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Feb. 23, 2018 | St. Thomas Aquinas

Orlando Consort: Voices Appeared Silent Cinema and Medieval Music

MISSION Purdue Convocations catalyzes the curriculum, energizes the community, and distinguishes Purdue through powerful performances, illuminating discourse, and extraordinary learning encounters. HISTORY Purdue University has a rich history of bringing concerts, lectures, and performances to campus. In 1902, the “Lecture and Concert Course� was first offered, creating the earliest evidence of what is now Purdue Convocations. Over the years, the names and formats have changed, but one thing has remained constant: the desire to expand the Purdue experience beyond the classroom. Renee Maria Falconetti as Joan of Arc in The Passion of Joan of Arc


These stellar individuals are devoted arts advocates, stewards of Friends of Convocations financial resources, and advisors to Convocations in all areas of work. We’d like to give special thanks to these volunteers who are serving for the 2017-18 performance season. OFFICERS Stacey Mickelbart – President

Stephanie Farlow – Vice President

MEMBERS Cadi Bien Barret Caldwell Nick Carpita Natasha Duncan

Kristen Edmundson Sherri Guido Jon Harbor Pam Hermes

Sami King (CVN) Pam Luenz Tom Parent Steve Schlenk

Rachel Silber (SCC) Vince Sitterding Jason Snapp

INFO TO KNOW RESTROOMS are located at the north and south ends of the lower lobby of Elliott Hall. Additional restrooms are located at the north and south ends of each balcony. Loeb Playhouse restrooms are located off of the lobby down one flight of stairs. Additional restrooms are located on the main floor of Stewart Center. ACCESSIBILITY • Wheelchair seating is available in all venues with companion seating nearby. • Extra-wide seats are available in Zone A in Elliott Hall of Music. Please inform the box office of special seating needs when ordering. • Audio induction hearing loop systems are now available in Loeb Playhouse and Fowler Hall. Please switch your hearing aid setting to T-coil. • Sign language interpretation is available with sufficient advance notice and conditional upon the availability of qualified service providers. Please request this service at least 60 days prior to the performance. • Service animals are welcome. Special seating is required. When ordering, request an aisle seat and please inform the box office that a service animal will be with you. • Please visit for the most current information. CAMERAS AND RECORDING EQUIPMENT are prohibited unless by special permission of Convocations and the artist. Flash photography is prohibited at all times.

FIRST AID AND LOST AND FOUND can be accessed by contacting any usher or house staff member. SMOKING, FOOD, AND BEVERAGES are prohibited in the theatres. Smoking is prohibited in campus buildings. Food and beverages are permitted in the Elliott Hall lower lobby and the Stewart Center lobby. CHILDREN While we encourage early introduction to the arts, we also wish to provide the best environment for all of our patrons. Our child policy is as follows: Audiences of any age are welcome to attend performances in our Family Matinee Series. For all other performances, we ask that you please use discretion in deciding what is appropriate for a child to ensure a quality experience for all patrons. Infants on laps are only permitted at shows recommended for children. All patrons, including infants on laps, must have a ticket due to fire marshal requirements. BUILDING EMERGENCIES will be announced and directions given from the stage. WOULD YOU LIKE TO BE ADDED TO OUR MAILING AND EMAIL LISTS? Visit, enter your information, and start getting the scoop on new shows and ticket specials.

Purdue Convocations / 128 Memorial Mall / Stewart Center, Room 194 / West Lafayette, IN 47907-2034 Email: / Office: (765) 494-9712 / Fax: (765) 494-0540 Box Office: (765) 494-3933 or (800) 914-SHOW

Corporate Partnerships Each year, corporate, campus and community partners provide gifts to help pay for artist fees and production expenses associated with presenting live performances and educational opportunities. We applaud and appreciate the generosity of these partners whose support ensures that incredible arts experiences are possible in our community.


Wilson Industrial Sales

Vicki Gregory, Executive Director


Bob Falk, President and CEO

Robert Olds Commercial Executive, Indiana Area

Tony Albrecht, Regional President



To learn more about becoming a corporate or campus partner, call the Director of Development at (765) 494-9712.


CAMPUS & COMMUNITY PARTNERS American Pianists Association College of Education — Music Education students Columbian Park Zoo Confucius Institute at Purdue Department of English Elliott Hall of Music Enchantment Theatre Company and 19 presenting organizations across the U.S. Honors College International Center Office of the President Office of the System Chief Information Officer/ITaP Purdue Bands and Orchestras Purdue Black Cultural Center

Purdue Counseling and Psychological Services Purdue Dining & Catering Purdue Galleries Purdue International Programs Purdue LGBTQ Center Purdue Student Concert Committee Purdue Student Fee Advisory Board Purdue Student Success Programs Recreation & Wellness School of Hospitality & Tourism Management West Lafayette Parks & Recreation/ Morton Center West Lafayette Public Library


Southern Exposure Grant Support for DaymĂŠ Arocena

Support for My Father’s Dragon book purchase

PIANO PERFORMANCE SUPPORT FUND Convocations has created a Piano Performance Fund to subsidize the expenses associated with a consistent and elevated level of piano performance programming for the current season and beyond. Sustained support will make this initiative a success and help the organization educate and expand its piano, classical and jazz music audiences. Thank you to the generous individuals and groups below who have contributed to this initiative to-date: Floyd and Pat Garrott Janet Hem Caryl Matthews and Don Nead Janet and John Nine Lee and Rona Schwarz

Dr. Michael L. Seretny Tippecanoe Music Teachers Assoc. Bob and Patti Truitt Virginia Tyler

INNOVATIVE PERFORMANCE FUND Convocations is committed to bringing new and engaging artists to our stages that stretch the imagination and boundaries of audience members of all ages. Sustained support will make this initiative a success and help the organization educate and expand its audience members interested in innovate theatre, music and performance across the genres. Thank you to the generous individuals and groups below who have contributed to this initiative to-date: Gail and Alan Beck Pat and Floyd Garrott

Maureen McCann and Nick Carpita Ellen and Vince Sitterding

To inquire about supporting one of these special projects, call the Director of Development at (765) 494-9712.

Education Objectives Purdue University has a rich history of bringing concerts,

lectures, and performances to campus. In 1902, the “Lecture and Concert Course� was first offered, creating the earliest evidence of what is now known as Purdue Convocations. Names and formats have changed across the years and decades, but one initiative remains constant: a desire to expand the Purdue experience beyond its classroom and into the community.


Purdue Convocations catalyzes the curriculum, energizes the community, and distinguishes Purdue through powerful performances, illuminating discourse, and extraordinary learning encounters.


Purdue Convocations establishes powerful, positive connections to the performing arts for area youth by offering a wide array of programming appropriate for a variety of learner needs. Our Youth Series for the 2017-18 season features in-school residencies that will teach students to turn their own writing into a sketch-comedy musical, introduce them to amazing puppeteers, inform them about historic peaceful protests, and acquaint them with a delightfully musical monkey. Our Youth Series shows include hands-on pre-show activities everyone in the family will enjoy.


Purdue Convocations strives to create immersive performingarts experiences that catalyze the curriculum for students at both Purdue University and Ivy Tech Community College of Indiana. Preand post-show discussions, as well as artist residencies, give students of all pursuits, backgrounds, and ages an opportunity to dive deeper into each performance. Artist residencies in the 2017-18 season include classical musicians, a modern music collective, and a movement-based group described as architecture in motion. Convocations continues to advance collaborations with other campus units, like the Office of Student Success at Purdue and the Department of English, to further integrate the performing arts into the core student experience.

Purdue dance students attending a master class with the Seldoms.


Purdue Convocations aims to energize the community through powerful interactions and learning encounters with the artists who join us each season. Community members can become “instant experts” and dig deeper into each show at pre- and post-show discussions. These events are free to all ticket holders.


We all know the performing arts to be capable of amazing things— specifically theatre as a universal phenomenon cutting across cultures and societies by offering lessons about:

• Emotional expression • Self-expression • History • People from cultures other than our own • Social change and self-reflection • Creativity

Theatre is an excellent way to learn, but arts organizations have done little to quantifiably understand the impact of live performance. Purdue Convocations is poised to become a leader in the burgeoning field of performing arts research. We have conducted pilot studies to better understand the academic and community engagement impact of a live performance with our collegiate patrons. In the 2017-18 season, Purdue will lead a nationwide study examining the impact of a live performance of My Father’s Dragon on the literacy skills of some of our youngest patrons. Although research in this field is presently minimal, it can help build an evidentiary case for preserving and promoting the performing arts as a necessary part of every child’s education.


