpepper, Vice Chair Robert E. Schlegel III, Secretary Rick Harrison, Treasurer Bradford S. Grabow, Past Chair

John W. Adams Randy Biernat Bruce Cordingley Michael C. Donahue R. Craig Gigax Stan Hurt Tracy Miller Luci Snyder James P. Streeter Reinhold Strnat, Orchestra Representative Jerry Torr Dr. George Zack Jeanne Book, Honorary Life Member

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See a full list of our 2017-18 concert on page 16!!

pickett

associates

strategic communications & then some.

PROUD TO BE

MAKING MUSIC WITH THE

CARMEL SYMPHONY

ORCHESTRA

PR . MARKETING . WEBSITES . STRATEGIC SOCIAL MEDIA

pickettandassociates.com

October 7, 2017 November 12, 2017 December 3, 2017 February 18, 2018 March 3, 2018 April 8, 2018 May 25, 2018

The Wondrous World of John Williams The Palladium Echoes Over Five Centuries - The Reformation The Palladium Joy of the Season The Palladium Masterworks Old and New The Palladium Steampunk, Sondheim and Leonardo da Vinci The Studio Theatre Among the Trees The Palladium Trumpet Magic with Allen Vizzutti The Palladium

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c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

C ARMEL SYMPHONY ORCHESTRA 2017-18 Musicians VIOLIN

Larry Shapiro, Concertmaster Sponsored

by Eloise L. Bowers

In Memory of Thomas W. Bowers

Jesse Hawkins,

Associate Concertmaster

Nataliya Nizhalova,

Principal Second Violin Sponsored by Jim & Kris Zaloudek

Pamela Close, cting Assistant Principal A Second Violin

CELLO

Nancy Smith, Principal Sponsored by Dane & Bev Starbuck

Martin Meyer,

VIOLA

Kim Coplen

Suzane Um, Principal

Sponsored by John W. & Nancy S. Adams

Melinda Bowman Rachel Gries Rachel Gutana Karen Hutchins Julia Keller-Welter Mark Schuster Julie Scull

Dave Poncar, Principal

Lindsey Agnew Jan Brill Andrew Emata Joerg Schreiber Clayton Tsang Jennifer Weber BASS

Ryan Caldwell, Principal Sven Schreiber HORN

Assistant Principal

Ingrid Baird Reid Bonner Amanda Cornet Nick Drumm Juli Enzinger Rebecca Hoffmann Sun Huh Jill Kirk Meghan King Ann Manship Mary McLean Annemarie Schreiber Kevin Shiue Reinhold Strnat Sandy Swartz Travis Waymon Candida Wiley Kris Zaloudek

BASSOON

Sponsored by Lawrence & Vivian Lawhead

Ginny Kundrat Larry Lemon Greg Leffler Heather Palmer

Rose Meyers, Principal Sponsored by Stan & Sandy Hurt

TRUMPET

Steve Pfoser, Principal Sponsored by Drs. Pamela A. Steed & Peter Furno

Tiffany Freeman,

Assistant Principal

Bob Bonner Shawn Jones

Matt Greven Laura Payne Chris Rund Christian Starnes

TROMBONE

David Roode, Principal

FLUTE

Sponsored by Bill & Brenda Culpepper

Karen Sheely, Principal

Lawrence Lawhead

Kathy Sasseman Kim Coplen

BASS TROMBONE

Sponsored by Kimberly W. & Michael C. Donahue

Richard Dole & Joseph Murrell,

Acting Co-Principals

PICCOLO

TUBA

Andy Meyer, Principal

OBOE

Rebecca McGuire & Liza Saracina, Acting Co-Principals, Sponsored by Jill & Tom Kirk

Sharon McCullough Tama Poncar ENGLISH HORN

Sharon McCullough

Sponsored by Karen A. Sheely

TIMPANI

Jason Spangler, Principal Sponsored by Jim & Sally Hubbard

PERCUSSION

Mark Stempel, Principal Keli Welsh HARP

CLARINET

Gavin Arnold, Principal

Wendy Muston, Principal

Sponsored by Paul Reis & Mo Merhoff

Katherine Peters

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See a full list of our 2017-18 concert on page 15!!

M O R E I N F O AT C A R M E L S Y M P H O N Y. O R G

inspire!

STUDENT DISCOUNTS Inspiration. Imagination. Motivation.

Students of all ages are encouraged to take advantage of CSO YouthPASS and CollegePASS, discounted to allow childeren and yong adults to experience the joy of live music.

317.843.3800 C A R M E L S Y M P H O N Y. O R G

5 10

$

$

YouthPA SS

r

High School & Younge

ePA SS nt ID g e l l o C Stude lid

With Va

RESIDENT ORCHESTRA AT THE PALLADIUM

c a r m e l s y m p h o n y o r c h e s t r a SEA SON 2017-18

Clay Township

.

Hamilton County, Indiana Grass Roots Government–EST. 1833

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www.claytwp.org

See a full list of our 2017-18 concert on page 15!!

SEA SON 2017-18 c a r m e l s y m p h o n y o r c h e s t r a

JANNA HYMES MUSIC DIRECTOR

Clay Township Orchestral Showcase October 14, 2017 • 7:30pm The Palladium Janna Hymes Conductor Jerry Torr Guest Conductor Fanfare for a New Era (World Premiere) Academic Festival Overture, Op. 80 Adagio for Strings, Op. 11 Suite No. 1 from Peer Gynt, Op. 46

Jerry Torr Johannes Brahms Samuel Barber Edvard Grieg

Intermission (20 minutes) Symphony No. 3 in E-flat Major, Op. 55 “Eroica”

Allegro con brio

Marcia funebre – Adagio assai

Allegro vivace

Allegro molto

Ludwig van Beethoven

CONCERT TITLE SPONSOR:

Unauthorized recording or photographing any part of this performance is strictly prohibited.

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PROGRAM NOTES Academic Festival Overature, Op. 80 (1880)

Johannes Brahms (1833-1897)

Though Brahms never attended a university, he was briefly able to experience university life from the sidelines. The opportunity came when he was 20, and had been fired from a gig as accompanist to violinist Eduard Rémenyi following a disagreement about the music of Liszt, whom Rémenyi admired and Brahms detested. Suddenly at liberty, he contacted another violinist friend, the great Joseph Joachim, who invited Brahms to stay with him in Göttingen where he was taking some summer courses in history and philosophy at the local university. For two months that summer, Brahms hung out with Joachim and his circle of friends, experiencing the joys of university life without the drudgery of class attendance, exams, and so on. It was one of the happiest periods of Brahms’s life.

Twenty-three years later, in March 1879, Brahms’s youthful brush with collegiate life would provide fuel for an unexpected commission, when the University of Breslau informed him that they wished to confer upon him an honorary Doctor of Philosophy degree. Brahms, typically averse to the trappings of celebrity, apparently thought a postcard of thanks was sufficient acknowledgement of the honor; at least until his friend Bernhard Scholz, who had nominated him for the degree, let him know that the university expected something more. Nothing but a new work from the composer’s desk would do, a “fine symphony” perhaps.

Brahms fulfilled the task during the summer of 1880. As he usually did, he kept the project under close wraps as he was working on it, meanwhile amusing himself by making deliberately misleading descriptions to those who inquired about it. Writing to his friend Max Kalbeck, he described the new work as “a boisterous potpourri of student songs in the style of Suppé.” When Kalbeck worried that the faculty at Breslau would be offended by such a trivial idea, Brahms waved his concerns off.

As it turned out, he had it both ways. The new work did in fact incorporate four student songs, but was at the same time cast in a standard, “academic” sonata form, with enough formal development techniques and flawless counterpoint to keep the professors happy. Brahms titled the new work Academische Festouvertüre (“Academic Festival Overture” in English), but disliked the title enough to ask Scholz if he could think of anything better. Scholz agreed, writing that he found the title “boring,” but couldn’t think of anything better either. Eventually the matter was dropped and the title stood Brahms himself conducted the premiere in Breslau on January 4, 1881. Despite the title, it quickly became one of Brahms’s most popular works.

The overture begins quietly, with an extended introduction hinting at themes to come, culminating in the first student song, Wir hatten gebauet ein staatliches Haus (“We Had Built a Stately House”), set as a solemn hymn in the brass, swelling gradually into the main section of the overture.

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The main theme, recognizable from the fragments heard in the introduction, is brilliant and energetic, and is the only major melody in the work which is original to Brahms. Two more student songs fill out the exposition; Der Landesvater (“The Father of Our Country”) in the strings, and a freshman hazing song known as Fuchsenritt (“The Fox-ride”), introduced by two bassoons.

After a development section, based mainly on Brahms’s own theme, and a reprise of all three themes, Brahms adds an exhilarating coda based on the well-known Gaudeamus Igitur, a rowdy song celebrating the joys of youth and camaraderie.

Despite the serious, “academic” elements, the Academic Festival Overture overflows with exuberance and high spirits. It is also written for the largest orchestra Brahms ever required, including the rare (for him) indulgence of a percussion section.

JOHANNES BRAHMS composed Academic Festival Overture in 1880 as a “thank you” for an honorary doctorate degree bestowed on him by the University of Breslau—only after he was informed that his original idea (a hand-written thank you note) just wasn’t enough.

Adagio for Strings, Op. 11 (1936/1938)

Samuel Barber (1910-1981)

Though he was not a child prodigy on the scale of Mozart or Mendelssohn, Samuel Barber’s musical gifts were evident at a very early age. After beginning piano lessons at six, he began composing a year later. Not long after, possibly when he was nine, he was certain enough about his vocation to announce in a note to his mother: “ I was meant to be a composer,” he wrote, “and will be I’m sure. Don’t ask me to forget this unpleasant thing and go play football. Please.”

While most stories about composers in their youth tend to be anecdotal, this one can be verified as true since the note itself is preserved in the Library of Congress.

Fortunately, his mother did not make him play football, but found him an excellent piano teacher. By the time he was 14, Barber was admitted to the first class of the new Curtis Institute of Music, studying piano and voice as well as composition.

Success came early. By age 23, Barber completed his first orchestral work, Overture to The School for Scandal, premiered by the Philadelphia Orchestra. Before he was 30, he received his first major commission for the Violin Concerto. For the rest of his life, he was rarely without a commissioned work on his desk. He became one of the few composers to receive a Pulitzer Prize in music twice: 1958 for his opera Vanessa, and 1963 for his Piano Concerto.

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Without a doubt his most famous composition is Adagio for Strings, originally composed as the middle movement of his only string quartet in 1936, and arranged for string orchestra two years later. Two years after that, Arturo Toscanini, a conductor notoriously disdainful of contemporary music and American composers, conducted the premiere with the NBC Symphony. The performance was broadcast nationwide, and overnight Adagio took its place as one of the most well known works of American concert music.

The achingly sad ADAGIO FOR STRINGS can be heard in the films “Platoon,” “The Elephant Man,” and “Lorenzo’s Oil.” It can also be heard in some unexpected TV shows like Seinfeld (episode: The Fatigues), three episodes of The Simpsons and, yes, South Park.

It can be argued that Adagio for Strings has reached iconic status with its popularity extending far beyond the concert hall. It was performed at the funerals of Franklin Delano Roosevelt, Princess Grace of Monaco, and Albert Einstein. It was also broadcast nationally when John F. Kennedy died, and during innumerable televised 9/11 memorials. It has been used in the soundtracks to such diverse films as Platoon, The Elephant Man, and El norte, and in a commercial for French perfume. Even people who have never heard of the composer recognize the piece instantly.

The full tempo marking is “Molto adagio, espressivo cantando” (very slowly, expressive and singing). Much of the emotional power of the work lies in its extraordinary simplicity; a single section with a single long melody, moving mostly by step and in regular quarter notes, beginning quietly in the low strings, rising to a fortissimo climax with all strings in their highest register, then a sudden heart-stopping silence, followed by a return to the mood of the beginning with a gradual sinking into silence.

Suite No. 1 from Peer Gynt, Op. 46 (1888) Edvard Grieg (1843-1907)

The first performance of the play Peer Gynt in 1876 brought together two of the leading figures in Norwegian cultural life at the time--playwright Henrik Ibsen and composer Edvard Grieg.

Ibsen had written Peer Gynt in 1867, while living in Italy. He originally conceived it as an epic dramatic poem, something to be read rather than staged. Though he considered the work to be unperformable, when producers in Norway approached him with a proposal to stage it as a play, he was persuaded to change his mind. Plans began to be made for a production in Christiania (now Oslo).

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The plot, told in five acts and forty scenes, is quite complex. Greatly simplified, it tells the life story of Peer Gynt, a peasant lad whose lazy and narcissistic nature brings grief to all around him and ultimately to himself. A romantic indiscretion forces him to run away from his village. This leads to a series of misadventures, beginning when a troll princess falls in love with him, but when Peer laughs at her, the trolls attempt to kill him. Escaping the trolls, he travels all over the world, getting involved in one ill-advised scheme after another.

