May/June 2018 Indianapolis Symphony Orchestra Program Book

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MUSIC DIRECTOR |

PRINCIPAL POPS CONDUCTOR

Harry Potter and the Order of the Phoenix TM – In Concert Byron Stripling: Ella & Louis – A Celebration Mozart’s Requiem Mozart’s The Magic Flute Harry Potter and the Half-Blood Prince TM – In Concert

MAY & JUNE | VOLUME 7

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Careful planning, talent and passion are on display at today’s performance.

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

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

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TABLE OF CONTENTS Programs 13 May 3, 2018 15 May 4, 2018 17 May 6, 2018 27 May 11, 13, 2018 31 May 18, 2018 33 May 18–19, 2018 39 June 1–2, 2018 41 June 3, 2018 61 June 8, 10, 2018 77 June 21–22, 2018 Featured Articles 6 Musicians Around Town 7 Music in My Life The Indianapolis Symphony Orchestra 8 Board of Directors 9 Musicians of the ISO 11 Inside the Usher Corps 16 Indianapolis Symphony

Orchestra Association 81 Endowment 84 Lynn Society 86 Annual Fund 89 Tribute Gifts 90 Arts in Indy 91 Corporate Sponsors 92 Why We Give 93 Hilbert Circle Theatre Information 94 Administration

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Artists 18 Karina Canellakis 19 Jennifer Koh 29 Justin Freer 34 Jack Everly 35 Byron Stripling 36 Carmen Bradford 42 Krzysztof Urbański 43 Emanuel Ax 44 Lauren Snouffer 45 Nancy Maultsby 46 John Tessier 47 Peixin Chen 62 Samuel Helfrich 63 Oona Curley 64 Kathryn Lewek 65 Sean Michael Plumb 66 Julian Morris 67 Christine Price 78 Nicholas Buc

WELCOME Dear Friends, I am overjoyed to become a part of the Indianapolis Symphony Orchestra family! This organization is truly remarkable, and I am honored to be a new member of the ISO team and the community that supports our artistic endeavors. As you may know, the ISO recently performed at the Kennedy Center for the SHIFT Festival of American Orchestras, and I am proud of our organization’s successful efforts to elevate the status of the Indianapolis Symphony Orchestra in the orchestral community nationwide.

The ISO is one of the most versatile orchestras you will find in the business, and the concerts we will experience together in May and June are phenomenal examples of this fact. We begin with a showcase of two powerhouses of the classical scene, Karina Canellakis and Jennifer Koh. We continue our popular Bank of America Film + Orchestra Series with the fifth installation of the Harry Potter franchise, and wrap up the month of May with an energetic tribute to the music of Louis Armstrong and Ella Fitzgerald.

We are particularly excited to present the Mozart’s Final Year Festival to end the 2017–18 season at the historic Hilbert Circle Theatre. In his last year of life, Mozart created two of his most famous—and most disparate—works. We present Mozart’s haunting Requiem with the full Indianapolis Symphonic Choir, followed by a fully staged version of the fun, crowdpleasing opera The Magic Flute.

I am so grateful you have chosen to spend your time with the ISO today. I look forward to meeting many of you as I settle in to this new role, and I hope to see you at a concert soon.

Sincerely,

James Johnson Chief Executive Officer

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MUSICIANS AROUND TOWN The Ortwein JazzTet including members Mark Ortwein (acting principal bassoon), Peter Hansen (bass), and Craig Hetrick (percussion) performed at the local Jazz Kitchen on May 2.

James Beckel, principal trombone, has a number of his compositions being performed this spring. Naples Philharmonic with conductor Radu Paponiu will play Beckel’s music as part of their “Patriotic Pops” concert on May 17. San Antonio Symphony with conductor Michael Krajewski will perform Liberty for All on May 26. Kansas City Symphony with conductor Michael Stern will play Gardens of Stone on May 27. Billings Symphony Orchestra with conductor Anne Harrigan will play The American Dream on June 24. The ISO will also play Gardens of Stone as part of their June 29 performance at Kroger Symphony on the Prairie. The Dallas Symphony Orchestra with conductor Jeff Tyzik will perform Gardens of Stone on July 4.

South Bend Youth Symphony Orchestra alumni Austin Huntington (principal cello) and conductor Robert Spano will join the SBYSO for their 50th Anniversary Gala Concert on May 24 at the DeBartolo Performing Arts Center at the University of Notre Dame.

Peewinkle’s Puppet Studio joins Ronen Chamber Ensemble musicians in presenting entertainment for the young and young-at-heart on May 8 in the Hilbert Circle Theatre’s Wood Room.

Arrangements for chamber ensemble of Grieg’s beloved music from Peer Gynt open the evening. The Wood Room then transforms into a puppet theatre as Peewinkle’s puppets perform accompanied by classical musical selections performed by Ingrid Fischer-Bellman (cello), David Bellman (principal clarinet), Jennifer Christen (principal oboe), and Alistair Howlett.

MONDAY, JUNE 4, 2018 The Fort Golf Course | 6002 North Post Road, Indianapolis, IN 46216

HOLE SPONSORSHIPS STILL AVAILABLE Purchase your hole sponsorship by contacting Carol Ann Arnell at 317.262.5225 or carnell@IndianapolisSymphony.org For more details about the 2018 Maestro Open, visit our website at: www.IndianapolisSymphony.org

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ANTHONY KNIFFEN, Tuba

MUSIC IN MY LIFE

Anthony Kniffen’s first professional orchestral experience, at age 18, was playing Principal Tuba in the Chicago Symphony Orchestra under the baton of Georg Solti as part of their tuba audition process in 1988. A year later he joined the Honolulu Symphony Orchestra and was subsequently appointed Principal Tuba of the Indianapolis Symphony Orchestra in September 1997.

Where were you born and raised and what degree(s) do you hold from where?

I grew up in Kirkwood, Missouri, a suburb of St. Louis. The St. Louis Symphony Youth Orchestra age range went up to 26, so the youth orchestra was awesome! I went on to Arizona State University. After my freshman year, I was a finalist for the job at Chicago Symphony, who ended up hiring my tuba teacher from St. Louis, Gene Pokorny. After my sophomore year I won a position with the Honolulu Symphony. I finished my degree at IU after winning my position in the ISO. Tell us about your family I am the youngest of 6 brothers who are all more like uncles to me. My mother was seasoned (or tenderized) by mostly raising the first 5 before I came along—she was one of the sweetest people. My father was raised on a farm in the Depression and is still working as hard as anyone I know to take care of himself and his family.

What was your first musical instrument?

I tried the trumpet in sixth grade, but made euphonium my main instrument from 7th grade until the middle of 11th grade. I studied euphonium from the Principal Trombone of the St. Louis Symphony, Bernard Schneider (who had played in the Honolulu Symphony during WWII). In 11th grade I added bass trombone and in the middle of the year added tuba. I enjoyed playing multiple instruments so much that I wanted to do them all! Tuba won and it came very naturally. Before college started, I had won two concerto competitions on the tuba.

If you could perform anywhere, where would it be?

The halls in Detroit, Minnesota, and St. Louis are particularly beautiful. I like touring because you get to experience different acoustics and cultures! I loved playing in Hawai’i—there’s no better outdoor setting than the Waikiki Shell, though I do enjoy Symphony on the Prairie, too!

What’s your favorite memory with the Symphony?

There are many great performances every year. Doing Bruckner’s 8th Symphony with Mario Venzago in 2008 was a highlight of my career. Playing the John Williams Concerto for Tuba with Mario was another great thrill. Another unforgettable moment was playing Copland’s Third Symphony at the Tanglewood Institute with Leonard Bernstein conducting. That was a legendary performance! Also, having John Williams come here to donate his time and two concerts to us as a benefit to the orchestra was a lifetime experience. He was a model of graciousness.

Tell us something about you that most people don’t know and wouldn’t expect.

On a good day, with a very friendly rim (but not a kids’ goal or anything silly), I once shot 78% from the free throw line with 100 shots. Most of the time I stink, but I try real hard.

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

Officers

Yvonne H. Shaheen, Chair Michael Becher, Vice-Chair James Johnson, Chief Executive Officer Charlene Barnette, Secretary Joseph M. Kessler, Treasurer Yvonne H. Shaheen, Chair

Board of Directors Wendy Adams Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D. John A. Bratt Bryan Brenner Vincent Caponi* Kiamesha Colom Trent Cowles* Andrea Davis Cheryl J. Dick Craig Fenneman Peter W. Howard, Ph.D. Ann Hampton Hunt

James Johnson* Phil Kenney* Joseph M. Kessler* Liz Kyzr Sarah L. Lechleiter Greg Loewen Emily M. Mahurin Karen Mangia Scott Martin Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Jackie Nytes*

Michael P. O’Neil* Jennifer D. Pressley Brandon Russell Alice K. Schloss Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* C. Daniel Yates James C. Zink Sr. Jennifer Zinn

Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder

Fred E. Schlegel Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood

*Executive Committee

Board of Trustees John M. Mutz, Chair Robert A. Anker Stephen E. DeVoe Rollin M. Dick Carolyn S. Hardman

Mission of the Indianapolis Symphony Orchestra: To inspire, entertain, educate and challenge through innovative programs and symphonic music performed at the highest artistic level.

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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Assistant Principal

First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster, The Meditch Chair Michelle Kang, Assistant Concertmaster, The Wilcox Chair Barbara Fisher Agresti Michelle Black Sophia Cho Sarah Drake ** Sherry Hong Vladimir Krakovich Joseph Ohkubo ** Han Xie

Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith

Second Violin Konstantin Umansky, Principal Mary Anne Dell’Aquila, Acting Associate Principal Jennifer Greenlee, Acting Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Victoria Griswold Patrick Dalton-Holmes Hua Jin Jayna Park Lisa Scott Oleg Zukin

Oboe Timpani Jennifer Christen, Principal Jack Brennan, Principal The Frank C. Springer Jr. Chair The Thomas N. Akins Chair Sharon Possick-Lange Craig A. Hetrick, Assistant Principal Roger Roe, Assistant Principal

Percussion English Horn Braham Dembar, Principal Roger Roe Craig A. Hetrick The Ann Hampton Hunt Chair Pedro Fernandez Clarinet Harp David A. Bellman, Principal Diane Evans, Principal The Robert H. Mohlman Chair The Walter Myers Jr. Chair Cathryn Gross, The Huffington Chair Samuel Rothstein, Assistant Principal Keyboard The Women’s Committee Chair Bass Clarinet Endowed in honor of Dorothy Samuel Rothstein Munger Bassoon Personnel Mark Ortwein, Acting Principal K. Blake Schlabach, Manager Michael Muszynski L. Bennett Crantford, Assistant Manager Contrabassoon Mark Ortwein Library James Norman, Principal Librarian Horn Laura Cones, Assistant Principal Robert Danforth, Principal Librarian The Robert L. Mann and Family Susan Grymonpré, Assistant Librarian Chair Richard Graef, Assistant Principal Stage Julie Beckel Yager Quentin L. Quinn, Manager Jerry Montgomery Kenneth Bandy, Technician The Bakken Family Chair P. Alan Alford, Technician Jill Boaz Steven A. Martin, Technician

Viola Yu Jin, Principal, The Schlegel Chair Mike Chen, Associate Principal Beverly Scott, Assistant Principal Zachary Collins Emilee Drumm ** Amy Kniffen Terry E. Langdon Eva Lieberman Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair Jian-Wen Tong

Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. ** One-year position

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At the ISO, we love to tell stories, especially those of our patrons and fans like you. After all, we couldn't do what we love – playing beautiful music – without your support and patronage. We want to know: when was your very first ISO concert? Did you meet your spouse at the Hilbert Circle Theatre? Did a Teddy Bear Concert or symFUNy Sunday inspire your child to become a musician? Every member of our ISO family has a story, and we want to share yours!

#MyISOStory

IndySymphony

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VISIT US ONLINE AT WWW.INDIANAPOLISSYMPHONY.ORG

MUSIC OF STAR WARS

Thursday, June 14

Selections from the music of Star Wars, conducted by Jack Everly.

WITH THE

INDIANAPOLIS SYMPHONY ORCHESTRA

Bring your lunch, pick any seat, and relax for a 40-minute performance of classical favorites during your lunch hour!

PATRIOTIC FAVORITES

TICKETS ONLY

$5

Friday, June 29

Selections from the Fourth of July concert program, featuring classical works and American favorites, conducted by Alfred Savia.

BEETHOVEN’S SEVENTH

Friday, July 6

Beethoven’s Symphony No. 7, conducted by Brett Mitchell.

TCHAIKOVSKY’S “LITTLE RUSSIAN” Doors open at 11:30AM – Performance at 12:15PM

TICKETS AVAI BLE MAY 4 AT 317.639.4300 INDIANAPOLISSYMPHONY.ORG OR AT THE DOOR PREMIER SPONSOR:

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Wednesday, July 18 Tchaikovsky’s Symphony No. 2, conducted by Andres Franco.

DRAMA & DANCE

Friday, July 20

Strauss’ Don Juan and Grieg’s Norwegian Dances, conducted by Christian Reif.

MARY “PONCHO” BATMAN

INSIDE THE USHER CORPS

Ushers are Indianapolis Symphony Orchestra ambassadors and an integral part of our success! These volunteers are responsible for providing outstanding customer service to Hilbert Circle Theatre and Kroger Symphony on the Prairie patrons. Read the experience first-hand from one of our dedicated ISO volunteers, Mary “Poncho” Batman, who has volunteered more than 470 hours with the ISO! Tell us about yourself and your background.

I was born and raised on the west side of Indianapolis. I attended Ben Davis High School and was in the choir, the Purple-aires. My given name is Mary, but when they brought me home from the hospital, my oldest sister thought that Mary was “an old lady’s name,” and started to call me “Poncho.” It stuck. I am now Great Grandma Poncho.

Many years ago, my husband and I opened a swimming pool supply shop called Poncho’s Pools and Supplies. I ran it after his death until 2012. In 2004, I purchased the Pasquale’s Pizza on Kentucky Avenue. I am so blessed that I have a great niece, Karen Binegar, who runs the place so I don’t have to be a “hands-on” owner. Because of this, I have been able to travel extensively. Along with my sister, Becky Russell, I have been to Europe, cruised the Panama Canal, and visited most of the United States.

What is your favorite memory of the Hilbert Circle Theatre?

When I was a child, I attended events at the Circle Theatre and was always impressed by the architecture. I was even able to sing there one Easter. There used to be Easter Sunday sunrise services on the Circle and the high school choirs performed. One Easter it was cold and rainy, so they let us perform inside the Circle Theatre. We sounded fantastic!

What motivated you to become an ISO volunteer?

A friend informed me of the need for volunteers at the ISO, so I took a chance and they accepted me. I have met some wonderfully friendly people.

What has been your favorite experience with the ISO so far?

It is hard to pick a favorite experience with the ISO but I think it would have to be meeting Maestro Raymond Leppard. What an honor! And he was so gracious. I also absolutely love Yuletide. The costumes and music make Christmas come alive. And to see the little ones is awesome.

What is one aspect of volunteering that you really enjoy?

I love volunteering for the Metropolitan Youth Orchestra. To see future symphony members is fantastic! I am so impressed with the talent of our youth.

What would you tell someone who is considering volunteering with the ISO? If you have ever considered volunteering anywhere, please, pick the ISO. You always feel needed and appreciated. It is a great experience. You meet interesting patrons and the volunteer staff is awesome! I am very grateful for the opportunity to volunteer at the ISO. 11

INDIANAPOLIS SYMPHONY ORCHESTRA

10 TICKETS FOR THE PRICE OF 7 When you purchase a 10-ticket Value Pack!

FEATURING Music of Star Wars • Star-Spangled Symphony • Beethoven’s Seventh The Beach Boys • Classical Mystery Tour • Who’s Bad: Music of Michael Jackson Music of Tom Petty with Southern Accents • and more!

GROUP TICKETS AVAILABLE! LET US HELP PLAN YOUR SUMMER OUTING! • RESERVED LAWN SEATING • FLEXIBLE PAYMENTS • DISCOUNTED TICKETS & WAIVED FEES Group events are great for family gatherings, meetups, company picnics and more! We'll work directly with your group to guarantee a memorable night for you and your guests. Groups of 30+ can take advantage of these great benefits and discounted tickets!

To see the 2018 summer lineup, or to purchase tickets, visit IndianapolisSymphony.org or call 317.639.4300

PREMIER SPONSOR:

12 Begin planning your outing by contacting Joshua Shuck, Director of Sales, at 317.231.6788 or JShuck@IndianapolisSymphony.org.

RACHMANINOFF’S RAVISHING SECOND SYMPHONY

MAY 3, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program Eight

Thursday, May 3, at 11 a.m.

Hilbert Circle Theatre

KARINA CANELLAKIS, Conductor | JENNIFER KOH, Violin Kaija Saariaho Graal Théâtre (b. 1952) I. II.

Jennifer Koh, Violin Sergei Rachmaninoff Symphony No. 2 in E Minor, Op. 27 (1873–1943) Largo - Allegro moderato

Allegro molto Adagio

Allegro vivace

† The Coffee Concert is an abbreviated performance.

There is no intermission.

Length of performance is approximately one hour and thirty minutes.

Recording or photographing any part of this performance is strictly prohibited.

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reater indianapolis is our only stage.

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

317-261-9000 Š2018 The National Bank of Indianapolis

www.nbofi.com

Member FDIC

RACHMANINOFF’S RAVISHING VADIM GLUZMAN PLAYS BRUCH SECOND SYMPHONY

MAY 4, 2018 MAR 2, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Seventeen Friday, May 4, at 8 p.m.

Hilbert Circle Theatre

KARINA CANELLAKIS, Conductor | JENNIFER KOH, Violin Claude Debussy (1862–1918)

“Rondes de Printemps” from Images

Kaija Saariaho Graal Théâtre (b. 1952) I. II.

Jennifer Koh, Violin

INTERMISSION — Twenty Minutes Sergei Rachmaninoff Symphony No. 2 in E Minor, Op. 27 (1873–1943) Largo - Allegro moderato

Allegro molto Adagio

Allegro vivace

Premier Sponsor

Associate Sponsor

This performance of a Young Professional Artist is endowed by Roche Diagnostics.

Length of performance is approximately two hours.

Recording or photographing any part of this performance is strictly prohibited.

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ASSOC ATION PEOPLE WITH A PASSION FOR MUSIC

Side-By-Side

Metropolitan Youth Orchestra

The Indianapolis Symphony Orchestra Association is an all-volunteer organization that enthusiastically coordinates music education activiites and fundraising events for the ISO. Any person who is eager to further the interests of the Orchestra is eligible for membership.

Our collaborative work on common goals creates fun, fellowship, funds, and friends. Though our members enjoy personal experiences with music at various levels, our many group activities knit us together. Close associations with staff and orchestra members are just some of the benefits we enjoy.

BENEFITS

GOALS Increase public awareness of the ISO

Special invitations to ISO and ISOA events

Promote music education for children and adults

Whole Note and group newsletters, ISO special mailings, and insider news

Encourage audience development and attendance

Meet musicians at musical mornings and evenings

Create and support fundraising projects Attract, train, and retain effective volunteers

An exclusive look behind the scenes of a world-class orchestra One free ticket voucher to a concert with ISOA membership

VOLUNTEER OPPORTUNITIES Anthem Blue Cross and Blue Shield Discovery Concerts Symphony in Color Michael Ben and Illene Komisarow Maurer Young Musicians Contest Side-By-Side Metropolitan Youth Orchestra

IF YOU ARE INTERESTED IN BECOMING A MEMBER, CALL 317.231.6726 OR EMAIL ISOA@INDIANAPOLISSYMPHONY.ORG

become a VOLUNTEER

join a

FAMILY

Love the ISO? Then get involved and volunteer with us! Each year, over 28,000 volunteer hours help keep the Symphony running. We are always looking for passionate volunteers to join our program and we need YOU!

ISO V O L U N T E E R

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To learn more visit indianapolissymphony.org or contact our Volunteer Services Manager at dfinney@indianapolissymphony.org or 317.231.6792

RACHMANINOFF’S RAVISHING SECOND SYMPHONY

MAY 6, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Telamon Classical Series at the Palladium Sunday, May 6, at 3 p.m.

The Palladium at the Center for the Performing Arts (Carmel) KARINA CANELLAKIS, Conductor | JENNIFER KOH, Violin Claude Debussy (1862–1918)

“Rondes de Printemps” from Images

Kaija Saariaho Graal Théâtre (b. 1952) I. II.

Jennifer Koh, Violin

INTERMISSION — Twenty Minutes Sergei Rachmaninoff Symphony No. 2 in E Minor, Op. 27 (1873–1943) Largo - Allegro moderato

Allegro molto Adagio

Allegro vivace

Supported by

Associate Sponsor

Length of performance is approximately two hours.

Recording or photographing any part of this performance is strictly prohibited.