3,198 P-12 students were able to attend performances due to ticket and transportation scholarships



and their teachers attended Youth Series school matinee performances

Doyne Carson performed Abe Lincoln and Hurrah for Hoosiers for



at in-school residencies

During residencies with Native American storyteller and flute player Kevin Locke,


elementary students enjoyed performances in their schools, and 40 college and adult learners participated in flute-making workshops.

I got a lot of inspiration and a way to change the world with AI. It opened my eyes to an area of engineering that I didn’t know about before. The grad students introduced me to really cool work that I hope to do in the future.” —Callum Gundlach, 10th grade, Harrison Boiler Robotics FIRST Team 1747

Our season artists in residence, Shimon Robot and Friends, drew a crowd of 910 people to their free performance. The pre-show lecture saw 143 attendees, while 246 stayed for the post-show discussion.

375 Purdue University students

participated in residency and outreach events with the respective casts and crews of Dirty Dancing, the Shanghai Jingju Theatre Company’s The Revenge of Prince Zi Dan, the Seldoms’ Power Goes, and Rent.


Established in 1975, the Student Concert Committee (SCC) accepts eight students each year for a two-year term. Undergoing the equivalent of an internship in the music business, SCC members help select, market, and work SCC-sponsored concerts. They get real-life experience in the concert business, and several have gone on to work in the industry. But more importantly, they learn business and life skills that will serve them in whatever profession they choose.


Founded in 1985, Convocations Volunteer Network (CVN) is a student group that helps to support and promote Convocations performing arts events. More than 300 students strong, this group ushers, sells merchandise and concessions, and helps in many other ways with performances and other Friends of Convocations and outreach events. In exchange, members can stay and see shows for free, not to mention make a lot of new friends. They have become an essential and important volunteer group that has also given generously to support our P-12 outreach program. We are happy to see students so involved in the arts!


In the spirit of ideas worth spreading, TED has created a program called TEDx. TEDx is a program of local, selforganized events that bring people together to share a TED-like experience. Our event is called TEDxPurdueU, where x = independently organized TED event. At our TEDxPurdueU event, TED Talks video and live speakers will combine to spark deep discussion and connection in a small group. The TED Conference provides general guidance for the TEDx program, but individual TEDx events, including ours, are self-organized.


Orlando Consort: Voices Appeared


The Passion of Joan of Arc (La Passion de Jeanne d’Arc) (1928) Originally exhibited in Denmark as Jeanne d’Arc’s Lidelse og Død (Joan of Arc’s Suffering and Death) Running time: 96 minutes

CREDITS Director: Carl Theodor Dreyer Script: Carl Theodor Dreyer Historical Adviser: Pierre Champion Cinematography: Rudolf Maté Art Directors: Hermann Warm and Jean Hugo Costumes: Valentine Hugo Assistant Directors: Paul La Cour and Ralph Holm Jeanne: Renée Maria Falconetti Pierre Cauchon: Eugène Silvain Jean D’Estivet: André Berley Nicolas Loyseleur: Maurice Schutz Jean Massieu: Antonin Artaud Jean Lemaître: Gilbert Dalleu Guillaume Erard: Jean d’Yd Jean Beaupère: Louis Ravet

VOICES APPEARED: SOUND AND VISIONS BY DONALD GREIG Voices Appeared is Jeanne d’Arc’s gnomic explanation of how angels were made manifest to her. It aptly describes the paradox of a silent movie that is essentially a court-room drama about a woman inspired by the sound of voices, and is also the starting point for our project. In common with many other great works of art, when Carl Theodor Dreyer’s La Passion de Jeanne d’Arc was first released its qualities weren’t immediately recognised. It opened in Copenhagen in April 1928, though it wasn’t until October in that same year that it received its second premiere in Paris, and that only after changes insisted upon by the French church. Across the channel in England it was banned for a year because of its depiction of the brutality of the English soldier, ironic given that their real treatment of Joan was considerably worse. Of the reviewers, only Mordaunt Hall, writing in the New York Times, focused on the things for which the film is now known – its startling visual style and the central performance: France can well be proud of ... The Passion of Jeanne d’Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement. An historical context informed Dreyer’s choice of Joan of Arc as his subject. She was canonised in 1920, and in 1925 Joseph Delteil published a flamboyant biography of the new Saint, the rights to which Dreyer acquired. Ultimately he set Delteil’s text aside and instead devoted himself to his more familiar approach - research. His main source was the transcripts of the trial, edited by Pierre Champion, who had published a new edition in 1922. Champion acted as historical advisor and though some of the film’s dialogue comes directly from this source, the later nullification trial of 1455-6 informs a great

deal of the drama. This commitment to authenticity extended to the design, and a staggering one million of the seven-million franc budget was given over to building the set. The production designer Hermann Warm had worked on the German Expressionist classic, The Cabinet of Dr Caligari, but Dreyer eschewed grand vistas of medieval architecture and townscapes in favour of close-ups and fast editing, reducing the art direction to mere details glimpsed in the background. The producers were not best pleased and one can only assume Warm was considerably more irked. Much has been written about Dreyer’s visual rhetoric. The anachronistic use of irises to mask the image, a refusal to adhere to the conventions of screen direction in looks and movement (well-established since the first decade of the 20th century), the concentration on close-ups to the exclusion of comprehensible spatial logic, and the low camera positions produce paralysing claustrophobia and confusion. Maria Renée Falconetti’s appearance is counted as one of the great screen performances, but part of its power is due to an effect first noted by Kuleshov, the Russian film director, who demonstrated that the spectator’s reading of an actor’s emotion is contingent on the surrounding shots. Falconetti’s face here becomes a second screen onto which we project our own psychic discomfort, thereby doubling the heroine’s emotional state. Music, no less than montage, contains the same potential power to construct meaning. With this in mind our initial task was to determine the emotional point of each scene and second-guess Dreyer’s intentions. Here we followed the tried-and-tested method of matching music to image that continues today, where the director and composer ‘spot’ the film, i.e. decide where the music cues should begin and end and its function. Sometimes the music we chose has a secondary, tangential relation to the scene – textual, historical, liturgical; and we have certainly not eschewed the more obvious clichés of film music – Mickey-Mousing as it is pejoratively known – where a dynamic or rhythmic motif coincides with specific action. But our guiding principle is that at all times the musical performance should serve and ultimately illuminate this extraordinary film. Exactly what kind of music Dreyer wanted to accompany screenings of La Passion de Jeanne d’Arc is unknown but the notion that he wanted his music to be appreciated in chaste silence is an exaggeration. He made a passing comment along such lines to Eileen Bowers, curator of film at the Museum of Modern Art in New York City, but qualified it: he wasn’t happy with the scores that he had thus far heard. One only has to look at his next project, Vampyr (1932), a very different film in many ways (not least because it was the first time he worked with sound) to note a preference for a throughcomposed score. As the director, he would have had little control over the exhibition of his film, nor did he have any hand in the two scores written for its premieres. His thoughts about the 1952 version, cobbled together by Giuseppe Maria Lo Duca with music by J S Bach and Scarlatti amongst others, are well documented. Aside from what the film historian did to the careful compositions (the added sound strip involved cropping the image), Dreyer’s objections were twofold: firstly, the music was from the wrong era; secondly, the dynamic of the music was an ill-fitting fortissimo. But Dreyer went further than this: why didn’t Lo Duca use music from the era of Joan’s own life? A further criticism levelled by others at the Lo Duca version was that in using religious music the soundtrack misrepresented the anti-clerical argument of the film, yet this point was never made by Dreyer, and with good reason: Joan’s own faith is never in doubt and Dreyer himself argued that the priests were not so much hypocrites as misguided zealots. Hopefully our approach answers those specific points and might even have met with Dreyer’s approval. Certainly Dreyer makes the would-be composer’s task difficult. With no establishing shots at all - obvious moments for musical cues - and an almost schizophrenic