Finally, as an old man, he is shipwrecked near his birthplace, finding peace in the arms of his childhood sweetheart.

In 1874, Ibsen contacted Grieg through his publisher to ask if he would agree to write incidental music for the production, to include short orchestral pieces that could be played on their own, and shorter, transitional pieces to link one scene to the next. Grieg agreed to the proposal, but soon wished he hadn’t. The project proved to be more difficult than he had expected. “Peer Gynt hangs over me like a nightmare,” he wrote. “It is the most unmusical of subjects.” He also found that he intensely disliked being told what to compose. At one point, Ibsen requested a piece including the national anthems of all the countries Gynt visits in his travels. Grieg flat out refused to do this, and Ibsen decided not to force the issue.

EDVARD GRIEG struggled to write Peer Gent, calling it “the most unmusical of subjects.” It took him 18 months to write 28 short pieces.

Those pieces are regularly played today as movie and commercial musical backdrops.

In the end, it took Grieg 18 months to write 28 short pieces, totaling 90 minutes of music.

The play, with Grieg’s music, was premiered in Christiania on February 24, 1876, and was a huge success for both playwright and composer. Grieg ultimately released two suites, each consisting of four movements from the complete set, which were published in 1888 and 1891.

Both suites are popular, but the first contains the most immediately recognizable music.

Two of the numbers have earned a permanent place in pop culture.

The first movement, “Morning Mood,” is heard frequently today in coffee commercials, animated shorts, film trailers, and any other situation needing a depiction of a beautiful, sunny morning. In the play, this number opens Act IV, which finds Peer in Morocco.

The next two movements feature the string orchestra. “Åse’s Death” underscores a scene in Act III, when Peer has snuck back into his village to attend his mother on her deathbed.

“Anitra’s Dance,” also from Act IV, is the dance of a Bedouin girl who entices Peer, then robs him.

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The suite closes with “In the Hall of the Mountain King,” in which a band of trolls chase Peer around the stage with murderous intent. Grieg secretly loathed this movement, writing a friend “it absolutely reeks of cow pies, exaggerated Norwegian nationalism, and trollish self-sufficiency.” Nevertheless, this may be the most popular movement of all.

Symphony No. 3 in E-flat, Op. 55 “Eroica” (1804)

Ludwig van Beethoven (1770-1827)

Beethoven’s Third Symphony begins simply enough, with two sharply articulated E-flat major triads. But this humble opening turns out to be the beginning of one of Beethoven’s most monumental, revolutionary works. It also ushers in what his biographer Maynard Solomon named Beethoven’s “heroic decade,” a time when his genius came into full bloom, and new works appeared with unprecedented frequency.

Most of the Third Symphony was written during the summer of 1803, with the score being completed in the spring of 1804. One of Beethoven’s great heroes was Napoleon Bonaparte, general of the French Republic and defender of the French Revolution.

Napoleon was widely admired as the great liberator, whose brilliant military campaigns would spread the ideals of the Revolution: “Liberty, Equality, Fraternity”—to the rest of Europe and beyond. This idealized vision of the man was firmly in Beethoven’s mind as he worked, and undoubtedly helped shape the character of the score. Reportedly, the original title page of the manuscript consisted of only two names; “Bonaparte” at the top, and the composer’s name at the bottom. Nothing else.

This all changed one day in late spring 1804, when Beethoven’s friend Ferdinand Ries called on him with the news that Napoleon had declared himself Emperor of France.

Beethoven flew into a rage, shouting “Is he then, too, nothing more than an ordinary man? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others, become a tyrant!” He then ran to the manuscript of the symphony, seized the title page, ripped it in half, and trampled it on the floor.

Before long the symphony had a new name: Sinfonia Eroica (Heroic Symphony), Composed to Celebrate the Memory of a Great Man. It was Beethoven’s way of saying that the idealized Napoleon he once admired was dead.

Several private performances took place at the palace of Prince Lobkowitz in the year following the symphony’s completion. After several delays, the first public performance took place on April 7, 1805 with Beethoven conducting. Reaction was decidedly mixed.

Audiences then, as now, came to concerts with preconceived notions about what a symphony was, and Beethoven shattered all of them. One troubling innovation was the symphony’s unprecedented length, 45 to 50 minutes, or nearly twice as long as the standard symphony of the time. Also noteworthy were the work’s formal complexity, bold use of dissonance, and the designation of the second movement as a Funeral March.

But while there were outspoken voices raised against it, a sizable number of the Viennese public realized that something new and amazing had happened, and the Eroica would set the mold for the symphony for the rest of the 19th century.

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Outwardly, the form of the first movement conforms to the usual standards of symphonic form in every way except two: its extraordinary length (14 to 18 minutes, depending on the conductor’s interpretation), and the unusual proportions of its sections. The introduction is limited to the aforementioned two chords. The exposition section goes by the book, with the themes presented one after another. The section is indicated to be repeated, but many conductors choose to omit the repeat. The real formal innovation comes in the enormous development section, the longest part of the movement. All the themes are heard, but become gradually more fragmented and twisted to the point of unrecognizability. In one of the most startling passages, a long buildup of harmonic tension climaxes on a shrill dissonance, hammered away by the full orchestra. When the dust settles, a completely new theme emerges.

This massive development ends with another surprise. As the volume fades to a whisper, a hornist enters timidly with the first few notes of the principal theme before the violins change the harmony to fit the theme; this led several members of the first audience to mistakenly believe that the hornist had entered four bars early. Possibly Beethoven intended this as a joke, but the effect is a little unsettling.

BEETHOVEN was politically vociferous, and “Egmont� was a way for him to express his concerns for a man (the Flemish Count of Egmont) sentenced to death for resisting political oppression. The overture also served as the unofficial anthem of the 1956 Hungarian revolution.

The rest of the recapitulation continues as expected, with all the main themes played in succession. The coda, however, brings another surprise. Codas are traditionally expected to be short, little more than a rounding off, bringing the movement to a solid conclusion.

But, here the coda is greatly expanded, becoming in effect a second development section, even referencing some passages from the earlier development.

The second movement is clearly named a Funeral March. The mood, as might be expected, is one of grief, expressed in solemn and dignified tones. At one point, the key changes to major, and a sunnier theme begins to take shape, culminating in a brilliant fanfare, like a memory of a hero in his prime. Soon the funeral march resumes, but eventually the steps seem to falter, and stop completely, as a cry of rage suddenly erupts.

A greater contrast could hardly be imagined, as the third movement is dominated by bubbly cheer and good humor. The middle section famously features virtuosic writing for the three horns.

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The deceptively simple theme that is the basis of the Finale is one that Beethoven had used three times before. It first appeared in a set of relatively trivial Contradances that Beethoven had written for some easy money several years previously. He reused the theme in the Finale of his ballet The Creatures of Prometheus in 1801, and yet again in a set of variations for piano in 1802.

When the theme is heard in the symphony (after a brief flourish of descending scales and emphatic chords), it seems rather stark at first, only an unaccompanied bass line with awkwardly placed pauses. Beethoven gives us two relatively straightforward variations in the strings, before introducing a new, more melodic theme in the woodwinds, which is a near-verbatim quote of the original Contradance. These two themes, the bass line and the Contradance melody, prove equally important in the rest of the movement. The eleven variations are alternately serious and humorous, furious and lyrical, before finally settling on a slow and stately hymn. The opening flourish finally returns, ushering in a brilliant coda.

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JANNA HYMES MUSIC DIRECTOR

Music is Passion

Petersen Plays Chopin November 11, 2017 • 7:30pm The Palladium Janna Hymes Conductor Drew Petersen Piano

2017 APA Christel DeHaan Classical Fellow

Overture to Egmont, Op. 84

Ludwig van Beethoven

Concerto No. 1 in E minor, Op. 11

Allegro maestoso

Romanze – Larghetto

Rondo – Vivace

Frédéric Chopin

Intermission (20 minutes) Invitation to the Dance, Op. 65

Carl Maria von Weber Orchestrated by Hector Berlioz

Symphonic Metamorphosis of Themes by Carl Maria von Weber Allegro

Turandot, Scherzo: Moderato Andantino March

Paul Hindemith

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DREW PETERSEN As the winner of the 2017 American Pianists Awards and the Christel DeHaan Fellowship of the American Pianists Association, Drew Petersen has been in the artistic spotlight since a very young age. He performed at Carnegie Hall’s Weill Recital Hall at age five and at age 10 was featured in a New York Times article about child prodigies.

Drew has performed solo and concerto recitals in both Europe and the United States. He has been a top prizewinner in the Hilton Head International Piano Competition, Kosciuszko Foundation Chopin Competition, and the New York Fryderyk Chopin Piano Competition.

Drew graduated cum laude from Harvard with bachelor of liberal arts in social science and did his undergraduate music studies at the Juilliard School with Jerome Lowenthal.

He is currently pursuing his Master’s Degree in Music at Juilliard with Robert McDonald as a recipient of the prestigious Kovner Fellowship.

Drew is a native of Oradell, NJ and continues to reside there, but enjoys exploring out-of-the-way spots in The Big Apple, including unique music venues and small, independent galleries. Of living outside NYC, he says, “I have my own piano to practice on, and it is a lot of fun to be around my family. Sometimes I literally will wake up 7 in the morning, run out of the house and not be back until midnight.”

He currently serves as Artist-in-Residence at University of Indianapolis and will continue that role for the next two years.

5 things YOU DIDN’T KNOW ABOUT DREW PETERSEN 1. According to his mother, Drew didn’t speak until he was 31/2 .

2. Drew is a former competitive swimmer and still enjoys long-distance (1- to 2-mile) swims.

3. There’s some creative genes at the Petersen house … His brother is a theatre major at Fordham University.

4. His mother’s Armenian heritage has created a love for gathering with

family and friends over Mediterranean flatbreads, olives, and other delicious finger foods.

5. Favorite foods? He’s adventurous, exploring what he calls “obscure Asian foods” like jellyfish and shark fin.

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PROGRAM NOTES Overture to Egmont, Op. 84 (1809) Ludwig van Beethoven (1770-1827) It is easy to make the case for Johann Wolfgang von Goethe (1749-1832) being one of the most influential artists in history. As novelist, poet, playwright, essayist, and philosopher, his work was the driving force behind the emerging Romantic movement, which extolled the heroic nature of Man, and reveled in intense—some might say overwrought—emotional expression. Until the end of the 19th century, Goethe’s work influenced not only other writers, but visual artists and composers as well.

Beethoven admired Goethe with an intensity bordering on reverence. When the Vienna Burgtheater invited Beethoven to compose incidental music for a revival of Goethe’s drama Egmont, he responded with one of his most eloquent scores. The complete score consists of nine numbers, totaling about 45 minutes of music. While rarely heard in its complete form, the Overture (the last number to be composed, and not completed until three weeks after the play had opened) is frequently performed on its own.

Defiance of tyranny, a subject dear to Beethoven’s heart, is the theme of Egmont. The story takes place during the Spanish occupation of the Netherlands in the mid-16th century. Count Egmont (a real person, though Goethe’s story is highly fictionalized) is a Catholic nobleman, loyal to the Spanish, but dismayed by the increasingly cruel treatment of the Dutch people at the hands of their occupiers. Egmont pleads with the King of Spain for a more tolerant rule, but instead the King sends the malevolent Duke of Alva to crush the growing insurrection with ruthless force. In the finale, Egmont is arrested and condemned to death and goes to his execution with the faith that the rebellion will triumph and the people will be free. Goethe’s own stage direction calls for a “symphony of victory” as Egmont is taken from his prison cell to his death. Beethoven therefore concludes the tragedy with exultant music, turning tragedy into triumph.

The Overture artfully encapsulates the entire story. It begins with a series of heavy, oppressive chords, said to represent the tyrant. A spirit of restlessness and defiance marks the main body of the movement, but the tyrant motive continually returns. The overture concludes with the victorious music that is heard again at the conclusion of the drama.

In 1963, the BOSTON SYMPHONY ORCHESTRA gave an impromptu performance of the second movement of Beethoven’s Eroica symphony to mourn the recently assassinated U.S. President, John F. Kennedy.

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After a development section, based mainly on Brahms’s own theme, and a reprise of all three themes, Brahms adds an exhilarating coda based on the well-known Gaudeamus Igitur, a rowdy song celebrating the joys of youth and camaraderie.

Despite the serious, “academic” elements, the Academic Festival Overture overflows with exuberance and high spirits. It is also written for the largest orchestra Brahms ever required, including the rare (for him) indulgence of a percussion section.

Concerto No. 1 in E minor, Op. 11 (1830)

Frédéric Chopin (1810-1849)

In most ways, the beginning of Chopin’s career followed the usual trajectory for a talented young pianist and composer. He gave his first public performances in Warsaw when he was only seven years old, and began composing little piano pieces at about the same time. Comparisons to Mozart were inevitable. By his teens, he was well established as a young prodigy, and his compositions had begun to be published. That he would compose piano concertos was, of course, only to be expected. Between 1827 and 1831, he wrote not just two concertos but a handful of smaller works with orchestral accompaniment as well. After the wildly successful premiere of his concertos, he left Warsaw for Vienna, ultimately settling in Paris when he was 21.