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MAY 3, 4, 6

KARINA CANELLAKIS, Conductor

Winner of the 2016 Sir Georg Solti Conducting Award, Karina Canellakis is internationally acclaimed for her emotionally charged performances, technical command, and interpretive depth. She made her European conducting debut in 2015 with the Chamber Orchestra of Europe in Graz, Austria, replacing the late Nikolaus Harnoncourt, returning the following June to conduct Concentus Musicus Wien in four symphonies of a Beethoven Cycle. She first made headlines in 2014 filling in at the last minute for Jaap van Zweden in Shostakovich’s Symphony No. 8 with the Dallas Symphony Orchestra, where she held the position of Assistant Conductor for two seasons.

Canellakis began the 2017–18 season with her debut at the BBC Proms in London with the BBC Symphony Orchestra and a return to the Zurich Opera to conduct Mozart’s Die Zauberflöte. Notable debuts this season include the Orchestre de Paris, Wiener Symphoniker, Rundfunk Sinfonie Orchester Berlin, Guerzenich Cologne, Bamberger Symphoniker, National Orchestra of Spain, Netherlands Radio Philharmonic, the Hallé Orchestra, and Seattle Symphony; alongside re-invitations to the Royal Stockholm Philharmonic, Swedish Radio Orchestra, Danish National Orchestra, Scottish Chamber Orchestra, Los Angeles Chamber Orchestra, and Vancouver Symphony.

Last season, Canellakis debuted with the Los Angeles Philharmonic at the Hollywood Bowl, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, and Toronto and Milwaukee Symphony Orchestras. She con-

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ducted the world premiere of David Lang’s new opera The Loser at the Brooklyn Academy of Music (BAM), Peter Maxwell Davies’ new opera The Hogboon with the Luxembourg Philharmonic, and a fully staged production of Verdi’s Requiem at the Zurich Opera.

Previous seasons have featured orchestral debuts with the Hong Kong Philharmonic, Cincinnati, Detroit, Houston, and San Diego Symphony Orchestras, and at the Mostly Mozart Festival in New York leading the International Contemporary Ensemble (ICE).

In 2016 Canellakis conducted Mozart’s Le Nozze di Figaro with the Curtis Opera Theatre at the Kimmel Center in Philadelphia.

Already known to many in the classical music world for her virtuoso violin playing, Canellakis was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. In addition to appearing frequently as soloist with various North American orchestras, she subsequently played regularly in the Chicago Symphony for over three years and appeared on several occasions as guest concertmaster of the Bergen Philharmonic in Norway. She also spent many summers performing at the Marlboro Music Festival. She plays a 1782 Mantegazza violin on generous loan from a private patron.

Canellakis is a graduate of the Curtis Institute of Music and the Juilliard School. Her other major mentors have been Alan Gilbert and Fabio Luisi. She was born and raised in New York City and speaks French, German, and Italian.

JENNIFER KOH, Violin Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she collaborates with artists of multiple disciplines and curates projects that find connections between music of all eras, from traditional to contemporary. She believes that all the arts and music of the past and present form a continuum and has premiered over 60 works written especially for her.

Koh has been heard with leading orchestras worldwide, including the New York, Los Angeles, and Helsinki Philharmonics; Cleveland, Mariinsky, Minnesota, Philadelphia, and Philharmonia (London) Orchestras; and Atlanta, Baltimore, BBC, Chicago, Cincinnati, National, New World, NHK, RAI (Torino), and Singapore Symphonies. This season she returns to the Indianapolis, Milwaukee, Nashville, and Sydney Symphonies, and the Los Angeles Chamber Orchestra. She also performs a new concerto by Christopher Cerrone, written for her New American Concerto commissioning project, with the Detroit Symphony Orchestra. Through commissions from a diverse collective of composers, this multi-season project explores the form of the violin concerto and its potential for artistic engagement with contemporary societal concerns and issues.

This season, in addition to her New American Concerto project, Koh launches Limitless, which celebrates the collaborative relationship between composer and performer through duo commissions and contemporary works performed by Koh and the composers themselves. She also continues such projects as Shared Madness, comprising more than 30

MAY 3, 4, 6

short solo works that explore violin virtuosity in the 21st century; Bridge to Beethoven, a recital series with pianist Shai Wosner exploring the impact Beethoven has had on a diverse group of artists, pairing the composer’s sonatas for violin and piano with new works by composers Anthony Cheung, Vijay Iyer, and Andrew Norman; and Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s six Sonatas and Partitas to works by contemporary composers, including new commissions from John Harbison, Phil Kline, Missy Mazzoli, Kaija Saariaho, and video artist Tal Rosner. She continues all of these projects in recital during the 2017–18 season and also recently expanded Shared Madness with a web series on WQXR’s Q2 Music (q2music. org/sharedmadness), featuring her interviews with project composers.

Koh’s discography for Cedille Records includes Tchaikovsky: Complete Works for Violin and Orchestra with the Odense Symphony Orchestra; Bach & Beyond: Parts 1 & 2; Two x Four with her former teacher, violinist Jaime Laredo; Signs, Games + Messages with Mr. Wosner; Rhapsodic Musings: 21st Century Works for Solo Violin; the Grammy-nominated String Poetic; Portraits with the Grant Park Orchestra with concerti by Bartók, Martinů, and Szymanowski; Violin Fantasies; and Solo Chaconnes.

Born in Chicago of Korean parents, Koh began playing the violin by chance, choosing the instrument in a Suzuki-method program. She debuted with the Chicago Symphony Orchestra at age 11, and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and an Avery Fisher Career Grant. In 2016, she was Musical America’s “Instrumentalist of the Year.”

She has a degree in English literature from Oberlin College and studied at the Curtis Institute, where she worked with Jaime Laredo and Felix Galimir. She is Artistic Director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us.

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LILLY CLASSICAL SERIES

Program Notes

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

“Rondes de Printemps” from Images for Orchestra Claude Debussy

Born: August 22, 1862, Saint Germainen-Laye, France Died: March 25, 1918, Paris, France Years Composed:1905–1909 Length: c. 8 minutes World Premiere: March 1910, Paris, France Last ISO Performance: April 1988 with conductor Hugh Wolff Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 4 bassoons, 4 horns, timpani, percussion, celesta, 2 harps, and strings Debussy loved spring. In 1882 and 1884 he composed Salut printemps and Le printemps (L’aimable printemps ramène dans la plaine). In 1887 he wrote a symphonic suite titled Printemps, and when Igor Stravinsky premiered the piano version of The Rite of Spring, his piano partner was Claude Debussy. Debussy later said that the music of The Rite haunted him like a “beautiful nightmare.” Although he was many years older, Debussy admired Stravinsky. He spoke of Stravinsky’s orchestral infallibility and his sonorous magic. They were both revolutionary and transformational in the history of Western music in the twentieth century. Debussy’s similar groundbreaking values and attributes are illustrated in Rondes de Printemps.

In 1905 Debussy wrote Images, a set of three pieces for piano solo. He planned on a sequel for two pianos, but changed his mind and decided to orchestrate another set “as quickly as possible.” It would be eight more years until these Images were finished and played together. Debussy explained the problem,

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saying, “I am trying to write ‘something different’—realities in a manner of speaking—what imbeciles called ‘impressionism,’ a term employed with the utmost inaccuracy especially by art critics who use it as a label to stick on Turner, the finest creator of mystery in the whole of art!” In its final form, there are three pieces, each evoking a different country: England, Spain, and France.

Rondes de Printemps is a celebratory piece to evoke the magic of that season. He prefaced the score with a zesty quote from the fifteenth-century Italian poet Poliziano: “Vive le Mai, bienvenue soit le Mai avec con gonfalcon sauvage” (“Long live May! Welcome May with its rustic [wild] banner”). It premiered on March 2, 1910, in a concert featuring modern French music organized by the publisher Jacques Durand.

The music begins quietly as the earth awakens after the frozen immobility of winter.

Debussy writes in a cheerful, animated, light manner that eventually grows into joyful anticipation. He also quotes two children’s tunes: “Nous n’irons plus au bois” (“We‘ll go to the woods no more”) and “Do, do l’enfant do,” a lullaby that translates to “Sleep, sleep baby, sleep.” This adds not only unmistakable French identity, but also marks the innocence of new, fresh beginnings. His orchestration, however, is complex, full of instrumental color and technical demands. Debussy was close to nature. He called “mysterious Nature” his religion. In Leon Vallas’ Claude Debussy: His Life and Works, the author quotes the composer, “Around me are the trees stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpeted earth . . . and my hands un-

consciously assume an attitude of adoration . . . . To feel the supreme and moving beauty of the spectacle to which Nature invites her ephemeral guests.” Spring was certainly his favorite season, and all of this is captured in the piece.

“I still feel very Finnish,” she said. “I am a continuation of Western music: I do not put myself in a box. I am to get out of the box. I am happy my music is getting more attention and the affection given by performers: that gives me strength.”

The verve and delight in Rondes de Printemps belie the turbulence in his personal life during this period: he was going through a complicated divorce, and he had been diagnosed with colon cancer, which would eventually kill him in 1918.

In Saariaho’s own words, she grew up in a family without any kind of cultural background. “I was very sensitive,” she said.

“There was some music that frightened me, and some I liked. We had an old-fashioned radio at home, so I listened to music on that. But I also heard music when I was a girl that did not come from a radio. That was music that was in my mind. I imagined it came from my pillow. My mother remembered asking me to turn the pillow off at night when I couldn’t sleep; to turn off the music that I imagined inside my head.”

FUN FACT

Debussy was greatly attracted to painting and loved to visit museums and exhibitions. He especially loved Norwegian painter Frits Thaulow and also Claude Monet.

Graal Théâtre Kaija Saariaho

Born: October 14, 1952, Helsinki, Finland Year Composed: 1994 Length: c. 25 minutes World Premiere: August 1995, London, United Kingdom Last ISO Performance: This is the ISO’s first performance of this work Instrumentation: 2 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, harp, piano, strings, and solo violin “Everything is permissible as long as it is done in good taste.” —Kaija Saariaho Finnish composer Kaija Saariaho is widely recognized as a central, compelling, innovative, and powerful figure in contemporary classical music. Elements of regional identity, gender, incredible drive, and innovation have all played important roles in her persona.

And these images never left her. After composing her opera Émilie, she said to The Guardian in 2012, “It is always the inner space that interests me. It is very private . . . I want to communicate with the inner world of my listeners, just as it expresses my inner imagination.”

Saariaho first studied at the Sibelius Academy with Paavo Heininen. Even though his composition course was full, she was determined to study with him. She was the only female student. She recalled that some teachers refused to teach her because they thought it was a waste of time.

She and her friends became part of an Ears Open Society in which they explored music that was different from the nationalistic music in Finland. She exulted in these new horizons. The group met in restaurants, apartments, and planned little concerts. One of the things that bothered Saariaho was the acoustical problems and massive dimensions of the concert hall in Finland. She described it

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LILLY CLASSICAL SERIES

Program Notes

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

as “an acoustically unpleasant place.” Acoustic variations in the hall bothered her because she could not “hear” her music as she heard it in her head.

Saariaho wanted something different and attended the Darmstadt Summer Courses (then the seat of European avant-garde music) and then studied in Germany at the Hochschule für Musik Freiburg. When she heard spectral music for the first time, it changed her artistic direction.

Following that conviction, she gravitated toward the area of spectral music and the analyses of tones. Spectral analysis could be explained in part by the following: a musical tone is composed of several frequencies (the fundamental and the multiples of that tone known as overtones). The different overtones will be part of what determines timbre, as well as a coloration determinant in a single tone. Spectral analysis measures the different strength of frequency components in a single sound. The analysis will emerge as a kind of “picture.”

“I am not the same woman all the time. You never want to write the same piece twice.”

— Kajia Saariaho In 1982 Saariaho began courses in Paris at the Institute for Research and Coordination in Acoustics/Music, a computer music research institute where again she was the only female student. “It was a mysterious and secret place,” she said. “You go several floors down to a concert hall. It was like a mecca. . . with

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a lot of crazy scientists.” She developed techniques for computer-assisted composition, experimented with musique concrète, and wrote her first pieces combining live performance with electronics. She also composed new works using a synthesizer.

In 1994 Saariaho composed The Violin Concerto, or Graal Théâtre. It was co-commissioned by the BBC and VARA Radio 4, Netherlands. There is a 1997 reduction of the first version (and identical violin part) and a reduced score for two pianos. Graal Théâtre takes its title from a series of texts from Florence Delay and Jacques Roubaud and the legend of the Knights of the Round Table and the story of the Holy Grail. Graal stands for the spiritual and Théâtre for the profane and physical: represented in the contrasting titles of the two parts, Delicato and Impetuoso.

“The texts inspired me indirectly in two ways,” Saariaho said. “The title expresses the tension that I feel between the efforts of the composer when writing music and the theatrical aspect of a performance, especially in the case of a concerto where the soloist both physically and musically is playing a major role. Texts add another layer of texture.

Roubaud’s interpretation of the old legend encouraged me to realize something that I had long found impossible: to bring an idea of the Violin Concerto into my musical framework and language. . . . When compared to my other music, Graal Théâtre is the exception in a long row of pieces in which I combine acoustic instruments with some kind of electronic extensions. Unlike these earlier works, my starting point here was the delicate violin sound and its interaction with an orchestra.”

There are two parts to the Violin Concerto: Delicato and Impetuoso.

The opening begins softly and slowly with solo violin at the helm, underscored by gentle timpani and discrete orchestral responses.

She has frequently noted her inspiration from the sounds of nature: birds, winds, and water. “This gives a push to the imagination,” she said. “I like the sounds of a wave and noisy sound, but in nature, it is living sound.”

Note herein bird-like high trills, occasional pizzicati, high registers, occasional chirping winds, changes in tempo, and wind-like floating zones creating an ethereal setting.

Notice how the sounds ebb and flow, but are always changing. Sudden (perhaps shocking) dynamic contrasts provide not only variation, but immense emotional drama. These unprepared interjections are relatively short-lived and the music subsides into the soft, mysterious continuum. Thus the Delicato implications of the title are scrupulously maintained and consistent.

Impetuoso begins at a faster pace with a rougher introduction and orchestral responses become stronger and more insistent. The violin moves to lower registers in powerful assertions, the timpani underscoring heartbeat is stronger, and dynamic changes become more tantalizing. A piano adds additional color and collaboration throughout, extending its presence with the use of the sostenuto pedal. Several large, frenzied climaxes occur, in keeping with the Impetuoso title, as more orchestral instruments join the excitement.

Note the rapid intensity, growing steadily, with the violin moving quickly as timpani strokes increase in power. In this section, the orchestra has greater strength and presence, urging the violin into ever more freedom and response.

A tremendous fury grows wildly and then is brought to a tender remembrance of times past with a recall of a lyrical mood, painted this time with big leaps in the melodic line. Crashing piano chords add coloration and ignition. The music suddenly dissolves into a deep register leading to a more reflective zone before again gaining new strength and power and virtuosic insistence that is reflected in the orchestral clamor. Finally, a massive fortissimo from all forces fulfill the ultimate destiny with harsh angular behavior, which yields eventually to the soloist having the final word.

“Try to find music from yourself . . . and this way you will write music that will be original.”

— Kajia Saariaho

Symphony No. 2 in E Minor, Op. 27 Sergei Rachmaninoff

Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Year Composed:1906–1907 Length: c. 60 minutes World Premiere: February 1908, St. Petersburg, Russia Last ISO Performance: April 2010 with conductor Mark Wigglesworth Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings When Rachmaninoff’s First Symphony premiered in 1897, it was a complete failure. Russian nationalist composer César Cui ranted, “If there is a conservatory competition in Hell, Rachmaninoff would gain first prize for this Symphony.”

The young Rachmaninoff, who was only 24 at the time, was plunged into despair and became an alcoholic. For two years he

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LILLY CLASSICAL SERIES

Program Notes

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

composed nothing. Then in 1900, he began psychotherapy treatments with Dr. Nicholas Dahl, who finally convinced the composer of his talent and his capabilities. Rachmaninoff produced the Second Concerto within a year, but it would be several more years before Rachmaninoff would try to write another symphony.

In early 1906, Rachmaninoff moved to Dresden for peace and quiet and to unclutter his life from the demands of Moscow. Rachmaninoff liked being away from unrelenting social demands, and when he unexpectedly met a Russian friend in the new setting, he said to him, “I have escaped from my friends.

Please don’t give me away.” After a couple of months, Rachmaninoff once again started to write and began to work on the Second Symphony. He also mulled over the ghost and catastrophe of his First Symphony. Writing to his friend Nikita Morozov, the composer said, “As for the quality of these [recent projects], I must say that the worst is the [Second] Symphony. When I get it written [and orchestrated] and then correct my First Symphony, I give my solemn word—no more symphonies.

Curse them! I don’t know how to write them, but mainly, I don’t want to.”

The Second Symphony is a large, brooding affair, more akin to nineteenth- rather than twentieth-century expression. Jonathan Kramer commented, “An interesting feature is the frequency of sustained notes in the bass register. The result is slowly changing harmonies, giving the symphony an imposing monolithic quality beneath its varied melodies and motives.” The composer explained the duality, saying, “Music is born only of the heart and it appeals to the heart. It is love.

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The sister of music is poetry and the mother—sorrow!”

The first movement is marked Largo-Allegro moderato. A slow introduction begins with celli and basses singing a deep, introspective phrase. Winds pick up the mystery and violins solemnly respond. The mood evolves into a strong climax, closing with an English horn solo. This introduction provides the matrix for thematic germs of ideas yet to appear. At the Allegro moderato section, increased speed provides an emotional uplift. Two themes are presented, each referencing features of the opening phrase. Violins state the first theme, and the second is presented by solo clarinet.

The development begins quietly and builds in complexity, twisting and turning on itself, moving into surging climaxes. A recapitulation focuses more extensively on the second theme and is completed by an elaborate coda. The composer spent three months writing this first movement: the remaining three movements were completed in the following two months.

In the second movement, a zippy Allegro molto bursts from the orchestra with a bright theme provided by horns. Agile strings add to the fun, spinning a sporty figure that dominates the movement. Polyphonic and fugal writing add complex textures in the trio section. All the jollity and directness return instantly with a blast from the brass.

Mysteriously the energy dissipates and finally subsides in a quiet, rather sinister mood.

The slow movement presents Rachmaninoff writing at full throttle, the Rachmaninoff of “luscious sighs,” says author Ethan Mordden.

Long, delayed lyricism is fulfilled in several

themes. Strings start the passion with an arching, rhapsodic statement, after which a solo clarinet sings an extended response.

Violins again sing the opening idea, which becomes subject to a full development. A deft transformation of a motif from the first movement also takes a bow. Throughout, Rachmaninoff colors his accompaniment patterns with lush mixtures of horns, violins, oboes, flutes, and English horn.

A boisterous tarantella occupies the final movement. At every level, the initial mood is celebratory. A strange little march saps the energy, but only briefly. Soon, a beautiful second theme, sung by violins and violas in octaves supported by celli, sweeps throughout the orchestra. Rachmaninoff reins in

the passion with a brief quote from the slow movement before unleashing his tarantella once again with full orchestra summoned for a final statement. The conclusion is vibrant, affirming, and unforgettable.

FUN FACT

Rachmaninoff was appointed Principal Conductor of the Bolshoi Theatre in 1904 and was offered several major posts in the U.S., most notably with the Boston Symphony Orchestra.

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INDIANAPOLIS SYMPHONY ORCHESTRA

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HARRY POTTER AND THE ORDER OF THE PHOENIXTM—IN CONCERT

MAY 11, 13, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Specials and Presentations Friday, May 11, at 7:30 p.m.

Sunday, May 13, at 3 p.m.

Hilbert Circle Theatre JUSTIN FREER, Conductor NICHOLAS HOOPER, Composer

Harry Potter and the Order of the Phoenix™—In Concert Harry Potter and the Order of the PhoenixTM—In Concert Produced by CineConcerts Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Director of Production Jeffery Sells Head of Publicity and Communications Andrew Alderete Brand/Marketing Director, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing Manager, Molly Kossoff Brand/Marketing Manager, Si Peng Office Manager, Gabe Cheng Worldwide Representation WME Entertainment Music Preparation JoAnn Kane Music Service Music Editing Ramiro Belgardt and Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing Justin Moshkevich, Igloo Music Studios Merchandising by Firebrand A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17) Recording or photographing any part of this performance is strictly prohibited.

There will be one 20-minute intermission.

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KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

J A C K E V E R LY P R I N C I PA L POPS CONDUCTOR

CLASSICAL & POPS

SEASON HIGHLIGHTS INCLUDE: • An Evening with Sutton Foster

• Shostakovich Symphony No. 4

• André Watts Returns!