alternation between rapid cutting (the film has 1,500 cuts in its 96 minutes) and still contemplation, most notably of Falconetti’s face, the rhythm of the film poses specific problems. All of which makes our choice of pre-existing music surprisingly appropriate. The tactus (beat) of this music remains broadly organic, as opposed to the enslaved cueing of modern scores (where computers dictate metronome speeds measured to the second decimal place). Our response echoes the practice of original silent-film accompaniment, though in place of a conductor we have an onscreen guide track. Ultimately, though, the film is the emotional prompt and the fluid flexibility of ensemble singing governs our performance. All of the music you will hear comes from the early years of the fifteenth century, the period of Joan’s brief life, though whether Joan herself would ever have heard it is an unanswerable question. Charles VII, her king, was so short of money that he could no longer afford his own travelling choir (given such circumstances it is hardly surprising that so many French-born composers took up offers of employment in Italy), whereas Philip the Good, Duke of Burgundy, was patron to Dufay and Binchois, and the Regent of France, the Duke of Bedford, was patron to John Dunstable. It seems likely that Joan would have encountered at least some of the repertoire. An assiduous attendee of Mass, her travels took her to many large towns and cities, like Orléans, Troyes and Blois, all of which had choral foundations of one sort of another. The early fifteenth century was in transitional period for polyphonic music. The earlier style is rooted in the fourteenth century represented here by Richard Loqueville’s Sanctus (used in the scene in the torture room) and Billart’s Salve Virgo virginum (for the final hectic crowd scenes). Parallel fifths, fourths and octaves abound, as do the characteristic stark sixth-to-octave cadences. What will most strike the listener is the rhythmic interest and virtuosic flair in the upper parts which contrasts with the stolid plainchant in the accompanying voices. The later, more melodic style is evinced, not surprisingly, in the secular chansons – Dufay’s Je me complains (for which we have substituted words from the contemporary chronicler Christine de Pizan’s La Ditié de Jeanne d’Arc, written a year before Joan’s capture) and Gautier Libert’s haunting De Tristesse. Several other pieces display this sweeter, more consonant approach, such as Johannes De Lymburgia’s Descendi in hortum meum, and several instances of fauxbourdon – an improvised system of parallel first-inversion chords – which display a fondness for thirds and sixths characteristic of English music. For though England, France and Burgundy were almost constantly at war with each other, musical influence paid no heed to territorial boundaries. Indeed the English style, represented here by the Agincourt Carol and the anonymous O Redemptor, initiated the very transition from the earlier to the later styles. It was described by Martin Le Franc as the Contenance Angloise in his Le Champion des Dames, a work dedicated to Philip the Good, Duke of Burgundy, which elsewhere in its 24,000 verses made daring reference to Jeanne d’Arc, whom Philip had sold to the English. A final note on the performance of the music. It is now generally accepted that all of the music you will hear was performed by voices alone, even where it is untexted. Whatever one’s position on this musicological issue, the more intimate medium of five unaccompanied voices is particularly appropriate to the portrayal of a woman whose divine inspiration came in the form of the voices of St Michael, St Catherine and St Margaret. Soundtrack devised and developed by Donald Greig

THE ORLANDO CONSORT Matthew Venner: Countertenor Mark Dobell: Tenor Angus Smith: Tenor Donald Greig: Baritone with Robert Macdonald: Bass The Orlando Consort will be available afterwards to answer questions and sign any CDs you may care to purchase, including a special soundtrack recording featuring much of the music heard in tonight’s program.

ABOUT THE ORLANDO CONSORT Formed in 1988 by the Early Music Network of Great Britain, the Orlando Consort rapidly achieved a reputation as one of Europe’s most expert and consistently challenging groups performing repertoire from the years 1050 to 1550. Their work successfully combines captivating entertainment and fresh scholarly insight; the unique imagination and originality of their programming together with their superb vocal skills has marked the Consort out as the outstanding leaders of their field. The Consort has performed at many of Britain’s top festivals (including the BBC Proms and the Edinburgh International Festival) and has in recent years made visits to France, Holland, Belgium, Germany, Italy, Sweden, Poland, the Czech Republic, Estonia, the USA and Canada, South America, Singapore, Japan, Greece, Russia, Austria, Slovenia, Portugal and Spain. The Consort’s impressive discography for Saydisc, Metronome, Linn, Deutsche Grammophon and Harmonia Mundi USA includes a collection of music by John Dunstaple and ‘The Call of the Phoenix’, which were selected as Early Music CDs of the Year by Gramophone Magazine in 1996 and 2003 respectively; their CDs of music by Compère, Machaut, Ockeghem, Josquin, ‘Popes and Anti-Popes’, ‘Saracen and Dove’ and ‘Passion’ have also all been short-listed. Their 2008 release of Machaut’s ‘Messe de Notre Dame’ and ‘Scattered Rhymes’, an outstanding new work by the young British composer Tarik O’Regan and featuring the Estonian Philharmonic Chamber Choir, was short-listed for a BBC Music Magazine Award. Their most recent release is entitled ‘Sovereign Beauty’ and was one of Gramophone Magazine’s Recordings of the Year, 2017. This is the fourth in a series for Hyperion exploring the polyphonic songs of Guillaume de Machaut. The first release (‘Le Voir Dit’) was selected by New York Times critics as one of their favourite classical CD releases of 2013. The Consort’s performances also embrace the spheres of contemporary music and improvisation: to date they have performed over thirty world premières and they have created striking collaborations with the jazz group Perfect Houseplants and, for a project exploring historic Portuguese and Goan music, with the brilliant tabla player, Kuljit Bhamra. The Consort currently holds a residency at Nottingham University and recent concert highlights include a return visit to New York’s Carnegie Hall, a performance for the Library of Congress in Washington, D.C., and numerous performances in North America of the ‘Voices Appeared’ project. The coming season sees them with several recitals of medieval music throughout the UK, Europe and North America, including a performance of ‘Voices Appeared’ at the Salzburg Festival.

SCENE BREAKDOWN, MUSIC, AND COMMENTARY Introduction. Rolling intertitles explain the context of the film while we see the original transcript of the trial on which all the dialogue is based. Je me complains - Guillaume Dufay (1397-1474): contrafacta lyrics by Christine de Pizan from La Ditié de Jeanne’d’Arc Christine de Pizan wrote her poem in 1429, shortly after the Dauphin had been crowned Charles VII at Reims. This particular stanza compares Joan to other heroines - Esther, Judith and Deborah. The trial begins and Joan is sworn in. Salve Regina - Hymbert Salinis ((b 1378–84; fl 1403–9) In all her letters, Joan wrote the words ‘Jesus Maria’ separated by the sign of the cross to indicate the sources of her divine inspiration. The Salve Regina is one of the standard Marian texts, here set by Hymbert Salinis, a French composer who hailed from south of Besancon. Pierre Cauchon, the Burgundian chief prosecutor, begins the interrogation. They ask if Joan knows her ‘Our Father’. Salve Sancta parens – Gilles Binchois (b.c.1400-1460) Gilles Binchois was one of the most famous composers of the era and was employed by Phillip the Good, Duke of Burgundy. The setting is in a style known as fauxbourdon, essentially a succession of parallel second-inversion chords, a simple design that shows its improvised origins. Further questioning, led by the examining judge. When Joan insists that the English will be driven out of France, the English soldiers react with anger. Sanctus - Gilles Binchois Binchois set some 28 mass movements though no complete mass setting. Like many of his works, this uses note-against-note harmonization of an original chant part. Cauchon quizzes Joan about her visions of angels. Plainchant antiphon for the Feast of St Michael and All Angels, Sancte Michael, and the Offertory, Stetit Angelus. It’s likely that Joan would have heard this. She was travelling with Charles VII in September and the Feast day falls on 29th of that month. The questioning turns to the issue of Joan’s dress. According to Deuteronomy, it is a sin for women to wear men’s clothing. Imera dat hodierno - Estienne Grossin (fl. 1418–1421) Grossin was a French composer working in Paris, which was by this time occupied by the English. Imera dat hodierno appears in several important sources. Increasingly agitated, the Promoter, Jean d’Estivet accuses Joan of blasphemy and spits in Joan’s face. Section from Gloria - Johannes Le Grant (fl c1420–40) This excerpt from a Gloria by Johannes Le Grant expresses the self-righteousness of Joan’s accusers. Johannes Le Grant was born in what is now part of Belgium, though he was indisputably French by nationality. Shocked by the violence of Joan’s interrogation, Nicolas de Houppeville, one of the judges, expresses his support for Joan, calling her a saint. Cauchon and the other priests turn on him, and he is marched away by the English soldiers. An older priest, Martin L’Advenu, challenges Cauchon, but to no avail. O Redemptor sume carmen - Anonymous This anonymous English setting of the plainchant hymn alternates polyphonic verses with a plainchant refrain.