A native of Warsaw, Poland, FRÉDÉRIC FRANÇOIS CHOPIN was a child prodigy and began performing at age 7. He wrote Concerto No. 1 when he was 20 years old, just prior to leaving Warsaw and escaping the 1830 uprising living in Paris until his death at age 39.

Within three years, he had all but disappeared from the public eye. Altogether, in his short life, he gave only thirty or forty public performances. His fragile health was probably an issue as was his distaste for self-promotion. But, the biggest factor may have been his own performance style. Chopin’s piano playing was notable for its delicacy and attention to subtle nuance, characteristics which were more easily appreciated in small, private performances, rather than in large concert halls in front of hundreds of listeners. This may also explain why he chose to devote his compositional activity almost exclusively to music for solo piano. His two concertos, both completed when he was only twenty ended up being his only ones.

Chopin’s Concerto in F minor was completed and premiered first, in March 1830. He began his E minor concerto almost immediately, finishing it on September 22, 1830, and premiering it less than three weeks later, on October 11. For some reason, the E minor was published before the other, and for that reason will be forever known as his First Concerto despite being more accurately enumerated as his second.

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The concerto opens with an extended orchestral exposition with the orchestra presenting the two major themes of the movement, the first stately and a little pompous, the second lyrical and graceful. When the piano finally enters, both themes are transformed with the ornaments and free-flowing runs that are already the hallmark of Chopin’s style. After a development section consisting almost entirely of brilliant pianistic display, the original themes return.

Muted strings open the middle movement, which Chopin designates a Romance.

Throughout the movement, the piano part is more subdued and delicate than the outer movements. In a letter, Chopin described the movement as being “of a romantic, calm, and rather melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape that calls up in one’s soul beautiful memories, a kind of reverie in the moonlight on a beautiful spring night.”

In the final movement, we are introduced to Chopin the Polish nationalist, who made frequent use of the rhythms of Polish dances, especially the Mazurka. Here, the dance is a Krakowiak, a vigorous dance said to originate near Krakow. After a brief orchestral passage (functioning mainly as a transition from the previous movement), the robust principal theme is introduced in the piano. During the finale, several contrasting themes are introduced, but the principal theme never loses its vigorous character. The movement concludes with a lengthy passage of octave runs in the piano, leaving the final chords to the orchestra.

Invitation to the Dance, Op. 65 (1819, orchestrated 1841) Carl Maria von Weber (1786-1826), orchestration by Hector Berlioz (1803-1869) Invitation to the Dance, in its orchestral version, is a joint effort by two of the leading composers in the early years of the Romantic movement; Carl Maria von Weber as composer and Hector Berlioz as orchestrator.

Weber has been called “the father of German Romanticism,” based largely on his operas, which were emotionally charged, brilliantly orchestrated, and influenced generations of German composers. Though the operas themselves are rarely heard today, many of the overtures remain popular.

CARL MARIA VON WEBER composed Invitation to the Dance in 1819 as a gift for his bride. At the time it was noted as the first “concert waltz” – more for concert presentation than for a dance.

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Though Weber was considered a brilliant pianist, little of his music for piano has remained in the repertory. One exception is Invitation to the Dance, composed for piano solo in 1819 as a gift for his bride, Caroline, whom he had married three months earlier. It is notable for being possibly the first “concert waltz,” in other words a waltz intended more for the concert stage than the dance hall. Soon it was being performed by numerous pianists, including Liszt and Chopin, who began composing their own concert dances.

Berlioz had begun to establish himself as a brash young innovator by the time Weber died. Berlioz often spoke of his admiration for Weber, in particular his orchestration, which Berlioz acknowledged as a great influence on his own approach to orchestral writing.

In 1841 the Paris Opera proposed that Berlioz write a ballet score to be inserted into a production of Weber’s opera Der Freischütz. French opera at the time observed certain conventions, one of which was that every opera production should include a ballet number in Act II or III. If the opera as written contained no ballet, then one would be added regardless of whether it made sense or not. Since Weber’s opera fell into the latter category, a ballet must be added, and because of Berlioz’ admiration for Weber, he was the man for the job.

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Berlioz resisted the idea at first, but later changed his mind when he considered that if he refused, “the job would be given to somebody possibly less familiar with Weber and certainly less dedicated to the glorification of this masterpiece, so I accepted this offer.”

He decided that only Weber’s music should be used, and hit on the idea of orchestrating Invitation to the Dance for the purpose.

Berlioz’ orchestration made its first appearance as part of the opera on June 7, 1841. There was a strong current of objection to the insertion of a brilliant waltz in an opera dealing with dark, supernatural themes (Tchaikovsky, seeing it used in an 1873 performance, considered the ballet “tasteless” and “stupid,” though he admired the production otherwise). Criticisms did not prevent the orchestration from almost immediately transitioning to the concert hall, where it has remained ever since.

As Weber divulged to his wife (and the work’s dedicatee), the piece depicts a young man and woman who meet at a ball, then take several turns around the dance floor. In the slow introduction, we hear the voices of the boy (which Berlioz assigns to cellos) and the girl (solo woodwinds) as they begin conversing. The boy invites her to dance the next waltz with him, to which she agrees, and the two take their places on the dance floor waiting for the music to commence. The tempo abruptly quickens, and a vigorous waltz begins.

Several themes follow in succession, and builds to a brilliant conclusion—or so it seems.

Weber adds an unexpected coda, recalling the tempo and mood of the introduction, as the boy and girl thank each other for the dance, and go their separate ways.

Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943)

Paul Hindemith (1895-1963)

Hindemith’s inventive re-imagining of Weber’s music began in 1940, shortly after he settled in the United States following several years of heated disagreements with the Nazi party in his native Germany. The idea was first proposed to him by the Russian dancer and choreographer Léonide Massine, who had collaborated with Hindemith previously on the ballet Nobilissima Visione in 1938. Unfortunately, artistic differences got in the way. On hearing some of Hindemith’s early ideas, Massine found them too idiosyncratic, preferring arrangements truer to Weber’s style. Hindemith for his part found Massine’s staging ideas, which would have included backdrops by Salvador Dalí, not to his taste. The project was scrapped.

Hindemith, however, picked up the idea again three years later, when he was teaching at Yale University. By now, the idea had evolved into a plan for a four-movement concert piece which would use Weber’s themes as a starting point, but substantially recomposed in Hindemith’s idiomatic mid-twentieth century “neoclassical” style. The resulting work, Symphonic Metamorphosis of Themes by Carl Maria von Weber (or just Symphonic Metamorphosis for short) is one of his most enjoyable and frequently-performed works.

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The themes used are drawn from some of Weber’s more obscure works. When the work was premiered by the New York Philharmonic under Arthur Rodzinski on January 24, 1944, Hindemith chose to keep the sources secret, but it didn’t take long to discover that the Weber originals were all found in a volume of his music for piano four-hands (that is, two players seated at one piano). Hindemith owned the volume, which he and his wife enjoyed playing through.

PAUL HINDEMITH was born near Frankfort, Germany but fled to Switzerland in 1938 with his wife who was of Jewish ancestry. They later settled in the United States where he wrote Symphonic Metamorphosis of Themes based on the more obscure themes of Carl Maria von Weber’s work.

The opening Allegro is based on the fourth of Weber’s Eight Pieces, Op. 60. Listeners already familiar with Weber’s original will recognize the melodies but little else; the accompaniment is entirely Hindemith’s. Notice, for instance, when the principal theme returns in the violas, woodwinds thicken it in parallel triads, something which would have been entirely forbidden in Weber’s day.

The second movement has something of an odd origin. It is adapted from the Overture from Weber’s incidental music for Carlo Gozzi’s drama Turandot (the same play which a century later inspired Puccini’s last opera). Weber’s overture was for orchestra, which he arranged for piano four-hands himself, so this was the only piece Hindemith used that was not originally composed for four-hands. Hindemith called his adaptation Turandot Scherzo; it is based only on the principal theme of the overture, discarding everything else Weber wrote. It turns out, though, that Weber hadn’t composed the theme at all. Since the play was based on a Chinese legend, Weber felt justified in borrowing an authentic Chinese melody. He thought he’d found one in an article on Chinese music in JeanJacques Rousseau’s Dictionnaire de musique, though Rousseau considered the melody of doubtful authenticity. In Hindemith’s treatment, the melody is heard tentatively at first, but gathers confidence and power with each repetition. At the halfway point, trombones introduce a syncopated version of the melody, which the brass section turns into a fugue.

The charming Andantino which follows is taken from a set of easy pieces for young pianists. Hindemith follows Weber’s original relatively closely in terms of its melody and form, retouching the accompanying material. His most distinctive addition to Weber comes near the end, when he adds a brilliant flute obbligato to the return of the principal theme.

The March finale takes its themes from the seventh piece in the Op. 60 collection. After an opening flourish in the brass, woodwinds introduce the principal theme quietly, over an unsettled accompaniment in the strings. Soon, a quartet of horns in “heroic” mode introduce the second theme, which grows in power and brilliance over the course of the movement, until Hindemith ends in a surprisingly cinematic big finish.

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JANNA HYMES MUSIC DIRECTOR

Indiana University Health Holidays December 9, 2017 • 3:00pm & 7:30pm The Palladium Janna Hymes Conductor Julia Bonnett Vocalist

2009 Songbook Academy Youth Ambassador

Lucas DeBard Vocalist

2015 Songbook Academy Youth Ambassador

A Christmas Festival

Leroy Anderson

O Holy Night

arr. Robert Smith

Candles and Driedles

Kermit Poling

We Need a Little Christmas from Mame

arr. Herb Harrison

Silent Night

arr. Chip Davis

It’s Beginning to Look a Lot Like Christmas

arr. Dan Powers

The Christmas Song

arr. Dan Powers

Where are You Christmas?

arr. Dan Powers

Jingle Bells

arr. Dan Powers

Deck the Halls

arr. Chip Davis Intermission (20 minutes)

CONCERT TITLE SPONSOR:

GUEST ARTST SPONSOR:

Unauthorized recording or photographing any part of this performance is strictly prohibited.

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Sleigh Ride What are You Doing New Year’s Eve? Santa Claus is Coming to Town Baby It’s Cold Outside All I Want for Christmas is You March of the Toys from Babes in Toyland Wizards in Winter A Holly Jolly Sing-along

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Leroy Andersoln Frank Loesser/arr. Dan Powers arr. Dan Powers Frank Loesser Mariah Carey/arr. Michael Williamson Victor Herbert/arr. Clark McAlister arr. Bob Phillips arr. James Stephenson

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JULIA BONNETT As the first winner of the Great American Songbook Academy competition in 2009, Julia Bonnet has led an interesting life in the years following that monumental accomplishment.

The Carmel, Indiana resident has appeared on stage with Michael Feinstein and David Hyde Pierce (Think “Spamalot” for the theatre crowd and “Frasier’s brother, Niles” for the TV watchers among us). She’s appeared in numerous musical theatre performances including “Beauty and the Beast,” “Little Women” “Into the Woods” and “Chorus Line.”

In 2015, the marketing major and 2012 graduate of Indiana University landed a position close to home and close to the stage as Director of Development & Administration at Booth Tarkington Civic Theatre.

Nonetheless, her position with Civic has been eye opening for Julia. According to an article earlier this year in Nuvo, “Prior to working at Civic, I was aware of the vast amount of dedication and time each designer, director, choreographer, crew member and actor puts into the productions. However, there is a whole administrative team planning budgets, raising funds, and getting the word out to ensure these opportunities are available for our community.”

5 things YOU DIDN’T KNOW ABOUT JULIA BONNETT 1. She discovered Phantom of the Opera when she was seven years old and listened to it nightly for years.

2. Her favorite song to perform is “Meadowlark” by Stephen Schwartz from

The Baker’s Wife because it conveys a powerful message about self-worth and choosing happiness.

3. She loves to bake, play the piano, read, and hang out with her kitten, Klaus.

4. Her favorite meal after a show: all things Mexican.

5. She binge watches The Office and admits to using obscure quotes from the show that too often are too obscure.

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LUC A S DEBARD Currently attending Indiana University’s Jacobs School of Music, Lucas DeBard is the 2015 winner of the Great American Songbook Youth Ambassador Award.

Since winning the award, the resident of Lebanon, Indiana has had the opportunity to perform with two-time Emmy and five-time Grammy Award nominated entertainer and founder of The Great American Songbook Foundation, Michael Feinstein both on stage at The Palladium as well as in New York City.

A 2015 graduate of Lebanon High School, he was very active in the Lebanon High School Music Department as a member of Madrigals, Charisma Show Choir, musical casts, musical pit orchestras, Jazz Ensemble, Jazz Combo, and marching band. At IU he is majoring in music education with a minor in Jazz Studies and is a member of the Singing Hoosiers.