• Paris Festival

• Star Wars Epsisode IV: In Concert

• The Tenors

• Ohlsson Plays All Rachmaninoff Piano Concertos ANDRÉ WATTS

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CINE CONCERTS

MAY 11, 13

CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by producer/conductor Justin Freer and producer/writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, and Breakfast at Tiffany’s. Justin Freer has quickly become one of the most sought-after conductors of film music with a long list of full symphonic live-to-projection projects. He has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony, and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.

JUSTIN FREER, Conductor American composer/conductor Justin Freer was born and raised in Huntington Beach, Calif. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly sought-after conductor and producer of film music concerts around the world.

Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen.

Continually composing for various different mediums, he has written music for worldrenowned trumpeters Doc Severinsen and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world.

MAY 11, 13

He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, and Aliens in the Attic. As a conductor Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, London Philharmonic, New York Philharmonic, and San Francisco Symphony.

In upcoming seasons he will guest conduct the Minnesota Orchestra as well as the orchestras of Dublin, Paris, Philadelphia, Sydney, Toronto, and others.

Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He earned both his BA and MA degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

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BYRON STRIPLING: ELLA & LOUIS—A CELEBRATION

MAY 18, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Anthem Coffee Pops Series/Program Six Friday, May 18, at 11 a.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | BYRON STRIPLING, Trumpet & Vocalist CARMEN BRADFORD, Vocalist Tiger Rag Saint James Infirmary Tisket A Tasket Mr. Paganini I Can’t Give You Anything But Love

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Length of performance is approximately one hour.

Recording or photographing any part of this performance is strictly prohibited.

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BYRON STRIPLING: ELLA & LOUIS—A CELEBRATION

MAY 18–19, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Eight Friday, May 18, at 8 p.m.

Saturday, May 19, at 8 p.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | BYRON STRIPLING, Trumpet & Vocalist CARMEN BRADFORD, Vocalist Tiger Rag Saint James Infirmary Saint Louis Blues Tisket A Tasket Mr. Paganini I Got Rhythm I Can’t Give You Anything But Love They Can’t Take That Away From Me Satchmo Scattin’ & Swingin’ INTERMISSION — Twenty Minutes Basin Street Blues Do You Know What It Means To Miss New Orleans I Won’t Dance Someone To Watch Over Me All Of Me But Not For Me Am I Blue Bill Bailey

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Note: Ad sizes spec’d were only 0.125” from outer edge, had to Length of performance is approximately two hours.

Recording or photographing any part of this performance is strictly prohibited.

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MAY 18–19

JACK EVERLY, Conductor

Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall, and appears regularly with the Cleveland Orchestra at Blossom Music Center. Everly will conduct more than 100 performances all around North America this season.

Everly is also the Music Director of the IPL Yuletide Celebration, now a 32-year tradition.

He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations.

Some of his other recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez; Sandi Patty’s Broadway Stories; the soundtrack to Disney’s The Hunchback of Notre Dame; and Everything’s Coming Up Roses: The Overtures of Jule Styne.

As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the West Lawn of the U.S. Capitol. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers, making them some of the highest-rated programs on PBS.

Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for more than 15 years, and when not on the podium you can find him at home with his family, which includes Max the wonder dog.

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Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored.

He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

BYRON STRIPLING, Trumpet & Vocalist A powerhouse trumpeter, gifted with a soulful voice and a charismatic onstage swagger, Byron Stripling has delighted audiences internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special “Evening at Pops” with conductors John Williams and Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed, awardwinning Columbus Jazz Orchestra.

Since his Carnegie Hall debut with the New York Pops, Stripling has emerged as one of America’s most popular symphony pops guest artists, having performed with over 100 orchestras around the world including the Boston Pops, National Symphony, Pittsburgh Symphony, Detroit Symphony, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world.

An accomplished actor and singer, Stripling was chosen, following a world-wide search, to star in the lead role of the Broadway bound musical Satchmo. Many will remember his featured cameo performance in the

MAY 18–19

television movie The Young Indiana Jones Chronicles and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of From Second Avenue to Broadway.

Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including “20/20,” CNN, and soundtracks of favorite movies.

Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All-Star Big Band.

Stripling enjoys conducting seminars and master classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages.

Stripling was educated at the Eastman School of Music in Rochester, New York, and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return periodically to Eastman and Interlochen as a special guest lecturer.

A resident of Ohio, Stripling lives in the country with his wife, Alexis, who is a poet and writer as well as a former dancer, and their beautiful daughters.

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MAY 18–19

CARMEN BRADFORD, Vocalist

Born in Austin, Texas, and raised in Altadena, California, Carmen Bradford grew up with music in her home and in her heart. It was only natural that she would follow in the footsteps of her great family legacy, being the daughter of legendary trumpeter/composer Bobby Bradford and world-renowned vocalist/composer Melba Joyce. Her grandfather, Melvin Moore, sang with Lucky Millender and Dizzy Gillespie’s Big Band in the 1940s, and sang with the Ink Spots, making Bradford the third generation of incredible musicians.

Bradford was discovered and hired by William “Count” Basie and was the featured vocalist in the legendary Count Basie Orchestra for nine years. She has since performed and/or recorded with: Wynton Marsalis, Shelly Berg, John Clayton along with the Clayton Hamilton Orchestra, Nancy Wilson, Doc Severinsen, Tony Bennett, James Brown, Patti Austin, Byron Stripling, Dori Caymmi, George Benson, Lena Horne, Frank Sinatra, Joe Williams, DIVA Jazz Orchestra, the National Symphony, Rochester Philharmonic, the Lincoln Center Jazz Orchestra, the Clayton-Hamilton Jazz Orchestra, The Dani Felber Big Band, Dallas Symphony, Oklahoma Symphony, Vancouver Philharmonic, and countless artists worldwide.

Bradford performed on two Grammy-Award winning albums with the Basie band in the 1980s and later collaborated on a third Grammy-Award winning album, Big Boss Band, with guitarist George Benson in 1991. Her soulful voice warmed the hearts of Americans through the celebrated performance of the classic duet “How Do You Keep The Music Playing?” on The Tonight Show Starring Johnny Carson that year.

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Bradford teamed with singer/composer Kenny Rankin for the Benny Carter Songbook project. She was chosen to sing “Key Largo” for this Grammy Award-winning album. She also sang on the soundtrack for Beloved and starred in the title role of Duke Ellington’s Folk Opera Queenie Pie at the University of Texas, Butler School of Music in 2009.

Bradford began another chapter in her illustrious career as a solo artist with her critically acclaimed debut album Finally Yours (Evidence Records) in 1992. The 1995 release of her second solo album, With Respect (Evidence Records), established the Atlanta-based singer as one of jazz music’s most diverse and exciting vocal stylists proving to the world that Carmen Bradford was a unique voice in jazz in her own right.

Bradford’s 2004 release Home With You (Azica Records) is a warm and beautiful collection of piano/vocal duets with Shelly Berg. Bradford returned to her big band roots with the 2008 release Sherrie Maricle & The DIVA Jazz Orchestra, featured on Live From Jazz At Lincoln Center’s Dizzy’s Club.

Bradford was featured on John Mills’ 2015 release Invisible Design, proving once again her ability to sing all forms of jazz—straightahead jazz, blues, or jazz fusion—and that she can swing it like nobody can. In 2015, the Legendary Count Basie Orchestra released A Very Swingin’ Basie Christmas, their first holiday album, directed by Scotty Barnhart, featuring Johnny Mathis, Bradford, and Ledisi.

In 2016 Bradford was asked by South African trumpeter Darren English to be a part of his new album Imagination Nation (Hot Shoe Records). Bradford’s body of work reflects a vast depth of musical experience and technical brilliance. She has truly contributed to the perpetuation and preservation of jazz.

mozart’s final year

To conclude the 2017−18 Lilly Classical Series, Music Director Krzysztof Urbański, the Indianapolis Symphony Orchestra, and special guests explore the incredible masterworks composed in Mozart’s final year: the haunting Requiem—Mozart’s last statement—and the timeless opera The Magic Flute. mozart’s requiem FRIDAY, JUNE 1, 8PM SUNDAY, JUNE 3, 3PM SATURDAY, JUNE 2, 5:30PM The Palladium at the Center Hilbert Circle Theatre for the Performing Arts Krzysztof Urbański, Conductor | Emanuel Ax, Piano | Lauren Snouffer, Soprano Nancy Maultsby, Mezzo | John Tessier, Tenor | Peixin Chen, Bass Indianapolis Symphonic Choir | Eric Stark, Indianapolis Symphonic Choir Director

mozart’s the magic flute FRIDAY, JUNE 8, 8PM SUNDAY, JUNE 10, 3PM Hilbert Circle Theatre Krzysztof Urbański, Conductor Samuel Helfrich, Stage Director Indianapolis Symphonic Choir

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Andrew Bird

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Los Angeles-based Andrew Bird, the “one-man orchestra of the imagination” (TED), will join the ISO for the first time on the Hilbert Circle Theatre stage.

The versatile singer/songwriter and classically trained violinist masters delicately layered pop melodies with nuanced creative genius in this special concert.

WEDNESDAY, SEPTEMBER 26, 7:30PM Hilbert Circle Theatre Supported by the Margot L. and Robert S. Eccles Fund, a fund of CICF

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

38

MOZART’S REQUIEM VADIM GLUZMAN PLAYS BRUCH

JUNE 1–2, 2018 MAR 2, 2018

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

Lilly Classical Series/Program Eighteen Friday, June 1, at 8 p.m.

Saturday, June 2, at 5:30 p.m.

Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | EMANUEL AX, Piano | LAUREN SNOUFFER, Soprano NANCY MAULTSBY, Mezzo-Soprano | JOHN TESSIER, Tenor | PEIXIN CHEN, Bass INDIANAPOLIS SYMPHONIC CHOIR, Eric Stark, Artistic Director Wolfgang Amadeus Mozart Overture to La Clemenza di Tito, K. 621 (1756–1791) Wolfgang Amadeus Mozart Concerto No. 27 in B-flat Major for Piano and Orchestra, K. 595

Allegro Larghetto Allegro Emanuel Ax, Piano

INTERMISSION — Twenty Minutes Wolfgang Amadeus Mozart Requiem, K. 626 Completed by Introitus Franz Xaver Süssmayer Requiem aeternam Kyrie Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Offertorium Domine Jesu Hostias Sanctus Benedictus

Agnus Dei Communio Lux aeterna The Mozart’s Final Year Festival is presented by

Premier Sponsor

Associate Sponsor

The performance of Classical Music, including Major Liturgical and Choral Music, is endowed in memory of Elmer Andrew & Marguerite Maass Steffen by E. Andrew Steffen.

Length of performance is approximately two hours.

Recording or photographing any part of this performance is strictly prohibited.

39 39

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MOZART’S REQUIEM

JUNE 3, 2018 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Telamon Classical Series at the Palladium Sunday, June 3, at 3 p.m.

The Palladium at the Center for the Performing Arts (Carmel)

KRZYSZTOF URBAŃSKI, Conductor | EMANUEL AX, Piano | LAUREN SNOUFFER, Soprano NANCY MAULTSBY, Mezzo-Soprano | JOHN TESSIER, Tenor | PEIXIN CHEN, Bass INDIANAPOLIS SYMPHONIC CHOIR, Eric Stark, Artistic Director Wolfgang Amadeus Mozart (1756–1791)

Overture to La Clemenza di Tito, K. 621

Wolfgang Amadeus Mozart Concerto No. 27 in B-flat Major for Piano and Orchestra, K. 595

Allegro Larghetto Allegro Emanuel Ax, Piano

INTERMISSION — Twenty Minutes

Wolfgang Amadeus Mozart Requiem, K. 626 Completed by Introitus Franz Xaver Süssmayer Requiem aeternam Kyrie Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Offertorium Domine Jesu Hostias Sanctus Benedictus

Agnus Dei Communio Lux aeterna Supported by

Length of performance is approximately two hours.

Recording or photographing any part of this performance is strictly prohibited.

41 41

JUNE 1–3

KRZYSZTOF URBAŃSKI, Conductor

In September 2017, Krzysztof Urbański entered the seventh season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra.

In 2015, Urbański became Principal Guest Conductor of the NDR Elbphilharmonie Orchestra succeeding Alan Gilbert. In addition to concerts in Hamburg last season, they toured Japan and Europe. Alongside these performances, they released for Alpha Classics ‘wholly excellent renderings’ (Gramophone) of Lutosławski works and Dvořák’s Symphony No. 9 and A Hero’s Song. His discography also includes Chopin small pieces for piano and orchestra with Jan Lisiecki and the NDR Elbphilharmonie Orchestra for Deutsche Grammophon which, received an ECHO Klassik award, and Martinu’s Cello Concerto No.1 recorded for Sony with Sol Gabetta and the

Berliner Philharmoniker. Krzysztof Urbański simultaneously maintains an international presence by appearing as guest conductor for numerous orchestras around the world, including the Münchner Philharmoniker, Staatskapelle Dresden, London Symphony Orchestra, Philharmonia Orchestra, Tonhalle Orchestra Zürich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Radio France, New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra Washington, and Toronto Symphony Orchestra, among others. Next season sees his debut with the Leipzig Gewandhaus Orchestra, Accademia Nazionale di Santa Cecilia Orchestra, and Orchestre de Paris.

Urbański served as Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra from 2010 until 2017 and embarked on a concurrent four-season tenure as Principal Guest Conductor of Tokyo Symphony Orchestra in 2012. In 2017 he was appointed Honorary Guest Conductor of the Trondheim Symfoniorkester & Opera.

In June 2015 Urbański received the prestigious Leonard Bernstein Award at the SchleswigHolstein Musik Festival; notably, he is the first conductor to have ever received this award.

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Serving the Indianapolis Symphony Orchestra for more than 50 years. www.OneAmerica.com 42

EMANUEL AX, Piano Born in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy.

His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University where he majored in French.

Ax made his New York debut in the Young Concert Artists Series and captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

In partnership with frequent collaborator David Robertson, he began the current season with six Mozart concerti over two weeks in St. Louis and repeated the project in Sydney in February. Following the gala opening of the Philadelphia Orchestra’s season with Yannick Nezet-Seguin he returns to the orchestras in Cleveland, New York, San Francisco, Boston, Houston, Ottawa, Toronto, and Pittsburgh, and to Carnegie Hall for a recital to conclude the season. In Europe he can be heard in Stockholm, Vienna, Paris, London, and on tour with the Budapest Festival Orchestra. In support of the recent release of their disc of Brahms Trios for Sony, Ax toured across the U.S. with Leonidas Kavakos and Yo-Yo Ma during the winter.

Always a committed exponent of contemporary composers, with works written for him

by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner already in his repertoire, most recently he has added HK Gruber’s Piano Concerto and Samuel Adams’ Impromptus. Last season his

JUNE 1–3

ongoing relationship with the Boston Symphony included visits with them to Carnegie Hall, Montreal, and Toronto; with The Cleveland Orchestra, Ax appeared as the featured artist for their Gala opening concert of the season and he returned to the orchestras of Chicago, Los Angeles, San Francisco, Cincinnati, Toronto, Paris, Berlin, Munich, Madrid, and Amsterdam.

A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman, Strauss’ Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In 2015 Deutche Grammophon released a duo recording with Perlman of Sonatas by Faure and Strauss, which the two artists presented on tour during the 2015–16 season.

Ax has received Grammy® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist YoYo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’ Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004–05 season Ax also contributed to an International Emmy® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th century music/Piano).

Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. For more information about Ax’s career, please visit www.EmanuelAx.com.

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JUNE 1–3

LAUREN SNOUFFER, Soprano Recognized for her unique artistic curiosity in world-class performances, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

Highlights of past seasons include Houston Grand Opera performances of Le nozze di Figaro as well as presentations of Carousel, Show Boat, The Rape of Lucretia, and L’italiana in Algeri, Lyric Opera of Chicago productions of Rusalka and La clemenza di Tito, a Seattle Opera debut as La Comtesse Adèle in Rossini’s Le comte Ory conducted by Giacomo Sagripanti, The Magic Flute at the Lyric Opera of Kansas City, and Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, with further performances in Budapest and Vienna.

Opera performances of the current season include the title role of Berg’s Lulu in a new production at the Teatro Municipal de Santiago, and she reprises her acclaimed portrayal of Agnès in Written on Skin for Opera Philadelphia’s new production. Furthermore, she creates principal soprano roles in the world premieres of Houston Grand Opera’s The House Without A Christmas Tree and in Andrew Norman’s A Trip to the Moon, presented by the Los Angeles Philharmonic.

Snouffer joined the Baltimore Symphony Orchestra for performances of Beethoven’s Egmont, Harry Christophers and the Handel & Haydn Society of Boston in Mozart’s Requiem, Franz Welser-Möst and The Cleveland Orchestra for Brahms’ Ein deutsches Requiem and concert performances of Strauss’ Daphne, and she dazzled as Cunegonde in concert performances of Bernstein’s Candide with Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.

Snouffer returns to the stage of the Lyric Opera of Chicago in a new production of Orphée et Eurydice. Mozart heroines include Donna Elvira in Don Giovanni with the Moscow Chamber Orchestra. Additional concert performances include Mozart’s Requiem with The Cleveland Orchestra and Barber’s Knoxville: Summer of 1915 and Mahler’s Fourth Symphony with the Malaysian Philharmonic Orchestra.

Closely associated with George Benjamin’s Written on Skin, she has sung the lead soprano role at the Tanglewood Festival of Contemporary Music and with the Théâtre du Capitole de Toulouse. She has sung Ligeti’s Mysteries of the Macabre with the Aspen Contemporary Ensemble and has given the New York premiere of HK Gruber’s Gloria—A Pig Tale with the New York Philharmonic. Her discography includes Hasse’s Siroe and Handel’s Ottone on Decca, Gottschalk’s Requiem for the Living on Novona Records, Grantham’s La cancíon desesperada on Harmonia Mundi, and Feldman’s The Rothko Chapel for ECM.

Her 2016–17 concert schedule included Bach’s Johannes-Passion with the Cleveland Orchestra, Mozart’s Requiem with the Rotterdam Philharmonic, Handel’s Messiah with the San Francisco Symphony, and Carmina Burana with the Indianapolis Symphony Orchestra. Her operatic diary included Die Zauberflöte at Seattle Opera, A Little Night Music with Des Moines Metro Opera, Handel’s Arminio for the Badisches Staatstheater Karlsruhe, and Béatrice et Bénédict at the Théâtre du Capitole de Toulouse.

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A graduate of the Houston Grand Opera Studio, Snouffer was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation, a Richard F. Gold Career Grant bestowed by Houston Grand Opera, was a grand finalist in the 2012 Metropolitan Opera National Council Auditions, and was graduated from Rice University and The Juilliard School.

NANCY MAULTSBY, Mezzo-Soprano American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of nineteenth-century French, Italian, and German opera and the great symphonic masterpieces.

Highlights of Maultsby’s future and recent seasons include performances of Debussy’s Pelléas et Mélisande with the Cleveland Orchestra as Geneviève in a new semi-staged production by Yuval Sharon, conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah. Maultsby will also sing Handel’s Messiah with the New Jersey Symphony Orchestra and Verdi’s Requiem with the Florida Orchestra.

The 2015–16 season featured performances of Beethoven’s Symphony No. 9 with the San Antonio Symphony conducted by Sebastian Lang-Lessing, Handel’s Messiah with the Baltimore Symphony Orchestra under the baton of Edward Polochick, as well as a return to Lyric Opera of Kansas City as Ježibaba in Dvořák’s Rusalka.

Maultsby’s orchestral repertoire extends from the Baroque to the most important works of the twentieth century. Her regular collaborations with America’s leading orchestras include concerts with the New York Philharmonic (Beethoven’s Symphony No. 9, Béatrice et Bénédict, Messiah), Philadelphia Orchestra (Verdi’s Requiem), Cleveland Orchestra (The Glagolitic Mass, Verdi’s Requiem), Boston Symphony Orchestra, Chicago Symphony

JUNE 1–3

Orchestra (The Glagolitic Mass), Los Angeles Philharmonic (Beethoven’s Symphony No. 9), San Francisco Symphony (Alexander Nevsky), Baltimore Symphony Orchestra (Alexander Nevsky), Toronto Symphony Orchestra (The Glagolitic Mass), Seattle Symphony (Bluebeard’s Castle, Mozart’s Requiem, Beethoven’s Symphony No. 9), Atlanta Symphony Orchestra (“Jeremiah” Symphony, El Niño, Beethoven’s Symphony No. 9), St. Paul Chamber Orchestra (The Rake’s Progress), St. Louis Symphony (Rossini’s Stabat Mater, Alexander Nevsky), Colorado Symphony (Verdi’s Requiem), Detroit Symphony Orchestra (Verdi’s Requiem), Houston Symphony, Milwaukee Symphony (Bach Mass in B minor), Rochester Philharmonic (Aida, Messiah), Florida Orchestra (Beethoven’s Symphony No. 9), IRIS Orchestra (Elgar’s Sea Pictures), Indianapolis Symphony (Messiah), and the Brooklyn Philharmonic (The Death of Klinghoffer).