The questioning begins again. Salve sancta parens – Gilles Binchois The Binchois setting of the Salve Sancta parens returns, though this time scored for lower voices. Once again Cauchon is unable to faze Joan. The camera lingers long on her face, inviting the spectator to ponder her innocence. O Regina clementissima – Richard Loqueville (d. 1418) Loqueville’s setting of another Marian text is set in chanson style, with two untexted voices providing the harmonic foundations for a beautiful and simple melody. Richard Loqueville was almost certainly Dufay’s teacher. He also taught the harp to the son of the Duke of Bar, the region from which Joan hailed. Joan suffers. De tristesse – Gautier Libert (fl 1423–8) The striking opening of this chanson is heard in isolation. (See below for more information) The interrogation scene comes to a close as Joan is led back to her cell. Cauchon and Warwick discuss the next phase of their plan, which requires Loyseleur to forge a letter in the hand of Charles VII. Joan discovers the image of the cross in the shadow of the window frame cast on the chapel floor. Vexilla Regis – Guillaume Dufay Guillaume Dufay, the leading composer of his generation, like many of his compatriots travelled from war-torn Northern France to work in Italy. This hymn is a simple alternation of plainchant and a simply decorated polyphony. One of the English soldiers steals Joan’s ring, giving Loyseleur the opportunity to assure Joan of his protection. Te Deum - Anonymous This English Te Deum is a typically robust example of discant. The Te Deum, although a sacred hymn of praise, had a more secular function. It was sung, for example, by the Orleanais when the siege was lifted, and by people of Beauvais in August 1429 to celebrate Joan’s successes (apparently much to the annoyance of Cauchon who, at the time, was Bishop of Beauvais). Loyseleur returns the ring to Joan, watched through a spy hole by Cauchon. Loyseleur presents Joan with the letter, ostensibly signed by the King himself, but Joan cannot read. Kyrie - Estienne Grossin Taking its place in both the mass and the requiem mass, the Kyrie eleison is part of the ordinary of the mass, set to music by composers since the medieval era. Grossin came from the diocese of Sens, some 100 miles from Orleans. Loyseleur reads the letter, which assures Joan that her King is on the way to rescue her. Reading from Epistle Etymologically speaking, an epistle is simply a letter, and in this case we sing St Paul’s letter to the Galatians. The priests gather in Joan’s cell and begin interrogating Joan again. Fauxbourdon A setting of the text for the Feast of the Assumption: Audi filia et vide - (Listen, my daughter, and consider my words attentively; thou art to forget, henceforward, thy own nation), which is essentially the duplicitous subtext of the priests’ advice to Joan.

The priests invite Joan to say her ‘Our Father’ (Pater noster). Praeceptibus salutaribus...audemus dicere Pater noster...Amen It is known that Joan knew both her ‘Ave Maria’ and her ‘Pater noster’, both fundamental texts for the dutiful Catholic. The questioning continues, including the setting of a trap by the priest, Lemaître: all questions lead Joan to assert that she is in a state of grace, something that can only be granted to her by the priests themselves. Joan looks to Loyseleur for advice. Gloria – Guillaume Le Grant The hymn of praise to God is a different setting of the ordinary of the mass by the same composer. Massieu warns Joan of the dangerous implications of her answer. He is shouted down by Cauchon, who senses that Joan is about to damn herself. Gaude, tu baptista - Benoit (fl 1436–55) This isorhythmic motet is by Benoit, a French singer and composer originally from Sens, is typical of the urgent Italian style adopted by the composer and many others of the period. Above long, drawn-out notes in the two lower parts, the two texted upper parts duel, exchanging musical ideas and phrases. Joan finally answers the question: “If I am not, may God put me there! And if I am, may God so keep me!” Like many of her documented answers, it’s a brilliant response and offers the priests no traction. Joan requests to attend mass and is initially refused. Realising that he has leverage, Cauchon says she can if she changes into women’s clothes. Salve Regina – Johannes Reson (fl c1425–35) Whilst the film suggests a parallel between the passion of Christ and that of Joan, the parallels between Mary and Joan are never far away... Alain Chartier, a contemporary commentator, poet and notary to Charles VII, wrote these words about Joan in 1429: ‘O singular virgin, worthy of all glory, worthy of all praise, worthy of divine honours! You are the honour of the reign, you are the light of the lily, you are the beauty the glory, not only of France, but of all Christendom’. Reson’s setting of this Marian text underlines that comparison. Cauchon is angry, describing Joan’s stubbornness as a disgrace and saying that she is part of Satan’s gang. Loyseleur orders the torture room to be prepared. ‘Qui tollis’ from Gloria – Guillaume Le Grant The righteous anger of the clerics is further pursued in the lively rhythms of Le Grant’s Gloria. Returned to her cell, Joan is taunted by the English soldiers. They mock her, dressing her with a crown made of reeds and give her an arrow as her sceptre. Agincourt Carol - Anonymous The battle of Agincourt in 1415 is probably the most famous English triumph of the Hundred Years War, celebrated in this (narrative) carol. The young priest, Massieu, dismisses the soldiers and comforts Joan. Pour la douleur - Johannes Cesaris (fl 1406–17) Cesaris was a clerc (singer) at Bourges and later worked for the Duke of Burgundy. This double-texted chanson speaks of pain and grief, and compares the lover’s plight to martyrdom. The priests gather again, this time in the torture chamber. Ad te levavi The plainchant setting is of the words to Psalm 123, the tract and versus for the third week in Lent.

The priests suggest that Jeanne’s visions come from a devil and that she has been tricked by Satan. They try to trap her, mercilessly expressing their outrage, trying to get her to sign her abjuration (an admission of heresy). Epistle- plainchant The Epistle tells the story of Jesus casting out the demon from the stricken woman. Joan accepts that her fate is to be alone – alone with God. The torture instruments are prepared. Sanctus - Richard Loqueville (d 1418) Harking back to the fourteenth century, this rhythmically vital song of praise is full of hocketing and virtuosic triplet runs. Having fainted, Joan is led back to her cell. Cauchon and Warwick consult on how to proceed. Warwick is insistent that Joan should not die of natural causes or she will have won the battle. Sanctus - Fauxbourdon This setting of the Sanctus text accords with the principles of fauxbourdon, one of the standard improvisatory forms of the time. The Doctor counsels that Joan should be bled. Warwick agrees, but counsels them not to let her kill herself. While the procedure is carried out, Loyseleur and Cauchon plot. Ave verum - Johannes Reson Reson was primarily active in Italy, and this two-part setting of a standard text is a hymn of praise and a request for clemency, addressed to Christ, through whose blood redemption is assured. Cauchon sits by Joan’s bed. Joan fears that she will die and asks to be buried on consecrated ground. Cauchon assures her that the church is merciful and tells her that he has sent for the sacrament. Benedicta es Virgo - Reginaldus Libert fl c1425–35) This is the Gradual text from Libert’s Marian mass, the Missa de Beata Virgine. Reginaldus Libert is a French composer, who was master of the choristers in Cambrai in 1424. The priests process into Joan’s cell and set up a temporary altar where mass is celebrated. Introit: Benedicite Dominum omnes angeli The text is the Introit for the Feast of St Michael. The host is held up, but it is only a ruse to get Joan to sign. Once more she refuses. Agnus Dei - Estienne Grossin This is a 4-part setting of the Agnus Dei from Grossin’s mass, the music sung while communion is offered to the congregation. Mass is abruptly terminated and the altar dismantled. Deo Gracias – Gilles Binchois The Deo Gracias is the signal for the end of the mass. Joan is distressed not to receive mass. She denounces the accusing priests, saying that they are devils who have been sent to torment her. Cauchon instructs the execution and leaves the cell, followed by the other priests. Salve Sancta Parens -Ronaldus Libert; Amen - Bosquet (fl late 14th century; d before 30 Nov 1406) This setting of the Salve sancta parens text has the plainchant tune in the top part, with two lower untexted parts. We have added a more florid Amen, taken from Bosquet’s 4-part Gloria. Bosquet was a French composer who worked in Tournai, Avignon, and Bourges (for the Duc de Berry).