While Lucas’ musical talents were evident, it wasn’t until he began studying voice at IU that he really committed to making music his life’s work. “I knew I wouldn’t ever be able to quit exploring different genres of music and how my voice is utilized in the different genres,” he said. “To me, loving music started as a child. Considering it my life’s work came with maturity in practice and study.”

5 things YOU DIDN’T KNOW ABOUT LUCAS DEBARD 1. Long before he was the American Songbook Youth Ambassador and

performing with Michael Feinstein, he would listen to Feinstein’s music in his car.

2. Lucas’ great-grandparents were big band musicians around the

Indianapolis area, and their signature song was “I’ll see You in My Dreams.”

He has integrated it into his award-winning repertoire as a mash-up with “I Have Dreamed.”

3. Lucas is involved in a student ministry at Indiana University called Chi Alpha.

He leads a core group weekly as well as leading worship at Chi Alpha service and at Cornerstone Christian Fellowship in Bloomington.

4. After a performance, Lucas prefers a good burger and fries to eat.

5. He’s a fan of the TV show The Office.

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Making beautiful music together.

Barnes & Thornburg is proud to sponsor the Carmel Symphony Orchestra.

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JANNA HYMES MUSIC DIRECTOR

Music is Love

Bernstein, Gershwin, and a Love Letter February 10, 2018 • 7:30pm The Palladium Janna Hymes Conductor Tessa Lark Violin

Silver Medalist, 9th Quadrennial International Violin Competition of Indianapolis

Overture to Girl Crazy

George Gershwin

Three Dance Episodes from On the Town

Great Lover

Lonely Town: pas de deux

Times Square: 1944

Leonard Bernstein

Love Letter (World Premiere) Weirdo Bimbleboo

Forever You

Whiskey Woman

Michael Thurber

Intermission (20 minutes) Variations on “America”

Charles Ives Orchestrated by William Schuman

Symphony No. 2 in D-flat Major, Op. 30 “Romantic”

Adagio – Allegro moderato

Andante con tenerezza

Allegro con brio CONCERT SPONSOR:

Howard Hanson

GUEST ARTST SPONSOR:

Unauthorized recording or photographing any part of this performance is strictly prohibited.

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TESSA L ARK Recipient of a 2016 Avery Fisher Career Grant, Silver Medalist in the 9th Quadrennial International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, Tessa Lark is one of the most captivating artistic voices of our time.

She has appeared with orchestras throughout the U.S. since making her concerto debut with the Cincinnati Symphony Orchestra at age sixteen. As part of Carnegie Hall’s Distinctive Debuts Series she performed in February 2017 at Carnegie’s Weill Recital Hall. A passionate chamber musician, she has toured with musicians from Ravinia’s Steans Music Institute and will appear on two tours with Musicians from Marlboro in 2018.

Lark plays the 1683 “ex-Gingold” Stradivari violin on generous loan from the Josef Gingold Fund for the International Violin Competition of Indianapolis.

5 things YOU DIDN’T KNOW ABOUT TESSA LARK 1. She credits her first violin teacher (Catherine McGlasson) with her propensity to play classical and bluegrass music side-by-side.

2. Her favorite thing to play is slow, lyrical, poignant music. (Among her favs:

Dvorak F minor trio 3rd movement; 2nd movements of Sibelius, Beethoven, and Brahms Concertos; anything by Schubert).

3. She prefers to spend her free time drinking the best coffee and/or espresso in town, reading, and checking out her friends’ shows and latest projects – and exploring NYC with her partner-in-crime, Michael Thurber.

4. Post-concert eats? Sometimes chocolate. Sometimes a big ol’ greasy burger accompanied by wine and a Caesar salad.

5. Does she binge watch? If YouTube counts, she loves finding amazing music performance videos, interviews, and documentaries. She has never seen Game of Thrones or House of Cards.

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MICHAEL THURBER Whether composing music for the Royal Shakespeare Company, playing bass on The Late Show with Stephen Colbert, hosting his Thurber Theater variety show at Joe’s Pub, or co-founding the smash YouTube channel CDZA, Michael Thurber’s musical voice defies genre and category.

A native of LaPorte, Indiana, Thurber’s eclectic career has been an expression of his profound love of art and humanity.

His artistry is deeply rooted in the principles of inclusion, multiculturalism and community-building.

As a composer, Thurber is primarily interested in Musical Theater and Concert Music. He has written three full-length musicals, one one-act musical, two full orchestra works, dozens of songs and small chamber works, and has arranged hundreds of pieces for big band and orchestra. Thurber’s new Violin Concerto ‘Love Letter’ will have its premiere with the Carmel Symphony Orchestra and Tessa Lark.

Thurber’s main instrument is the bass. He started playing it when he was 11 and studied formally at The Interlochen Arts Academy and The Juilliard School. From 2015-2016, he was the bassist on CBS’s ‘The Late Show with Stephen Colbert’ as a member of the house band, Jon Batiste and Stay Human. While in the band, he performed at The Newport Jazz Festival and recorded ‘The Late Show EP’.

Thurber performs many genres of music and has worked with a diverse array of artists including James Taylor, Yo-Yo Ma, Cee Lo Green, Bela Fleck, Jack Black, Kris Bowers, Charles Yang and Tessa Lark.

5 things YOU DIDN’T KNOW ABOUT MICHAEL THURBER 1. Michael Thurber has written an original musical called “Peter Darling: The New Peter Pan Musical” that premiers in 2018.

2. His first recollection of a staged performance was a first grade presentation of “the solar system” … costuming included a lab coat and Einstein wig.

3. As a 17-year-old high school student he and a friend composed a “big band” piece that included a full percussion section. When the crowd went wild, he knew he was hooked on composing.

4. He calls playing the acoustic bass a “lifestyle choice.” Think about taking it on a subway and riding in a cab.

5. According to the video, “My Perfect Day: Michael Thurber on Vimeo,” he

makes a mean sunnyside-up egg. The secret appears to be in the cheese.

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PROGRAM NOTES Overture to Girl Crazy (1930) George Gershwin (1898-1937)

It would be difficult to underestimate the influence of George Gershwin on American music, both for the musical theater and the concert stage. His songs continue to be regarded as among the pinnacle of popular music, and such works as Rhapsody in Blue and An American In Paris are some of the most popular concert works in the repertory.

European composers such as Poulenc and Ravel acknowledged his influence on their work, and even Arnold Schoenberg wrote in appreciation of his genius. Gershwin’s final masterpiece, the opera Porgy and Bess, is considered by many to be the most significant American opera written. We can only speculate how much greater his influence would have been if he had not died of a brain tumor at the young age of 38.

He was born and raised in Brooklyn, the grandson of Russian Jewish immigrants. His birth certificate lists his name as “Jacob Gershwine;” however, he was never called anything but George. The Gershwin family were frequent attendees at the local Yiddish Theater, but George showed no interest in music until he liked what he heard at a friend’s violin recital.

The Gershwin’s owned a piano, purchased in hopes that older brother Ira would learn, but it was George (and younger sister Frances) who would benefit from the instrument.

George received conventional classical training and became a superb pianist. At 15, he found his first job as a “song plugger” at a publishing house. By 17, he had published his first song, earning him $5.00. Success came quickly after that. Soon he was contributing songs to theatrical revues, and by his early 20s he was one of the most successful composers on Broadway, frequently collaborating with brother Ira as lyricist. In 1924, Rhapsody In Blue placed his name on concert programs, and for the rest of his short life he would compose prolifically both for stage and concert hall.

Girl Crazy was one of the Gershwin brothers’ most successful collaborations. Opening in October 1930, it ran for 272 performances and made stars of Ginger Rogers and Ethel Merman. The pit orchestra line-up on opening night included several jazz luminaries such as Benny Goodman, Glenn Miller, Charlie Teagarden, Red Nichols, and Gene Krupa.

Some of Gershwin’s greatest songs are featured in the score, including “Embraceable You,” “But Not For Me,” and possibly his biggest hit, “I Got Rhythm.” All of these and more figure in the brilliant Overture.

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We believe in supporting the arts.

Every step of the way.

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Three Dance Episodes from On the Town (1944)

Leonard Bernstein (1918-1990)

In the early 1940s, a young unknown composer named Leonard Bernstein was catapulted into international stardom by a pair of unrelated events that happened within a few months of each other. The first was his now-legendary debut conducting the New York Philharmonic, filling in as a last-minute replacement for the ailing Bruno Walter. The second was his collaboration on a one-act ballet with choreographer Jerome Robbins.

Their ballet, Fancy Free, concerned the romantic misadventures of a group of sailors during a brief shore leave in New York City. It premiered in April 1944 and was an instant critical and commercial success.

Robbins and Bernstein decided to expand the plot of the ballet into a full-length Broadway musical, for which Bernstein recruited his friends Betty Comden and Adolph Green to provide book and lyrics. Work began during the summer of 1944, in a hospital room shared by Bernstein and Green (both men had arranged to have minor surgeries— Bernstein for a deviated septum, Green a tonsillectomy—on the same day). Reportedly little was accomplished in the hospital. But after their discharge, the pace picked up, and the new show, On the Town, opened at the Adelphi Theater on December 28, 1944. It was another instant hit.

The plot of On the Town was simple: three Navy seamen spend a 24-hour shore leave in New York City looking for, and eventually finding, female companionship. One innovative aspect of the show was the way it relied on dance to advance the story. Bernstein wrote, “I believe this is the first Broadway show ever to have as many as seven or eight dance episodes in the space of two acts; and, as a result, the essence of the whole production is contained in these dances.” In 1946, he selected three of these episodes for a concert suite.

The first number, “The Great Lover,” underscores a brief fantasy sequence in which Gabey, one of the sailors, sees a poster of an attractive girl in the subway, and imagines himself wooing her.

In the second movement, “Lonely Town: pas de deux” finds Gabey alone in Central Park.

While he despairs of his loneliness, another sailor pursues a pretty but naïve girl, only to cruelly jilt her at the last moment.

The suite closes with music taken from the Act I Finale, “Times Square: 1944.” The entire company gathers together for a boisterous ensemble dance. The score incorporates the show’s breakout hit, “New York, New York,” at several points, capturing the bustling energy of the city Bernstein loved.

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Love Letter (2017)

Michael Thurber (born 1987)

Out of all of the pieces of music I have had the privilege of writing in my life none has brought me more joy than “Love Letter.” This music is a pure, joyous expression of my endless admiration for Tessa (Lark) both as a musician and a human being. What makes it all the more special is premiering this piece here in Indiana, the state that I grew up in, and where I began my musical journey. “Love Letter” is constructed in 4 movements, of which the middle two are seamlessly connected without pause. Each movement is a tone poem that depicts different sides of Tessa’s personality and musicianship.

‘Weirdo’ The name explains it all. This movement is an attempt to capture the silly, bizarre side of Tessa’s sense of humor. The simple theme stated in the beginning by the Oboe sets up a pastorale, American sound that is quickly shattered when the woodwinds enter with their ⅝ groove. The whole movement is an abstract conversation between the vocabulary of American fiddle music and the more angular, African influenced groove of the woodwinds and percussion. Most of this material gets revisited throughout the piece in different ways, especially in the final movement.

‘Bimbleboo’ This movement is lighthearted and childlike. It draws inspiration from the Appalachian style of fiddle playing that is central to Tessa’s musical upbringing in Kentucky.

For me, it evokes the innocence and nostalgia of childhood. Musically, I was inspired by the juxtaposition of fiddle music that is in the 12/8 time signature and African music that has a 2 over 3 hemiola. The grooves have many interesting similarities, and I wanted to try to bring those two influences together. This really culminates in the middle section, where the solo violin rips through different triadic patterns over the top of the cymbal and marimba groove.

This movement gradually winds down and dissipates into a trance like vamp in the strings and woodwinds that begins to morph tonally and lead us seamlessly into the third movement.

‘Forever You’ This movement is the heart and soul of the piece. It’s all about showcasing the nuance of color and phrasing that Tessa is able to achieve in her beautiful sound. The melody is lyrical and simple, drawing inspiration from the great American ballads of Duke Ellington.

After the first time through the melody, the solo violin takes off into an improvisatory, swirling middle section. This section evokes a spiritual, pentatonic sound akin to the Native American songs Tessa and I have heard during our experiences in sweat lodges. Eventually, the violin returns to a recap of the melody, this time as a duet with the clarinet.

‘Whiskey Woman’ Woo! This movement is a party! Stylistically, it’s somewhere between a bluegrass song and a rock song. I was inspired by a memory from last summer...I went to visit Tessa at The Marlboro Music Festival, and we went to “Square Dancing Night.” Everyone had indulged in copious amounts of Maker’s Mark whiskey and couldn’t follow the dance steps. Refusing to be deterred, we all passionately staggered around, trying our best to follow the steps and making up our own as we went. This is all depicted by the jagged timesignature changes and odd rhythms you’ll hear. After that night we found a shirt that read “Whiskey Woman,” and I bought it for Tessa. She’s worn it ever since.