She has sung at every major U.S. festival, including Ravinia (El Niño), Tanglewood, Saratoga, Aspen, Grant Park (Alexander Nevsky), Eastern Music Festival, and the Cincinnati May Festival.

Maultsby, a North Carolina native, is a graduate of Westminster Choir College, where she studied with Lindsey Christiansen, and was a graduate student at Indiana University School of Music, where she studied with Margaret Harshaw. She is an alumna of the Lyric Opera of Chicago’s Center for American Artists. Among numerous other awards, she is the winner of the Marian Anderson Award and the Martin E. Segal Award. She is on voice faculty at Baldwin Wallace University in Berea, Ohio.

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JUNE 1–3

JOHN TESSIER, Tenor

On the international stages of opera, concert, and recital, Canadian John Tessier has garnered attention and praise for the beauty and honesty of his voice, for a refined style and creative versatility, and for his handsome, youthful presence in the lyric tenor repertoire. The Juno Award-winning artist has worked with many of the most notable conductors of our day.

In the 2017–18 operatic season, Tessier returns for a fourth consecutive year to the stage of the Wiener Staatsoper and, this time, reprises his acclaimed portrayal of Tonio in Laurent Pelly’s production of La fille du Régiment. He also joins the Edmonton Opera to sing Don Ottavio in Don Giovanni and Calgary Opera for Conte Almaviva in Il barbiere di Siviglia. On the concert-stage appearances include Messiah with the Colorado Symphony, and Beethoven’s Ninth Symphony with Rune Bergmann and the Calgary Philharmonic and also with the National Arts Centre Orchestra.

Last season Tessier made a role debut as Massenet’s Werther in a new production at Manitoba Opera, appeared at the Wiener Staatsoper in La fille du Régiment, and bowed at Edmonton Opera in a revival of La cenerentola. He also joined the Montreal Symphony Orchestra for semi-staged performances of Bernstein’s A Quiet Place.

Highlights of recent opera seasons include Bellini’s I Puritani and Count Almaviva in Rossini’s Il barbiere di Siviglia, both at the Wiener Staatsoper; Cherubini’s Médée at the Théâtre des Champs-Élysées; both Les pêcheurs de perles and Maria Stuarda at Seattle Opera, and La cenerentola for New Zealand Opera. He has given the world première of

46

Robin de Raaff’s Waiting for Miss Monroe at the Netherlands Opera, and has sung Der fliegende Holländer at the Royal Opera House, Covent Garden. He appeared in Don Giovanni for a South American debut at the Teatro Colón, and in The Pearl Fishers with the English National Opera.

Further operatic credits include Salome at the Verbier Festival, La cenerentola and Così fan tutte at Minnesota Opera, Don Giovanni and Hamlet at Washington National Opera, Lakmé with L’Opéra de Montréal, and a new Jonathan Miller production of The Elixir of Love at both English National Opera and the New York City Opera. Conte Almaviva in Il barbiere di Siviglia has featured prominently in the tenor’s career with performances at English National Opera, New York City Opera, Edmonton Opera, Austin Lyric Opera, L’Opéra de Québec, and in a new Leon Major production at Glimmerglass Opera.

Symphonic engagements include Evangelist in Bach’s St. Matthew Passion and the Orchestra of St. Luke’s at Carnegie Hall, Rossini’s Stabat Mater, and Schumann’s Scenes from Goethe’s Faust with the Cleveland Orchestra, Mendelssohn’s Elijah both with the Winnipeg Symphony Orchestra and the Charlotte Symphony, and Carmina Burana with the Baltimore Symphony.

Other concert appearances feature Beethoven’s Ninth Symphony with the Deutsche Kammerphilharmonie Bremen, Haydn’s Mass in the Time of War with the San Francisco Symphony Orchestra, Berlioz’ Te Deum at the Philadelphia Orchestra, and Haydn’s The Creation with Ensemble Orchestral de Paris. He has sung Mozart’s Requiem with the Atlanta Symphony Orchestra, Bach’s St. Matthew Passion with the Toronto Symphony Orchestra, and Händel’s Messiah with the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Toronto Symphony Orchestra, and with Le Concert d’Astrée on tour in Vienna, Paris, Frankfurt, Cologne, and Milan.

PEIXIN CHEN, Bass A recent graduate of the Houston Grand Opera Studio, and a student of Dr. Stephen King, Peixin Chen is recognized for his majestically resonant bass voice and for a keen, dramatic instinct that he brings to a wide range of roles on the international opera stage. His repertoire spans from the comic parts of Donizetti, Mozart, and Rossini to the strong and serious of Puccini, Verdi, and Wagner. Peixin Chen has worked with an illustrious array of conductors and directors including Harry Bicket, Sebastian Lang-Lessing, Lorin Maazel, Giancarlo del Monaco, Andrés OrozcoEstrada, David Paul, Michel Plasson, David Pountney, James Robinson, Patrick Summers, and Francesca Zambello.

In the current season Chen makes his Opera Philadelphia debut as Sarastro in the acclaimed production of Die Zauberflöte, co-directed by Suzanne Andrade and Barrie Kosky, with full-scale animation created by Paul Barritt. Chen takes to the stage of the Lyric Opera of Kansas City as Sparafucile in Rigoletto, directed by David Gately, and debuts at the Bard Music Festival as the Old Patriarch in Dvořák’s Dmitrij, conducted by Leon Botstein in a new production directed

by Anne Bogart. With his home company, Houston Grand Opera, the Chinese bass bows as Don Bartolo in Il barbiere di Siviglia and as Oroveso in Norma.

JUNE 1–3

Chen joined the Metropolitan Opera last season for productions of Aida and Salome and sang concert performances of the Verdi Requiem with the Houston Grand Opera Orchestra and Chorus conducted by Music Director Patrick Summers. He made a Detroit Symphony Orchestra debut with Beethoven’s Ninth Symphony led by Leonard Slatkin, having also sung this work with Andrés Orozco-Estrada and the Houston Symphony, and the bass joined Edo de Waart for staged performances of Le nozze di Figaro with the Milwaukee Symphony Orchestra.

Le nozze di Figaro featured prominently in the bass’ 2015–16 season, assaying the title role in a new production by David Paul for Opera Saratoga, and bowing as Bartolo at the Houston Grand Opera, conducted by Harry Bicket in the company’s acclaimed production by Michael Grandage.

Recent company debuts include the roles of Sparafucile in Rigoletto at the Santa Fe Opera and Dulcamara in L’elisir d’amore for Washington National Opera. Chen has bowed as the King in Aida under the baton of Zubin Mehta, as well as both Bartolo in Le nozze di Figaro and Basilio in Il barbiere di Siviglia at the National Center for the Performing Arts (NCPA), and in The Passenger at the Lincoln Center Festival at the Park Armory.

The bass’ roles with Houston Grand Opera have included Ferrando in Il trovatore, Bonze in Madama Butterfly, Montano in Otello, Sarastro in The Magic Flute, and Hunding in Die Walküre. As a member of the Merola Program under the auspices of San Francisco Opera, Chen sang Basilio in Il barbiere di Siviglia.

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JUNE 1–3

INDIANAPOLIS SYMPHONIC CHOIR Soprano

Juliana P. Anthony Ala Antibus Shallen Atkins Marilyn Baumgardt Laura Brueckmann Emily Christine Carson Emily Cline

Cindy Colter Suzie Dodds Isabella Ferrari Shannon Gardner Deborah Mongold-Habing Diane Hall Danielle Hartman

Karen Jacobs Debbie Jones Quay Kester Heather Lapham Kuhn Kennedy Luton Christina Merriott Rebecca Mickelson

Reba Baker Deana Beecher Janice Bilby Katherine Bolinger Kara Bougher Melissa Brown Marie Butz

Ann Carlson Holly Erickson Dana Goot Jane E. Gosling Ruth Smith Green Molly DuMontelle Harris Janet Hock

Laura Howie-Walters Kristin Ingersoll Faith Justiniano Julia Keller-Welter Susan Kniola Beth Kurth Katherine T. Landschultz

Joe Brown Christopher Brush Robert C. Campbell Chris (Sang Yoon) Cho Terion Cooper Dr. Michael Davis

David Doty Robbie Foote Brett Habing Alexander Lalov Donald Mains, Jr. Jared McElroy

Andrew Miller Tom Nichols Cameron Oehler Eric Oehler Ian Paul Oehler Daniel Rains

Benjamin P. Anthony Jeffrey Bick Robert Bolyard Paulo Castro Wes Colter

Brett Deery Franklin R. Drumwright Nate Foley Dale E. Gwin Redmond P. Hogan

Ian Justiniano Nicholas Kohne Timothy S. Kroeker Bennett C. Laguzza, PhD Mark Lund

Lynn Murray Diana Pannell Erin Quandt Joanna Luisi Reinhardt Ingrid E. Rockstrom Stephanie Shaw Deborah Smith

Coleen Walker Pamela Walters Bethany Watson Suellen Williams Judith Ann Wilson Mary Jo Wright

Mary Leslie Claudia J. MacRae Lisa Marchal Mujinga Rose Massela Phyllis McCormack Becky Peterson Sydney Schafer

Margaret Strodtbeck Gwen Swart Dana L. Voigt Lydia Wells Donna K. White Sandy Winter

David Rose Craig Alan Slaughter Karl E. Snider Larry Stout Matthew Konrad Tippel

James R. Toombs Daniel Scott Watson Tommy Wells Daniel White Barrie Zimmerman

Alto

Tenor

Bass Rodney Martin Bob Massie Greg McGowan Duane S. Nickell Bill Paraskevas

James Anthony Plenty David Rosenfield Charles Schafer Tom Woo

Staff

Eric Stark, Artistic Director | Michael Davis, Assistant Artistic Director | Andrew Lannerd, General Manager Andrea Yovanovich, Development Director | Kate Housman, Operations Manager | James Plenty, Conducting Fellow

The Indianapolis Symphonic Choir is proud to be one of the nation’s most respected and dynamic musical institutions. Among the leading performing arts organizations on the national stage, the Indianapolis Symphonic Choir reaches in excess of 25,000 persons each season with more than 25 performances and comprehensive educational and outreach programs for all ages.

The 2017−18 season marks the organization’s 81st consecutive season, placing it among the most established symphonic choruses in the United States.

The Symphonic Choir is the choral partner of the Indianapolis Symphony Orchestra, having been founded in 1937 at the Orchestra’s request to perform the great choral-orchestral repertoire. Over the years, this partnership has remained at the very core of the Choir’s existence and exhibits the very best of collaborative ideals—two successfully independent arts organizations combining their strengths to create beautifully lasting musical results. In addition to collaborative performances with the ISO, the Symphonic Choir presents its own performances, educational initiatives, and events each season. 2017–18 marks the 16th season under the artistic direction of Dr. Eric Stark.

Eric Stark, Artistic Director

The Indianapolis Symphonic Choir is a 501(c)3 nonprofit governed by a volunteer Board of Directors, administered by a professional staff, and is made up of approximately 200 auditioned singers. For more information about the Indianapolis Symphonic Choir, visit indychoir.org and follow us on Facebook, Twitter, and LinkedIn at @IndyChoir.

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TRANSLATIONS

JUNE 1–3

Requiem, K. 626 Wolfgang Amadeus Mozart (completed by Franz Xaver SĂźssmayr) Introitus Requiem aeternam Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis care veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Requiem aeternam Grant them eternal rest, O Lord, and let everlasting light shine on them.

To thee, O God, praise is met in Zion, and unto thee shall the vow be performed in Jerusalem.

Hearken unto my prayer: unto thee all flesh shall come.

Grant them eternal rest, Lord, and let perpetual light shine on them.

Kyrie Kyrie, eleison.

Christe, eleison.

Kyrie, eleison.

Kyrie Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

Sequenz

Dies irae Dies irae, dies illa Solvet saeclum in favilla, teste David cum Sibylla.

Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!

Dies irae The day of wrath, that day shall dissolve the world in ashes as witnesseth David and the Sibyl.

What trembling shall there be when the judge shall come who shall thresh out all thoroughly!

Tuba mirum Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.

Tuba mirum The trumpet, scattering a wondrous sound Through the tombs of all lands, shall drive all unto the Throne.

Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

Death and Nature shall be astounded when the creature shall rise again to answer to the Judge.

A written book shall be brought forth in which shall be contained all by which the world shall be judged.

Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.

And therefore when the Judge shall sit, whatsoever is hidden shall be manifest; and naught shall remain unavenged.

Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus?

What shall I say in misery?

Whom shall I ask to be my advocate, When scarcely the just may be without fear?

Rex tremendae Rex tremendae majestatis, qui salvandos savas gratis, Salve me, fons pietatis.

Rex tremendae King of tremendous majesty, who freely savest the redeemed, save me, O fount of mercy.

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JUNE 1–3

TRANSLATIONS

Recordare Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die.

Recordare Remember, merciful Jesus, that I am the cause of your journey, lest thou lose me in that day.

Quaerens me sedisti lassus, redemisti crucem passus; tantus labor non sit cassus.

Seeking me didst thou sit weary: thou didst redeem me, suffering the cross.

Let not such labor be frustrated.

Juste judex ultionis, donum fac remissionis ante diem rationis.

Oh just Judge of vengence, give the gift of remission before the day of reckoning.

lngemisco tanquam reus; culpa rubet vultus meus; supplicanti parce, Deus.

I groan as one guilty; my face blushes at my sin.

Spare me, thy supplicant, O God.

Qui Mariam absolvisti, et latronum exaudisti, mihi quoque spem dedisti.

Thou who didst absolve Mary, and didst hear the thief’s prayer, hast given hope to me also.

Preces meae non sum dignae, sed tu bonus fac benigne, ne perenni cremet igne.

My prayers are not worthy, but do thou, good Lord, show mercy, lest I burn in everlasting fire.

Inter oves locurn praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Give me place among thy sheep and put me apart from the goats, setting me on the right hand.

Confutatis Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.

Confutatis When the damned are confounded and condemned to sharp flames, call me with the blessed.

Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.

I pray, kneeling in supplication, my heart contrite as ashes, take thou mine end into thy care.

Lacrimosa Lacrimosa dies illa, qua resurget ex favilla, judicandus homo reus.

Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amen.

Lacrimosa Lamentable is that day on which the guilty man shall arise from the ashes to be judged.

Spare then this one, O God, merciful Lord Jesus; give them Peace. Amen.

Offertorium

Domine Jesu Domine Jesu Christe, Rex gloriae, libera animas omniurn fidelium defunctorum de poenis inferni et de profundo lacu; libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum.

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Domine Jesu O Lord, Jesus Christ, King of glory, deliver the souls of all the departed faithful from the torments of hell and from the bottomless pit; deliver them from the mouth of the lion, lest Tartarus swallow them; lest they fall into the darkness.

TRANSLATIONS

JUNE 1–3

Sed signifer sanctus Michael repraesentet eas in lucem sanctam.

Quam olim Abrahae promisisti et semini ejus.

But let Saint Michael the standard-bearer bring them forth into the holy light.

Which thou didst once promise to Abraham and his seed.

Hostias Hostias et preces, tibi, Domine, laudis offerimus.

Tu suscipe pro animabus illis, quarum hodie memoriam facimus.

Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti et semini ejus.

Hostias To thee, O Lord, we render our offerings and prayers with praises.

Do thou receive them for those souls which we commemorate today; Lord, let them pass from death to life.

Which thou didst once promise to Abraham and his seed.

Sanctus

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth!

Pleni suni coeli et terra gloria tua.

Hosanna in excelsis.

Sanctus Holy, holy, holy, Lord God of Sabaoth.

Heaven and earth are full of thy glory.

Hosanna in the highest.

Benedictus

Benedictus Benedictus qui venit in nomine Domini.

Hosanna in excelsis.

Benedictus Blessed is He who cometh in the name of the Lord.

Hosanna in the highest.

Agnus Dei

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Agnus Dei Lamb of God, that takest away the sins of the world; grant them rest.

Lamb of God, that takest away the sins of the world; grant them rest.

Lamb of God, that takest away the sins of the world; grant them eternal rest.

Communio

Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Lux aeterna Let everlasting light shine upon them, O Lord, with thy saints forever, for thou art merciful.

Grant to the departed eternal rest, O Lord, and let everlasting light shine upon them.

Cum sanctis tuis in aeternum, quia pius es.

With thy saints forever, for thou art merciful.

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LILLY CLASSICAL SERIES

Program Notes

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

Overture to La Clemenza di Tito, K.621 Wolfgang Amadeus Mozart

Born: January 27, 1756, Salzburg, Austria Died; December 5, 1791, Vienna, Austria Year Composed: 1791 Length: c. 5 minutes World Premiere: September 1791, Prague, Austria Last ISO Performance: February 2006 with conductor Mario Venzago Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings Mozart’s final opera was written under great pressure. In 1791, Mozart produced La Clemenza di Tito within eighteen days in order to meet a deadline on his commission for an opera to use in the festivities surrounding the coronation of Emperor Leopold II as King of Bohemia at Prague. It is possible that his student Franz Süssmayr, who served as copyist, wrote some of the secco recitatives. Many felt that Mozart’s feat partially explained why the reception of the opera was subdued at best.

It was considered to have been written too quickly and was old-fashioned; there were not enough arias and the music was criticized as “uninspired and stiff.” The empress went so far as to call it “German rubbish.” Others questioned the idea of writing an opera seria at all since the genre had been steadily fading in popularity throughout the 1780s.

After the composer’s death, his wife, Constanze, did everything she could to support the opera, even saying that it was his best. As years have passed, however, the opera has enjoyed increasing acclaim. In 2008 the Metropolitan Opera produced a revival, in which New York Times reviewer Anthony Tommasini

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described the work as “musically ravishing,” “dramatically complex,” and “of great immediacy.” The new, modern production by Claus Guth in July 2017 at Glyndebourne, England, immediately received accolades. The Daily Telegraph wrote, “It was stark, compelling, and very well acted.” The Sunday Times wrote, “If you see any opera during the rest of the summer let it be …Mozart’s opera seria La Clemenza di Tito…Unmissable.”

The overture is unique in that it uses none of the themes from the opera. Usually, an overture’s mission is to preview the music in advance. Instead, Mozart produced a work that captured the stateliness of the occasion and the respect due to the Holy Roman Emperor, Titus Flavius Sabinus Vespasianus, who lived in the first century A.D. Instead of quoting themes and arias, this overture sets a tone and a mood. There is an interesting musical connection to the opera score: the last three notes of the overture are repeated exactly in the same rhythm when the final curtain falls.

La Clemenza di Tito totally crushes the Law of Talion, the lex talionis that was developed in early Roman law. This old idea is what is generally known as “an eye for an eye and a tooth for a tooth.” It requires that retaliation or punishment for an injury or crime should be equal to the crime. This lies at the core of the opera. The name La Clemenza (clemency) di Tito refers to his humanitarian decision not to kill those who were planning to murder him. In Act II, Scene 2, Titus sings: “If a hard heart is necessary to a ruler ye benevolent gods, either take the empire from me or give me another heart.

If I cannot assure the loyalty

of my realms by love, I care not for a loyalty That is born of fear.”

La Clemenza di Tito is a setting of an old libretto by Pietro Metastasio that was reworked

by Caterino Mazzolà. The overture begins in a stately manner that prefaces a vigorous first subject. The second theme is an elegant duet for flute and oboe. A tumultuous development forecasts the chromaticism that will occur in the upcoming romantic period, herein embedded within a dense contrapuntal texture. The recapitulation begins with a recall of the second theme before sounding the first theme, leading to a sharp conclusion. _____________________________________

Piano Concerto No. 27 in B-flat Major, K. 595

Wolfgang Amadeus Mozart

Born: January 27, 1756, Salzburg, Austria Died; December 5, 1791, Vienna, Austria Year Composed: 1791 Length: c. 31 minutes World Premiere: March 1791, Vienna, Austria Last ISO Performance: May 2016 with conductor Roberto Abbado and soloist Menahem Pressler Instrumentation: flute, 2 oboes, 2 bassoons, 2 horns, strings, and solo piano Toward the end of 1790, Mozart wrote to his wife, “If people could see into my heart, I should almost have to be ashamed . . . everything is cold for me—ice cold.” He was worn down, exhausted, depressed, and frightened. Constanze was very sick, and he had very little money. He was, it seemed, drained and numb. Perhaps worst of all, he had lost much of his following, but this was not only because he had “lost popularity,” but also because the political/social matrix had radically changed. Austria was in a cultural and political meltdown.

In the late 1780s Austria had to put down a furious rebellion in the Netherlands (what is now Belgium) and to fight a war with Turkey that ended in the disastrous Treaty of Sistova on August 4, 1791, in which Austria yielded back almost all of their conquered territory. Their sacrifices, deaths, and sufferings had been for nothing. The war devastated the Austrian economy and the national debt was unsustainable. Inflation became rampant and there were bread riots in Vienna. Of course, the nobility lost money, hence no money was available for musical patronage. Private orchestras were dismissed and the number of public concerts plummeted.