The priests leave the castle. The people are gathered outside and watch Joan carried out on a stretcher. Erard accuses Joan’s King of heresy and describes her as arrogant. Meanwhile, a gravedigger prepares. Francorum nobilitati - Beltrame Ferragut (fl 1415–49) Ferragut’s composition comes from a tradition where a composer names himself within the work and dedicates his services to a potential patron. This piece makes specific reference to Charles VII, King of France. In the graveyard maggots crawl through a human skull, while Erard reads out the litany of charges against Joan. The three good priests urge her one last time to sign the abjuration or she will be burned at the stake. Even the treacherous Loyseleur seems genuinely moved. The priest utters a line we have heard before: ‘We have great sympathy for you’. Descendi in hortum meum - Johannes de Lymburgia (fl 1431) This text from the Song of Songs, set by many medieval composers, tells of a garden far more luscious than the scene that confronts Joan. Lymburgia was of Franco-Flemish origin and worked primarily in Padua. Finally Joan concedes defeat and carefully signs the abjuration, watched by her accusers. Kyrie – Reginaldus Libert This Kyrie is from the same mass as the earlier gradual, the Missa de Beata Virgine. Cauchon reads out the abjuration while Joan listens. In nomine patris and Psalm 126 The words here are from Psalm 127, which reminds the crowd that everything must be done in the name of the Lord. Warwick is dissatisfied and tells Cauchon that Joan has made fools of them. The crowd begins to riot and one of them is thrown in the river by the soldiers. Amen from Gloria - Johannes Franchois de Gemblaco (fl c1415–30). Franchois was almost certainly the succentor of the collegiate church of St Martin in Liege. Joan’s head is shaved, while outside, against a carnival scene, preparations for her execution are made. Jesu Salvator/Quo vulneratus est Hymbert de Psalinis Psalinis’s double-texted motet is notable for its use of sequences. Joan weeps. De tristesse – Gautier Libert (fl 1423–8) The striking opening of this chanson is heard again. (See below for more information) Suddenly Joan realises what has happened. She tells her warder to summon the judges once more so that she can recant her abjuration; she has lied. Domine Deus from Gloria – Guillaume Le Grant A slightly extended cue from the Gloria used earlier. Cauchon and the other priests hear from Joan why she wants to recant: she denied God to save her life and she still believes she was sent by God. Her fatal answer is committed to the record. Agnus Dei – Reginaldus Libert This Agnus is from the same Marian mass used earlier. Joan weeps, moving even the most hard-hearted priests. She has nothing more to say. Massieu remains to comfort her and prepare her for death at the stake. De tristesse – Gautier Libert Gautier Libert is not to be confused with Reginaldus Libert. This chanson is dated 1423 in the manuscript source. It’s a secular chanson in rondeau form that talks of grief and welcomes death as the solution to suffering.

While another priest goes to fetch the sacrament, Massieu asks her privately about her beliefs. Joan explains that she is God’s child and that his ways remain mysterious to her. Her great victory will be her martyrdom and her release death. O mortalis homo – Franchois Lebertoul (fl 1409–?1428). Lebertoul’s piece has three sacred texts sung by three voices but is in a secular form, that of a ballade. It is commentary on the vanity of human ambition, a sentiment with which the devout Joan would have agreed. The ceremony of mass begins and Massieu hears Joan’s confession. Outside, the crowd congregate and the soldiers assemble. Loquebantur variis linguis - chant Joan’s execution fell on the Feast of Pentecost, for which this chant is assigned. Joan finally receives the sacrament while Loyseleur watches. Agnus Dei – Gilles Binchois This setting of the Agnus Dei recalls the earlier setting of the Sanctus, though it is not related. The soldiers watch from the ramparts as the crowd flocks to the scene of execution. Joan is led outside, her feet still chained. Eya dulcis – Johannes Tapissier (b c1370; d before Aug 1410) Born in Noyers, France, Tapissier was associated primarily with the court of Burgundy, though he worked as a master of the choristers at Notre Dame in Paris. This rhythmically complex isorhythmic motet was justly celebrated. Joan is led to the scaffold. An old woman offers her a drink of water. A flock of white doves settle on the roof. Joan clutches a cross and accepts her death. A mother suckles her child while Joan prays that her suffering will be short. Veni Creator spiritus On the march to raise the siege of Orléans in 1429, priests accompanied Joan and her army, singing the plainchant hymn ‘Veni creator spiritus’. Now, at the moment of her imminent sacrifice, it becomes a haunting memory. Joan is tied to the stake and the flock of doves fly away. The crowd and the clergy watch as the fire is set. Massieu holds up a cross towards Joan. Gaude Dei genitrix - Anon This 4-part motet is from a well known manuscript, Trent 92. It is a rhythmically exciting hymn of praise to the Virgin. Joan’s distress awakens sympathy in the crowd. The soldiers sense the growing unrest and prepare themselves. Joan utters her final word: ‘Jesus’. Regina saeculi/Reparatrix - Anon This French isorhythmic motet, being in 5-parts, is rare indeed. It is a setting of two Marian texts in four parts, the final, lowest part being an unidentified plainchant tune. The crowd accuse the authorities of burning a saint and a riot ensues. The soldiers brutally attack the people, while Joan’s body continues to burn. A child cries for his murdered mother. The soldiers withdraw across the drawbridge and into the safety of the castle. Salve virgo virginum/Vita, via, veritas – Billart (fl ?c1400) The true identity of Billart is difficult to establish, but he may well be the same person as Aubert Billard, who was a clerk and chaplain in Notre Dame in Paris. This is his only known work, a Marian motet with complex rhythmic alternations between duple- and triple-time. The final intertitles. Je me complains by Guillaume Dufay, with contrafacta lyrics by Christine de Pizan from La Ditié de Jeanne’d’Arc Writing in 1429, Pizan’s lyrics are eerily prescient: ‘You, who bares your such harsh pain..will win renown in heaven.’

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ELLIOTT HALL OF MUSIC PRODUCTIONS STAFF ADMINISTRATION Stephen D. Hall - Director Jennifer Molden - Assistant Director, Administrative Services Dr. Bobby Chastain - Assistant Director, Academic Outreach & Student Learning Michael Kaufman - Event Production Manager Skip Eads - Event Production Manager Erin VanEmon - Event Production Manager Kelly Kiser - Scheduling Clerk BUSINESS OFFICE Jennifer Grayless - Business Office Clerk GUEST RELATIONS David Pike - Assistant Director, Guest Relations and Facilities Caroline Wham - Guest Relations Asst. Mgr. Marcia Blatchley - Guest Relations Rep. Kyra Leal - Guest Relations Rep. Joanna Osterling - Guest Relations Rep. PRE AND POST PRODUCTION Scott Horton - Creative Director Louie Dierckman - Video Producer/Director Les Eller - Web Manager/Video Graphic Designer Josh McDowell - Broadcast Designer Brad Sommer - Video Graphics Designer/ Pre and Post-Production Project Manager TECHNICAL Dan Metro - Assistant Director, Technical Production William Allison - Technical Coordinator, Stage Systems Dallas Johnson - Technical Coordinator, Audio Systems Geoffrey Gooch - Technical Coordinator, Lighting Systems Tom Harmeson - Technical Coordinator, Video Systems Scott Wheeler - Technical Coordinator, Event Production Jarom McLiver - Assistant Video Engineer Baron Brendel - Assistant Video Engineer Dan Becker - Theatre Technician Jarrod Blackwell - Asst. Technical Coordinator Master Electrician Minta Burns - Theatre Technician Caleb Cassler - Asst. Technical Coordinator Audio Engineer Travis Crofton - Asst. Technical Coordinator Audio Engineer Anthony Leahy - Theatre Technician Kenneth Max - Theatre Technician Tyler Rogers - Theatre Technician GRADUATE ASSISTANTS Allison Newhard - Lighting Jeff Sherwood - Audio


Providing for the Future ENDOWMENT GIFTS

An endowment gift is a powerful way to provide Convos with programmatic support in perpetuity. Gifts to create a new endowment offer Lifetime membership benefits. Gifts of any amount may be given to any existing endowment.