Michael Thurber September 2017

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Variations on “America” (1892, orchestrated 1963) Charles Ives (1874-1954), orchestrated by William Schuman (1910-1992) The music of Charles Ives stands at a crossroads of American nationalism and experimentalism. His early musical education came at the hands of his father, George Ives, who had been a Civil War bandleader (his band, in the opinion of General Grant, was the best in the Army), and settled in Danbury, Connecticut after the war ended. From his father, Charles learned several instruments, becoming a drummer in his father’s band while still a child, and organist at the family church when he was 14.

While George Ives had a deep respect for musical traditions, he was also fascinated by sound for its own sake. He was fond of doing unusual things just to see what it would sound like. Some of his more notorious efforts included having two or more bands play independent pieces at once, having someone sing a melody in one key while accompanied in another key, and building special instruments to try out different tuning systems.

He passed his adventurous spirit to his son, but insisted that Charles have a complete understanding of traditional technique as well. Once when Charles brought him a fugue he had written in four simultaneous keys, George chided that it was necessary to know how to write a proper fugue before one can write an improper one.

By the time he entered Yale University, Charles Ives was fully schooled both in American vernacular music and the European Classical tradition, and had gained an appreciation for the value of experimentation for its own sake. All of this he learned from his father, whom he later remembered as his first and most important music teacher.

Variations on “America” was written when CHARLES IVES was just 17 and premiered at a July 4 celebration in Brewster, New York in 1892.

It became popular among orchestras after it was orchestrated by composer William Schuman in 1962.

One of Charles’ earliest surviving pieces is the Variations on “America,” written as an organ work in 1892 when he was only seventeen, and premiered by the young composer during a Fourth of July celebration in Brewster, New York. Ives may have gotten the idea from a set of organ variations on “God Save The King” (which has the same melody as “America”) by the German composer Christian Heinrich Rinck (1771-1846), which Ives had performed the preceding year. Rinck’s variations are completely sober and conservative, so given Ives’ age and temperament it should come as no surprise that his work is the complete opposite.

While this is more the work of a high-spirited teenager than a finished musician, there are hints here and there (you’ll know them when you hear them) of the great experimentalist that Ives would become.

The variations were unpublished until 1949, when the organist E. Power Biggs revived the piece and edited it for publication. Biggs performed it often throughout his career, and it quickly became a popular number among American organists and organ enthusiasts. Its popularity spread to the orchestral realm when it was orchestrated by the distinguished composer William Schuman in 1962.

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Symphony No. 2 in D-flat Major, Op. 30 “Romantic” (1930) Howard Hanson (1896-1981)

In his lifetime, Hanson was widely respected as a composer, conductor, teacher, and administrator. He established himself very early, studying at the Institute for Musical Art, the forerunner of the Juilliard School, as a teenager, and earning a degree from Northwestern University at 19. He began teaching at the College of the Pacific the following year, impressing his colleagues so much that he was offered the position of Dean of the Conservatory of Fine Arts when he was only 23. His academic career went on hiatus after only a year, when he won the Prix de Rome, which allowed him to live in Italy for three years, concentrating on composition and conducting.

On his return to America, he made frequent appearances as a conductor. A 1924 conducting engagement in Rochester, New York, during which he conducted his first symphony, brought him to the attention of George Eastman. Eastman, who had made a fortune as the inventor of the Kodak camera, was establishing a music school associated with the University of Rochester and invited Hanson to be its first director. Hanson held the post for the next forty years, during which time he molded the Eastman School of Music into one of the leading musical institutes in the United States.

As a composer, Hanson was somewhat controversial, but for the opposite reason that many mid-twentieth century composers were. In a time that was most notable for experimentation and dissonance, Hanson remained steadfastly devoted to lyricism and tonality. He was unapologetic about this, writing, “Much contemporary music seems to me to be entirely too cerebral. I do not believe that music is primarily a matter of the intellect, but rather a manifestation of the emotions.” The composer and music critic Virgil Thompson, a contemporary of Hanson’s, wrote about him with characteristic acidity: “I have never yet found in any work of his a single phrase or turn of harmony that did not sound familiar… it is as standardized in expression as it is eclectic in style. Not a surprise from beginning to end, nor any adventure.” Still, Hanson remained uncompromising in his vision, winning the hearts of audiences and (some) critics, and receiving much recognition. In 1944, he was awarded the Pulitzer Prize in music for his Fourth Symphony.

In 1930, Hanson was one of several composers commissioned by Serge Koussevitzky, music director of the Boston Symphony, to compose a work in commemoration of the orchestra’s 50th anniversary season. Hanson’s contribution to this project was his Second Symphony, subtitled by the composer “Romantic,” which would turn out to be his most popular work.

One of the themes from the symphony would eventually achieve iconic status on its own. In recognition of Hanson’s many appearances at the world-renowned Interlochen Arts Camp in Michigan, one of the themes from the symphony is played at the conclusion of every orchestra concert. By tradition, no applause follows. The same theme was played during the closing credits of Ridley Scott’s 1979 sci-fi/horror film Alien (without Hanson’s permission).

The program note Hanson provided for the premiere made his intentions plain. “My aim in this symphony has been to create a work young in spirit, Romantic in temperament, and simple and direct in expression.” The three movements of the symphony are linked by themes and motives which appear throughout. The famed “Interlochen theme,” for example, is heard early in the first movement, but also appears in the other two.

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The symphony is introduced by a mysterious Adagio which begins quietly, builds to a climax, and sinks into low, quiet chords. A sudden interjection by trumpets and horns bridges into the movement’s exposition, which begins vigorously, but gradually relaxes into slower tempos, ending in the Interlochen theme. After all ideas are elaborately developed, the movement ends with an extended statement of the Interlochen theme.

The second movement, marked Andante con tenerezza (with tenderness) begins in utmost serenity, with a gentle song in woodwinds. After a more agitated middle section and a brief reminiscence of the Interlochen theme, the movement ends with a return of the serene mood.

The final movement, Allegro con brio, is the only fast movement of the work. Beginning with joyful woodwind flourishes and a fanfare-like melody in the horns, the remainder of the movement alternates between brilliance and lyricism, introducing new themes and recalling those of earlier movements. The symphony ends with a full-throated restatement of the Interlochen theme, a final brass flourish, and a brilliant D-flat major chord.

One of the themes from the symphony would eventually achieve iconic status on its own. In recognition of Hanson’s many appearances at the world-renowned Interlochen Arts Camp in Michigan, one of the themes from the symphony is played at the conclusion of every orchestra concert. By tradition, no applause follows. The same theme was played during the closing credits of Ridley Scott’s 1979 sci-fi/horror film Alien (without Hanson’s permission).

The program note Hanson provided for the premiere made his intentions plain. “My aim in this symphony has been to create a work young in spirit, Romantic in temperament, and simple and direct in expression.” The three movements of the symphony are linked by themes and motives which appear throughout. The famed “Interlochen theme,” for example, is heard early in the first movement, but also appears in the other two.

The symphony is introduced by a mysterious Adagio which begins quietly, builds to a climax, and sinks into low, quiet chords. A sudden interjection by trumpets and horns bridges into the movement’s exposition, which begins vigorously, but gradually relaxes into slower tempos, ending in the Interlochen theme. After all ideas are elaborately developed, the movement ends with an extended statement of the Interlochen theme.

The second movement, marked Andante con tenerezza (with tenderness) begins in utmost serenity, with a gentle song in woodwinds. After a more agitated middle section and a brief reminiscence of the Interlochen theme, the movement ends with a return of the serene mood.

The final movement, Allegro con brio, is the only fast movement of the work. Beginning with joyful woodwind flourishes and a fanfare-like melody in the horns, the remainder of the movement alternates between brilliance and lyricism, introducing new themes and recalling those of earlier movements. The symphony ends with a full-throated restatement of the Interlochen theme, a final brass flourish, and a brilliant D-flat major chord.

Don’t forget, you can recycle your program at the door!

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JANNA HYMES MUSIC DIRECTOR

Family Fun! February 25, 2018 • 3:00pm The Palladium Soo Han Conductor 2017 CSO Young Artist Competition Winner Soloist

Hear excerpts of the world’s great classics at our Family Fun! concert in the Palladium.

Young and young-at-heart are invited to sit on stage during the concert as the orchestra plays.

Watch your young children’s and grandchildren’s amazement and enthusiasm for music in this interactive concert.

Immediately following is the always popular Instrument Petting Zoo, in which patrons can try out the instruments they just heard the orchestra play on stage.

Tickets from $5 (YouthPASS) to $20 (Adults) DISCOUNTED WITH OUR FAMILY SERIES Family Series includes Indiana University Health Holidays (12/9/17) and Family Fun!

FAMILY DISCOUNTS Available!

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JANNA HYMES MUSIC DIRECTOR

Music is Joy

Chen Plays Tchaikovsky March 10, 2018 • 7:30pm The Palladium Janna Hymes Conductor Sean Chen Piano

2013 APA Christel DeHaan Classical Fellow

The Accursed Huntsman César Franck

Piano Concerto No. 1 in B-flat minor, Op. 23 Piotr Ilyich Tchaikovsky

Allegro non troppo e molto maestoso – Allegro con spirito

Andantino simplice – Prestissimo – Tempo primo

Allegro con fuoco Intermission (20 minutes) Symphony No. 2 in D Major, Op. 73

Allegro non troppo

Adagio non troppo

Allegretto grazioso (Quasi Andantino)

Allegro con spirito

Johannes Brahms

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SEAN CHEN Sean Chen is no stranger to The Palladium or Carmel Symphony Orchestra (CSO). His March performance will be the 28-year-old’s third with the CSO since capturing the 2013 DeHaan Classical Fellowship as the winner of the 2013 American Pianists Awards. Most recently, he was named a 2015 fellow by the prestigious Leonore Annenberg Fellowship Fund for the Performing Arts Born in Florida but growing up in Oak Park, California, Sean has been celebrated as a charismatic rising star with “an exceptional ability to connect with an audience combined with an easy virtuosity” (Huffington Post), earning accolades for “alluring, colorfully shaded renditions” (New York Times) and “genuinely sensitive” (LA Times) playing. He has performed with many prominent orchestras, coast to coast and beyond and is frequently invited back for return appearances. Receiving his BS and MS from Juilliard and his Artistic Diploma from the Yale School of Music as a George W. Miles Fellow, Chen is particularly in demand for residencies that combine performances with master classes, school concerts and artist conversations.

A multifaceted musician, Sean also transcribes, composes, and improvises, receiving acclaim for his transcription of Ravel’s La Valse, and his encore improvisations are lauded as “genuinely brilliant” (Dallas Morning News). His Prelude in F# was commissioned by fellow pianist Eric Zuber, and subsequently performed in New York. An advocate of new music, he has also collaborated with several composers and performed their works, including Lisa Bielawa, Michael Williams, Nicco Athens, Michael Gilbertson, and Reinaldo Moya.

He currently resides in Kansas City, Missouri with his wife, Betty, who plays violin in the Kansas City Symphony.

5 things YOU DIDN’T KNOW ABOUT SEAN CHEN

1. The most influential person on his musical career: Edward Francis, his teacher from ages 8 –18. “I learned a lot from him, not only in how to play the piano and listen to music, but also what a good teacher could accomplish and motivate their students to do.”

2. His favorite piece to play: anything by Ravel. “The combination of color,

form, and impeccable taste creates pieces that I never get tired of listening to or playing.”

3. He is a bit of a geek … and proud of it. “I spend lots of time on the computer, whether it’s working out transcriptions for pieces or doing a coding project. I also enjoy video games, as I have for most of my life.”

4. Favorite thing to eat after a performance? Unlike some artists, he doesn’t wait until after the performance to eat. However, he says, “Chocolate is always good.”

5. Favorite show to binge watch? Currently he and his wife are re-watching Friends but adds, “Anything by Disney and Pixar is usually a safe bet.”

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PROGRAM NOTES The Accursed Huntsman (1882)

César Franck (1822-1890)

A hallmark of the Romantic period in music (from about 1820 or so till the turn of the century) is a preoccupation with evil, especially when supernatural elements are involved. We see this in several of the works of Berlioz, (most notably Symphonie Fantastique), Weber (Der Freischütz), Mussorgsky (Night on Bald Mountain), and Paul Dukas (The Sorcerer’s Apprentice), as well as too many others to list here.

Even César Frank found himself drawn to the subject. Those who knew him found it surprising since most of his music is either absolute (non-programmatic) or deals with sacred subjects. Yet he came across at least one macabre tale that inspired a musical response.