Joseph II and Leopold II passed repressive laws (to shut off any influences from the French Revolution), which led to enormous social unrest. Not many were thinking of piano concerti. Yet it was during these times that Mozart wrote his final piano concerto, which he entered into his catalogue of works on January 5, 1791. It spoke in a very different voice: no trumpets, no percussion, and was almost chamber-like in its presentation. Mozart played K. 595 on March 4, 1791, at his last public concert of his piano works.

There are three movements, sharing a kinship in melodic material, which forecast a common procedure in the nineteenth century. The first movement, marked Allegro, introduces an elegant first theme from the first violins with several interjections and combination with the winds. A second theme is similarly graceful, featuring a downward direction, which is quickly echoed in minor coloration. The development section has been described as one of his most unusual, with the soloist decorating parts of the two themes, which are basically allocat-

55

LILLY CLASSICAL SERIES

Program Notes

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

ed to different sections of the orchestra, with copious arpeggios and scales. It closes with one of three cadenzas the composer wrote for this work, which appear in the first and third movements.

A second movement, Larghetto, immediately presents a serene, delicate theme introduced by piano solo that is stated twice.

Horns then invite the violins to reiterate the theme before the pianist continues with a slight variation. Notice the clean separation of orchestra and piano, and the consistently discreet accompaniment throughout this section. The mood remains intimate and the pace is steady and calm.

The last movement is a tripartite rondo, introduced by the soloist playing a carefree, happy idea, now sharing more interaction with the orchestra. The origin of this main theme is taken from the song “Yearning for Spring” that Mozart wrote simultaneously during his creation of K. 595. The text is taken from a poem by Christian Overbeck that reads, “Come, sweet May, and turn the trees green again.” As the music unfolds, copious trills and scales add fluency and light decorative touches as the tune consistently holds center stage, leading to two affirmative closing chords.

The lack of overt keyboard virtuosity is especially notable in the Piano Concerto.

Demand for perfect control, evenness of tone, shaping of line, and sensitivity to the essence of classical poise require exceptional and reliable technique and concentration.

This may have been surprising to audiences of that time who perhaps were remembering and anticipating the glitter of his previous

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piano concerto that was written several years before for the coronation of Leopold II as Holy Roman Emperor. The impact of Mozart’s final word in this genre is profoundly touching, persuasive, convincing, and unforgettable. This indeed was a different voice, perhaps marking a new direction in his style. It is not necessary to shout to be heard and dazzled. Sadly, there was no more to come. Some have said that this gentleness and simplicity was a “farewell” from Mozart, and if so, he distilled a powerful summation of his values, talent, and legacy. _____________________________________

Requiem, K. 626 Wolfgang Amadeus Mozart

Born: January 27, 1756, Salzburg, Austria Died; December 5, 1791, Vienna, Austria Year Composed: 1791 Length: c. 55 minutes World Premiere: January 1793, Vienna, Austria (Mozart-Süssmayr Requiem) Last ISO Performance: October 2014 with conductor Matthew Halls and soprano Yulia Van Doren, mezzo-soprano Meg Bragle, tenor Lawrence Wiliford, and bass Nathan Berg Instrumentation: 2 basset horns, 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, and strings Vocalists: soprano, alto, tenor, and bass soloists, and an SATB-mixed choir.

A requiem is a Catholic Mass for the dead (Missa pro defunctis). The more joyful parts of the standard Mass are omitted and emphasis is placed on matters of death and salvation.

Sometimes the term “requiem” is also used as a title for a musical setting of poems concerned with death as well as designating a Catholic Mass. In this respect, Robert Schumann’s definition of a requiem is interesting: “It is a thing that one writes for oneself.”

Legend says that Mozart was writing this work for his own death, but the manuscript reveals a sure hand, not that of someone who is moribund. It was clear that he was indeed depressed and while writing the Mass, he said, “I have the taste of death on my tongue.”

By November 20, 1791, Mozart was terminally ill, hugely swollen, distorted, and unable to sit up in bed, much less compose or hold a pencil. He was also convinced that he had been poisoned (although medical perspectives suggest that he was having recurring acute rheumatic fever, a disease that could injure his heart). Acute rheumatic fever was sweeping Vienna at that time. The 1981 film Amadeus (in which Requiem is prominently featured) links Salieri with the mysterious commissioner Count Franz von Walsegg as a murderous duo.

Although Mozart wrote sixteen complete Masses, his Requiem K. 626 is easily the most famous of the set and probably of all his religious works. Its origins are dramatic. In the summer of 1791, Mozart was commissioned by “a gray messenger” unknown to him to write a Mass. This messenger arrived late one summer night at Mozart’s home with the proposition. For this Mass he would pay the composer 50 percent immediately and the balance upon completion, but Mozart must never know the source of the money. Mozart not only needed the money but was also stunned and intrigued by the circumstances.

He quickly accepted.

The “gray messenger” (dressed totally in gray) turned out to be Franz Anton Leitgeb, owner of a local gypsum plant. Leitgel had acted as representative of Count Franz Walsegg, a quirky aristocrat who had a habit of secretly commissioning works from well-known composers and claiming them as his own. Some report that Walsegg merely played the works at parties (not claiming them) and had his guests try to guess the composer’s identity.

Others say that he was “a musical liar” and had taken credit for many pieces that were not his own. In this case, Walsegg was needing a requiem for his wife who had died on February 14 of that year.

When Mozart began work on the Requiem, he was interrupted by an unexpected commission for a new opera (La Clemenza di Tito) and was also writing his Clarinet Concerto and completing The Magic Flute. Progress on the Mass was not steady until late October 1791 when he also consulted with his pupil, friend, and assistant Franz Xaver Süssmayr on the matter. Ultimately Mozart’s own death on December 5 stopped completion of the Requiem. One day before, on December 4, Mozart did participate in a read-through from his death bed, taking the alto part in a quartet, according to his sister-inlaw, Sophie Haibel. The only parts of the Mass fully scored by Mozart at this time were the Requiem aeternam and the Kyrie. Drafts of other movements existed, and he had written vocal parts for other sections, and sometimes a bass line was indicated for orchestra. No sketches for the last three movements existed at all.

After the composer’s death, his wife, Constanze, needed the money from the commission and she asked the court conductor Joseph Eybler to complete the project. He added some additions directly to the manuscript, but it was inadequate. It was Franz Süssmayr who completed the project. And then, when finished, Süssmayr forged Mozart’s signature on the score!

Scholars have long disputed the elements that Süssmayr added or completed. Controversy concerning attributed authorship has been long and involved. There are three main dilemmas: What did Mozart

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LILLY CLASSICAL SERIES

Program Notes

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

really complete? What was outlined extensively by him and completed by someone else? What parts were more freely invented on the basis of outline? Paul Henry Lang aptly titled his chapter on this matter “Requiem But No Peace.”

Dies irae (choral introduction to the Sequence) and tri-partite Sequence: Progress same as the Kyrie and up to measure eight of the concluding Lacrimosa, the very last music Mozart composed. The Dies irae includes dramatic military trumpet calls and angry depiction of judgment. Tuba mirum utilizes trombones, an instrument Mozart used when he felt that God was indeed present, or it was a moment of gravitas. (A trombone solo at the end was possibly added by Süssmayr.) Soloists enter, culminating in the quartet Quid sum miser tunc dicturus? Rex tremendae begins with heavy, dramatic writing, and concludes with a prayer.

The texture of the Requiem is largely polyphonic, with the Kyrie boasting a double fugue, and the Rex tremendae and Confutatis richly canonic. The keys selected are generally minor, and the brightness of flutes, oboes, clarinets, and horns is absent. In place of these customary instruments are basset horns, bassoons, trumpets, trombone, and timpani with the strings, continuo, and choral parts. Musicologist Karl Geiringer wrote, “The result is a disembodied dark timbre, perfectly expressing the solemnity and mystery of death. But despite its sombre majesty, the work is imbued with an affirmative and soothing spirit. The inner peace and serenity that were granted to Mozart illuminate the whole Requiem, and the sadness it evokes is gentle rather than violent.”

The remaining sections, Sanctus, Benedictus, and Agnus Dei, were yet to be addressed. What eventually emerged as the Requiem in D Minor (in 1792 or 1793) was the following:

At Mozart’s death, the progress of the Mass was as follows:

Completion of the Lacrimosa by Süssmayr.

In the 1960s, sketches emerged of Mozart’s contemplated fugal idea for the Amen.

Introitus and Requiem aeternum: Complete, marked by elements of operatic style and Bach-like counterpoint.

Kyrie: Vocal parts complete, orchestral parts sketched with figured bass; an intense choral fugue, climaxing in a dramatic pause and unison in the chorus. The fugue is a double fugue: subject one being the Kyrie Eleison and subject two, the Christe eleison. Herein, Mozart borrowed a melody from George Frideric Handel’s Messiah, “And with His stripes we are healed,” which he had revised in 1789.

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Recordare: Soloists transition to the Confutatis, a segment pleading for forgiveness. And finally, the Lacrimosa.

Offertorium: Vocal parts were complete and the orchestral parts were sketched.

Completion of the Offertorium.

Sanctus: It begins with a choral statement of the tri-partite section and closes with Hosanna fugue. All written by Süssmayr.

The following were written by Süssmayr with Mozart sketches referenced: Benedictus: It includes an operatic ensemble and recall of the fugue.

Agnus Dei: Includes beautiful, whispered effects prior to tenor and bass emergence.

Some scholars feel that Süssmayr referenced earlier Mozart Masses for this section.

Communio and Lux Aeterna: This is a reprise of the Requiem’s opening and reworking of the Kyrie fugue, bringing the Mass to its close. The additional Lux aeterna section was Süssmayr‘s idea to round out the Mass in a circular fashion.

Süssmayr’s incredible effort and accomplishment of completing the Mass insured that Constanze received the remaining ducats of the commission. For her part, the widow minimized Süssmayr’s incredible efforts, saying that he did only “what anyone could have done” after providing him with sketches in Mozart’s handwriting.

em is Mozart’s composition.” Professor Robert Levin of Harvard concluded after twenty-five years of study on the subject—plus his own conclusion to the Mass—that “Süssmayr commits serious flaws that are foreign to Mozart’s idiom.

These errors encompass grammatical and compositional issues, e.g., glaring parallel fifths in the orchestral accompaniment of the Sanctus, the Hosanna fugue’s clumsy voice leading and insufficient length, and the reprise of the fugue after the Benedictus, and an overly thick orchestral texture.”

Irrespective of these issues and storms surrounding the writing, Mozart’s last work remains essentially his, standing as one of the most eloquent and transcendentally beautiful statements of faith for all time.

The musicologist Friedrich Blume adheres to Constanze’s theory noting that, “The stylistic and qualitative evidence of these movements speaks for the fact that, apart from minor additions and the orchestration, the Requi-

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MOZART’S THE MAGIC FLUTE VADIM GLUZMAN PLAYS BRUCH

JUNE 8, 10, 2018 MAR 2, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Nineteen Friday, June 8, at 8 p.m.

Sunday, June 10, at 3 p.m.

Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | SAMUEL HELFRICH, Stage Director OONA CURLEY, Lighting/Set Designer | LAUREN SNOUFFER, Soprano, Pamina JOHN TESSIER, Tenor, Tamino | KATHERYN LEWEK, Soprano, Queen of the Night SEAN MICHAEL PLUMB, Baritone, Papageno | PEIXIN CHEN, Bass, Sarastro JULIAN MORRIS, Bass-Baritone, The Speaker | CHRISTINE PRICE, Soprano, Papagena Wolfgang Amadeus Mozart Die Zauberflöte (The Magic Flute) (1756–1791) Act I

INTERMISSION — Twenty Minutes

Act II The Mozart’s Final Year Festival is presented by

Special support for The Magic Flute provided by

Premier Sponsor

Associate Sponsor

Length of performance is approximately two hours and fifty minutes.

Recording or photographing any part of this performance is strictly prohibited.

For Maestro Urbański’s biography, see page 42.

For Lauren Snouffer’s biography, see page 44.

For John Tessier’s biography, see page 46.

For Peixin Chen’s biography, see page 47.

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JUNE 8, 10

SAMUEL HELFRICH, Stage Director

Sam Helfrich is an opera and theater director based in New York. He has directed opera productions at New York City Opera, Boston Lyric Opera, Portland Opera, Glimmerglass Opera, Spoleto Festival/ USA, Virginia Opera, Opera Boston, Pittsburgh Opera, and Wolf Trap, among others.

Recent opera highlights include a staging of Haydn’s Creation with the Pittsburgh Symphony, the New York premiere of Angels in America at New York City Opera, the world premiere of Dan Sonenberg’s The Summer King at Pittsburgh Opera (and, recently, at Michigan Opera Theater), Bach’s St. John Passion with the Pittsburgh Symphony, Mark Anthony Turnage’s Greek at Boston Lyric Opera, Offenbach’s Orpheus in the Underworld at Virginia Opera, the world premiere of Enemies: A Love Story, by Ben Moore, at Palm Beach Opera, Embedded, by composer Patrick Soluri, at Fargo-Moorhead Opera, Strauss’ Ariadne auf Naxos at Virginia Opera, Jake Heggie’s Dead Man Walking at Eugene Opera, Andre Previn’s A Streetcar Named Desire at Vir-

62 IndianapolisBallet-ISO-Program-April18.indd

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ginia Opera, the American premiere of Philip Glass’ Kepler at Spoleto Festival/USA, Adams’ Nixon in China at Eugene Opera, a fully staged Messiah with the Pittsburgh Symphony, the world premiere of Michael Dellaira’s The Secret Agent at Center for Contemporary Opera in New York, the Armel Opera Festival in Hungary, and Opera Avignon, The Turn of the Screw at Boston Lyric Opera, Philip Glass’ Orphée at Pittsburgh Opera, Virginia Opera, Portland Opera, and Glimmerglass Opera, and Anthony Davis’ Amistad at Spoleto Festival/USA. Recent theater credits include Arthur Miller’s After The Fall at NYU/Tisch Grad Acting, off-Broadway productions of Owned, a world premier play by Julian Sheppard, and Tape, by Stephen Belber, both of which played to wide audience- and critical acclaim, and a double bill of plays by Shaw and De Musset at the Franklin Stage Company.

Upcoming projects include a world premiere in development with New York City Opera, the world premiere of Why is Eartha Kitt Trying to Kill Me at Urban Arias in D.C., and Permadeath, a CGI-based opera about video gaming with White Snake Productions in Boston.

Helfrich holds a BA in Russian Literature and an MFA in Theatre Arts, both from Columbia University.

3/6/18 11:02 AM

OONA CURLEY, Set and Lighting Designer Oona Curley is a lighting and scenic designer from New York specializing in new and devised work.

Her work has been seen in New York (ArsNova, Atlantic Theater Co., The Cherry Lane, The Flea, Joe’s Pub, JACK, La MaMa, The New Ohio, NYU/Tisch), Philadelphia (The Arden

JUNE 8, 10

Theatre, Curtis Opera, Opera Philadelphia, FringeArts, The Bearded Ladies Cabaret, Team Sunshine Performance Co.), and regionally (Sharon Playhouse, Brown/Trinity Rep, Chester Theatre, Cosmopolitan of Las Vegas, Historic Asolo Theater). Curley earned her MFA from NYU/Tisch, where she received the J.S. Seidman Award for Design Excellence and was their nominee for a Princess Grace Award.

Curley is an associate artist with the Bearded Ladies Cabaret in Philadelphia and is a visiting professor of lighting design at Connecticut College. www.oonacurley.com.

TUESDAY, JUNE 26, 7:30PM Hilbert Circle Theatre

Legendary pianist and composer and winner of 14 Grammy Awards, including Album Of The Year, Herbie Hancock makes his Hilbert Circle Theatre debut. Don’t miss this one-night-only event.

The ISO will not perform at this concert.

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 63

JUNE 8, 10

KATHRYN LEWEK, Soprano, Queen of the Night Soprano Kathryn Lewek has established herself as one of opera’s strongest coloratura sopranos of this generation and is now expanding her résumé with some of the most vocally challenging roles in the soprano repertoire.

Last summer, Lewek “perform[ed] a miracle” and was “especially brilliant” in her role début as Ginevra in Ariodante with Salzburger Pfingstfestspiele in Austria, opposite Cecilia Bartoli. Critics exclaimed: “The intonation was unbreakable, the legato and the alternation of the register, the uniquely shimmering yet firm quality, the intensity of the melting of the sound, such charming grace” (Salzburger Nachrichten), “Such a rich (and richly differentiated) soprano voice has not been experienced for a long time” (Salzburger Nachrichten).

Last summer she reprised her signature role as Queen of the Night in Die Zauberflöte with The Deutsche Oper Berlin, and performed the Queen of the Night aria as one of the ten pieces in “Sir Henry’s Magnificent Musical Inspirations” concert with the Royal Philharmonic Orchestra at BBC Proms Classical Music Festival. This season, she returned to Washington National Opera as Cunegonde in their production of Candide and reprised her role as the reigning Queen of the Night

with The Metropolitan Opera, Festival d’Aixen-Provence, Dutch National Opera, Pacific Symphony, and Indianapolis Symphony.

In concert, Lewek performed the soprano solo in Händel’s Messiah with Music Sacra and Oratorio Society of New York, sang at Galas for The Opera Foundation and Toledo Opera, and performed a recital with Rockefeller University and a recital and masterclass with Messiah College. Upcoming seasons include a role début as the three Heroines in Les contes d’Hoffmann and a return to The Gran Teatre del Liceu as well as multiple returns to The Metropolitan Opera.

With an impressive history of leading female roles in her career, recent seasons’ engagements have also included role débuts as Teresa in Benvenuto Cellini with Gran Teatre del Liceu in Barcelona; Konstanze in Die Entführung aus dem Serail with Deutsche Oper Berlin; the title role of Maria Stuarda with Edmonton Opera; and Rosina in Il barbiere di Siviglia and the title role in Lucia di Lammermoor with Toledo Opera and Opera Carolina.

Other notable roles include Angelica in Händel’s Orlando with The Hobart Baroque in Tasmania, for which she won a Helpmann Award; La Fée in Cendrillon with New Orleans Opera; and Cunegonde in Francesca Zambello’s Candide in her company début with Glimmerglass Opera. European débuts also include the role of Jessica in the world première of André Tchaikowsky’s Kupiec Wenecki (The Merchant of Venice) with Bregenzer Festspiele.

This production was awarded the International Opera Award 2014 in the category “Best World Première.”

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SEAN MICHAEL PLUMB, Baritone, Papageno Hailed for his “full, exciting lyric baritone” (Opera News) and “elegant lyricism and responsive musicality” (The New York Times), 26-year-old Sean Michael Plumb returns to the Ensemble of the Bayerische Staatsoper for the 2017–18 season to sing Guglielmo in Così fan tutte, Dandini in La cenerentola, Schaunard in La bohème, and Prosdocimo in Il turco in Italia amongst others. North American performances of the season include a Cleveland Orchestra debut as Melot in fully staged performances of Tristan und Isolde led by Franz Welser-Möst. During his inaugural season in Munich, Sean Michael Plumb bowed as Dandini in La cenerentola and as Harlekin in Ariadne auf Naxos.

The California native made his Bayerische Staatsoper debut in the 2015–16 season in the world premiere of South Pole, by composer Miroslav Srnka and librettist Tom Holloway, and he assayed the role of Schaunard in La bohème for his debut at the Opera Theatre of Saint Louis. Other highlights included a return engagement at the Glimmerglass Festival with main stage performances of Papageno in The Magic Flute and Sam in Trouble in Tahiti.

Passionate about contemporary music, Plumb has performed the roles of Owens/ Ethan in the world premiere workshop of Jennifer Higdon and Gene Scheer’s Cold Mountain with Opera Philadelphia and Santa Fe Opera. He has collaborated with Missy Mazzoli and Royce Vavrek on Breaking the Waves in workshop performances in New York and San Francisco, and he covered the lead role of Clyde Griffiths in Tobias Picker’s An American Tragedy at The Glimmerglass

JUNE 8, 10

Festival. Plumb’s opera credits also feature performances of Marcello (La bohème), Belcore (L’elisir d’amore), Dandini (La cenerentola), Robert (Iolanta), Ein Musikleher (Ariadne auf Naxos), Kaiser Overall (Der Kaiser von Atlantis), Prince Yamadori (Madama Butterfly), Apollo (Apollo e Dafne), Fiorello (Il barbiere di Siviglia), Wagner (Faust), and Thierry (Dialogues of the Carmelites).

Plumb has performed across the United States in such prestigious venues as the Kennedy Center, Dorothy Chandler Pavilion, Kimmel Center, Baryshnikov Arts Center, Gusman Theater, and the Broad Stage, as well as with orchestras including the Florida Orchestra, Maryland Symphony Orchestra, the Los Angeles Opera Orchestra, and the Curtis Symphony. He was a member of the Salzburg Festival’s Young Singers Project in 2016 and has been a young artist at The Glimmerglass Festival, the Festival d’Aix-enProvence, and the Aspen Music Festival.