Established with accumulated gifts from 1995-96 to provide support for the costs of presenting performances 2017-18 Support: Orpheus Chamber Orchestra with André Watts, wild Up, World Without Us, Orlando Consort, The Joey Alexander Trio, Pascuala Ilabaca Y Fauna, Delgres


Established by Kevin and Janene Davis to provide performance support 2017-18 Support: Rhiannon Giddens, Diavolo, The Steel Wheels

JEANNE COMPTON ENDOWMENT FOR ARTISTIC EXCELLENCE Established by Jeanne and Dale Compton to provide performance support and ensure performance variety 2017-18 Support: Orpheus Chamber Orchestra with André Watts


Established by Mike and Pam Luenz to provide support for classical music, with emphasis on Discovery Artists


Established by Bob and Patti Truitt to provide performance support, with emphasis on pianobased solo or small ensemble classical and jazz music 2017-18 Support: The Joey Alexander Trio, Drew Petersen

LEONORA AND HAROLD WOODMAN ENDOWMENT FOR THEATRE Established by Harold Woodman to provide support for theatre projects.


Established by Mary Seyfried to provide tickets and bus transportation for students from schools with high economic need


Established by Christa Keck and David Filmer to underwrite discounted tickets for Purdue students

COMMUNITY ACCESS TO THE ARTS ENDOWMENT Established by Mary Seyfried to provide tickets for fixed-income seniors


Established by Janet G. Wilburn to provide support for in-school artist residencies and workshops


Established by Mary Seyfried to provide support for in-school artist residencies and workshops


Established by Floyd and Patricia Garrott to provide discounted tickets to Purdue students whose faculty member has tied a performance to a course syllabus, support education research initiatives, and support P-12 matinee performances.


Designated gifts are set aside for specific programs. Gifts of any amount may be given to any existing fund. Gifts listed below were received after August 1, 2016. While we make every effort to ensure accuracy, we apologize for any error or omission. THE FISCHANG FUND

Established in honor of Bill Fischang, former Vice President for Student Services, to underwrite discounted tickets for Purdue and Ivy Tech students whose professors are relating performances to curricula through the Curricular Connections collegiate program. Donors: Dr. Becky A. Brown Denise Driscoll and Kevin Trumble Lois Harth Diane and Gene Carlson Peg Fischang Carolyn Jones Patricia Davies Spencer J. Hahn Mary Alice Nebold


Established in honor of Irwin Treager, Aviation Technology Professor Emeritus, to underwrite discounted tickets for Purdue technology students whose professors are relating performances to curricula through the Curricular Connections collegiate program. Donors: Jan Pearlman Cortner Denise Driscoll and Kevin Trumble


Established by Fritz and Leona Cohen to underwrite educational programming expenses including ticket and transportation scholarships, artist and production fees associated with matinee performances at Purdue, and to support in-school artist residencies and workshops. Donors: Dr. Becky A. Brown Fritz and Leona Cohen Judy Ann Rechberger Elizabeth Cohen Jan Pearlman Cortner Dr. Robert D. and Nancy S. Sorkin


Established by Mike and Loretta Piggott to underwrite general P-12 educational programming including ticket and transportation scholarships for at need P-12 students and schools attending a matinee performance at Purdue; subsidizing artist and production fees associated with presenting P-12 matinee performances at Purdue; or subsidizing artist and production fees associated with sending artists to local schools for residencies.


Gifts made to Convocations through estate planning provide for the organization’s future and offer significant tax and financial benefits in return. Convocations has established the Legacy Society to recognize individuals who have made provisions for future support through bequests, annuities, charitable remainder trusts, or other planned gifts. Anonymous William* and Jean Beard Ronald and Margaret Brender Jeanne* and Dale* Compton John and Patricia Corey

Nancy Grenard Michael L. Seretny Mike and Pam Luenz Cynthia Stauffacher Betty and Dick Nelson Joanne and Lary* Troutner Tom and Susan Pierce Lee and Rona Schwarz *deceased

Thank you! We thank all of our wonderful donors who help make Purdue Convocations programming a reality! Your gifts support performances as well as educational arts opportunities for preschool to grade 12 and college students. Your gifts also help keep ticket prices affordable for our patrons. Donations listed were received by November 1, 2017 to support the Friends of Convocations. While we make every effort to ensure accuracy, we apologize for any error or omission.


The following individuals have contributed to an endowment or designated a planned gift to receive Lifetime status in the Friends of Convocations. For more information on Lifetime giving options, contact the Director of Development at (765) 494-9712.

LIFETIME VISIONARY Jeanne* and Dale* Compton

Kevin and Janene Davis

Michael L. Seretny

LIFETIME COLLABORATOR Mike and Pam Luenz Betty and Dick Nelson Mary Seyfried

Joanne Troutner Jan Wilburn

LIFETIME AMBASSADOR Anonymous William* and Jean Beard Claire Chandler, in memory of Art and Jane Chandler Tom and Susan Pierce

John and Elizabeth Schneider Lee and Rona Schwarz Bob and Patti Truitt

LIFETIME DIRECTOR’S COUNCIL Steve and Deborah Belter Mary A. Bonner Nancy Cooper Dr. and Mrs. Frederick Crane Virginia Ferris* Peg Fischang Beverly Fischer Macalyne Fristoe Pat and Floyd Garrott Phyllis Hemmer Jules and Shirley Janick Jennifer Jones Susan Jones and Matthew Huffine

Christiane Keck and David Filmer Marilyn Lahr Caryl Matthews and Don Nead George and Louise McNelly Chris and Cynthia Meyer Phyllis Past Dennis* and Jane Richmond Cynthia Stauffacher Bill and Helen Uhrig Harold D. Woodman Ruth M. Wukasch, in memory of Dr. Ronald F. Wukasch Alan and Carol York

LIFETIME FOUNDER Al and Rebecca Benham Ronald and Margaret Brender John and Pat Corey

indicates Charter members who made gifts in 1985-86 to help start the Friends of Convocations * deceased 


The following individuals have contributed annual gifts for the 2017-18 performance season.


Anonymous Nancy DiMartino and Steve Borghi, support for Jersey Boys and Daymé Arocena David and Janet Elmore, support for Christina & Michelle Naughton Ginny Tyler, support for the Orpheus Chamber Orchestra with André Watts and ensemble 4.1

COLLABORATOR $5,000 - $9,999 Alan and Gail Beck Kevin and Janene Davis Leah Jamieson and George Adams Hank and Sharon Kraebber Mike and Pam Luenz, support for the Orpheus Chamber Orchestra with André Watts John and Janet Nine, support for Drew Petersen Julie Overbeck

Mike and Loretta Piggott John and Elizabeth Schneider Cynthia Stauffacher Bob and Patti Truitt, support for the Joey Alexander Trio and Drew Peterson John and Joanne Willis Tom Wilson and Patricia Knepp

AMBASSADOR $2,500 - $4,999 William and Hanni Cramer and Gabrielle and Eyal Barash Marshall and Joyce Deutelbaum, support for Christina & Michelle Naughton Pat and Floyd Garrott Dr. Vince and Sherri Guido

Jan Hem, in memory of someone special, Stan Hem Pam Hermes and Frank Dooley Jim Leslie, in memory of Sue Leslie Betty and Dick Nelson Ellen and Vince Sitterding Thomas and Dee Spencer

DIRECTOR’S COUNCIL $1,000 - $2,499 Virgil E. Barnes William* and Jean Beard Stacy and Brent Bible Jim and Cadi Bien Pete and Lorita Bill George and Christine Bodner Karl and Nancy Brandt David and Kay Branson Bart and Nancy Burrell Barrett S. Caldwell Mary Claire and Mark Cartwright Leona and Fritz Cohen, in honor of Fritz Cohen’s 95th Birthday Gordon and Harriet Coppoc Bruce and Jennifer Craig Claude and Rita Culross Hazar Dib Joseph and Suzanne Farrell Brian and Lorene Furrer John and Jocelyn Grutzner Greta Gunsher Amy and Jon Harbor Lena and Patrick Harper