In 1882, after completing two large scale religiously inspired works back to back, Franck went off in a different direction, producing a tone poem based on the verse ballad Der Wilde Jäger (The Wild Hunter) by Gottfried August Bürger (1747-1794). Bürger’s poem is a retelling of an old folk tale about an impious nobleman who blasphemes by hunting on the Sabbath and comes to a bad end because of it. Franck changed his title to The Accursed Hunter, but otherwise the music follows the poem closely.

While he shied away from the limelight, choosing teaching and composing over performance, CESAR FRANCK is considered the founder not only of modern French instrumental music but also of the French school of organ music. His foray into exploring the supernatural in “The Accursed Huntsman” was an unusual theme for him, but a popular theme among his peers during the Romantic period.

The piece begins with the hunter blowing his horn, as hunters do. Church bells are heard, calling the faithful to prayer while worshipers sing as they make their way to church. Horn calls continue to sound as the hunter turns his back on the church and rides off in search of prey. Seeing a magnificent stag, he charges off in pursuit.

A long, wild chase follows; the hunter shoots arrow after arrow, but the stag evades him at every turn, drawing him deeper and deeper into the forest. The chase is thwarted when the stag disappears into a hermit’s chapel. In his frustration, the hunter blasphemes against God. Suddenly all is silent; the hunter blows his horn but no sound is heard. From everywhere a stentorian voice is heard: “Blasphemer! The measure of thy cup is full! Be thou pursued forever through Hell!” The woods begin to catch fire, and the hunter suddenly finds himself surrounded by demons. In terror, he flees as the hunter becomes the hunted for all eternity.

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Franck’s vivid orchestration moves the story along. The horn calls and church bells at the beginning are unmistakable; the hunt includes some of the wildest music Franck ever wrote. The mysterious voice pronouncing the curse is first heard in the tuba, later taken up by trombones as the pitch of the voice rises. Flickering figures in the strings depict the gathering flames, and the music of the hunter being pursued is even wilder than before.

Piano Concerto No. 1 in B-flat minor, Op. 23 (1874)

Piotr Ilyich Tchaikovsky (1840-1893)

“I should like to start work on a piano concerto.” This, in a letter dated October 29, 1874, was the first time Tchaikovsky mentioned the idea for what would become one of his most beloved works. Typically for him, the work, once begun, proceeded rapidly, and a draft score of the concerto was complete by December 21.

In this draft, the solo part was complete, though the orchestra part was only sketched in for a second piano. With the work in this form, the composer made an appointment with the pianist Nikolai Rubenstein for a hearing of the new work. Tchaikovsky was an adequate pianist, but not a virtuoso, and it was his hope that Rubenstein, the best pianist in Moscow, would consent to perform the work. Instead, the encounter proved to be one of the biggest humiliations of Tchaikovsky’s career.

Rubenstein kept silent throughout Tchaikovsky’s reading of the concerto. Gamely, Tchaikovsky played the entire work through to the end, only to be greeted with continued silence. Finally, Tchaikovsky stood, turned, and asked, “Well?”

With that word, a dam seemed to burst. Rubenstein stood and began hurling abuse at the concerto and the composer. Rubenstein criticized the concerto at considerable length, saying, “it was impossible to play, that the passages were hackneyed, clumsy,

German pianist and conductor HANS VON BÜLOW premiered Tchikovsky’s concerto in Boston in 1875. Von Bülow’s cable to Tchaikovsky describing the concerto’s reception is regarded as the first cable sent between Boston and Moscow. and so awkward that there was no way even to correct them, that it was bad, vulgar…”

Rubenstein intimated that whole passages had been plagiarized, and ended by saying that only “two or three pages” could be salvaged, while the rest must be thrown away. Years later Tchaikovsky wrote “I cannot convey to you the chief thing, that is, the tone in which all this was said…a stranger who happened to be in that room might have thought me…a talentless, thick-witted scribbler who had come to this famous musician to harass him with my nonsense…In my agitation and anger I could say nothing.” Later that evening, Rubenstein, perhaps regretting his outburst, offered to reconsider performing the concerto

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if it were reworked according to his suggestions. Tchaikovsky would have none of it. “I will not change a single note! I will publish it exactly as it is!” He did eventually make substantial revisions, but not until fifteen years later.

Fortunately, Tchaikovsky had better luck with the next person to whom he showed the concerto, the German pianist and conductor Hans von Bülow. Von Bülow saw the merits of the work immediately, and offered to take it with him on an upcoming American tour.

The premiere performance was given in Boston in October 1875. Despite some critical carping, the work was received with great adulation by American audiences. (As an interesting historical footnote, von Bülow’s cable to Tchaikovsky describing the concerto’s reception appears to have been the first cable sent between Boston and Moscow.) Soon, the concerto was enthusiastically received in Moscow. Eventually, even Rubenstein changed his tune and began performing the concerto himself.

The most famous passage in the concerto is certainly the opening theme (Allegro non troppo). Yet, even today, it that passage that inspires the most heated criticism. The quality of the theme is not at issue. Rather, it is the fact that so sweeping and memorable a theme should be heard only in the very beginning of the piece, only to be casually tossed away and never heard again during the remainder of the concerto. In its defense, however, it is argued that this theme functions as an effective attention-grabber, drawing the audience in more effectively than a simpler or more integrated introduction would have done. Once the theme ends, and the audience has been drawn in, the concerto proper seems to begin.

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The first, and longest, movement (Allegro con spirito) is in the traditional sonata form based on two highly contrasting themes. The first, heard at the outset in the solo piano, nervously and obsessively repeats a distinctive two-note rhythmic cell. According to some account, Tchaikovsky may have based this theme on a tune he heard sung by a blind Ukranian beggar. After a few minutes, the second theme is heard in the woodwinds. This new theme is much slower, more lyrical, and distinctively romantic (parts of it seem to recall the famous love theme from Romeo and Juliet, composed four years earlier). As the movement develops, the first theme is kept on a short leash, while the second is allowed to grow and unfold to the point where it dominates the proceedings. As the recapitulation begins, the first theme is dismissed quickly, and the remainder of the movement, including the massive cadenza, is concerned with the second theme almost entirely.

The second movement is almost two movements in one. It begins simply enough (Andantino semplice), with a tender theme in the flute, subjected to variations in the piano and orchestra. Abruptly, the mood changes, and dazzling pyrotechnics (Prestissimo) from the soloist introduce a scherzo-like section, partly based on a French folk song. Another cadenza ushers in a return to the earlier theme, and the movement ends quietly.

JOHANNES BRAHMS suffered epic writer’s block. Heralded as a musical genius at age 20 by Robert Schumann, he wouldn’t compose a completed symphony until 21 years later. Fortunately, his Second Symphony took a mere four months to write approximately a year after his First Symphony.

The final movement (Allegro con fuoco) is both the shortest and formally least complex of the concerto. As with the other movements, two main ideas are presented, but, rather than being developed at length, are simply alternated. The first, introduced by the piano after a four-bar introduction, is based on a Ukranian dance-tune; the second, slightly slower, is another lyrical song. In time-honored fashion, the movement concludes with a majestic tutti followed by a brilliant coda.

Symphony No. 2 in D Major, Op. 73 (1877)

Johannes Brahms (1833-1897)

Early on Robert Schumann recognized Brahms’ talent as a composer, hailing him as a genius when Brahms was only twenty. Schumann immediately began pressuring Brahms to attempt a symphony, but the younger composer quickly realized that the task was, for the moment, beyond him. Obsessed with a desire to write a symphony worthy of the name, but plagued by self-doubt, Brahms did not complete his First Symphony until 1876, after 21 years of false starts.

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In completing his First Symphony, Brahms seems to have breached a psychological barrier.

Having at last proven himself equal to the task of writing a monumental symphony, Brahms no longer had anything to prove. His Second Symphony was premiered just over a year after the first, after taking only four months to compose.

In character, the Second Symphony is almost a polar opposite of the first – calm and cheerful as opposed to stormy and dramatic. It is tempting to attribute the symphony’s lyrical nature to the fact that much of it was written during a summer stay in a small village in the Austrian countryside where Brahms found freedom from the distractions of his busy life in Vienna. In the quiet village, he found inspiration simply in being able to work undisturbed. “So many melodies are flitting around here,” he wrote, “that one must be careful not to tread on them.” Treading carefully, he returned the next three summers, finding inspiration for the melodies found in his Violin Concerto, First Violin Sonata, and Second Piano Concerto.

Before the premiere on December 30, Brahms amused himself by deliberately making misleading remarks about the new symphony. “It will be so tragic that you will not be able to bear it,” he wrote to one friend. To another he wrote that the members of the orchestra would wear black armbands, and that the score would be printed with a black border.

The symphony begins tentatively, with only a hint of melody. The first three notes, heard in the low strings, serve as a unifying motive, These notes are the source of much melodic material throughout the symphony. The flowing second theme, heard some fifty bars into the piece, is a lyrical extension of the opening motive. Many other transformations are heard during the course of the movement.

The second movement begins with a calm and serene extended theme in the cellos, repeated and developed in the violins. Moments of drama intrude in the middle section, but turbulence is dispelled and serenity returns at the end of the movement.

In place of a Scherzo, Brahms composed an easygoing Intermezzo, with a lilt reminiscent of an Austrian Ländler (a folk dance popular in Germany and Austria in the 18th century).

The movement is twice interrupted by livelier passages, which are actually variations of the lilting theme.

The final movement overflows with melodic ideas, many of which are related to ideas from the first movement. Despite its power, dynamism, and high-spirited nature, it artfully preserves the lyrical character of the entire symphony.

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JANNA HYMES MUSIC DIRECTOR

Music is Drama

Tchaikovsky, Wagner, Bruch and Shapiro April 14, 2018 • 7:30pm The Palladium Charles Prince Conductor Larry Shapiro Violin CSO Concertmaster

Procession of the Nobles from Mlada

Nikolai Rimsky-Korsakov

Prelude and Liebestod from Tristan and Isolde

Richard Wagner

Violin Concerto No. 1 in G minor, Op. 26

Vorspiel: Allegro moderato Adagio

Finale: Allegro energico

Max Bruch

Intermission (20 minutes) Overture to Tannhäuser

Richard Wagner

Suite from Swan Lake, Op. 20a Piotr Ilyich Tchaikovsky Scène Valse

Danse des petits cygnes (Dance of the Little Swans)

Scène: Danse des cygnes (Dance of the Swans)

Danse Hongrois: Csárdas (Hungarian Dance: Czardas Scène) CONCERT SPONSOR:

GUEST ARTST SPONSOR:

ELOISE L. BOWERS, in memory of THOMA S W. BOWERS Unauthorized recording or photographing any part of this performance is strictly prohibited.

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L ARRY SHAPIRO Larry Shapiro has served as the Concertmaster for the Carmel Symphony Orchestra since the 2005-2006 season. For more than 20 years, he has been a full-time professor of violin and artist-in-residence at Butler University.

His entrée to the violin came at the young age of six when his parents asked him what instrument he would like to play. He instantly answered, “The violin!” because he perceived it as the most difficult. By the time he was 10, he was playing with the El Paso Symphony. “I knew that when (I was performing), I was immersed in the incredible wash of divine beauty, and it was the place I needed to be for the rest of my life,” Larry recalls. “I even had a very precise agenda: To become concertmaster of a major orchestra, soloist, and first violinist of a major string quartet. I’ve done all that, and yet I feel as if I’m just getting warmed up!”

His long and distinguished career include a lengthy stint touring as a soloist with the American Ballet Theatre as well as touring as first violinist for the Mikhail Baryshnikov’s White Oak String Quartet. He has served as Concertmaster for numerous orchestras including the New York Philharmonia, the Grand Teton Music Festival, the Columbus (Ohio) Symphony and the Indianapolis Chamber Orchestra.

In addition to teaching at Butler, Larry’s teaching background includes positions at Indiana University, the University of Delaware, the University of Evansville, the University of Wisconsin-Milwaukee, Virginia Tech and Akron University. He has appeared as soloist with orchestras throughout the country, conducted both university and youth orchestras, and has been violinist for both the Gabrielli and New Art Trios.

5 things YOU DIDN’T KNOW ABOUT LARRY SHAPIRO

Charles Prince studied at the Oberlin Conservatory of Music. He attended the Boston Symphony Orchestra’s annual Tanglewood Music Festival in 1988 and 1989, taking master with Leonard Bernstein, Seiji Ozawa, Gustav and Kurt Sanderling.

1. Hclasses is wife Ashley is an accomplished performance artistMeier, (acting off-Broadway Other important teachers who got him started included Robert Page (Cleveland when they met) as well as visual artist who is the granddaughter of Janet Sobel, Orchestra) and Jorma Panula (Helsinki), one ofPollock the foremost conducting teachers in the great Surrealist precursor to Jackson Europe.

2. The most influential person in his life – aside from his wife – is Rafael Bronstein, pupil of Leopold Auer who he calls, “The greatest musician I have ever known.”

3. While not a day goes by that he doesn’t play some portion of Bach’s

“Unaccompanied Sonatas and Partitas,” he calls the Bruch Concerto (which he is performing on April 14 with the CSO) perhaps his very favorite piece to play.