Plumb made his national television debut in the HBO documentary “Renée Fleming: A YoungArts MasterClass” and performed as the youngest soloist at the Grammy Week Salute to Plácido Domingo in 2010. He was honored

by President Obama as a United States Presidential Scholar in the Arts at a ceremony at The White House and has garnered a multitude of awards for his singing including the Grand Prize of the 2016 Metropolitan Opera National Council Auditions, Top Prize at the 2016 Gerda Lissner Foundation International Vocal Competition, a 2016 Shoshana Foundation Grant, the 2015 Sullivan Foundation Award from The Sullivan Foundation, Top Prize at the 2015 Opera Index Competition, a 2015 Sara Tucker Grant from The Richard Tucker Foundation, First Prize at the 2015 Gerda Lissner Liederkranz Competition, and the 2015 Theodor Uppman Prize from the George London Foundation. Plumb was graduated from the Curtis Institute of Music where he studied under renowned instructors Mikael Eliasen and William Stone.

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JUNE 8, 10

JULIAN MORRIS, Bass-Baritone, The Speaker Originally from Virginia, bassbaritone Julian Morris is currently a graduate student at the Jacobs School of Music at Indiana University.

Most recently, he performed the role of Raimondo in IU Opera Theatre’s new production of Lucia di Lammermoor. Other operatic credits include Alvaro in Florencia en el Amazonas, Hobson in Peter Grimes, Don Magnifico in La Cenerentola, and Pistola in

Falstaff. On the concert stage, Morris has appeared as the bass soloist in Haydn’s Missa Sancti Nicolai, J.S. Bach’s Sehet, welch eine Liebe, and in November 2017 appeared with the IU Oratorio Chorus and Philharmonic Orchestra as the bass soloist in Krzysztof Penderecki’s St. Luke Passion, in a performance conducted by the composer.

Morris also appears regularly with the Bloomington-based opera outreach program ROK: Reimagining Opera for Kids. Morris currently serves as associate instructor of voice at Indiana University, where he teaches privately, and is also assistant director of the undergraduate opera workshop.

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Bach Society of Minneapolis directed by Matthias Maute performing J.S. Bach’s Ascension Oratorio, BWV 11

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Ayreheart Bach Society of Minneapolis Ensemble Caprice (Montreal) Ronn McFarlane & Paul O’Dette Tempesta di Mare (Philadelphia)

CHRISTINE PRICE, Soprano, Papagena Soprano Christine Taylor Price, from Tulsa, Oklahoma, is in the Artist Diploma in Opera Studies program of the Marcus Institute for Vocal Arts at the Juilliard School, where she also earned a Master of Music in Vocal Performance in 2016.

In 2017 Price was the soprano soloist in Mahler’s Symphony No. 4 with the Juilliard Orchestra at Alice Tully Hall. She was featured in the NYFOS sponsored ‘Caramoor’s Vocal Rising Star’ production and at Merkin Concert Hall. This past spring, Price was livestreamed in a master class at Juilliard with Emmanuel Villaume. In April she sang Susanna in Le nozze di Figaro at Opera in Williamsburg. She was a 2017 Gerdine Young Artist at Opera Theatre of Saint Louis and made a role debut as the Governess in The Turn of the Screw at Opera Columbus. Price was also a soloist in the livestreamed master class with Metropolitan Opera Maestro Fabio Luisi at Juilliard.

Price performed the title role of Pamina in Juilliard’s production of Die Zauberflöte. In May 2016 she proudly made her Carnegie Hall debut as soloist with the Cecelia Chorus of New York with Mark Shapiro conducting.

She also sang Bastienne in Bastien und Bastienne at the San Diego Mainly Mozart Festival with the Mainly Mozart Festival Orchestra.

JUNE 8, 10

at St. John The Divine Cathedral, and featured soloist in Joyce Di Donato’s livestreamed master class at the Juilliard School.

Accomplishments in 2014–15 include Songfest at Alice Tully Hall, curated by the Marcus Institute, accompanied by Juilliard Artistic Director and pianist Brian Zeger, featuring music set to the texts of Charles Baudelaire.

Price sang Lucia in Britten´s The Rape of Lucretia at the Juilliard School, was a featured soloist in Argento’s Six Elizabethan Songs with the New World Symphony, as well as soprano soloist in Mendelssohn’s A Midsummer Night’s Dream with the New York Philharmonic’s Young People’s Concert at Avery Fischer Hall.

By special invitation she sang in legendary soprano Renata Scotto’s master class for the Lindemann Young Artist Development Program at the Metropolitan Opera. In summer 2015 Christine was a studio artist at Wolf Trap Opera performing Lucien in Corigliano’s The Ghosts of Versailles and covering the role of Susanna in Mozart’s Le nozze di Figaro.

Price earned her bachelor of music degree in vocal performance from the Manhattan School of Music, where she sang the title roles in the Manhattan Summer Voice Festival Production of Cavalli’s La Calisto and the Manhattan School of Music Senior Opera production of La Doriclea. In 2012 she made her Alice Tully Hall debut as the soprano soloist in Mahler’s Symphony No. 4 with the Juilliard pre-college orchestra. A graduate of the Juilliard Pre-College Division, she studies voice with Edith Wiens. Previous teachers include Pamela Armstrong, Lorraine Nubar, Ashley Putnam, and Joan Patenaude-Yarnell.

In 2015–16 Price was soprano soloist in Bach’s Magnificat as part of the Music Before 1800 series, accompanied by the Juilliard 415 Orchestra. Additional credits include soloist in Music Sacra’s Songs of the Divine: a capella Masterworks including the Deutsche Motette

67

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VADIM GLUZMAN PLAYS BRUCH

Program Notes MAR 2, 2018

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

Die Zauberflöte (The Magic Flute) Wolfgang Amadeus Mozart

Born: January 27, 1756, Salzburg, Austria Died; December 5, 1791, Vienna, Austria Year Composed: 1791 Length: c. 2 hours and 50 minutes World Premiere: September 1791, Vienna, Austria Last ISO Performance: September 1989 with conductor James Ceraher Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, celesta, and strings Three months before Mozart died on December 5, 1791, he produced two extraordinary operas: La Clemenza di Tito, K. 621 (in Italian) and Die Zauberflöte, K. 620 (in German). In spite of their vast differences, they were written concurrently and both premiered in the month of September to equally different receptions from audiences and critics.

La Clemenza di Tito was poorly received, possibly because it was conceived and completed in warp speed (three weeks) as an opera seria, a genre that was rapidly losing favor and considered to be old-fashioned. These sophisticated works were generally attended by nobility and produced in court theatres.

Opera seria also offered a grand social occasion as well as an expensive spectacle. By 1791, however, the aristocracy was waning and their purse strings were closed for such indulgence. Predictably, audiences for this type of opera declined.

Mozart was concerned about the future for Die Zauberflöte. He wrote to Emanuel Johann Schikaneder (who coaxed him to accept the project because he was near bankruptcy) and

said, “. . . if the work is not successful, you must not blame me; for I have never written a magic opera in my life.” Although he didn’t live long to enjoy it, Die Zauberflöte was quickly accepted as one of his most successful and popular operas. It was performed eighty-three times during the first year in Vienna, two hundred and eighty-three times in the original theater in ten years, and radiated throughout Europe. La Clemenza di Tito, however, lagged and required many more years to be acclaimed and treasured.

Die Zauberflöte was composed over five months in a lighter style, in the vein of the opéra comique or opera buffa, and utilized an increasingly popular Singspiel style, incorporating spoken dialogue into the musical drama. Only two days after he finished the score, Mozart conducted its Viennese premiere from the harpsichord on September 30 at the Theater auf der Wieden, a public theater that served audiences comprising shopkeepers, merchants, bankers, and families. The librettist Joseph Schikaneder, who had an acting troupe of his own, had produced many Singspiel plays at this theater, and probably insisted that Mozart use this technique.

For its time, Die Zauberflöte was an opera with a notable egalitarian character, spirit, and intent. Significantly, it contains deep messages about the rights of all men with similar tenets and extensive symbolism derived from Freemasonry.

Donald J. Grout in A Short History of Opera noted, “One thing is certain. Mozart and Schikaneder (the librettist) resolved to depict the realm of moral duties and

69 69

LILLY CLASSICAL SERIES

Program Notes

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

virtues by means of Masonic symbols.” And these would be demonstrated within a fairy tale derived mainly from the following literary sources: On the Mysteries of the Egyptians written by Ignaz von Born, a Freemason and friend of Mozart who published in the first issue of the Masonic journal Journal fur Freymaurer (1784); three books published by Christoph Martin Wieland of nineteen fairy tales (1786–89); the medieval romance Yvain

by Chrétien de Troyes (translated by K.J. Michaeler 1786–87); and The Life of Sethos Taken From Private Memoirs of the Ancient Egyptians

by Jean Terrasson, translated by Matthias Claudius (1777–78). It also had input from some of the original actors as well.

The Magic Flute is written in two acts: three scenes in Act I and six scenes in Act II. You will hear references to Osiris (an ancient king of the Egyptians who eventually became a chief deity) and Isis, his wife, who became a prototype for Christian images of the Virgin Mary and Jesus. Osiris and Isis represented the Great Mysteries of religion in Egyptian culture.

Since the setting of The Magic Flute is in ancient Egypt, it is not surprising that in the libretto, pleasing these gods is key to achieving purification, knowledge of divine truths, and acceptance into a higher plane of existence and godliness. Osiris and Isis became very important in Freemasonry, a point of reference for many of the important rules embraced by Freemasons at this point in time.

But why Egypt? At the end of the eighteenth century, Egyptomania and antiquity/investigations into the Land of the Pharaohs were flooding Vienna fashion, curiosity, and artistic inspiration. Obelisks appeared in gardens,

70

architects built Egyptian-style pyramid-like tombs, homes were decorated with Egyptian accents, and imitations of scarabs dangled on necklaces. After Napoleon invaded Egypt from 1796 to 1801 and the Description de l’Egypt was produced in 1809, Egyptomania accelerated throughout the nineteenth century. But the fascination began in the late eighteenth century. Mozart undoubtedly was aware of this trend and its potential in tapping into this phenomenon in The Magic Flute.

Act I: Scene I Prince Tamino, pursued by a giant serpent, suddenly finds himself in a foreign place, sometimes described in the sources as “a strange and distant land” or “a land between the moon and the sun” (Mozart’s setting was Egypt). Although he is carrying a bow, there are no arrows, and he cries out for help (“Zu Hilfe! Zu Hilfe!”) and faints.

Three veiled ladies, servants of the Queen of the Night, discover him and kill the serpent with their silver javelins (made of moon metal) by cutting him into three pieces. They declare that the unconscious prince is most attractive, singing, “Ein holder Jüngling, sanft und schön” (A noble youth, gentle and beautiful).

They argue about who will tell the Queen of the Night of their interesting discovery, and finding no consensus, all three leave together.

Tamino, recovering consciousness, hears a noise in the forest, and runs and hides as Papageno, dressed in a feathery costume suiting a birdcatcher in the queen’s service, arrives singing an aria about his profession and his desire for a wife. He brags to Tamino that he killed the serpent by strangulation.

After the three ladies and the queen return, they padlock his mouth for lying and show

the prince a portrait of the queen’s missing daughter, Pamina. Tamino is quickly smitten.

Her mother offers Pamina to him if he will rescue her from the “evil Sarastro” in the famous, virtuosic Queen of the Night coloratura aria. He accepts the charge immediately.

To protect him in this quest, the three ladies give Tamino a golden magic flute and Papageno (who tags along) receives a set of silver magic bells for protection and a glockenspiel.

Act I: Scene II. A room in Sarastro’s castle.

Pamina tries to escape from the castle via a gondola, but fails and is caught by the chief slave, Monostatos. He orders her to be confined by chains for his own physical sensual pleasure. “Du feines Täubchen, nur herein” (You fine little dove, come with me!) She faints in fear. Monostatos insists that he be left alone and orders the other slaves away so that he can have his way with her. But he doesn’t. He is interrupted! As in the first scene, Papageno enters and describes her as “Viel weisser noch als Kreide” (whiter than chalk).

Pamina regains consciousness and calls for her mother, but finds Papageno instead who recognizes her from the portrait. He assures her that a prince is coming along to free her and furthermore, that the prince is already in love with her. Pamina is pleased at the prospect, but questions if he will free her from the chains. A duet between Papageno and Pamina ensues, speaking of the morality of true love, concluding with “Mann und Weiss, und Weiss und Mann” (Man and wife, and wife and man, attain godliness).

Act I: Scene III. The Temple of Wisdom.

The setting is in the woods with three temples: The Temple of Wisdom, with The Temple of Reason and the Temple of Nature attached.

Tamino arrives accompanied by three child-spirits who sing a religious style song, and then Tamino is left alone to ponder their musical advice. He questions, “Is this the seat of the gods?” and reflects, “Rescuing

Pamina is my duty.” He fails in his request to enter the ancillary temples of Reason and Nature because he has not gone through the proper initiation (a process derived from initiation into Freemasonry).

He gains entrance to the third, and asks a priest if Sarastro lives here and learns that “evil Sarastro” governs in the Temple of Wisdom. He considers this to be hypocritical and wants to leave, but pursues his quest. He despairs, “Wann wird das Licht mein Auge finden?” (When will my eyes find the light?), referencing a part of the Freemasonry initiation when a blindfold is removed from the candidate.

He finally learns that Pamina is alive and plays his magic flute. He hears a musical reply from Papagenos, believes that Pamina is with him, and runs off in the direction of the music. But it is the wrong direction—Pamina and Papageno enter from the other side of the stage. To make things worse Monostatos reappears with his slaves, but to no avail. Papageno’s glockenspiel and magic bells have saved them!

In a second section, Sarastro appears.

Pamina wishes to go to her mother, but he refuses: “Steht in meiner Macht” (Stay in my power). In a third section, a more alarming event has occurred: Monostatos has captured Tamino and brings him before Sarastro. When the couple sees one another for the first time, they run into each other’s arms. Sarastro’s judgment is that they both must be purified before being released freely to one another. Purification will happen only after Tamino has undergone the specific tests/trials that are derived from the initiation ceremony to become a Freemason. These will be trials by fire, water, air, and earth, which, if he succeeds, will ensure his perfection and readiness in the triumph of beauty and wisdom. This will occur in Act II.

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LILLY CLASSICAL SERIES

Program Notes

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

Act II: Scene I The setting is in an elegant palm grove known as Sarastro’s sacred woods: the trees are silver and the palm leaves are gold. Sarastro enters with other priests, and it is now understood that Sarastro is actually a priest.

A large seat, among a row of eighteen, is reserved for him. A march played by woodwinds, the favored instrument of Freemasons, introduces their entrance. As the action and music unfold, notice all of the references to the number three: three knocks on a door, three rumbles of thunder, and triplet rhythms of instruments, just to mention a few. The number three in Freemasonry represented Seeing, Hearing, and Feeling, which will lead to Wisdom, Strength, and Beauty. Sarastro approves Tamino as a candidate and that Tamino may try to endure the trials to make him a proper husband for Pamina.

Act II: Scene II The Cabinet of Reflection, a cave-like darkened room, was a significant part of Freemasonry. This marks a transition place for the “candidate” before embarking on the trials.

Tamino enters and maintains his prescribed silence. Papageno enters and wants to talk, but is quashed into silence by the Prince.

They are warned about the wiles of women.

Act II: Scene III The setting is a garden, in which Pamina is sleeping. Monostatos approaches her and sings, “Weiss ist schön, ich muss sie küssen” (White is beautiful, I must kiss her). He is interrupted by the Queen of the Night, who dismisses him with one word: “Zurücke” (Back). She then proceeds to talk with her daughter, gives her a dagger, and insists that she kills Sarastros. She sings a furious aria, “Der Hölle Rache kocht in meinem Herzen”

72

(Hell’s vengeance burns in my heart). Pamina accepts the dagger, but is not sure about the murderous idea. Instead she warns Sarastro of the plot and asks forgiveness for her mother.

Act II: Scene IV This will prepare for Tamino’s Trial by Air, which takes place in the Temple of the Ordeal. Tamino has passed one of his tests, the Trial by Earth, and is ready for this next phase. Papageno has not. Nonetheless, as the libretto develops, Papageno craves water, and manages to meet Papagena (in the form of an old woman who tells him she is really Papagena in disguise and brings him a glass of water). After he promises to love the old woman in spite of her appearance, she is magically transformed into a young, beautiful woman, but is not given over to him at this time. Tamino tries to summon Pamina via the magic flute, but he maintains a required vow of silence, even though she appears. Because of this silence, she believes that he does not love her. Tamino successfully passes this test, but Pamina sings a sorrowful aria: she feels she has been forgotten, no longer loved, and decides to commit suicide.

Act II: Scene V Herein are the final trials—in the Vault of the Pyramids. Tamino is advised that he has two more trials: the Trials of Water and of Fire by Sarastro. Pamina is introduced and runs again toward Tamino, but again is rejected. He has agreed not to speak and holds to the promise.

Act II: Scene VI. Finale Pamina undergoes a Trial by Air. She is reassured by the three child-spirits that Tamino truly does love her. Believing them, she decides not to kill herself. But she questions why he did not speak to her. They only say, “We must not reveal the reason” (Wieso müssen

wir verschweigen). However, they add, “Doch wir wollen dir ihn eigen” (We will lead you to him). The four of them address the audience with a moral message: “No mortal power can separate two hearts united in love . . . for they are protected by the gods themselves.”

Eventually, as in all good fairy tales, they “live happily ever after.”

The opera continues with more trials for both Tamino and Pamina, and finally a chorus of priests announce that they both have achieved Strength, Beauty, and Wisdom (pleasing to Osiris and Isis and the tenets of Freemasonry). After surviving the trials and great hardships, they have achieved perfect love and deserve each other because of their proven purity and sincerity.

Singspiel: A musical style and nationalistic force Singspiel offers a combination of spoken dialogue combined with singing in musical numbers, similar to a Broadway show. The Magic Flute was one of six that Mozart wrote in Singspiel, if one includes his first opera Die Schuldigkeit des ersten Gebots (1767), written in “sacred Singspiel,”and the incomplete Zaide (1779).

Beyond the spoken dialogue, Singspiel was a popular style of entertainment with easy to understand plots. It usually included comedy and sentimentality. Since it could be easily understood by the general populace, it was often performed in public theaters. And it was encouraged by Emperor Joseph II of Austria, who had personally instigated a “National Singspiel” program in 1778 to fertilize the growth of German opera. Since he was annoyed by the French cultural invasion of his country, he wanted to overcome that power that had become a benchmark of “good taste and sophistication.” Confidently saying, “I am a royalist by trade,” Joseph II was not reluctant to speak about many topics, including music.

Luckily for Mozart, he was a consistently strong admirer of the composer and his operas throughout his reign.

Freemasonry and the Austrian government History has defined Joseph II, Holy Roman Emperor, as an “enlightened despot” or “Reformist emperor” for good reason.

He first governed as co-regent with his mother, the Empress Maria Theresa, starting in 1765, and after her death, he continued as sole ruler between 1780 and 1790. During his leadership, he issued 11,000 new laws to govern his empire, founded a national public school system, endorsed religious freedom, freed the serfs, abolished the death penalty, ended press censorship, established a uniform government to unify the many lands he controlled, and embraced modern trends in medicine and in philosophy, even to include the controversial Freemasonry, which was often viewed as politically dangerous and seditious. Maria Theresa’s regime anticipated revolution in the tenets of Freemasonry and forbade its existence in Austria: brotherhood, tolerance, and freedom were not monarchical values. Her son opted otherwise.

On April 24, 1784, the Freemasonry movement received a boost with the founding of the Grand National Lodge of Austria in Vienna per Joseph II’s order. And, it was in that same year that Mozart became a Freemason on December 14. During his lifetime, he was a fervent member of the Freemasons, and the last concert he conducted on November 18, 1791, was at the dedication of a new Masonic temple.

Four years after Mozart’s death, Freemasonry was once again forbidden by the Austro-Hungarian monarchy, not to be tolerated officially until 1918 with the proclamation of the first Austrian Republic.

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76

HARRY POTTER AND THE HALF-BLOOD PRINCETM—IN CONCERT

JUNE 21–22, 2018

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Specials and Presentations Thursday, June 21, at 7:30 p.m.

Friday, June 22, at 7:30 p.m.

Hilbert Circle Theatre NICHOLAS BUC, Conductor NICHOLAS HOOPER, Composer

Harry Potter and the Half-Blood Prince™—In Concert Harry Potter and the Half-Blood PrinceTM—In Concert Produced by CineConcerts Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Director of Production Jeffery Sells Head of Publicity and Communications Andrew Alderete Brand/Marketing Director, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing Manager, Molly Kossoff Brand/Marketing Manager, Si Peng Office Manager, Gabe Cheng Worldwide Representation WME Entertainment Music Preparation JoAnn Kane Music Service Music Editing Ramiro Belgardt and Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing Justin Moshkevich, Igloo Music Studios Merchandising by Firebrand A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17) Recording or photographing any part of this performance is strictly prohibited.