Jurgen and Josephine Honig Denis Jarvinen Carolyn Jones Christiane Keck and David Filmer, support for the Christiane E. Keck and David L. Filmer Endowment Jack and Leta Kelley Natalie Koch and Eric King Kathy Lafuse Wood and Christopher Wood Rob and Brenda Larew Mike and Cathy Lockwood Keith and Amy Long John and Kris Martin John and Marj Martin Marshall and Berdine Martin Caryl Matthews and Don Nead John and Prella McBride Maureen McCann and Nick Carpita Stan and Kay Mithoefer John and Joyce Moser Jim and Karen Mullen

Mary Alice Nebold Sue and James Pajakowski Jim Poulos John and Kimberly Reisman Laurie and John Roselle Chip and Jane Rutledge Michael L. Seretny Mary Seyfried, support for the Mary Seyfried Endowment for Arts Outreach and Engagement Gerritt and Debra Smith Karen and Jerry Sparks Don* and Lois Stein Bob and Marty Taylor Joe and Judy Tesmer Mary Jo and Rodney Vandeveer Todd and Diane Wetzel Mark and Mary Whitman Harold D. Woodman Ruth M. Wukasch, in memory of Dr. Ronald F. Wukasch Tim and Vicki Zwier

FOUNDER $500 - $999 Tom and Winnie Adler Bill and Lisa Banker William and Linda Bennett Claire and Ron Brettnacher James and Erin Britton Mike Brown Mary Caccavo and Thomas Kent John A. Carlson and Ingrid Clever Edward and Rebecca Chosnek Christy Collignon and William Li Jan Pearlman Cortner Kim and Tamara Craig Cary and Julie Curry Mark S. Cushman Jo and Toni Davisson Nicholas and Betty Delgass Otto and Barbara Doering Steven and Beth Duket Larry and Margaret Dunkle Stephanie and Clayton Farlow Timothy and Kay Farrell Janet Frane Andy and Tracy Fristoe Barry and Jody Gibson Hilda and Richard Giromini Mary L. Grable Joanna and Ananth Grama Brent and Marti Gutwein Linda and Andy Gutwein Gary and Monica Halstead Lee Ann Happ Alka and Brad Harriger Marietta Harrison and Bob Geahlen

Harsh and Suman Harshvardhan Nancy Hathaway and David Thompson Jamie L. Hendershot Amy Herman Harry and Christy Heyer Holly Jaycox and Andrew Brightman Martin and Patty Jischke Trent and Diane Johnson Patricia and Phillip Joy Nancy E. Kildsig Christine King and Ted Harris Seth and Ellen Kresovsky Robert Larsen Ramona and Wynn Lawson Dennis and Elizabeth Lockrey Mary Ellen Lovell Caye and Scott Lutz Jim and Susie Marshall Judy Marten Neil and Katherine Mascarenhas Richard and Melinda Mattes Donald L. Matthews George and Linda McCabe John H. Meyers Stacey and Michael Mickelbart William and Kay Miller Michael and Rhonda Moya Larry and Vicki Nees Susan Niemczyk and Alan Studzinski Donna Osborn and Mark Levinthal

Bill Pak Lisa Pantea and Dan Lybrook Deb and Tom Parent Tom and Susan Pierce John and Gail Polles Jane Richmond Bill and Carol Risk Linda L. Rohrman Julie and Tracy Rosa James and Marylin Ross Michelle and Doug Samuel Tim and Ligia Scott Catharine Scott-Moncrieff and Wallace Morrison Cynthy J. Scruggs Andrew W. Seretny Bev Shaw and Jeffrey Zinn Lou and Debby Sherman Gerald and Monica Shively Steve and Tracey Simmerman Jason and Natalie Snapp Tom and Mary Jo Sparrow Gary and Connie Standiford Joanne Troutner James and Dana Vann Arvind and Karen Varma James and Kathleen Ward Esther Weiner Terry and Shirley West Marvin and Trudi Wildfeuer Bob and Carol Williamson Roland K. Winger and Family Sherman and Phyllis Winski

BENEFACTOR $250 - $499 Beate Allert and Shaun Hughes David and Valerie Bahr John and Cathy Barron Jane A. Baysinger Lionel and Barbara Beaulieu Bryan E. Bell Kimberly R. Bell Gary and Milta Bennett Roger W. Bennett Emily M. Blue Jim and Sandy Bodenmiller Marjorie J. Branz Ronald and Margaret Brender Steve and Lloyd Brewer Joseph and Joan Briller Larry and Marcia Brooks Donal and Kristen Carlston Jim and Becky Caruthers Arnold C. Chen and Lin Ng

Al and Martha Chiscon Gordon and Barbara Clark Donna and Dennis Cole Jeff Cooper Michael and Beth Dana Gary Daugherty Sandra Donahue Denise Driscoll and Kevin Trumble Natasha Duncan and Dwaine Jengelley Amanda and Mike Dunkle Linda and Jim Eales Abby Eddy and Nick Rogers Kristen Edmundson Susan and James Ferringer Wanda J. Fisher Zelda M. Flye Barbara and Dave Francis

Peter Frane Carlos Gambirazio Richard and Carol Ghiselli David Goldberg Valerie and Dwight Hardy Mary Ann and Gerry Harrison Lois V. Harth Harlan D. Hite Terry and Jim Hopf Jean Horner Andrew and Yvonne Hurt Sheila and Jon-Paul Hurt Jennifer and Randy Jeffries Bob and Cheryl Kaye William and Kristine Kealey Nicole L. Key Scott and Natalie Kiff Lorraine Kisselburgh and Howard Zelaznik

BENEFACTOR CONTINUED Robert and Beverly Knill Sue and James Lakin Vic and Grayce Lechtenberg Nathaniel and Maureen Lifton Tammy and Bob Loew Jason and Tricia Lohr Mary M. Losey Timothy and Sally Luzader Dale and Anne Mallett Dale and Sonya Margerum Diana and Glen May Amanda S. Mayes Michelle S. McBrite Kathleen McGinnis and Tim Gennett Jane Messer Bill Miller William and Kay Miller Neil and Lorna Myers

Dawn and Joseph Ogas Brad and Janet Pape Thomas and Virginia Pearson Chris and Rhonda Peck Nancy Peterson and Dennis Drews Steve and Cindy Pugsley Judy A. Rechberger Rosemary Ricci and Garrett Jeong Felicia Roberts and Daniel Weiss April Robillos and Paul Muzikar Carolanne Robinson Steven M. Schlenk Courtney Schmidt and Andrew Eichmiller Jim and Pam Schweitzer Jacquelyn J. Scott Kathy and Wesley Shaw Stan and Excellda Shaw

Jeffrey and Sharon Siirola Jim and Liz Solberg Jeffery and Lori Stefancic Diane and Larry Stevenson Ron Stroup Glenn F. Tompkins Don and Mary Twiddy Barbara G. Tyner Emily and Michael Ulrich Bob and Diane Walkup Michael and Marilou Warden Ralph and Ginny Webb Bud and Vera Weiser Barbara E. Welch Anna and John* Wilson Jon and Casey Wright Susan and Kit Wright Tony and Betty Zamora Bob Zink

SPONSOR $100 - $249 Nick and Sara Adler Ximena Arriaga Agnew and Christopher Agnew Frank and Elizabeth Akey Mary G. Alexander-Conte Cheryl and Kemal Altinkemer Jean and Ron Andres Heather L. Anthrop Christine and Richard Armes Mark and Rhonda Arvin David P. Ayers Max and Kris Bales Andrew M. Banta Joel and Ann Barnes Andrea S. Battista Emily and John Bauman Nancy L. Bauman Harriet A. Beeler Steve Bell Al and Rebecca Benham Janet and Bill Biddle Marcia and Chip Blatchley Mary Ann and Tim Bobillo Jim and Sandy Bodenmiller Suzanne L. Bousquet Mel and Stewart Braswell Cory and Jeff Brenner Thomas L. Brooks, in memory of Clayton N. Bledsoe Leslie and Richard Brost Becky A. Brown Dean and Anita Brusnighan Angela D. Buckles Ann Bushfield