4. Larry Shapiro does not eat after breakfast on major performance days but enjoys comfort foods after.

5. While Larry’s practice regimen includes two hours daily of musical

calisthenics, he relies on the TV – sports and murder mysteries – for diversion.

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CHARLES PRINCE Charles Prince studied at the Oberlin Conservatory of Music.

He attended the Boston Symphony Orchestra’s annual Tanglewood Music Festival in 1988 and 1989, taking master classes with Leonard Bernstein, Seiji Ozawa, Gustav Meier, and Kurt Sanderling. Other important teachers who got him started included Robert Page (Cleveland Orchestra) and Jorma Panula (Helsinki), one of the foremost conducting teachers in Europe.

Today Charles Prince is a regular guest conductor of orchestras such as the Oregon Symphony Orchestra, the Roanoke Symphony Orchestra, Fort Worth Symphony Orchestra and the Kuopi Symphony in Finland, as well as the Canadian Brass with the Lubbock Symphony Orchestra.

He was the musical director of the Bernstein Gala in PA Majestic Theatre, presented by Jamie Bernstein, and the Tony-Award production of James Joyce and Shaun Daveys’ “The Dead” on Broadway, in Los Angeles and Washington. From 1996 to 2003, Charles Prince was Associate Conductor of the New York Pops. In Moscow, he conducted the Moscow Symphony Orchestra, playing Jan Sibelius’ Symphony No. 4, Richard Strauss’s “Till Eulenspiegel” and Claude Debussy’s “La Mer.” Because of his European ancestry, Prince harbors a preference for Viennese classical music as well as the Viennese operetta.

In tribute to his father, Broadway director Hal Prince, Charles conducted “A Gala Concert for Hal Prince” with the Munich Radio Orchestra and an international ensemble of singers at the Munich Philharmonic in Gasteig, which was broadcast live over Bavarian radio and television, as well as recorded for a double-CD by First Night Records, London.

Charles Prince is music director of Wiener Operettensommer in Vienna, Austria, and also the music director of the Plainfield Symphony Orchestra in Plainfield, New Jersey.

PROGRAM NOTES

Procession of the Nobles from Mlada (1890)

Nikolai Rimsky-Korsakov (1844-1908)

Although Rimsky-Korsakov completed Mlada in 1890, its roots go back to an uncompleted project begun in 1870 when a group of Russian composers were invited to write various parts of the opera. The project failed, but all of the composers involved eventually reused their music in later works, but Rimsky-Korsakov would outdo them all by eventually completing the opera by himself, twenty years after it was first conceived.

The first production of Mlada was unsuccessful, and subsequent productions have fared little better. Though the storyline abounds in fantastic and supernatural elements (which

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The opera Mlada, from which “Procession of the Nobles” comes, began as a project of a group of Russian composers. While “Procession” has become a popular concert piece by RIMSKY-KORSAKOV, the opera— requiring extravagant special effects—is virtually impossible to perform. are probably what attracted Rimsky-Korsakov to the story in the first place), the plot is complex and doesn’t make very much sense. Though the work is categorized as opera, it is equal parts opera and ballet. In addition, the opera requires a huge stage and elaborate special effects, including a village being swept away in a flood and the two main characters escaping on a rainbow. In short, it is a very difficult opera to produce or make sense of.

Though Mlada has not fared well, it has not disappeared entirely. Some years after the premiere, Rimsky-Korsakov released two orchestral works adapted from the opera. The second, in 1903, is a Suite, which includes the Procession of the Nobles as its Finale. This is by far the most familiar excerpt from the otherwise largely forgotten opera.

The Procession is taken from Act II and is played as a group of princes and their retinue appear at a village festival. The arrival of the nobles is announced by rousing trumpet flourishes, followed by a stately theme in horns and strings. After several contrasting episodes, the trumpet calls return, and the processional builds to a brilliant conclusion.

Prelude and Liebestod from Tristan and Isolde (1859)

Richard Wagner (1813-1883)

Wagner provided a synopsis of the emotional progression of the action of Tristan whose voluptuous prose is a not only a sketch of the events of the story, but also a key to understanding the surging sea of passion upon which the entire world of this opera floats: “Tristan, the faithful vassal, woos for his king her for whom he dares not avow his own love, Isolde. Isolde, powerless to do otherwise than obey the wooer, follows him as bride to his lord. Jealous of this infringement of her rights, the Goddess of Love takes her revenge. As the result of a happy mistake, she allows the couple to taste of the love potion which, by the burning desire that suddenly inflames them after tasting it, opens their eyes to the truth and leads to the avowal that for the future they belong only to each other.

Henceforth, there is no end to the longings, the demands, the joys and woes of love. One thing only remains: longing, longing, insatiable longing, forever springing up anew, pining and thirsting. Powerless, the heart sinks back to languish in longing, in longing without attaining; for each attainment only begets new longing, until in the last stage of weariness the foreboding of the highest joy of dying, of no longer existing, of the last escape into that

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The first of the two woodwind chords used in Prelude and Liebestod (Love-Death) from Tristan and Isolde are now universally known as the “Tristan chord.” It is remarkable for the way WAGNER used it as a key to unlock a chain of unresolved harmonic tensions that never settle into one key until the very last chord of the Liebestod at the end of the opera … roughly four hours later. wonderful kingdom from which we are furthest off when we are most strenuously striving to enter therein. Shall we call it death? Or is it the hidden wonder-world from out of which an ivy and vine, entwined with each other, grew up upon Tristan’s and Isolde’s grave, as the legend tells us?”

The sense of longing is generated right at the beginning of the opera. Its Prelude is built, in the composer’s words, from “one long series of linked phrases,” each of which is left hanging, unresolved, in silence. Of the remainder of the Prelude and its progression to the Liebestod (“Love-Death”), it moves, Wagner wrote, “from the first timid lament of inappeasable longing, the most tender shudder, to the most terrible outpouring of an avowal of hopeless love, traversing all phases of the vain struggle against the inner ardor until this, sinking back upon itself, seems to be extinguished in death.” The Prelude is constructed as a long arch of sound, beginning faintly and building to a huge climax near its center before dying away to silence. In Wagner’s concert version, the Liebestod follows without pause, and it, too, generates a magnificent tonal gratification at the point near the end of the opera where the lovers find their only possible satisfaction in welcome death. Of this sublime moment, Wagner wrote, “What Fate divided in life now springs into transfigured life in death: the gates of union are thrown open. Over Tristan’s body, the dying Isolde receives the blessed fulfillment of ardent longing, eternal union in measureless space, without barriers, without fetters, inseparable.”

Violin Concerto No. 1 in G minor, Op. 26 (1866) Max Bruch (1838-1920)

Like Mendelssohn, Max Bruch was a child prodigy who first made his mark as a composer while still a teenager. By 11 he was composing, and by the time he was 14 he had already written a symphony and a string quartet, the latter winning a prize that allowed him to study in Cologne with Karl Reinecke and Ferdinand Hiller.

As he was completing his studies at the age of 19, he began jotting down ideas for a Violin Concerto, which stayed on the back burner for nine years before he finally completed it in 1866. Dissatisfied with the concerto after the first performance, he sought the advice of the great violinist Joseph Joachim in matters of violin technique. Ten years later, Joachim would provide similar assistance to Brahms; however, while Brahms mostly ignored Joachim’s advice, Bruch respectfully followed it. Joachim gave the premiere of the revised concerto in January 1868; the performance was a huge success, and Bruch dedicated it to Joachim in appreciation.

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As it turned out, the concerto’s undying popularity was a source of frustration for Bruch for the rest of his life. He wrote over 300 published works, including two more violin concertos, and yet the First would eclipse everything else he would ever write. “Nothing,” he complained, “compares to the laziness, stupidity, and dullness of many German violinists.

Every fortnight another one comes to me wanting to play the First Concerto. I have now become rude, and tell them ‘I cannot listen to this concerto any more—did I perhaps write just this one? Go away, and play one of the other two concertos, which are just as good, if not better!’” Bruch’s exasperation was no doubt made much worse by the fact that he had ill-advisedly sold the first concerto to the publisher August Cranz for a single lump-sum payment; despite the work’s popularity, he never made another penny from it.

While BRUCH penned more than 300 violin concertos, his First Concerto remained the most popular … and despite its popularity, he sold the rights to it in a lump some and never made a penny on it beyond that initial payment.

It was apparently Joachim who convinced Bruch to call the work a Concerto; Bruch had planned to call it a Fantasy, due perhaps to the unusual form of the first movement.

Bruch called it a Vorspeil, or Prelude, and while the movement abounds in enough virtuoso passages to satisfy any violinist, the form is somewhat truncated compared to most concerti. Traditionally, we expect a concerto to open with the weightiest and most formally complex movement; but rather than the usual development and recapitulation, we get a fiery transitional passage that leads directly into the slow movement. The relative significance of the movements are therefore reversed, with the concerto’s most memorable moments to be found in the second and third movements.

The Adagio is the expressive heart of the concerto, full of some of the warmest, most lyrical melodies to be found in any violin work. In his old age, Joachim compared Bruch’s concerto to those of Beethoven, Brahms, and Mendelssohn, calling it the “richest, most seductive” of the four, a description with which it is difficult to disagree.

The Finale opens with a joyous, quasi-Hungarian dance tune which anticipates, and may have influenced, the Brahms concerto. Just about everything a violinist can do is put on display here, including two episodes featuring a nobler, loftier theme.

Overture to Tannhäuser (1845) Richard Wagner (1813-1883)

By the time he turned 30, Wagner had paid his dues with several operatic projects that were unfinished or unperformed; two operas which were completed but unsuccessful, and two operas (Rienzi and The Flying Dutchman) which were successful but somewhat conventional. He was poised to begin a series of experiments which would ultimately change the very nature of opera, as well as music itself.

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An idea had begun to form as early as 1842 when Wagner had come across a book about Tannhäuser, the medieval German Minnesänger (the German equivalent of a troubadour, or poet/singer). Tannhäuser was a real person, many of whose poems and songs still exist, but little is known of his life. However, based on passages in some of his poems, a legend arose that he spent some time dallying with the goddess Venus in her subterranean pleasure realm of the Venusburg. Wagner found intriguing possibilities in the story, and before long began planning an operatic treatment of it.

Ultimately Wagner combined myth and history, adding a scene in which Tannhäuser participates in an actual song contest held at Wartburg Castle in the 13th Century. The opera also makes use of two popular Romantic tropes, the struggle between worldly pleasures (represented by Venus) and divine love (personified by Tannhäuser’s true love Elizabeth), and the idea of redemption through love, a frequent theme in Wagner’s work.

Tannhäuser was the first of Wagner’s operas in which he began to move beyond operatic conventions of the time. He largely abandoned the use of set-pieces, such as arias and recitatives, in favor of “through-composed” vocal writing. The orchestra became a sort of commentator on the action using leitmotifs, musical fragments associated with characters, objects, or storylines, and becoming an equal partner in moving the story forward, rather than a mere accompanist. Wagner’s ideas were controversial, but they continue to influence opera composers to the present day.

In the Overture to his opera, Wagner chose themes from the opera itself, in a sequence that suggests the major plot points in encapsulated form. When he conducted the first performance of the Overture in a concert setting, the composer wrote a rather longwinded program note, which is summarized here: At first the orchestra introduces us to the ‘Pilgrims’ Chorus’ alone. It approaches, swells to a mighty outpouring, and finally passes into the distance. As night falls… a rosy mist swirls upward, and the blurred motions of a fearsomely voluptuous dance are revealed… This is the seductive magic of the Venusberg. Lured by the tempting vision, Tannhäuser draws near.

It is Venus herself who appears to him... An irresistible attraction draws him nearer, and he steps before the goddess. In drunken joy the Bacchantes rush upon him and draw him into their wild dance.

The storm subsides. Only a soft, sensuous moan lingers in the air over the spot where the unholy ecstasy held sway…The morning dawns: from the far distance the pilgrim’s chorus is heard again. As it draws ever nearer, those lingering moans are transfigured into a murmur of joy so that at last, when the sun rises in splendor and the pilgrims’ chorus proclaims salvation to all the world, the joyous murmur swells to the mightiest, noblest rejoicing. Redeemed from the curse of ungodly shame, the Venusberg itself joins its exultant voice to the godly chant.

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Suite from Swan Lake, Op. 20a (1877) Pyotr Ilyich Tchaikovsky (1840-1893) Swan Lake, Pyotr Tchaikovsky’s first ballet score, had its origins in an unlikely place. In 1871, Tchaikovsky and his brother Modeste spent part of the summer with their sister Sasha Davidova and her family. One day, Uncle Pyotr surprised his nieces, Tanya and Anna, with a little ballet he had whipped up about an enchanted swan. The first and only “production” of this piece took place in the Davidova’s parlor, with Uncle Pyotr playing the piano and a ballet corps consisting of the children and numerous toy swans.