There will be one 20-minute intermission.

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JUNE 21–22

NICHOLAS BUC, Conductor

Nicholas Buc is a composer, conductor, arranger, violinist, and pianist.

He studied composition with Brenton Broadstock and Dr. Stuart Greenbaum at the University of Melbourne, where he received the inaugural Fellowship of Australian Composers Award. He recently completed a master’s degree in Scoring for Film and Multimedia at New York University, as the recipient of the Brian May Scholarship for Australian film composers.

Buc is regularly commissioned, and some of his works have been premiered by the Royal Melbourne Philharmonic Orchestra and Choir, The Australian Voices, the Melbourne Chamber Orchestra, the Benaud Trio, and Concordis Chamber Choir. He has also written for film and television, with some of his work being screened at festivals and theatres around Australia, Asia, and the U.S. In 2007

WE

STUDEN TS

he was nominated for “Best Original Song Composed for the Screen” in the APRA-AGSC Screen Music Awards, and in 2015 was a winning finalist of the NYU Film Scoring Competition.

Buc has worked with pop sensation Tina Arena on six Australian tours, writing new orchestral arrangements and conducting the Sydney, Queensland, Adelaide, and West Australian symphony orchestras. He has also written arrangements for The Whitlams, Passenger, Stu Larsen, and Swiss folk rock group 77 Bombay Street, as well as working on the first four seasons of The Voice Australia.

Recent conducting engagements include concerts with Grammy-winning trumpeter Chris Botti, Amanda Palmer of The Dresden Dolls fame, and the Australian national tour for singer-songwriter Ben Folds.

Continuing his passion for music and film, he has conducted Disney’s Pixar in Concert, Michael Giacchino’s Star Trek Live in Concert, Bernard Herrmann’s Psycho with Orchestra, and most recently the Australian and Japanese premieres of Alan Silvestri’s Back to the Future Live in Concert.

Student tickets are available for most ISO concerts at the

$10

STUDENT Hilbert Circle Theatre! FromTICKETS Beethoven to Broadway and

From Broadway, even ourstudent populaBeethoven r Happy Hours,tostudent tickets are just $10! tickets are available for most performances for only $10!

For more information, call the ISO Box Office at 317.639.4300, or visit IndianapolisSymphony.org 78

PRESENTED BY:

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We believe in supporting the arts.

Every step of the way.

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lakecitybank.com

ENDOWMENT Endowed Orchestra Chairs, Performances, and Special Endowments Endowed orchestra chairs, performances, and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others.

We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund.

Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian, and Boris Meditch Peter Vickery, Assistant Concertmaster The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox Michelle Kang, Assistant Concertmaster The Taurel Assistant Principal Second Violin Chair Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal Second Violin The Dick Dennis Fifth Chair Endowed in memory of Richard F. Dennis

by Carol Richardson Dennis This Second Violin Section Chair is Seated Using Revolving Seating The Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel The Assistant Principal Cello Chair Endowed anonymously The Randall L. Tobias Cello Chair Endowed by Randall L. Tobias Ingrid Fischer-Bellman, Cello The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello

The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet The Robert L. Mann and Family Principal Horn Chair Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth, and Darrell Bakken Jerry Montgomery, Horn The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune Conrad Jones, Principal Trumpet The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test Riley Giampaolo, Trombone The Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra

The Sidney and Kathy Taurel Principal Flute Chair Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute

Endowed Performances Classical Season Opening Concerts Endowed by Francis W. and Florence Goodrich Dunn September 29–30, 2017

The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo

The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul October 6–7, 2017

The Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe

The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune October 13, 2017

The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn

The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias November 10–11, 2017

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ENDOWMENT Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 17–18, 2017 IPL Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias December 2017—Opening Night IPL Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 2017—Closing Night The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund January 6, 2018 The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 26–27, 2018 The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund February 2–3, 2018 The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously February 23–24, 2018 The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias March 2, 2018 The Performance of New Music Endowed by LDI, Ltd. March 17, 2018 The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund April 6, 2018 The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund April 28, 2018 The Performance of a Young Professional Artist Endowed by Roche Diagnostics May 4, 2018 The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen June 1–2, 2018 The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2018 Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert

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The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given

by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist-in-Residence Endowment Endowed in memory of Hortense and Marvin Lasky The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by the Tobias Family Foundation The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund The J.K. Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984

ENDOWMENT The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991 Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen

Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984 First Monday Music Club Endowed anonymously Stage Terrace Seating Endowed anonymously Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball

by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers

Helping you recover...body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems.

EAP counselors are trained to deal with a wide variety of employee concerns, and will offer you professional support and direction toward a resolution.

Services offered include: • Identification/evaluation of problems • Educational workshops/seminars • Referrals to other resources: legal services, physicians, financial counseling and more

• Short-term counseling • 24-hour crisis phone line

If your company is interested in receiving more information about our program, please call 317-338-4900 or 1-800-544-9412. stvincent.org

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LYNN SOCIETY The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity.

Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.231.6770.

Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell* Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dale & Barb Benson Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Andrea Davis Edgar* & Joanne Davis Carol Richardson Dennis Rollin & Cheri Dick Mr. & Mrs. Richard A. & Helen J. Dickinson Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune Marilyn K. Fourman

Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett David* & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. John A. Mainella & Michael Pettry Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch Clayton C. Miller

William F. Murphy, CPA John & Carolyn Mutz Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley David Rodgers Dr.* & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Carol E. Taylor Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Dan & Doris Weisman Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Richard D. & Billie Lou* Wood Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (16) *Deceased

THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Mrs. Raymond A. Basso Dr. John E. Batchelder Miss Helen F. Bernheisel Florence Bien Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall

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Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak Edgar L. Conn Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall

Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen

LYNN SOCIETY Gail H. & Robert H. Hall Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn Mr. David A. Jacobs Frances M. Johnson Mr. E. Patrick Kane Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure H. Richard & Sarah Forney McFarland Mrs. Judd R. McKay Alice & Kirk McKinney Martha Means Mr. & Mrs. J. Irwin Miller

Robert H. & Ina Mohlman Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mrs. Joseph D. Pierce Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn Miss Sally Reahard Mr. Vernley R. Rehnstrom Peter C. & Dr. Jeanette P. Reilly George T. & Olive Rhodes Mary Ann Roman Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz

Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr. Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White Lorain C. Will Clara M. Wilmeth Ms. Mary Wratten Mildred R. Young Wilma K. Young Steven J. Zellman Karl & Barbara Zimmer Anonymous (5)

Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference.

Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

“

We strongly believe that a great city needs a symphony orchestra, and Indianapolis is so very privileged to host the ISO. Our orchestra brings a wide variety of music for the joy and enlightenment of all citizens.

We especially appreciate the involvement of so many youth in the Symphony’s music and education programs. Our continued contributions to the Annual Fund and our legacy gift to the Lynn Society allow us to simultaneously support a city treasure, enhance the education of the city’s youth, and personally experience the joy of great music.

”

- Rollie and Cheri Dick

YOUR LEGACY MATTERS Contact Sally Meyer Chapman, Associate Director of Foundation and Planned Giving, with questions about The Lynn Society at 317.231.6770 or smeyer@IndianapolisSymphony.org.

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ANNUAL FUND The Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget.

This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana.

Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of March 21, 2018. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions.

Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.

$100,000 and Above

Anonymous Sarah & John Lechleiter B. M. “Marti” Ripberger Yvonne H. Shaheen Marianne Williams Tobias

Anonymous Arts Council of Indianapolis and the City of Indianapolis Barnes & Thornburg LLP The Christel DeHaan Family Foundation Efroymson Family Fund Eli Lilly and Company Indianapolis Power & Light Company Indianapolis Symphony Orchestra Association The Kroger Co. Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF

Founders’ Society, Music Director ($50,000+)

Anonymous Ms. Christel DeHaan Phil & Colleen Kenney Kay F. Koch Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Richard D. Wood The Glick Fund, a fund of Central Indiana Community Foundation The Indianapolis Foundation, a CICF Affiliate Nicholas H. Noyes Jr. Memorial Foundation Printing Partners Ruth Lilly Philanthropic Foundation

Founders’ Society, Concertmaster ($20,000–$49,999)

Anonymous Mr. & Mrs. Michael Becher Christina Bodurow Charles & Joyce Boxman Mr. & Mrs. Daniel P. Carmichael Mr. & Mrs. Trent Cowles Rollin & Cheri Dick Dawn M. Fazli Craig & Mary Fenneman John C. Gray James E. & Patricia J. LaCrosse

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Dr. Ned & Martha Lamkin Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Mary Frances Rubly & Jerry Hummer Mrs. Robert L. Rudesill Christopher A. Slapak & Michael J. Robertson Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Kathy & Ralph Wilhelm Roberta & Bill Witchger Anonymous Arthur Jordan Foundation Bank of America BMO Harris Bank Budweiser Zink Distributing Co, LLC The Clowes Fund Community Health Network Duke Energy Erie Insurance Fenneman Family Foundation Fifth Third Bank Ice Miller Indiana Arts Commission Indiana Members Credit Union Johnson County Community Foundation, Inc. JPMorgan Chase National Endowment for the Arts OneAmerica Financial Partners, Inc. R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics Salesforce Scott A. Jones Foundation Shaheen Family Foundation Telamon Corporation Terry Lee Genesis & Terry Lee Hyundai The Martin D. & Mary J. Walker Charitable Foundation Tobias Family Foundation

Founders’ Society, First Chair ($10,000–$19,999)

Anonymous (3) The Honorable & Mrs. Alex M. Azar II Mr. & Mrs. Robert Bader Charlene & Joe Barnette Ms. Sarah Barney Mr. & Mrs. Barry J. Bentley Suzanne B. Blakeman Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie

Charles W. Brown Vincent & Robyn Caponi Mr. Daniel Corrigan Don & Carolyn Hardman P. Kent Hawryluk Dr. Sharon Hoog Emily & Peter Howard Allan & Kathy Hubbard Ms. Harriet Ivey & Dr. Richard Brashear Bob & Rhonda Kaspar Joseph & Kathy Kessler Ned & Wendy Kirby Walter T. Koenig Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff Drs. W.H. & K.T. Landschulz Ms. Karen Mangia Mr. & Mrs. Bruce McCaw The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Mel & Joan Perelman Walt & Mary Prouty Fred & Bev Ruebeck Mr. & Mrs. William N. Salin Phyllis & Gary Schahet Jeff & Cassandra Short Mr. & Mrs. Richard Skiles Ann M. & Chris Stack Mr. Kevin D. Taylor Mr. & Mrs. Daniel O. Weisman Sara & Mike Zeckel Jim & Rita Zink Anonymous Fund of Central Indiana Community Foundation ADL Charitable Trust Ann & Gordon Getty Foundation Anthem Blue Cross and Blue Shield Buckingham Foundation Inc. Care Institute Group, Inc. The Indianapolis Foundation, a CICF Affiliate City of Carmel CNO Financial Group Community Health Network Foundation Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. St.Vincent Health/Ascension The Glick Family Foundation The Frenzel Family Charitable Lead Trust

The Indiana Rail Road Company Indiana Society Indiana University Health Partners Industrial Dielectrics Holdings Indianapolis Symphony Orchestra Association South Group Mallor Grodner LLP Market District Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana Vectren Corporation

Founders’ Society ($5,000–$9,999)

Anonymous (9) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Mr. & Mrs. Michael Alley Bob & Pat Anker Deborah & Douglas Balogh Trudy W. Banta Maestro Raymond Leppard & Dr. John C. Bloom Terry & Robert L Bowen Mr. & Mrs. John Bratt Donald & Barbara Broadlick Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Ms. Jane Conley Dexter & Rosemary Cooley Mr. & Mrs. James M. Cornelius Andrea Davis David & Consuelo Davis Erin & Scott Dorsey Jack Everly & Ty A. Johnson George R. Flexman Russell Fortune III Dr. & Mrs. Richard W. Garrett Gary Ginstling & Marta Lederer Larry C. & Lee A. Glasscock Charles & Susan Golden Jim & Roberta Graham Mr. & Mrs. Thomas W. Grein John & Chichi Guy Robert E. Hallam Steve L. Hamilton & Keith O. Norwalk Gregory Henneke & Martha O’Connor Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Dr. & Mrs. Raymond V. Ingham Carlyn Johnson Mrs. Joan D. Kahn

ANNUAL FUND Mr. James Kastner Kimra Kidd & Thomas Buehner Drs. Sandra & Charles Kinsella Mrs. James L. Kittle, Sr. David H. Kleiman & Susan Jacobs Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Emily Mahurin Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mr. & Mrs. Morris Maurer Doris & John McCollough Boris E. Meditch Virginia Melin Jim Miller Mr. & Mrs. Dayton Molendorp Ellie, Weber & Emaline Morse Jerry & Anne Moss Dr. & Mrs. Daniel H. Mowrey John & Carolyn Mutz / Lumina Foundation Mr. Carl & Dr. Loui Lord Nelson Marc Nichols & Jamie Collins Jackie Nytes Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Kay Pashos & Neal Steinbart Jack & Katie Patterson Donald & Karen Perez Bart Peterson Jennifer Pressley Scott & Susan Putney Steve & Margaret Russell Maribeth & Al Smith Susanne & Jack Sogard Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Dr. Pamela Steed & Dr. Peter Furno Mr. & Mrs. John Thornburgh Pete & Lena Ward Margaret Watanabe David P. Whitman & Donna L. Reynolds Mrs. Lucy Wick Lynn & Andy Wiesman Jacquie & Fred Winters Dr Christian Wolf & Elaine Holden-Wolf Diana & Dan Yates Barrie & Margaret Zimmerman John & Linda Zimmermann Jennifer & Michael Zinn Barefoot Wine The Barrington of Carmel Blackburn Group, Realtor Bose McKinney & Evans LLP Chubb Group of Insurance Companies Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom Cornelius Family Foundation, Inc. Deloitte & Touche LLP DMC Holdings, Inc. Dorsey Foundation Faegre Baker Daniels Garmong Construction Haddad Foundation Honda

Howard K. Johnson Fund, a fund of The Indianapolis Foundation Huntington Bank The Indy Star James O. & Alice F. Cole Foundation Jungclaus-Campbell Co., Inc. The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF M/I Homes MacAllister Machinery Company, Inc. Macy’s Merrill Lynch Senior Home Companions MusicCrossroads The National Bank of Indianapolis Navient NextGear Capital PNC Regions Bank JK Family Fund, A Donor Advised Fund of Renaissance Charitable Foundation The Rock Island Refining Foundation Rose Senior Living Salin Bank & Trust Salin Foundation Van Riper Woodard Family Foundation WGU Indiana Witham Health Services

Conductor’s Circle ($2,500–$4,999)

Anonymous (3) James Adams Dr. Albert Allen & Ms. Kathryn Maeglin J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Spencer & Marcia Bavender Mary Clare & George Broadbent Dr. & Mrs. John T. Callaghan Mr. & Mrs. John Campbell Elizabeth A. Chamberlin Nancy Christy James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline Steve & Mary DeVoe Kerry Dinneen & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Dr. & Mrs. Thomas Elam Mr. & Mrs. Neil Ellerbrook Dorothy Schultz Englehart Ms. Carol J. Feeney Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. Mark Foglesong Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Mr. Jerome Gassen & Ms. Nicole Weaver Michael & Beth Gastineau Cora A. Gibson Mr. Scott & Ms. Amy Goldsmith Mr. & Mrs. Alexander Goloschokin Christian and June Gries James & Paula Hancock

Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Bill & Nancy Hunt Marsha A. Hutchins Larry & Annette Hutchison Mr. & Mrs. John C. Jenkins & Family Dr. & Mrs. C. Conrad Johnston Daniel H. Joseph & Liu Li Dr. Louis N Jungheim & Dr. Thalia I. Nicas Mrs. John E. Kalsbeck Donn & Dot Kaupke James & Jennifer Kelley Mr & Mrs. David Kelly Mr. Charles E. Kendall Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Larry & Rose Kleiman Don & Jen Knebel Dr. Elisabeth Krug & Roland Schaffer Andrew & Lynn Lewis Nancy Lilly Mr. & Mrs. Allan Litz Jim & Sarah Lootens Ralph & Nancy Lundgren Mary & Charles Matsumoto Dr. & Mrs. Douglas R. Maxwell Flip & Cindy Miller Milton & Margaret Miller Elizabeth & William Murphy Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Eloise Paul & Bill Lee Dorit & Gerald Paul Ray & Jim Luther-Pfeil Matthew & Christine Phillips Myrta J. Pulliam Dr. & Mrs. George F. Rapp Mr. & Mrs. Thomas Roberts Mrs. John R. Roesch Nancy Ray Ross Dr. & Mrs. Randall G. Rowland Mr. Gilva F Sallee & Ms. Wanda L Shafer Mrs. Lisa M. Sapp Dr. & Mrs. John F. Schaefer James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Marlyne Sexton Armen & Marie-Claude Shanafelt Drs. Lei Shen & Soomin Park Eric Siemers & Peggy Edwards William & Faye Sigman Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Dee & Tom Spencer Sydney L. Steele Drs. Randall & Bonnie Strate Richard & Lois Surber James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Jeffrey & Benita Thomasson Jerry & Linda Toomer Dr. James & Linda Trippi Ms. Cathy Turner Dr. Pantila Vanichakarn & Dr. Daniel Bateman

Joe & Sue Vertin Don & Coleen Walker Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken Mr. & Mrs. Clark Williamson James & Joyce Winner Terence & Margaret Yen 500 Festival, Inc. Canvas Bright Sheet Metal Co., Inc. CharBlue CSO Architects, Inc. Donovan CPAs & Advisors First Person Franklin Symphonic Council, Inc. Harlan Family Foundation Heritage Group Indiana American Water Co., Inc. The Indianapolis Recorder Indy Eleven Indy Podiatry InterDesign Milhaus Development Park Tudor School ParkIndy, LLC Paul Family Foundation, Inc. David and Arden Pletzer Endowment Fund, a fund of Legacy Fund St. Richard’s Episcopal School The Toomer Family Foundation Universal Windows Direct Western Reserve Partners, LLC President’s Club ($1,500–$2,499) Anonymous (3) Dr. & Mrs. Wayne Ambrous Kate & Dan Appel Nicholas Barbaro & Sue Ellen Scheppke Mr. Brett & Mrs. Shari Bayston Mark K. Bear Mr. & Mrs. Laurens Beyland Jay & Julie Bishop Carole & Sam Bixler Mr. & Mrs. Jesse L. Bobbitt Kirk & Sharon Boller: Bottom-Line Performance Inc. Gordon & Celia Bruder Kenneth & Patricia Burow Dr. David & Judith Chadwick Mr. Joseph & Mrs. Helena Chan Casey Chell & Daniel Duarte Mr. & Mrs. Albert Chen Mr. & Mrs. Randall Christie John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Dave & Christie Crockett Cummings Family Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Ann & Kenneth Dee Dennis K. Dickos, M.D. Mr. & Mrs. Erold R. Diller Mr. & Mrs. Robert M. Donovan Dr. & Mrs. Christopher Eddy

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ANNUAL FUND Miss E. Frances Eickhoff Robert & Joy Elzer Andrew & Irene Engel John N. & Julia Luros Failey Michael & Ardith Fleetwood Dr. Norm & Adrienne Fogle Dick & Brenda Freije Mr. & Mrs. Raymond Gibson Steven M. Giovangelo & Gerald J. Bedard Drs. Jean & Gerald Godfrey Dr. Lawrence I. Goldblatt Leonard & Rikki Goldstein Mr. Ray E. Gotshall Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith Dr. Kathleen Hacker & Jerry Hacker Fred & Alice Hecker Ms. Lisa Heid Mike & Noel Heymann Mr. & Mrs. Gerald V. Hinchman Jill Hoyle Carolyn Humke Ms. Kristine Isenberg Mr. Gerald R. Jenn Mr. & Mrs. Richard Johnson Wayne & Deborah Johnson Dr. & Mrs. Philip E. Johnston Dana & Marc Katz Richard & Susan Kent Mr. Doug Klitzke Col. A. D. Kneessy Tim, Amy & Matthew Konrad Dr. Gwen & Mr. Robert Krivi Mr. & Mrs. Jeffrey Larson Dr. & Mrs. Richard Lasbury Jonathan & Lisa LeCrone Robert E. Lee Cindy & Rick Leffler Dennis & Karen Licht Deborah & Joe Loughrey Mr. Kevin Malley & Mr. Ronald Nobles Michael & Jill Margetts Jon D. Marhenke, M.D. Mr. & Mrs. Ken Matsumoto Elaine M. Mattson Ann & John McGrath Alan & Ann McKenzie Mr. & Mrs. Robert B. McNamara Susanah M. Mead Dr. & Mrs. David Miller Mr. & Mrs. Robert E. Miller Dr. & Mrs. Phillip G. Mosbaugh Sarah Myer Peggy & Byron Myers F. Timothy & Nancy Nagler Bob & Dale Nagy Mr. & Mrs. Guido Neels Mr. & Mrs. John S. Null Thomas & Stacy O’Leary Allen H. Pekar Patricia Perkinson Pat Perkinson Marian Pettengill Beverley & Bill Pitts Barbara Poulsen Sue & David Powers Jeff & Clare Quinn Mr. Alan & Mrs. Deborah Rasper