Diana L. Byers Amy and Joseph Camp Kitty K. Campbell Ron and Marlene Campbell David and Taylor Cappelleri Diane and Gene Carlson Darlene B. Cass Hugh Catts Mandy Chalk Jie Shen and Min Chen Jennifer L. Cioni Cyndy Clauss and Neal Houze Laura Clavio Becky Clement Ray and Lila Cohen Darren and Elizabeth Cooper Bailey L. Covington Joe and Beth Cychosz Dwayne and Marcia Daehler Dinah and Brian Dalder Philomena Daly Judd Danby Thomas Davidson Patricia Davies and J. Stuart Bolton Beverly J. Davis Michelle and Bob Dearing Kent and Annette DeLaCroix Jacques and Delores Delleur Eileen DeMarco Mary and John Dennis Christine L. Deorio Steve and Mary Dietrich Ellen Dran Charlie and Carmen Dunn

Christine A. Durbin Pat and Polly Egan Susan D. Eicher Laura A. Esman Bill and Joanne Evers Victoria and Shane Farnsworth Peggy Favorite and Ed Lausch Richard and Fran Feinberg Pamela and Karl Ferger Joyce W. Field Ephraim and Janie Fischbach John R. Fisher Gene Fitzpatrick Nan Fleenor Jenny and Carey Franklin Gretchen Freese Sayed M. Gaafar Joan and Timothy Gardner Jane M. Gaskell Don and Carol Gentry Arun and Jody Ghosh David P. Goldstein Dick and Connie Grace Sue and Lew Graham Alten and Barbara Grandt Tamara and Eckhard Groll Betty L. Guerrero Nina Haberer Rose Haberer Mary H. Halsema Kevin and Susie Hannon Arnold and Sara Harlan Todd and Marie Harrington Joel and Kara Hartman

SPONSOR CONTINUED Joseph and Kathy Heath Phyllis Hemmer Bob and Becky Herrick Robert Hetrick Margaret Hicks Michael and Jeni Hill Lynn and Sue Hiser Christoph and Karen Hoffmann Barbara and Leonard Holajter Julian and Andrea Holloway Edward and Kathleen Howell Jessica and Steve Huber Sara Huffer Susan and David Huffman Kendra M. Illingworth Stephen and Linda Isenhower Carolyn Jagacinski and Richard Schweickert Ellie Jeffcoat Bruce and Kathy Johnson Roy and Sarah Johnson Logan and Karen Jordan Bruce and Mary Ann Junius Patricia and James Kantner Birgit and Ralph Kaufmann Jennifer L. Keenan Linda Kirsch William Kirsch Gloria and Steve Klutzke Barb and John Knochel George and Cheri Kochert Kate W. Kollman Irma and David Kovich Dick and Judy Kramer Lonni and Dave Kucik Rick and Carolyn Laster Emily and Michael Lin Kim and Kelly Little Bonnie M. Lockwood Cleone Logan and Davis Newhart Cathy A. Lofthouse Timothy and Gloria Lohr Al and Janet Lucas Donald R. Lynam Jo Ann Mahlke Ron Mahrling James and Dina Marchal James and Inge Maresh Christina A. Marheine Chris Martin Victoria A. Martin Barbara S. Mathew

Jane P. McCann Dinah L. McClure Margaret and Gregory McClure Gordie and Annie May David and Tamara Mecklenburg Thomas Meyer Twyla and Andrew Milam Janis E. Miller Tom Miller Sharon Miller-Paul and Michael Paul Kathleen and Abigail Mills Ryan and Denise Mills Ellie and Marty Mlynarik Jennifer and George Molden Sandy Monroe and Jim Westman Dianne J. Mork Harry and Harriet Morrison Kim and John Muldoon Ken and Mary Musselman Neil and Lorna Myers Richard and Judy Myers-Walls Ron and Adele Needham Murthy N. Nemani Kelly K. Newton Susan and Tim Newton Marilyn A. Noller Lawrence and Shannon Oates Thomas J. O’Brien Cindy and Thomas Oneal Frank and Kathryn Oreovicz Thomas and Jane Packard George and Kate Patrick Sandy Pearlman Steve and Diana Pennell Carolyn Percifield Carolyn and Bob Perrucci Robert Peterson Pam Phegley Mike and Nancy Piggott Paul V. Preckel Ray Prieto Patti Purcell Eric and Cara Putman Linda L. Randak Elizabeth A. Rausch David and Susan Reseigh Alysa and David Rollock Jeanenne Rothenberger Debi S. Roudebush Yumary Ruiz and Gerald Janecko Michelle and Doug Samuel

Dennis and Cathy Savaiano Jeffrey and Carolyn Schlick Barbara K. Schlinkert Charles and Sue Scholer Deborah and David Schwarte Lee and Rona Schwarz Kathryn A. Senft Pauline Shen and Bob Wild Elizabeth A. Shiffman Katie and Josh Skeel Dana and Maggie Smith Pam and Dan Smith Barbara and Nick Soodek Robert and Nancy Sorkin Joan and Mete Sozen Cheri and Glenn Sparks Greg and Pat Springer Rhonda and Eukie Stangle Rick Stark Charles and Jane Stewart Betty Stoddart Linda A. Swihart Alvin and Dianne Tao Dena and Harry Targ Arlene S. Tatum Elfa S. Taylor Dorothy Teegarden and Chris Robbins Kip and Beverly Treece Patricia S. Tucker Wally and Jean Tyner Margaret Vail Christina M. Van Meter Bob and Mary Vaughan Jodi Verhoeven Juan and Elizabeth Wachs Beverly and Lewie Wallace Amee Waltman Angela Washington Gerald and Louise Wasserman Doug and Carla Webb Doug Wehrman Paul White and Paula Leverage Michael and Alyssa Wilcox Pam Williams Sandy and Jerry Williams David and Julie Windhorst Steve Woods Amy and Sherman Wright George and Marlaya Wyncott Gary S. Yates Michael and Lynn Zentner

For more information about the Friends of Convocations, visit and click on “Support” or call the Development Associate at (765) 494-9712.

MAKE AN IMPACT Because ticket sales cover only 60% of the cost of presenting a full season, support from the Friends of Convocations is essential to fulfilling the Convos mission. As a Friend, your gift can be allocated to our general fund for the season, or designated to a specific initiative that speaks to you.

Students arriving at Stewart Center for a student matinee performance.


Your support catalyzes the curriculum for Purdue and P-12 students. Master classes and in-school residencies infuse the performing arts into the learning experience and make it possible for Purdue to lead the nation in cutting-edge performing arts education research.


Your support energizes the community with incomparable performing artists. The world-class, globally-informed presentations have made the greater Lafayette area a hub for artistry of the highest order.


Your support distinguishes the institution’s national and international reputation. The high-visibility relationships, collaborations, and initiatives have made Purdue known as a home for creativity, innovation, and leadership. CONVOCATIONS EVER TRUE CAMPAIGN GOAL $3,200,000 by June 30, 2019 We invite you to be part of this transformative opportunity. Visit for more details.

Who are the Friends of Convos? Arts supporters who appreciate access to WORLD-CLASS PERFORMING ARTS experiences in their own community Arts-minded people who want to ensure students of all ages have ACCESS TO THE



Theatregoers whose combined contributions make

BIG PROJECTS a reality


Patrons who support one of the oldest collegiate performing arts presenters in the country (est. 1902)

An important, influential group that helps us CREATE POWERFUL EXPERIENCES for individuals of all ages, right in the community where we live

What do the Friends do? Provide annual ticket and transportation scholarships for more than

5,000 P-12 students

Provide artistic experiences for

40,000-50,000 patrons each year

Make Purdue University a hub for cultural growth, open discourse, & artistic diversity


education programs % of our are made possible by Friends of Convocations

Bridge the gap between ticket sales revenue and the actual cost of presenting high-quality performances

Friends of Convos Benefits Benefits begin at $50 annually and increase by contribution level.

   

Early access to ticket sales Best seat selection

Access to Intermission Club events Friends of Convos parking pass for Elliott Hall of Music shows

Priority Points* Your name printed in the program book

*To learn more about Priority Points, visit

   

Private receptions with artists Exclusive artist dinners

Learn more at


or contact us at or (765) 494-9712.

Exclusive dinner and performance with Ashley Bathgate, 2016






MAR Ethan Lipton & His Orchestra 23 No Place to Go

MAR Ethan Lipton & His Orchestra 24 The Outer Space





Songs of Freedom



13-14 World Without Us

MAR Curious George:




The Golden Meatball

Drew Petersen, piano





Visit for updates on discounts and news, to join our mailing list, and to sign up for our email newsletter!




Orlando Consort program  
Orlando Consort program