Four years later, when the Imperial Ballet in Moscow commissioned a score from Tchaikovsky, he recalled the little diversion he had already composed, and set about expanding it into a proper full-length ballet. Whatever music he had composed for the afternoon’s entertainment in 1871 has been lost or destroyed, but we know from the recollections of his nieces that at least some of it was re-used in the ballet.

Swan Lake would come to be regarded as a masterpiece, but not during Tchaikovsky’s lifetime. The first production opened on March 4, 1877. Though it ran for 41 performances, more than most ballets of the time, it was regarded as a failure. The scenery and costumes had already been used in other productions and were beginning to look shabby. Some of the dancers were good, but many were mediocre. The conductor was described by Tchaikovsky’s brother as “a semi-amateur who had never been faced with such a complex score.” Worst of all, many of the numbers from Tchaikovsky’s score were dropped for being too difficult for the orchestra or the dancers; in their place were substituted pieces by Cesare Pugni, who specialized in ballet music.

TCHAIKOVSKY did not live to see the the ballet Swan Lake, we’ve all come to know and love, become a success. Nor, did he live to hear the Suite that you will hear this evening performed. The ballet was panned as a failure and the Suite – performed seven years after his death – was an attempt by Tchaikovsky to resurrect the score.

There would be future productions, but they fared little better. The storyline was changed, more music was cut, more music by other composers inserted. It wasn’t until 1895, in a now-legendary staging by Marius Petipa and Lev Ivanov, that Swan Lake achieved the status it deserved. Unfortunately, Tchaikovsky had died two years earlier.

In the fall of 1882, Tchaikovsky wrote to his publisher, Pyotr Jurgensen, with an idea. “The other day I thought about my own Swan Lake, and I wanted very much to save this music from oblivion, since it contains some fine things. And so I decided to make a suite from it, like [French composer Leo] Delibes. In order to do this I need the whole piano score of the ballet as well as the full score…afterwards I shall indicate to you which numbers and in which order they will be listed. And then, if you wish, this suite could be published in the form of a full score and arrangement for piano duet. Write and tell me what you think about this.”

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Jurgensen was in favor of the idea and forwarded the requested materials. But that was the last time the idea was mentioned in Tchaikovsky’s correspondence, so it’s impossible to know for sure whether he saw the idea through. A suite consisting of six numbers from the ballet would be published in November 1900, eighteen years after Tchaikovsky first proposed the idea, and seven years after the composer’s death; it is not known for certain whether the sequence of pieces was Tchaikovsky’s, Jurgensen’s, or someone else’s.

The story of Swan Lake is loosely based on a German fairy tale. The princess Odette and her handmaidens have been turned into swans by the evil magician Rotbart. They can only take human form at night, and only the power of true love can break the spell. Not far away, a ball is being thrown for the young Prince Siegfried, at which he is expected to choose a bride. As a diversion, Siegfried and his friends ride into the woods for a swan hunt. Siegfried and Odette meet and immediately fall in love. Siegfried suggests Odette come to the ball the next night, where he will choose her as his wife before the whole court. Rotbart, to thwart the plan, sends his daughter Odile to the ball instead, enchanting her to look exactly like Odette except for being dressed in black rather than white. At the ball, Siegfried swears his love to Odile, and when he realizes his mistake, runs from the castle in search of Odette. It is too late because Siegfried has inadvertently betrayed his vow, Odette is doomed to become a swan forever. In the end, Rotbart’s spell is broken by the power of their true love. (Some productions have a darker ending, as the lovers are united in death.)

The suite opens with the famous oboe solo depicting the swans on the lake (this is probably one of the surviving bits from the original entertainment in 1871). It is followed by the Waltz from Act I, played as the guests arrive at the castle. The brief “Dance of the Swans” comes next, followed by an enchanting passage from the pas de deux of Odette and Siegfried. In the fifth movement, we are returned to the ball, as a “Hungarian Dance” is performed by the guests. The suite is concluded with an excerpt from the ballet’s final scene.

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

The Honor Roll of Donors recognizes patrons who have supported the Carmel Symphony Orchestra during the 2016-17 season. Gifts and gift commitments received after September 30th will be recognized in the 2018-19 Program Book. Every effort has been made to ensure the accuracy of this Honor Roll of Donors. If your name has been accidentally omitted or listed incorrectly, please accept our deepest apologies and contact the CSO office at 317.844.9717.

CORPORATE & ORGANIZATION Contributors PRESIDENT’S CIRCLE $50,000 AND ABOVE City of Carmel

Indiana Arts Commission Ritz Charles SePRO Foundation*

DIRECTOR’S CIRCLE $20,000 - $49,999 Clay Township Trustee & Board PEDCOR Companies

PATRONS $1,000 - $1,999 Centier Bank Dauby, O’Connor & Zaleski LLC Drewry Simmons Vornehm LLP Eli Lilly & Company Foundation* The Farmers Bank The Hamilton Group Horizon Bank IWP Incorporated Maxwell Electrical Services, Inc. Meridian Music Passcon Inc. PR Mortgage & Investment Corp.

Re/Max Ability Plus United Insurance Agencies

CONDUCTOR’S CIRCLE $10,000 - $19,999 Barnes & Thornburg LLP IU Health North Hospital SYM Financial Advisors United Fidelity Bank GRAND BENEFACTORS $5,000 - $9,999 Carmel Symphony Orchestra League Fineline Printing Group Lake City Bank SePRO Corporation WFYI WICR BENEFACTORS $2,000 - $4,999 CURRENT Hamilton County Tourism, Inc.

FRIENDS $500 - $999 Bowen & Associates LLC CREA, LLC Crowe Horwath Foundation* DIVVY

Eagle / Trident Security Excel Mechanical First Merchants Corporation Lincoln Financial Foundation* Marquis Commercial Solutions Performer’s Edition Renaissance Indianapolis North Hotel David F. Smith, RPT SUPPORTERS $250 - $499 ASSOCIATES UP TO $249 AT&T Benevity Community Impact Fund Carmel Symphony Orchestra League In Memory of Jean

Alexander, Hilda Hadley

& Judy Perk Diabetes & CardioMetabolic Disease Solutions Group Lilly Endowment Inc.* Tri Kappa / Carmel Associate Chapter

* Organizations that have matched gifts to the orchestra over the past year.

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INDIVIDUAL Contributors PLATINUM BATON $10,000 AND ABOVE

Sydney Jeanne Book In Memory of Robert M. Book Carmel Symphony Orchestra Volunteer Musicians GOLD BATON $5,000 - $9,999

John W. & Nancy S. Adams Eloise L. Bowers

In Memory of Thomas W. Bowers Bill & Brenda Culpepper SILVER BATON $2,000 - $4,999

Kimberly W. & Michael C. Donahue Jim & Sally Hubbard Stan & Sandy Hurt Lawrence & Vivian Lawhead Mo Merhoff & Paul Reis Karen A. Sheely Drs. Pamela Steed & Peter Furno Jim & Kris Zaloudek,

A Grant from the Jim & Kris Zaloudek Fund, a fund of Legacy Fund MAESTROS $1,000 - $1,999

Michael Feinstein Bradford S. & Stephanie Mannon Grabow Tom & Jill Kirk Kurt McKinley Timothy S. Needler Sean O’Connor Melba W. Schulte

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Mr. Ronald B. Schwier & Ms. Marti T. Starkey Jim & Betty Streeter Dennis & Karen Whitaker IMPRESARIOS $500 - $999

Dr. Alan Davis Fred & Alice Hecker John & Jan Kassebaum Phil & Ann Manship Dr. William K. McGarvey Mr. & Mrs. A. Ridgeway Miller Tracy & Andrew Miller Tania & Alexei Moskalenko Bobby Pirtle Edna May Reilly Mr. & Mrs. Robert E. Schlegel III Mark Schuster & Michael Sadler Armen & Marie-Claude Shanafelt Mary Ann Sheely Jerry Torr Dr. & Mrs. Homer L. Twigg III CONCERTMASTERS $250 - $499

Dr. & Mrs. James H. Anderson Jr. Jack & Susan Armstrong Jack & Ila Badger Frank & Katrina Basile Ron & Sue Britton Tim & Elaine Cooney Carol Duginske Dick & Lynn Feldt Dennis & Ann Fulk Cathy S. Harms Rick & Jennifer Harrison Roger & Mary Kemper

Nick & Katy Kestner Family Fund Mrs. Beth Lawrence Stephen & Vicki McPherson Revs. Stuart & Sylvia Mill Christine & Daniel Mytelka Becki Nunnally Scott & Susan Putney Brad & Denise Ryan Donald & Miriam Taylor Larry & Carolyn Woodling VIRTUOSOS $100 - $249

Art & Donna Adams Donald & Carla Bennett Renee M. & Wilhelm Bilgram Jay & Jan Brill Robert & Dorothy Butcher Shirley Calhoun Lila J. Chiappetta Barbara A. Coppinger Caroline S. Cox Barbara Crawford Terry & Nancy Cutter Charles & Patricia Damler Mary Eckard-Good & Barry Good Cam & Diana Edwards Andrew & Irene Engel Frances Hageboeck Jack Hamer In Memory of Betty Hamer Don & Karen Hawes Ken & Marge Hubert Jean & Jerry Jansen Gary & Faye Jenkins Shawn Jones Grace E. Kennedy Dr. & Mrs. Clark S. Ketterman

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Dr. James & Ruth Lawrence Carole L. Lichtenauer Mary K. Mann Michael Ann McIlwraith Paul & Ruth Nisenshal Charles & Doris Olt Donna & Nick Panich Brent J. Pettijohn Greg & Wendy Phillips Gary & Barbara Reeder Charlie Russell Charles & Sara Jo Shoup In Memory of Fran Shoup Nancy H. Smith Sharon & Dick Smoot Jason & Monika Spangler Reinhold & Meg Strnat Bill & Mary Tierney Gary Walla Neal & Donna Wixson Mr. & Mrs. Richard M. Yoho

PRINCIPALS $50 - $99

PLAYERS UP TO $49

Jonathan & Mindy Brant Mary Cole Mr. & Mrs. Thomas E. Dapp Carole Herbon Ken & Pam Knowles Thomas Krengel Warren & Elaine Rairden Mark & Rebecca Stempel Neal & Candy Stock David & Laurel Toney Mr. & Mrs. Vincent Truax Steve & Joan Wischmeyer Xiaoling Xuei

Harold & Gloria Barron George & Juanita Chisler Beth E. Dallman In Memory of Jean Walters Cynthia D. Donovan Garry M. Eckard Marc & Erika Huber Dale E. Kann Kay Marrero Elizabeth Meek Ann Passage Phyllis A. Petersen Dan & Jean Schuler Jane Seelig Helena Silva Melinda Vaprin

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In-Kind

CONTRIBUTIONS provided by:

ADP Mrs. Robert M. Book Carmel-Clay Public Schools Carmel Symphony Orchestra League Carmel Symphony Orchestra Volunteer Musicians Lindsey Agnew, Julie Armey, Ingrid Baird, Andrew Bloom, Bob Bonner, Reid Bonner, Melinda Bowman, Jan Brill, Julie Burckel, Terri Cassel, Mary Cole, Kim Coplen, Amanda Cornet, Stephane Couesse, Shannon Crow, Andrew Emata, Matt Greven, Rachel Gutana, Sam Horodezky, Karen Hutchins, Shawn Jones, John Kassebaum, Julia Keller-Welter, Jill Kirk,

Ginny Kundrat, Larry Lawhead, Greg Leffler, Larry Lemon, Ann Manship, Libby Martin, Sharon McCullough, Mary McLean, Ava Norberg, Heather Palmer, Laura Payne, Katherine Peters, Bobby Pirtle, Tama Poncar, Chris Rund, Kathy Sasseman, Annemarie Schreiber, Joerg Schreiber, Sven Schreiber, Mark Schuster, Kevin Shiue, Monika Spangler, Christian Starnes, Reinhold Strnat, Sandy Swartz, Erica Ting, Clayton Tsang, Jacob Vanderhaegen, Jennifer Weber, Keli Welsh, Brandon Xu, Kris Zaloudek

The Dolce Trio

Jan Brill, Ann Manship, Karen Sheely

Fineline Printing Group Heritage Christian School InYourShoes Graphic Design Shawn Jones Meridian Music School Paige’s Music PEDCOR Companies Performer’s Edition Ritz Charles Sikich LLP Smith Piano Services Steinway Piano Gallery

*MATCHING GIFTS Many corporations have a program that will match employee contributions made to the Carmel Symphony Orchestra. In other words, your contribution to the CSO can mean even more!

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WORKING TOGETHER TO TRANSFORM OUR COMMUNITY.

Legacy Fund, the community foundation serving Hamilton County, is proud to support organizations that are dedicated to making our community a stronger and more vibrant community for all – including the Carmel Symphony Orchestra.

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317.843.2479 | legacyfund.org

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