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Jean & Lamar Richcreek Mark & Susan Ridlen Mr. & Mrs. Randall Riggs Dr. Merrill Ritter N. Clay & Amy McCorkey Robbins Joseph & Leanna Roberts Mr. & Mrs. Byron Robinson Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Mr. & Mrs. David Sapp Roger & Barbara Schmenner Jerry & Rosie Semler Carson Shadowen Michael & Priscilla Shaw Nancy C. & James W. Smith The Sneed Family Steven A. Spaulding & Jennifer C. Hendrian Judy A. Springmire Rita & Larry Steinberg Ed & Barbara Steward Mrs. Lynn Stocksill Jim & Cheryl Strain T.S. Sun Dr. Hadrian Szpurka & Dr. Anna Jankowska Mr. John Tan Sidney Taurel Stephen L. Tracy Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Terry & Cheryl Walker Paul & Gretchen Watson Courtenay & Emily Weldon Mrs. Mary Whalin Dr. Forrest Williamson Bob & Debbie Wingerter Ken & Wendy Yerkes Josephine A. Yu Mr. & Mrs. Leslie R. Zimmerman Mary Ann & Gene Zink Sue & John Zinser The Ackerman Foundation Batt Family Foundation Bingham Greenebaum Doll LLP BKD Conrad Indianapolis The Humke Foundation, Inc. Indiana Farm Bureau Insurance International Entertainment Bureau J. Solotken & Company, Inc. The Jenn Foundation Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation The Penrod Society Pointer Management Quinn & Ali Shepherd Giving Fund

Symphony Club ($1,000–$1,499)

Anonymous (9) Mr. Norris Allen Mr. & Mrs. Roy & Jan Applegate Mr. & Mrs. Bradford H. Arthur Laura Walker & Vernon Back Mrs. Taylor L. Baker Terry & Patricia Balko Mr. Konrad Banaszak Linden & Allison Barber

Mr. Todd Barrett Ms. Susan Bates David Bellman & Ingrid Fischer-Bellman Dr. & Mrs. H. W. Berner Mr. Michael L Blankenship Mr. Robert L. Bly Mrs. Sydney Jean Book Erv & Priscilla Boschmann Charles & Cary Boswell Ms. Marsha Bragg Douglas & Angela Braly Dr. Harry D. Brickley Matt & Janette Brown Terri Bruksch Lorene M. Burkhart Celeste & Derrick Burks Pam & Jack Burks Mr. & Mrs. E. M. Cavalier Ray & Lisa Childers Mr. & Mrs. Douglas Church Dan & Laura Conder Gordon & Harriet Coppoc The Corcoran Family Mr. & Mrs. Larry Cranfill Mrs. Mary C. Crean Patrick & Jennifer Cross Joanne Meyer Davis Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Frank & Noreen Deane Ann Dettwiler Patty Donnelly & Robert Pozzebon Jeff & Ifen Donovan Mr. & Mrs. Dan Dumbauld Mrs. Nancy Dunn Ms. Joyce Dwulet Ms. Phyllis Dye Turner Constance C. Earle Tom & Judy Eggers Catherine Ehlhardt Dr. & Mrs. William J. Ehlhardt Julia & W. Adam Ehret David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum Linda Felton Dean & Beth Flaris Gracia & Jim Floyd Dr. & Mrs. Bruce Frank Ted & Lorrie Freeman Ann S. & David R. Frick Ms. Susan Fucik Mr. & Mrs. James F. Gallagher Dr. Karen & Thomas Gallagher Dorothea & Philip Genetos Mr. & Mrs. Jerry Gershman Marianne Glick Mr. Jonathan Gottlieb & Valerie Omicioli Charles & Lori Grandy Thomas & Nancy Grembowicz Peter Grossman & Pauline Spiegel Drs. Andrea & Paul Halverson Dr. James & Mrs. Pat Hamby Kenneth & Barbara Hamilton Mr. & Mrs. Richard A. Harrison Mr. & Mrs. Hayes Mr. & Mrs. Eugene E. Henn Dr. David K. & Clarice F. Hennon Dr. & Mrs. Stephen Henson Mr. Ronald N. Hermeling William & Patricia Hirsch

Mrs. Sue Hirschman C. Jane Hodge Ms. Ginny Hodowal & Mr. J. Douglas Madeley Jack & Ruth Hoover Clarena Huffington Drs. Meredith & Kathleen Hull Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ethan & Joyce Jackson Larry & Marianne Jacobi Patrick & Barbara James Mr. & Mrs. David Jensen Sue Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Freddie & Anne Kelvin Mrs. Norma King Mr. & Mrs. Daniel E. Klausner Steve & Sharon Klusman Richard & Roxanne Kovacs Terrence & Jodi Kunstek Mr. Jeffrey S. Lahr Mrs. Carl Lesher Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Grace Long Tim & Betty Lonis Lowell & Penelope Lumley Alex & Bridget MacAllister P. E. MacAllister Mr. & Mrs. Donald R. MacPherson Ms. Barbara E. Mallett Mary Lynn Mancinelli Benton & Sandi Marks Jeffrey & Christine Marks James R. & Rita E. Martin Ms. Marilyn Martin Stacy A. Maurer Michael & Patricia McCrory Mark & Mary McDaniel Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Myron J. McKee Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Mr. Allen & Mrs. Deborah Miller Earl Miller & Ek-Leng Chua-Miller Nathanael D. Miller Dr. William A. Mirola Jim & Jackie Morris Dr. & Mrs. Patrick J. Murphy Ann & Jim Murtlow Jack & Judy Myers Don Nead & Caryl Matthews Timothy S. Needler David & Diane Nesbitt Lara Noren Sarah Otte Shirley L. Paddock & Greg Riffe Rev. Barb & Mr. Fred Parker Mrs. Karen L. Parrish Linda Pence Bill & LeyAnne Perkins Gayle L. Phillips Lois Pless George & Christine Plews Bob & Lillian Potts Christine & Ken Price Larry & Nancy Pugh

ANNUAL FUND Roger & Anna Radue Patricia L. Ragan Mr. & Mrs. Robert D. Ramsey III Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg MaryAnn Ridder William R. & Gloria Riggs Mr. Larry Roan Peggy L. Robinson Mrs. Richard H. Rowland Dr. & Mrs. Andreas Sashegyi Mr. & Mrs. Billy & Kimberly Schaming Anne & Rod Scheele Ms. Silvana Schuster John Seest Dr. & Mrs. William Segar Evan & Samantha Shinbaum Donald L. & Deborah Farmer Smith Mary Solada Christy & Jeff Soldatis Mr. & Mrs. Richard Spaulding Dale & Kathy St. Louis Betty & Alan Stanford John & Barb Stang Betty Stilwell Mr. Eric Bretzman & Dr. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Nela Swinehart & Lonn Bayha Gene & Rosie Tanner M. C. Tanner Kirk & Jo Taylor Phillip A. Terry The Throm Family Douglas L. Tillman John & Judy Tomke Kenneth L. Turchi Jim & Leah Turner Lawrence & Bernice Ulrich Gareth M Vaughn Mark Wagner Mrs. Phyllis West

L. Alan & Elizabeth Whaley Meg Williams Mr. & Mrs. Meredith L. Wilson Doug & Jayne Ann Wilson Mr. & Mrs. Robert Witt Turner & Diann Woodard Mrs. Irene Yacko Anonymous The Ruth E. Stilwell Endowment Fund, a fund of CICF The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Cavalier Family Foundation Gracia E. Johnson Foundation Gregory & Appel Insurance Stagehands, I.A.T.S.E. Local #30 Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Marni McKinney Foundation Monarch Beverage Company The Blake Lee & Carolyn Lytle Neubauer Charitable Foundation, a fund of the Legacy Fund Ricker Oil Company, Inc RSE Realty, Inc Lyman A. & Corbalou A. Snyder Family Fund/Johnson County Community Foundation Taylar Development

Virtuoso ($750–$999)

Anonymous (4) Dr. & Mrs. Bill Allen Mr. Wilbur L. Appel, Jr. Dale & Barb Benson John & Reita Bertsch David & Etta Biloon Justin Bird Mr. & Mrs. Borissov Stephanie Boughton

Christine & Robert Broughton Randall Trowbridge & Alice Brown Sandra L. Burns John & Janeen Burrows Catherine Clements & Jay Barbus Kevin Clements Mr. & Mrs. Tom Cooper Audrey E. Corne RN, EdD Peter & Carol Czajkowski Zachary De Pue Ken & Kitty Decker Mr. & Mrs. Frank Delisle Col. Frank T. Dillard, Sr. Daniel & Virginia Dolezal Jack & Connie Douglas Nola Gentry & Ned Derhammer Brian & Claudia Grant The Greenfield Family John & Mary Ann Grogan Susan C. Guba Mr. & Mrs. Thomas G. Harvey Jr. Mary Hauser Mr. & Mrs. Jerome T. Henning Hannah & Ben Huddleston Patrick F. Jessee Walter G. Justus Mr. Richard & Mrs. Gwen Knipstein Craig & Kathy Leafgreen Reverend Doctor Joan B. Malick John & Kay Mastarone Dennis & Anne McCafferty Dan McKinney Mrs. Sandy McLean Mr. & Mrs. Robert Medsker Ms. Kathleen Munsch Dr. John A. & Cinda Overman Sally & Jay Peacock Anne K. Perry & Marvin C. Perry, II Michael Pettry & John Mainella Dr. & Mrs. David Porter Charlie, Zoey & Luci Roth Brian & Sabine Quick Mr. Bernard Reed Edward & Janet Ryan

Mr. Henry A. Ryan Mr. & Mrs. Robert Rynard Mr. & Mrs. Jeffrey Schmahl Saundra & Tuck Schulhof Dr. & Mrs. James E. Shields The Nathaniel Shobe Family Dr. & Mrs. Robert K. Silbert Linda Sturges Greg & Linda Sykes Mrs. Maggie Tatter Rachel Tomasik Ms. Jane Tomlin Lance & Laura Trexler Mr. Charles Warren Mr. & Mrs. Dale Weiler Ray & Lucinda Wilson Thomas & Elizabeth Wright Teresa P. Youngen Richard E. Ziegler Circle City Athletics, Inc F.A. Wilhelm Construction Co. Hendricks County Community Foundation James O. & Alice F. Cole Foundation

Contributed Goods and Services ($5,000 and Above)

Thomas N. Akins Barefoot Wine Blue & Co., LLC DCG: Digital Color Graphics Enflora Flowers for Business The Indy Star Kinetico Quality Water Systems Printing Partners Second Helpings Mr. & Ms. Jian-Wen Tong

TRIBUTE GIFTS Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from February 22, 2018, to March 21, 2018.

Memorial Gifts

Honor Gifts

In Memory of Dorothy Maschmeyer Carol Hardman

In Honor of Samuel Rothstein Mrs. Lea A. Einterz

In Memory of Don and Becky McKibben New World Youth Orchestra Dennis & Anne McCafferty Jim & Nancy Bradley In Memory of Walter S. Lowe Joyce Dwulet

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ARTS IN INDY Dance Kaleidoscope Dance Kaleidoscope will perform Martha Graham’s “Appalachian Spring,” set to the glorious music of the same name composed

by Aaron Copland. DK is a Graham-based contemporary dance company, so this piece of choreography is in the dancers’ DNA. “Appalachian Spring” will be paired with a lively piece, set to Benny Goodman’s “Sing, Sing, Sing.” Dance Kaleidoscope will perform at Indiana Repertory Theatre (140 W. Washington St.), May 31 to June 5. Tickets at dancekal.org or 317.635.5252.

Indianapolis Opera The Indianapolis Opera (IO) presents our 2018–19 season, beginning with Giacomo Puccini’s iconic La Bohème, Sept. 14-16, at the Tarkington at the Center for the Performing Arts in Carmel. Next, IO proudly promotes Indiana University Opera Theater’s production of Hansel & Gretel, Nov.16–18, at Clowes Memorial Hall. Finally, we present Lerner and Lowe’s take on the Arthurian legend, Camelot, March 15–17, at The Schrott Center for the Arts.

New World Youth Orchestras New World Youth Orchestras is dedicated to developing and nurturing the talent of young people in Indianapolis and central Indiana through high-quality music education and the rehearsal and performance of orchestral masterworks. Now scheduling auditions for all three orchestras for the 2018–19 season. See details on our website at www.nwyso.org.

Indianapolis Symphonic Choir Join the Indianapolis Symphonic Choir! Auditions to be a singer in one of the most respected, prolific and largest choruses in the nation are soon. Under the direction of Eric Stark, the Symphonic Choir reaches more than 25,000 persons annually, plus offers a complete discography, streaming music, national television broadcasts, and concert tours. Visit indychoir.org to for details about auditioning for the 200-member chorus, and to be a part of the musical magic that consumes audiences and performers alike.

Indianapolis Children’s Choir The Indianapolis Children’s Choir’s summer programs offer something for everyone, whether you’re in preschool, high school, or anywhere in between! We have camps, classes, and choirs happening throughout the summer. Visit icchoir.org/ summer to learn more! The ICC’s excellent music education programs involve students from ages 18 months to 18 years.

To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317.940.9640.

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To advertise within this book, contact Patrick@PrintingPartners.net or 317-664-7835

CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact Catherine Lockhart, Associate Director of Corporate Giving at 317.231.6723.

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WHY WE GIVE

JEFF & SUSAN SMITHBURN Jeff and Susan Smithburn started attending classical concerts in 1988. That led to becoming subscribers and now, looking back, they report that donating to the ISO began after a somewhat meandering process.

Both Hoosiers, they grew up in Monticello, where they sang in school and church choirs. Jeff attended Indiana University, spent time in Okinawa as a U.S. Army Morse Code interceptor, and graduated in accounting from Manchester College. His work life spanned the newspaper business as a reporter, editor, and columnist, as well as Price Waterhouse and Simon Property Group.

Susan, a Purdue grad, taught school for 38 years, mostly at Speedway. Both are from musical families. Jeff’s dad formed his own band-booking agency while a student at IU. Susan’s grandmother played the piano for silent movies; her dad sang in operettas; and her mother, a violinist, insisted that Susan take piano lessons.

As a 12-year-old, Jeff purchased Rite of Spring and Dvořák’s New World, his first LP albums, using newspaper route earnings. During grade school, Susan loved listening to Purdue radio’s Met Opera, in spite of her dad’s persistence in mimicking the sopranos in a hilarious falsetto.

Both are long-time ISO Association volunteers, where Susan spent years writing, editing, and more, and Jeff, by default, took phone calls and showed up cheerfully in other capacities.

They’ve been amused by receiving Association emails and calls while visiting foreign countries and even on their pontoon boat. Presenting three of ISOA’s League of American Orchestra Gold Book Award projects in various cities resulted in Susan’s awakening to national volunteer activities. They both agree: “Our fellow volunteers’ commitment, the staff’s masterful devotion to backup, and the musicians’ extraordinary dedication and generosity have all revealed the steadfast efforts of a cast of hundreds. We are particularly grateful to the many large donors who give generously for the sake of community wellbeing.”

Highlights for the Smithburns include the annual Asian-inspired buffet with members of the orchestra followed by an evening of entertainment. The Smithburns also advocate for five children’s music education initiatives: The Metropolitan Youth Orchestra, Symphony in Color, the Side-by-Side Concert, the Discovery Concerts, and the Michael Ben & Ilene Komisarow Maurer Young Musicians Contest. Additionally, they applaud the “First Monday” and “Words on Music” educational lineups for adults and see inviting friends to concerts as a small way they can “talk the talk.”

Most recently, Jeff (who occasionally wears his own Darth Vader costume) and Susan spent a festive evening at the John Williams concert. “The electric atmosphere guaranteed that the Force would be with us, and we took lots of photos!”

“Our experience has been thrilling. We’ve gone from attending concerts and not knowing anyone to meeting friends and feeling at home at the Hilbert Circle Theatre. It is only natural that we want to help fund this grand mission. We recommend that you get involved . . . and see where it leads!”

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HILBERT CIRCLE THEATRE INFORMATION Welcome to the Hilbert Circle Theatre, home of the Indianapolis Symphony Orchestra.

We are delighted you are with us and hope you enjoy the performance.

Box Office For questions about parking, tickets, subscriber benefits, and will call, visit our Box Office at the main entrance to the theater (off of Monument Circle) or the satellite Box Office at the east entrance (off Scioto Street).

Coat Checks and Restrooms Coat checks are located on the main floor and on the Oval Promenade on the second floor.

The second floor can be reached by staircases on the east and west end of the theater or elevators near the main entrance. Accessible restrooms are located on both floors.

Emergency In the event of an emergency, please use the nearest exit (marked by lighted signs). This is your shortest route out of the theater.

Ushers For questions about Hilbert Circle Theatre accessibility, first aid, and lost and found, please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.

Subscriber Hotline If you are a subscriber and have any ticketing needs, please call the Subscriber Hotline at 317.236.2040, or email the ISO at subscriber@ IndianapolisSymphony.org. This dedicated hotline is staffed during normal business hours by our Customer Care Representatives.

You may also leave a message after hours, and a representative will respond promptly.

Beyond the Concert Attend The J. K. Family Foundation Words on Music one hour before every Lilly Classical Series concert to hear from classical music experts. Grab a drink and mingle with friends before and after the concert in the Encore Lounge.

Also, join us for a behind-the-scenes discussion with special guests during the First Mondays: Backstage Pass to the ISO! Visit www.IndianapolisSymphony.org/firstmondays for more information.

Parking Garage Attached to Hilbert Circle Theatre EZ Park Garage is open on the west side of Pennsylvania Street between Market and Washington Streets. A canopy connects the garage to the Hilbert Circle Theatre lobby, giving you a close and convenient parking option.

For evening concerts, pay on your way in to save the time and trouble of waiting in line to pay after the concert.

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

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN  46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100.

We welcome your comments at iso@IndianapolisSymphony.org!

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ADMINISTRATION EXECUTIVE OFFICE James Johnson, Chief Executive Officer Laura Irmer, Assistant to the CEO OPERATIONS Danny Beckley, Vice President and General Manager David Armstrong, Director of Audience Services Amy Sheaffer, Director of Operations Kalyn Smith, House Manager Donna Finney, Volunteer Services Manager Philomena Duffy, Manager of General Operations & Facilities Frances Heavrin, Event Coordinator Roberto Tapia, Day Porter Rodney Gray, Food & Beverage Manager Orchestra Personnel K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Artistic Administration Katie McGuinness, Director of Artistic Planning Hannah Reffett, Manager of Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Senior Manager of Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Manager of Guest Artist & Pops Coordination DEVELOPMENT Casey Chell, Vice President of Development Brogan Drumm, Executive Assistant Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Senior Director of Development, Institutional Giving Sally Meyer Chapman, Associate Director of Foundation and Planned Giving Carol Ann Arnell, Senior Manager of Special Events and Corporate Partnerships Allison Gehl, Associate Director of Individual Giving Tom McTamney, Gift Processing Manager Catherine Lockhart, Associate Director of Corporate Giving Tori Ramsay, Gift Officer Ron Blackgrave, ISOA Assistant MARKETING & COMMUNICATIONS Sarah Myer, Vice President of Marketing Joshua Shuck, Director of Sales Mary Ferguson, Audience Development Manager Jennifer Welch, Art Director Bennett Sanders, Graphic Designer

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Kristin Cutler, Director of Communications Jen Huber, Communications Content Manager Teresa Mazzini, Digital Marketing & Communications Manager Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Elizabeth Whipkey, Senior Customer Care Representative Anita Blackwell Erin Demo Erin Jeffrey Janine Knuutila Nick Neukom McKenzie Witherell Kim McManus Customer Care Representative LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Betty Perry, Metropolitan Youth Orchestra Founder and Artistic Director Emeritus, ISO Community Ambassador Ruth Wolff, Director, ISO Learning Community Krystle Ford, Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager Andrea Fjelde, Learning Community Coordinator FINANCE Steve L. Hamilton, Vice President of Finance and Chief Financial Officer Adam White, Controller Teaka Vest, Staff Accountant Jennifer Morrell, Accounts Payable Coordinator INFORMATION TECHNOLOGY Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology HUMAN RESOURCES Larry R. Baysinger, Vice President of Human Resources Melissa Sanders, Human Resources Generalist & Wellness Advocate

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